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pregledna razstava fotografskega velikana overview exhibition of the notorious photographer

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Natečaj za Večerne projekcije Open call for Evening Projections

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Jeffrey Silverthorne – ‘Crossing Times’

 
 
 

Jefferey Silverthorne, Impersonators #1, 1992

27. oktober – 22. november 2010,

Galerija Photon – Center za sodobno fotografijo Ljubljana


Kaj je fotografija? Običajno je prikaz, včasih manipulacija ali iluzija. Osebno so mi najboljše fotografije tiste, ki opazovalca prenesejo, mu za trenutek prikažejo vrh nečesa na nov in izviren način. Ali tiste, ki prikazujejo nekaj, česar pravzaprav niti ne opazimo. To je umetnost. Več tisoč umetnikov, ki ureja barve in nekaj črt. Vendar obstaja le en Mondrian, zato ob njegovih delih vzklikamo, kako čudovita so. Silverthorne nikakor ni Mondrian. Vendar ju je smiselno omeniti skupaj, pa četudi le zaradi dejavnika čudovitosti; kakovosti, za katero si želimo, da bi jo tudi sami znali pričarati; naključnosti, ki je ravno pravšnja.

Silverthorne, prav tako kot Mondrian, dela s subjektom. Vendar se zdi, da si je za subjekt izbral opazovalce, torej nas same. (Pri Mondrianu se vse vrti okrog vprašanja, kako je mogoče uravnotežiti jajce na hrbtni strani žlice na premikajočem se vlaku). Kaj smo mi? Menim, da „mi“ v okviru Silverthornovega dela pomenimo naše predsodke, pomanjkljivosti, spomine, ogorčenost, strah, radovednost, želje, sočutje, jezo, užitke, … Če se osredotočimo na fotografije, v njih ne vidimo veliko Silverthorna – on je mrtev moški na postelji – vendar vseeno vidimo veliko njegovega. Silverthorne kot subjekt je naključen – v resnici dejansko dela z „nami“.

Te majhne podobe trenutkov so velika dela. Morda so prav to Silverthornova najboljša dela. Želim si, da bi si jih lahko ogledoval še naprej. To so dela, ki opazovalca prenesejo.

Jon Hendricks

Jefferey Silverthorne, Impersonators #1, 1992

From October 27 until November 22 2010
Galerija Photon – Centre for Contemporary Photography Ljubljana

What’s a photograph? A depiction, usually – sometimes it’s a manipulation or an illusion. The best ones, for me, are transporters, peeks, for an instant, at something never seen in the way that it is seen. Or maybe seen, but we don’t realize we see it. Art is that. Thousands of artists arranged colors and a few lines. But there is only one Mondrian, and we say, “Hot damn, wow”. No, Silverthorne is not Mondrian. But it is not silly to mention the two together, if only because of the hot-damn factor, the “I wish I have done that” quality, the incidental that “sits” just right.

Silverthorne, of course, is working with a subject, just as Mondrian was. Silverthorne’s subjects seems to be us, the looker. (Mondrian’s is how the hell can you balance an egg on the back of a spoon on a moving train.) What is us? I suppose the “us” that Silverthorne is working with is our prejudices, our hang ups, our last, our memories, our indignation, our fears, curiosity, desires, sympathy, anger, pleasure,…Looking at the photographs, I don’t see much of Silverthorne – he’s the dead guy on the bed – though we do see a lot of him. No, I think as subject, Silverthorne is incidental – it really is “us” that he is working with.

These small images of an instant are masterpieces. Perhaps the best work that Silverthorne has done. I want to keep looking at them. They are transporters.

Jon Hendricks