2019 by Belgrade Photo Month

2019 BEOGRADSKI MESEC FOTOGRAFIJE BELGRADE PHOTO MONTH

Zadovoljstvo nam je da vam poželimo dobrodošlicu na četvrto izdanje Beogradskog meseca fotografije, umetnički događaj koji neprekidno raste. Kao što mi volimo da kažemo, ovaj festival pripada i vama i nama; to je festival namenjen Beograđanima i građanima Srbije, ali i svim onim ljubiteljima fotografije iz celog sveta koji žele da u njemu uživaju, bilo uživo bilo preko interneta. Od osnivanja festivala 2016. godine mnogo toga se promenilo: od članova tima do same vizije festivala, njegove vidljivosti u medijima, različitih vidova podrške koju dobijamo od volontera i od institucija. Svake godine osećamo sve veću obavezu da nastavimo da unapređujemo kvalitet festivala i širimo krug ljudi do kojih dopiremo, a to nije lak zadatak. Svesni smo da smo prošlogodišnjim izdanjem festivala, u pogledu kvaliteta izloženih radova, podigli lestvicu visoko i uprkos nezavidnoj situaciju u Srbiji što se tiče finansijske podrške kulturim manifestacijma i kulturi uopšte, istrajaćemo u našim naporima da učinimo festival još posebnijim. Imaginacijom i kreativnošću ove izazove ćemo pretvoriti u konkretne ciljeve kako bismo nastavili da promovišemo fotografiju u Srbiji, ali i fotografe iz Srbije predstavljamo međunarodnoj publici. Za nas će 2019. godina biti godina važne tranzicije. U ime tima Beogradskog meseca fotografije, hvala vam svima. Hvala svim učesnicima i posetiocima; svim partnerima koji su nam ponudili izložbene prostore i izložbe; svim našim volonterima, sponzorima, organizacijama koje su pomogle da se naš san ostvari. Unapred se radujemo ponovnom susretu u Beogradu 2020. godine. David Pužado

©Neni Marković It is our pleasure to welcome you to Belgrade Photo Month 2019, the 4th edition of the Festival, our child that keeps growing. As we like to say, this festival belongs to us and to you; it is a festival for people from Belgrade and Serbia, but also a festival for photography enthusiasts from every corner of the world who want to enjoy it, in person or online. Many things have changed since we started the festival in 2016, from the team members to the very vision of the festival, from its visibility in the media to the different kinds of support we have received from both volunteers and institutions. From one year to the next, we feel an increasing obligation to continue improving the quality of the festival, as well as our outreach, and this is not an easy task. We are aware that with last year’s festival we raised the bar high in terms of the quality of work exhibited, and despite the extremely challenging situation in Serbia concerning financial support for cultural manifestations and culture in general, we will persevere in our endeavours to make the festival even more special. Through our imagination and creativity, we will transform these challenges into concrete objectives to continue promoting photography in Serbia and Serbian photographers to international audiences. For us, 2019 will be a year of important transition. Thank you all on behalf of the entire Belgrade Photo Month team. I would also like to thank all participants and visitors; all partners who offered exhibition or presentation spaces; all our volunteers, sponsors and organisations who have helped us to make this dream possible. We look forward to welcoming you back to Belgrade in 2020. David Pujadó

NOVI TALENTI NEW TALENTS Naš zadatak je promocija mladih fotografa, naše oruđe je konkurs Novi talenti, naš uspeh je ova izložba. The promotion of young photographers is our challenge, the New Talents contest is our tool, the exhibition our success.

