Bohemi z Montparnassa Bohemians from Montparnasse

Jean Cocteau & Veno Pilon Jean Cocteau & Veno Pilon

2016

Sebastião Salgado: Geneza Sebastião Salgado: Genesis

pregledna razstava fotografskega velikana overview exhibition of the notorious photographer

2016

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

‘Nova Srbska fotografija’

 
 
 

Andrijana Pajović: Moja istorija: Nen i Brajan u krevetu

4. november – 1. december 2010

Galerija Simulaker Novo mesto


Umetniki: Aleksandrija Ajduković, Benjamin Beker, Goran Micevski, Vesna Micović, Branka Nedimović, Miloš Nenković, Andrijana Pajović, Tijana Pakić-Feterman, Dragan Petrović, Ivan Petrović, Katarina Radović, Mihailo Vasiljević.

Kustosinji: Vesna Micović, Katarina Radović.

Izbor skupinske predstavitve sodobne srbske fotografije temelji na raznolikosti pristopov k fotografskemu mediju kot tudi na raznovrstnosti tem, ki sobivajo v skupnem estetskem, socialnem in ideološkem univerzumu. Podoba, ki jo avtorji ponujajo o sebi, o lastni identiteti kot tudi o svojem okolju, učinkuje kot kompleksen pogled na svet, iz katerega izhajajo. Gre za mlajšo generacijo srbskih fotografov, ki v danih družbeno-političnih okoliščinah osveščajo lastno zgodovinsko pozicijo, pri čemer izpostavljajo niz novih vprašanj ali pa ponujajo odgovore na tista, ki so bila nekoč že izrečena.

Avtorji in avtorice pripadajo mlajši generaciji srbskih fotografov, ki v danih družbeno-političnih okoliščinah osveščajo lastno zgodovinsko pozicijo, pri čemer izpostavljajo niz novih vprašanj ali pa ponujajo odgovore na tista, ki so bila nekoč že izrečena. Podoba, ki jo avtorji ponujajo o sebi, o lastni identiteti in svojem okolju, učinkuje kot kompleksen pogled na svet, iz katerega izhajajo.

Benjamin Becker se igra s podobami objektov in simbolov institucionalne zgodovine nekdanje Jugoslavije in Titovega režima, medtem ko Mihailo Vasiljević razgalja srbski mitski prostor kot eno najmočnejših sil, ki nadvladuje tamkajšnje prebivalstvo. Andrijana Pajović s prisvojitvijo ikoničnih fotografij snuje lastno zgodovino fotografije, pri čemer se dotika večnih vprašanj o razmerju med originalom in kopijo. Podobe Ivana Petrovića so zgrajene iz fotomontaž osnovnošolcev v vlogi televizijskih voditeljev, s čimer avtor obuja dela komercialnih fotografov iz obdobja, ko je televizija doživljala svoj vzpon in hkrati postajala mehanizem socialne kontrole. Aleksandrija Ajduković simulira lažno kampanjo za kitajski pralni prašek in tako komentira socialno-ekonomski paradoks, ko je veliko povpraševanja po kitajskih izdelkih kljub popolnemu umanjkanju njihovega oglaševanja.  Intrigantne in zapeljive kompozicije Katarine Radović gre razumeti kot satiro objekta želje; avtorica na ironičen način komentira kolektivne norosti sodobnega sveta oziroma njegovih psiholoških, moralnih in seksualnih dvoumnosti. Miloš Nenković s pomočjo lego kock ustvarja teatralične rekonstrukcije znamenitih slik in tako krepi izraznost fotografije, ko z največjim šarmom oživlja prizore starih mojstrov. Slikarsko učinkujoče fotografije Branke Nedimović so portreti ljudi, ki so uradno razglašeni za pogrešane. Avtorica ozavešča strah pred smrtjo in pred neznanim, pri čemer hkrati namiguje na nedavno srbsko zgodovino. Portreti podeželskih žena s Sokolske planine Dragana Petroviča premorejo specifičen humor, ki predstavlja avtentično mešanico lepega in odbijajočega. Izgled mladih romskih deklet na fotografijah Tijane Pakić Feterman premore mnogo referenc na estetiko modnih revij; družbeno marginalizirana dekleta se zavedajo socialne realnosti, hkrati pa tudi modnega glamurja, katerega del si želijo postati. Fotografije beograjskih hiš z vrtovi Gorana Micevskega razkrivajo njihove posebnosti, ki izhajajo iz pomanjkanja dobrega okusa kot tudi iz njihovega nomadskega značaja. Vesna Micović izvaja vizualno-semantični eksperiment izrezovanja oseb iz fotografij, s čimer zastavlja vprašanja o enkratnosti naših življenj kot tudi o stabilnosti našega spomina.

