Bohemi z Montparnassa Bohemians from Montparnasse

Jean Cocteau & Veno Pilon Jean Cocteau & Veno Pilon

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Sebastião Salgado: Geneza Sebastião Salgado: Genesis

pregledna razstava fotografskega velikana overview exhibition of the notorious photographer

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PhotoMagicPhotoMagic

Stane Jagodič, Gábor Kerekes, Branko Lenart Stane Jagodič, Gábor Kerekes, Branko Lenart

2016

Portfolio Review 2016

  Festival Fotonični trenutki – Mesec fotografije 2016 vabi fotografe, da predstavijo svoja dela na Portfolio Review, ki bo potekal […]

2016

Natečaj za Večerne projekcije Open call for Evening Projections

Mednarodni natečaj za sodobne fotografe International contest for contemporary photographers

2016

Nina Đurđević Nina Đurđević

 
 
 
Nina Đurđević, iz serije Objektivna / from the Objective series, 2009

Nina Đurđević, iz serije Objektivna / from the Objective series, 2009

Prostor vmes & Objektivna

Otvoritev: 28. maj ob 20. uri

28. 5.–30. 6. 2014

Cankarjev dom, Ljubljana

KJE: Prešernova cesta 10, Ljubljana

Avtoportret bi lahko definirali kot projekcijo samih sebe v sliko – v dobesednem ali prenesenem smislu. V delu Nine Đurđević se tema avtoportreta vedno znova ponavlja. Če vzamemo v obzir avtoričine težnje, bi lahko dve na prvi pogled povsem različni fotografski seriji, Prostor vmes in Objekt(iv)na, umestili v žanr avtoportreta.

Pred nekaj leti je Nina Đurđević brez globljih namenov začela dokumentirati stene v intimnosti sob, v katerih je bivala, na obiskovanjih in na potovanjih. V trenutkih oddiha. Nastali posnetki so predvsem rezultat procesa in ne pazljivega komponiranja. So rezultat kontemplacije ali – v drugem primeru – neposredne reakcije. Zahvaljujoč intuitivni naklonjenosti geometrizaciji videnega je nepogrešljivo ustvarila kompozicije čistih linij. Pritegnil jo je bodisi detajl, bodisi se je posrkana v prostor poigravala z različnimi perspektivami in očišči snemanja. Tako je naravni svetlobi prepustila, da transformira stvarne površine. S časovno distanco je ozavestila, da to, kar snema, niso le zidovi, ampak, kot pravi sama, »prostori vmes« – reakcija na novo okolje, intimna razmišljanja, nemir, strahovi, tesnoba, vznemirjenje, mir. Rezultat so fotografije z dinamičnimi ali umirjenimi površinami, s prepoznavnimi elementi ali celo čiste geometrijske abstrakcije. Enostavnost poteka pripovedi je skozi njen prostor vmes postala bogastvo vsebine.

Druga serija, poimenovana Objekt(iv)na, je na pogled neposrednejša in ponuja dve ravni branja. Nina Đurđević tokrat izbere avto-akt. Svoje telo postavlja v psevdo-erotične položje, simulira podobe iz časopisja in avto-ironično izziva dominantno družbeno percepcijo ideala ženske lepote. Tako kritizira in pričakuje gledalčev odziv. A to udejanja z duhovitim preskokom, saj pozira poleg starega avtomobila in v razpadajoči učilnici, štopa ob cesti in se pojavi v povsem neatraktivnem pejsažu. S širitvijo plana nudi gledalcu obilje jasnih znakov, pri tem pa zavestno objektivizira lastno telo z namenom ironizacije izkrivljenih družbenih vrednot.

Preizprašujoč lastno erotičnost avtorica v prvi vrsti predstavlja svojo negotovost. Postavlja se v položaje, ki so zanjo očitno neugodni, medtem ko njena drža in pogled proti kameri variirata. Podobno kot v predhodni seriji njena motivacija temelji na avto-študiji. Kot navaja avtorica, pomeni ta serija za razliko od ciklusa Prostor vmes »potreben korak od zunanjega proti notranjem, saj ko sprejmem tisto najbolj očitno, je naslednji korak morda že sprejetje tudi tistega notranjega«.

Nina Đurđević (1980) je zaključila študij filmske in televizijske kamere na Akademiji dramskih umetnosti v Zagrebu, trenutno pa končuje post-diplomski študij fotografije na Akademiji umetnosti v Novem Sadu. Za svoje delo, ki od leta 2000 redno predstavlja tako lokalno kot mednarodno, je bila večkrat nagrajena v različnih fotografskih kategorijah: založništva, reportažne, dokumentarne ali avtorske fotografije.

Iva Prosoli

www.cd-cc.si

The Space In-between & Objective

Opening: 28 May at 8 pm

28 May – 30 June 2014

Cankarjev dom, Ljubljana

WHERE: Prešernova cesta 10, Ljubljana

A self-portrait can be defined as the literal or figurative projection of the self into the picture. Considering Nina Đurđević’s work over the years, the self-portrait is, according to this definition, a recurring theme. Taking the author’s intention into account, The Space Between and Objective, two seemingly, entirely different photographic series can both be defined as self-portraiture.

Several years ago Nina Đurđević began shooting walls. She did so without any specific intent. She took photographs in the privacy of rooms she lived in, rooms she visited, rooms she stayed in while travelling; during moments of respite. The resulting photographs are the outcome of that process; not the result of careful composition, but rather of contemplation. Or, sometimes, they are the result of a spontaneous reaction. Evidently, and thanks to her intuitive preference of geometric forms, she has nonetheless created compositions with clean lines. Sometimes drawn in by the detail, at other times drawn into the space, she plays with different perspectives. In Đurđević’s photographs, real surfaces are transformed by natural light. What emerges with the benefit of hindsight is the awareness that what she has recorded are not (just) the walls, but as she says, “the space between”: a reaction to the new environment, intimate thoughts, restlessness, fear, anxiety, excitement, peace. The resulting images may feature more or less space, dynamic or static surfaces, recognisable elements or pure geometric abstraction. Through Đurđević’s exploration of this space between, the simplicity of her narrative becomes an abundance of content.

The second photographic series, Objective, which at first glance appears to be more straightforward, can be read on two levels. This time, Đurđević chooses to photograph nude self-portraits. She arranges her body in pseudo-erotic poses, imitating images from magazines and self-ironically challenges the dominant social perception of idealised female beauty. She is criticising and anticipating reaction of a viewer. But she does so with a witty twist: posing with a broken-down, old car, in a ramshackle classroom, hitch-hiking along the road, in what is ultimately a rather unattractive landscape. Within this broadened frame of reference she offers the viewer an abundance of clear signals. She is not only objectifying her own body for the sake of pointing out the irony of twisted social values, but by examining her own eroticism, she is in the first place displaying her own insecurity. She places herself in clearly uncomfortable postures, her attitude to the camera and her look vary.

As in the previously mentioned series, Đurđević ‘s motivation once again lies with self-analysis. However, in contrast to the The Space Between series, as the author herself says “this series is that necessary step from the exterior to the interior, because only when I accept what is most obvious, perhaps then the next step is acceptance of that which is interior.”

Iva Prosoli

www.cd-cc.si