PROMENA JE INFORMATIVNA, UOBIČEJENO JE NEKORISNO. VILEM FLUSER, ZA FILOZOFIJU FOTOGRAFIJE Fotografski medij danas je masovno dostupan i omogućava korisnicima da ga upotrebljavaju na različite načine sa umetničkim aspiracijama ili bez njih. Bez obzira na težnje i aspiracije autora, u fotografskim rezultatima se može pronaći kvalitet koji određenu fotografiju ili seriju fotografija izdvaja u odnosu na mnoštvo drugih koje se ukalapaju u matrice proizvodnje fotografija. Matrice proizvodnje čine fotografije redundantnim, matrice nepogrešivo instrumentalizuju fotografije u izgradnji klišea koji pojmovno konstruišu naše poimanje stvarnosti, uslovljavaju naše interakcije i kontrolišu naše granice. Koje bi to svojstvo bilo koje bismo mogli nazvati umetničkim u domenu savremene fotografske prakse? Rekla bih da je to prepoznavanje matrice koja se ustalila u korišćenju medija, moć umetnosti da razgoliti kontekst u kome konspirativno sudeluje fotografski medij i prikaže nam uloge svih aktera u jasnom svetlu i konstelacijskim relacijama u okviru šireg sociološkog okvira. Zato ovogodišnji pobednici konkursa Novi talenti 2019. doprinose razumevanju određenih tema koje su globalno i goruće važne: ekoloških, političkih, odnosa privatno-javnih, odnosno, tema seksualnosti. Primećuje se da mladi naraštaji uviđaju moć fotografije da kritički ukaže na probleme današnjice uz precizno poznavanje žanrovskih potencijala i formi fotografskog izraza u iskazivanju stava i analizi društvenih fenomena. Međutim, veliki broj pristiglih aplikacija svedoči i o vrsti ograničenosti upotrebe medija na sentimentalno beleženje svetova koji nestaju, dodajući više na tas koji teži ka smrti a ne ka životu, a upakovan je u lepotu i bezazlenost. Svet je danas daleko od situacije bezazlenosti, više je u situaciji bezizlaznosti kakva nam se prikazuje u svetu koji koristi fotografiju da bi anulirao moć pojedinaca i čitavih kolektiva, građana i celokupnih društvenih sistema, kroz distribuciju slika putem medija, kroz disemnaciju fluidnih medija putem društvenih mreža, gde bi umetnost u stvari trebalo da bude šilo koje će permanentno bušiti taj virtuelni balon. Bez obzira što se balon neverovatnom brzinom obnavlja, istom progresijom obnavlja se i oštrica umetnosti. ---

THE CHANGE IS INFORMATIVE, THE USUAL IS USELESS. VILÉM FLUSSER, TOWARDS A PHILOSOPHY OF PHOTOGRAPHY Nowadays, photographic media is available everywhere and enables its users to use it in many different ways - with artistic aspirations or without them. Regardless of the authors’ tendencies and aspirations, in photographic results, one can find quality that highlights a specific photo or a group of photos compared to all of the others that fit into the matrix of producing photographs. Production matrix make photos redundant, matrix makes instruments out of photos and help build clichés that structure our vision of reality, condition our interactions and control our boundaries. What is that specific mean we could name artistic in the domain of modern photographic practice? I would say that it would be recognising a matrix that is embodied in the media, the power of art to skin the context in which, conspiratively, photographic media takes part and show us roles of all of the actors in a clear light and constellation relations within our broader social framework. This is why the winners of this year’s competition New Talents 2019 contribute to understanding specific topics that are globally and generally important: ecological, political, private and public relations, themes of sexuality. It is noticeable that young generations understand the power of photography to critically indicate problems of our modern age, with a precise knowledge about genre potentials and forms of photographic expressions in showing the attitude and analysing social phenomena. However, a large number of applications give testimony to a kind of limitation of media usage to the sentiment of recording disappearing worlds, adding more to the scales that incline more towards death and less towards life, they incline towards death, yet at the same time wrapped in beauty and innocence. The world today is far from being innocent and it is more in the situation of having no way out as such. This world is shown through photography in order to annihilate the power of individuals and entire collectives, citizens and entire social systems, in distribution of images through media, through dissemination of fluid media through social networks, where art should actually represent a needle permanently piercing that virtual balloon. No matter that the balloon is renewed at an incredible speed, the blade of art is renewed with the same progression. Maida Gruden

Ustanova kulture gradske opštine Stari grad

Ovo je četvrto izdanje našeg konkursa Novi talenti, ponovo uz podršku Nikon Srbija koji su sa nama od prve godine festivala.