Vesna Micović, Katarina Radović

Razstavo je finančno podprla Krka, tovarna zdravil, d. d., Novo mesto.

Adrijana Pajović: My History: Nen and Brajan in the Bed

From November 4 until December 1, 2010

Galerija Simulaker Novo mesto


Aleksandrija Ajduković, Benjamin Beker, Goran Micevski, Vesna Micović, Branka Nedimović, Miloš Nenković, Andrijana Pajović, Tijana Pakić-Feterman, Dragan Petrović, Ivan Petrović, Katarina Radović, Mihailo Vasiljević.

Curators: Vesna Micović, Katarina Radović.

The selection of works for presentation of contemporary Serbian photography is based upon a diversity of approaches to the photographic medium and on the variety of subjects which co-exist in a common aesthetic, social and ideological universe. The image these artists offer about themselves, their identity as well as their environment, acts as the complex image of the world from which they rise. They belong to the younger generation of Serbian photographers who, in the given socio-political situation, decorate their own historical stage, raising a number of new questions or offering answers to some raised long time ago.

The artists belong to the younger generation of Serbian photographers who, in the given socio-political situation, decorate their own historical stage, raising a number of new questions or offering answers to some raised long time ago. They offer an image about themselves, their identity and their environment, which acts as the complex image of the world from which they rise.

Benjamin Becker engages objects and symbols of the institutionalized history of former Yugoslavia and its lifetime President Tito, while Mihailo Vasiljević discloses Serbia’s mythical space as one of the most powerful forces ruling over its people. Through appropriating iconic photographs, Andrijana Pajović builds her own history of photography, touching upon the eternal question of original and copy. Ivan Petrović’s images are composed of photomontages of elementary school pupils who were given roles as TV presenters, by way of which he reinvents pieces by commercial photographers in an era when television has experienced a boom and become a mechanism of social control. Aleksandrija Ajduković’s pseudo brand campaign for a Chinese washing powder is a reaction to the socio-economic paradox of the tremendous demand for Chinese products (un)supported by a complete lack of advertising. Katarina Radović’s intriguing and seductive compositions satirize the desirable, making an ironical statement about the collective folly of the contemporary world and its psychological, moral and sexual ambiguities. Miloš Nenković produces theatre-like reconstructions of celebrated paintings using Lego figurines, thus strengthening photography’s own vocabulary, and, with unsurpassed charm, reviving scenes portrayed by the old masters. Branka Nedimović’s painting-like prints of people officially declared dead in absentia comment upon the fear of death and the unknown, and also refer to the more recent history of Serbia. Dragan Petrović’s portraits of countrywomen from the Falcon Mountains (Sokolske Planine) posses a specific humour in the presentation of an authentic mixture of the beautiful and the repulsive. The way young Gypsy girls appear in the photographs of Tijana Pakić-Feterman has many references to the aesthetics of fashion magazines; socially marginalized young women are conscious of social reality and the fashion glamour in which they are trying to incorporate themselves. Goran Micevski’s photographs of houses in suburban Belgrade reveal peculiarities emanating from a lack of taste and their transient character. Vesna Micović performs a visual-semantic experiment of cutting out persons in her photographs, thus posing questions as to the uniqueness of our being and the stability of our memory.

Vesna Micović, Katarina Radović

Supported by Krka d.d., Novo mesto.