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Vangelis Georgas, Solze in parade / Tears and Parades, 2012

Vangelis Georgas, Solze in parade / Tears and Parades, 2012

Solze in parade

Otvoritev: 6. junij ob 18. uri

6. 6.–30. 6. 2014

Studio-atelje Mikado, Ljubljana

KJE: Slovenska cesta 6, Ljubljana

Razstava grškega fotografa Vangelisa Georgasa Solze in parade je prejela nagrado za najboljši portfelj prve izvedbe Portfolio Reviewa na festivalu Fotonični trenutki leta 2012 v Ljubljani. Projekt preizprašuje gospodarsko krizo in njene družbeno-ekonomske in politične posledice v grški prestolnici Atene.

Grčija je že šesto leto v recesiji. Od leta 2008 je bruto domači proizvod padel za 17 odstotkov, tako da več kot 25 odstotkov prebivalcev živi pod robom revščine. Stopnja brezposelnosti je dosegla 28 odstotkov, pri mladih pa se približuje 60 odstotkom. Nenaden in dramatičen padec kakovosti življenja velikega dela prebivalcev in uničenje upov mlade generacije je številne privedla na rob obupa. Čeprav je objektivno materialno stanje v Grčiji še vedno primerljivo s številnimi drugimi državami Evropske unije, je subjektivna izkušnja uničenih življenjskih obetov tista, ki je politično bolj pereča.

Volitve leta 2012 so pomenile hud udarec politiki strogih varčevalnih ukrepov in s tem tudi zmernim političnim silam, povzpele pa so se stranke skrajne desnice in levice. Kriza v Grčiji se predstavlja skozi stereotipno fotoreportersko podobje (izgredi, brezdomci, narkomani). Vendar te ikonske in čustveno nabite podobe, z izjemo tega, da so bile vedno prisotne, ne uspejo prikazati, kako krizo doživlja velika večina prebivalcev.
Georgas ne trdi, da ponuja celovit prikaz dogodkov ali njihovo analizo. Raje poskuša posredovati gledalcu tisto, kar je sam doživel kot spremembo razpoloženja v Atenah, splošen občutek depresije, ki visi nad mestom in njegovimi prebivalci. Ulice in bari v središču mesta okrog trga Omonia, nekdanjega trgovskega srca mesta, ki so v zadnjem času prepuščeni propadu, političnim shodom, verskim zborovanjem imigrantskih skupnosti in demonstracijam proti ostremu varčevanju so postali prizorišča, na katerih je iskal material za fotografiranje.

Njegov fotografski narativ je zgrajen na kontrastu med ljudmi, ki so izolirani v množici, in prizorišči, na katerih nastajajo nove kolektivne identitete. Svoje delo, ki je mešanica dejstev in osebne vizije, vidi kot osebni dokumentarec, v katerem preizprašuje možnosti, da bi na videz realistične in reprezentativne podobe delovale kot vizualne metafore.

Vangelis Georgas

Tears and Parades

Opening: 6 June at 6 pm

6– 30 June 2014

Studio-atelier Mikado, Ljubljana

WHERE: Slovenska cesta 6, Ljubljana

The exhibition of Greek photographer Vangelis Georgas, Tears and Parades, is the prize awarded for the best portfolio in frames of the first Photonic Moments Portfolio Review, held in Ljubljana in 2012. The project deals with the aftermath of the economic crisis and its socio-economic and political consequences in Athens, Greece.

Greece is going through its sixth year of recession. Since 2008 GDP has dropped by 17%, leaving more than 25% of the population living under the poverty line. Unemployment has reached 28%, with youth unemployment being close to 60%. The sudden and dramatic drop of the quality of life of big parts of the population, and the ruining of hopes of the new generation, has brought many on the verge of despair. Although objective material well being in Greece might still compares favourably with many other EU countries, it is the subjective experience of falling life prospects that is more politically salient.

The 2012 elections have registered a political backlash to austerity policies, with the collapse of moderate political forces and the assent of parties of the extreme right and left. Stereotypical photojournalistic imagery provides a representation of the crisis in Greece through images of riots, homeless people and drug addicts. This highly iconic and emotionally laden topics, however, apart from the fact that they were always present, fail to grasp how the crisis is experienced by the vast majority of the population.

Georgas does not claim to offer a comprehensive account of events or analysis. He rather tries to convey what he has personally experienced as a change in the mood in Athens, a generalised feeling of depression that looms over the city and its population. The streets and bars of the centre around Omonia square, once the commercial heart of the city which have lately been left to degradation, political rallies, religious gatherings of immigrant communities, and demonstrations against austerity, have been the sites where he looked for his subject matter.

His photographic narrative is built around the contrast between isolated people in the crowd and venues where new collective identities are being constructed. Blending fact and personal vision, he sees his work as a personal documentary that explores the potential of seemingly realist and representational images to act as visual metaphors.

Vangelis Georgas