Kao i u prethodnim izdanjiima festivala, nastojali smo da sastav našeg četvoročlanog žirija bude što eklektičniji. Ovaj put njega čine: Marina ukstarigrad.rs Paulenka - osnivač i umetnički direktor međunarodnog festivala fotografije º pon/Mon – sub/Sat Organ Vida, Miroslav Karić - istoričar umetnosti, Maida Gruden– urednik 9 – 22h likovnog programa u Domu kulture Studentski grad u Beogradu i Evita Goze - pisac, kustos, menadžer u galeriji ISSP.

Kapetan Mišina 6a

Oni su imali veoma težak zadatak da, od čak 94 pristigle prijave koje su zadovoljavale uslove konkursa, izaberu tri najbolja projekta. Predloge projekata na konkurs je poslao približno isti broj ženskih i muških umetnika, a prijave su stigle iz 40 različitih zemalja. Najviše ih je došlo iz Srbije (20%), Španije (7%) , zatim iz Brazila, SAD i Indije (5%). Grain Magazine će pripremiti posebno izdanje u kom će predstaviti rad 10 finalista.

otvaranje/opening 28/3 º 19h traje do/ends 1/4 + 10/4 traje do/ends 23/4

BELGRADE PHOTO MONTH New Talents 2019

This is the 4th edition of our New Talents Contest, supported once again by Nikon Serbia, who have been with us since the 1st edition of the festival. As with previous years, we have endeavoured to select a very eclectic jury team with 4 members: Marina Paulenka – Founder and Artistic Director at Organ Vida – International Photography Festival, Miroslav Karić – Art Historian, Maida Gruden – Visual Arts Programme Editor at Student’s City Cultural Center, Belgrade and Evita Goze – Writer, Curator, Project Manager at ISSP Gallery. They had the very difficult task of selecting the best 3 projects from the 94 proposals that met the conditions to be part of the contest. There was almost an equal amount of women and men submitting proposals, with applications arriving from 40 different countries. The countries with the highest amount of proposals were Serbia (20%), Spain (7%), Brasil, USA and India (5 %). Grain Magazine will prepare a special issue featuring the work of the 10 finalists. NOVI TALENTI

©Debbie Schoone

PRVO MESTO/1ST PLACE Debi Shone (rođena 1994. godine) je dizajner vizuelnih sadržaja čiji rad istražuje uticaj čoveka na naše okruženje i životnu sredinu. Fokusirajući se na male priče u okviru ove važne teme, ona pokušava da se dopre do što šire publike. Fascinacija inovacijama vodi je na mesta kojima uglavnom nemamo pristup. Polazna tačka njenih projekata obično se tiče pitanja da li ona radi pravu stvar. Da bi to uspela da shvati, dugo vreme posvećuje istraživanju predmeta svog rada. Kroz različite pristupe, kreira sopstvenu interpretaciju i od posmatrača zahteva isto. Njen rad je bio prikazan u NRC magazinu, Vork magazinu, i u na festivalu Dutch Design Week. Diplomirala je u julu 2018. godine sa projektom „Kako uzgajati ribu?” koji govori o inovacija na održivost našeg sveta. --Debbie Schoone (b. 1994) is an image maker whose work explores the influence of man on our environment and our surroundings. By focusing on smaller stories within this big theme, she tries to address a large audience. Her fascination for innovation takes her to places you normally will not get access to. The point of departure for a project often revolves around the question if she’s doing the right thing. In order to understand this, she researches her subject for a long period of time. Through different approaches she creates her own interpretation and asks the viewer to do the same. Her work has been featured in NRC, Vork Magazine and at Dutch Design Week. She graduated from AKV|St. Joost in Breda in July 2018 with her project “How to Farm a Fish” on the influence of innovation on the sustainability of our world. NEW TALENTS

©Sebastian Wells

DRUGO MESTO/2ND PLACE Sebastijan Vels je rođen 1996. godine u gradu Kenigs Vusterhauzenu. Sada živi u Berlinu i radi za renomirane novine, magazine, korporativne klijente kao i sopstvene projekte širom sveta. Budući strastveni trkač, već sa 15 godina je započeo fotografsku karijeru pokrivajući lokalne sportske događaje. Samo nakon pet godina, 2017. godine, sa fotografijama sa Olimpijskih igara u Rio de Ženeru osvojio je nekoliko nagrada na German Sportsphoto of the Year, jednom od najznačajnijih konkursa u oblasti sportske fotografije. Od 2015. godine do 2018, pohađao je Ostkreuzschule studije fotografije u Berlinu. Razvio je individualni dokumentaristički stil, fokusirajući se na globalne društvene teme koje se tiču vlasti i moći, načina sprovođenja vlasti, ali na kraju krajeva i humanosti. „Utopija“, njegov poslednji projekat koji je još uvek u toku, bavi izbegličkim kampovima i proveo ga je kroz sedam zemalja Afrike, Bliskog istoka i Evrope. Sebastijan se 2019. godine pridružio OSTKREUZ fotografskoj agenciji. --Sebastian Wells, born 1996 in Königs Wusterhausen, is a Berlin based photographer working for renowned newspapers, magazines, corporate clients and his own projects all over the world. As a passionate runner, he started his photographic career at the age of 15 by covering local sports events. Only five years later, in 2017, he won several prizes at The German Sportsphoto of the Year, one of the most important awards in this field, with his work at the Olympics in Rio de Janeiro. From 2015 to 2018, he joined Ostkreuzschule in Berlin to study photography. He developed an individual documentary style while focussing on global social issues dealing with power, it´s staging and in the end, humanity. “Utopia”, his latest, still on-going project about refugee camps, took him to seven countries in Africa, the Middle East and Europe. In 2019, Sebastian joined OSTKREUZ Photographer´s Agency. NOVI TALENTI

©Nikita Svertilov

TREĆE MESTO/3RD PLACE Nikita Svertilov je dokumentarni fotograf iz Moskve, Rusija. Rođen je 27. juna 1995. godine. Od vremena SSSR-a, seks generalno, a seks igračke posebno, bili su i ostali zabranjena tema. Ipak, ljudi su pokušavali da o tim stvarima saznaju „eksperimentalnim putem”, praveći kod kuće sami svoje igračke za odrasle. Ponovo konstruišući te artefakte prema uputstvima koje pronalazi na različitim forumima, ovaj umetnik pokušava da analizira seksualnost moderne ruske osobe. Zašto i dalje postoje igračke koje ljudi sami prave: da li je to strah od stigme ili želja za posedovanjem unikatno rađenog dilda? --Nikita Svertilov is a documentary photographer from Moscow, Russian Federation. He was born on June 27th, 1995. Since USSR times the notion of sex in general and sex toys in particular was and remains off-limits. Nevertheless, people were trying to understand the matter “by experiment”, creating their own adult toys at home. By recreating the artefacts using the instructions found on various forums, the artist is trying to analyse the sexuality of a modern Russian person. Why do self-made toys still exist: is there a fear of stigma or a desire to have a customised dildo? NEW TALENTS

FOTO-KNJIGE PHOTO BOOKS U poslednjoj deceniji, foto-knjiga je postala važno oruđe umetnika da predstave svoj rad. Umesto da bude jednostavno kompilacija slika, ona podstiče razmišljanje u sekvencama i kreira narative u kojima ne samo slike same, već i tekst i dizajn takođe, igraju važnu ulogu u razvijanju priče. In the last decade, the photobook has become an important tool for artists to present their work. Rather than simply being a compilation of images, it encourages thinking in sequences and creating narratives in which not only the images themselves, but text and design also play an important role in the unfolding of the story.

PREZENTACIJA FOTO-KNJIGA PHOTO BOOK PRESENTATIONS Foto-knjige sa Baltika/Photobooks from the Baltics prezentuje/by Evita Goze Serija Ph. – proces/Ph. Series – the process prezentuje/by Cláudio Garrudo Susanne Junker Olivia Heussler Joan Alvado Mai Saki Julie Glassberg Raul Rodrigo Rafael Diaz (RRRDIAZ) Otto Hainzl

28/3 – 25/4 Knjižara/Bookshop Službeni glasnik Tokom trajanja festivala u knjižarama Službeni glasnik možete dobiti popust od 30% na izabrana izdanja iz oblasti umetnosti. Spisak knjiga pogledajte na našoj internet stranici. For the duration of the festival Službeni glasnik bookshops will have 30% discount on selected art editions. List of books on our website. belgradephotomonth.org slglasnik.com

Dom kulture Studentski grad Bulevar Zorana Đinđica 179 www.dksg.rs

U poslednjoj deceniji, foto-knjiga je postala važno oruđe umetnika da predstave svoj rad. Umesto da bude jednostavno kompilacija slika, ona podstiče razmišljanje u sekvencama i kreira narative u kojima ne samo slike same, već i tekst i dizajn takođe, igraju važnu ulogu u razvijanju priče. Kao i u mnogim drugim post-sovjetskim regijama, i na Baltiku je dugo

º pon/Mon – sub/Sat vremena foto-knjiga uglavnom značila obimnu umetničku monografiju, 17 – 21h kompilaciju slika posvećenih određenoj temi ili katalog izložbe.

Međutim, nedavno su scenu uzburkali mladi umetnici, dizajneri i izdavači, približivši se međunarodnom tržištu foto-knjiga uzimajući formu knjige kao novi izazov za predstavljanje svojih ideja. Umetničke knjige se samostalno štampaju u mali tiražima, osnivaju se eksperimentalne izdavačke kuće i prave nove međunarodne veze. Ovaj izbor letonskih, litvanskih i estonskih foto-knjiga poslednjih godina stavlja naglasak na mlađu generaciju umetnika, male, nezavisne izdavačke kuće i samostalno izdavaštvo. Predstavljene jedna pored drugih, ove knjige omogućavaju poređenje između razvoja, tema, trendova i pristupa u izradi foto-knjiga u svakoj od baltičkih zemalja.

otvaranje/opening 9/4 º 19h traje do/ends 25/4

ENTER. Foto-knjige sa Baltika/Photobooks from the Baltics kustos/curated by Evita Goze

In the last decade, the photobook has become an important tool for artists to present their work. Rather than simply being a compilation of images, it encourages thinking in sequences and creating narratives in which not only the images themselves, but text and design also play an important role in the unfolding of the story. As in many other post-Soviet regions, in the Baltics for many years a photography book meant mostly a massive artist’s monograph, a compilation of images dedicated to a specific theme or an exhibition catalogue. However, the scene has been stirred up recently by young artists, designers and publishers, who are reaching out to the international photobook market and taking to the book form as a new challenge for presenting their ideas. Artist books in small print runs are being self-published, experimental publishing houses established and new international connections made. This selection of Latvian, Lithuanian and Estonian photobooks from recent years puts an emphasis on the younger generation of artists, small, independent publishing houses and self-publishing. Presented side-byside, these books offer a comparison between developments, topics, trends and approaches in photobook-making in each of the Baltic countries. Books © ISSP Library and personal collections. FOTO-KNJIGE/PHOTO BOOKS

©Kristine Madjare

Umetnici/Artists: Georgs Avetisjans, Ksenia Babushkina, Arnis Balčus, Ieva Balode, Kārlis Bergs, Māra Brašmane, Vika Eksta, Inga Erdmane, Denes Farkas, Andrejs Grants, Ivars Grāvlejs, Madara Gritāne, Alexander Gronsky, Marija Kapajeva, Geiste Marija Kinčinaityte, Roman Korovin, Paul Kuimet, Laura Kuusk, Reinis Lismanis, Vitas Luckus, Rikala Mikko, Andrew Miksys, Marge Monko, Visvaldas Morkevicius, Tanja Muravskaja, Kristina Õllek, Paul Paper, Mark Raidpere, Eva Saukāne, Algirdas Šeškus, Gytis Skudzinskas, Līga Spunde, Alnis Stakle, Vytautas Stanionis, Andrejs Strokins, Antanas Sutkus, Vladimirs Svetlovs, Jan Tomson, Laura Toots, Anna-Stina Treumund, Indrė Urbonaite, Anu Vahtra, Justinas Vilutis.

Artget galerija

Serija Ph. obuhvata dvojezične monografije posvećene savremenoj portugalskoj fotografiji, koje uređuje Klaudio Garudo, a objavljuje Državna Trg Republike 5 štamparija (Imprensa Nacional). Ova izdanja nastoje da predstave i www.kcb.org.rs promovišu rad umetnika prikazivanjem proširenih i višestrukih prostora º pon/Mon – sub/Sat Fotografije koje dodatno obogaćuju tekstovi stručnjaka.

12 – 20h Prva knjiga ove Serije, posvećena delu Žorža Moldera, promovisana je u novembru 2017. godine, a druga koja predstavlja stvaralaštvo Paula Nozolina, u maju 2018. godine (i već ima drugo izdanje). Oba izdanja sadrže do sada neobjavljene fotografije, premijerno štampane za ovaj projekat. Državna štamparija namerava da objavljuje po dve knjige iz Serije Ph. godišnje, nastavljajući da neguje kvalitet kao glavnu istorijsku odliku izdavačke kuće i ispunjavajući svoju odgovornost da „objavljuje najvažnija dela portugalske kulture”.

prezentacija book presentation 23/4 º 18h

CLÁUDIO GARRUDO Serija Ph. – proces/Ph. Series – the process

The Ph. Series is a set of bilingual monographs dedicated to contemporary Portuguese photography, published – with the editorial headship of Cláudio Garrudo - by the Imprensa Nacional (Official Printing Office). These books aim at divulging the work of these artists by showcasing the expanded and multiple territories of Photography and being further enriched with texts written by specialists. The series was released in November 2017 with a book dedicated to Jorge Molder and in May 2018 the book about the work of Paulo Nozolino (already on its second edition) was showcased. Both contain unpublished photographs that are making their debut here. Therefore, the Imprensa Nacional intends to publish two books from the Ph. Series a year, continuing to provide the quality that has been a defining characteristic throughout the publishing house’s history and taking on responsibility for “the publishing of the essential works of the Portuguese culture”. FOTO-KNJIGE/PHOTO BOOKS

©Jorge Molder ©Paulo Nozolino

PHOTO BOOKS

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Energy & Natural Resources Gaming Information & Communications Technology (ICT) Infrastructure Life Sciences & Healthcare Media & Entertainment

www.bdkadvokati.com

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Grožđe je srce vina, a dušu mu dajemo mi vinari. Suština vinarstva i jeste u tome da sačuvamo ono što nam groždje daje, jer priroda je ta koja mu određuje karakterisitke, a mi samo treba da igramo u njenom ritmu.

Smešten na prelepom i brdovitom mestu u centru Srbije, poznatom kao Šumadija, Podrum Radovanović je u sebi spojio geografsku raznolikost i tradiciju vinogradarstva, započetu na lokalitetu Krnjeva još 1831. godine. Motivisan ljubavlju prema vinu, obogaćen znanjem i iskustvom koje je stekao, enolog Miodrag Radovanović osnovao je sopstveni podrum početkom devedesetih godina prošlog veka. Vremenom, uz strpljenje i ljubav, stvara se novi brend srpskih vina. Danas, u vinariji Radovanović, uz najsavremenije tehnologije i želju porodice Radovanović da uvek tragaju za novim izazovima, proizvodimo široku paletu kvalitetnih vina.

PODRUM RADOVANOVI� Dositejeva 10, Krnjevo / Srbija Tel: +381 26 821-085, Fax:+381 26 821-211 podrumradovanovic@neobee.net www.podrumradovanovic.rs

IZLOÅ½BE EXHIBITIONS

Program je podložan promeni, proverite najnovije informacije na internet stranici BPM-a. Programme is subject to change, please check the BPM website for updates. belgradephotomonth.org

ART FOR ALL GALERIJA • ARTGET GALERIJA • БАРТCЕЛОНА GALLERY • BIBLIOTEKA GRADA BEOGRADA • COLLEGIUM HUNGARICUM • ATELJE I GALERIJA ČUBRILO MILENIJUMSKA KULA NA GARDOŠU • DOM KULTURE STUDENTSKI GRAD • DOM OMLADINE BEOGRADA • ДОРЋОЛ PLATZ • FILMSKA GALERIJA • KC GRAD • INSTITUT FRANCAIS DE SERBIE • INSTITUTO CERVANTES DE BELGRADO • JUGOSLOVENSKA KINOTEKA • GALERIJA „KARST” • KUĆA LEGATA • ALTERNATIVNI UMETNIČKI PROSTOR „KVAKA 22“ • LAUFER ART • KULTURNI CENTAR MAGACIN • MALABAR • NAVIGATOR ART GALLERY • OSTAVINSKA GALERIJA • PAPERGIRL GALLERY HUB • GALERIJA ПРО3ОР • RADISSON COLLECTION HOTEL, OLD MILL BELGRADE • RESIDENCE OF THE SWISS AMBASSADOR • RUSKI DOM, RUSKI CENTAR ZA NAUKU I KULTURU U SRBIJI • UMETNIČKA GALERIJA STARA KAPETANIJA • USTANOVA KULTURE GRADSKE OPŠTINE STARI GRAD • RESTORAN ТРИ • UŠĆE SHOPPING CENTER • X VITAMIN • ŽELEZNIČKI MUZEJ U BEOGRADU • ZOOM ART CAFE & PHOTO STUDIO

Â©Grebo Gray

Art for All galerija Kralja Petra 4a www.facebook.com/ artforallgalerija

Galerija Art For All podržava i izlaže radove afirmisanih umetnika, ali i mladih autora na početku karijere. Predstavlja svojevrsno udruženje umetnika koji međusobno razmenjuju ideje o slikarstvu, vajanju, grafici i fotografiji. Naši umetnici su pažljivo selektovani, ne samo po izvrsnom kvalitetu svog rada, već i po posvećenosti i profesionalizmu.

º pon/Mon – pet/Fri Nalazimo se u jednom od najlepših delova Beogrda, prostor je dizajniran da

prikaže impresivnu kolekciju moderne umetnosti u prijatnoj atmosferi i sa

11 – 20h prirodnim osvetljenjem. sub/Sat Naša misija je da umetnost učinimo dostupnom za svakoga – Umetnost za 11 – 16h sve. U galeriji se trudimo da edukujemo, inspirišemo i budimo svest – bilo da ste kolekcionar, ljubitelj ili vas samo zanima umetnost.

Zadovoljstvo nam je da najavimo izložbu Big Picture koja predstavlja klasične i savremene umetnike domaće i međunarodne fotografije. U sklopu svog učešća na beogradskom festivalu fotografije Belgrade Photo Month, najprestižnijem festivalu fotografije u Srbiji, galerija Art for All je fokus stavila na povećanje vidljivosti manje izlaganih umetnika, kao i pristupačnosti same umetničke scene za njih. Radovi pokrivaju različite teme i imaju za cilj da okupe ljude i, što je još važnije, da ih dovedu na beogradsku fotografsku scenu.

otvaranje/opening 17/4 º 19h traje do/ends 24/4

BIG PICTURE Prodajna izložba/Selling exhibition

The Art for All Gallery is dedicated to supporting and showcasing the work of established and emerging artists. The gallery is a hub for artists where they can encourage each other’s work in a wide range of mediums, from painting, sculpture and graphics to photography. Our artists are carefully selected, not only for the excellent quality of their work, but also for their dedication to their art and professionalism. We are located in one of the most beautiful areas in Belgrade, designed to showcase the gallery’s impressive modern art collection in a fittingly inviting atmosphere with natural light. Our mission is to make art accessible and affordable to all – Art For All . The gallery aims to educate, inspire and stir consciousness - whether you are a seasoned collector, art appreciator or merely have an interest in art. We are pleased to announce the Big Picture group show, presenting classic and contemporary artists from the Serbian and International photography scene. As a part of Belgrade Photo Month Festival, the most prestigious photography festival in Serbia, Art for All Gallery has the focus to strengthen the exposure and access of less-exposed artists. The works cover a variety of topics and aims to bring people together and, more importantly, bring them to the Belgrade photography scene. IZLOŽBA/EXHIBITION

©David Pujadó

Galerija Artget

Ubedljivost fotografija nenarativnog karaktera na izložbi Ispitivanje dubine, kao uostalom i u prethodnim Odanovićevim ciklusima, ne temelji se Trg Republike 5 na njihovoj simboličkoj vrednosti, jer su one uvek bliže denotaciji nego www.kcb.org.rs konotaciji – denotaciji koja samo upućuje na označeni pojam ne ulazeći u º pon/Mon – sub/Sat sferu konotacije kao mogućih asocijacija. Odanovićeva fotografija donosi osećaj čoveka naspram mesta na kome jeste. Pred njom se percipira 12 – 20h senzorijalni eho prostora. I tu smo kod najbitnijeg elementa ovog ciklusa – prostora, to jest treće dimenzije. Odanovićeve fotografije se ne samo gledaju nego se u njih i ulazi posredstvom stare zaboravljene tehnike, stereofotografije, u novije vreme aktualizovane posredstvom 3D filmova koji se i zasnivaju na anaglifima, čiji su koreni upravo u stereofotografiji. O tom postupku Odanović kaže. „Snimanjem stereo kamerom i povećavanjem fotografija na veliki format stvara se„dvostruki pogled” na njih i uočavaju minimalne razlike u mikroplanu fotografske slike. Razlaganjem slike u RGB modalitetu, pomeranjem crvenog i zelenog tona levo i desno gradi se anaglifna slika i potencira apstraktnost motiva. Sa naočarima za posmatranje dobija se 3D utisak.”

otvaranje/opening 14/3 º 19h traje do/ends 4/4

ĐORĐE ODANOVIĆ Ispitivanje dubine/Examining of Depth kustos/curated by Milena Marjanović

The convincingness of the photographs at the Examining of Depth exhibition, non-narrative in character, just like in his previous cycles, is not based on their symbolic value, for they are always closer to denotation than to connotation – denotation that only refers to a marked term, without entering into the sphere of connotation as possible associations. Odanović’s photography brings about the feeling of a person about the place where they are. A sensorial echo of the space is perceived in front of it. And here we are at the most important element of this cycle – space, i.e., the third dimension. The viewer not only looks at Odanović’s photographs, but enters them by means of an old, forgotten, technique – stereo photography, recently actualised through 3D films based on anaglyphs, whose roots are in stereo photography. About the procedure Odanović says: “Working with stereo camera creates ‘double view’. The observer could decrypt the minimum differences in the micro-level of the photographic image. By an interpretation of an image in the RGB mode, and moving the red and green tones to the left and right, an anaglyphic image is built and the abstract motive is emphasised. With observation glasses, a 3D impression is obtained.” IZLOŽBA/EXHIBITION

©Đorđe Odanović

Artget galerija

Netipična izložba koja spaja tri umetnosti – fotografiju, strip i poeziju. Gradić Bor, u istočnoj Srbiji, bezbadežan slučaj propadanja iza kojeg se ipak krije Trg Republike 5 tragična lepota nestvarnih prizora bezvremenosti, koje je snimio Emanuele Mašoni; upravo ovakvu atmsferu uspeo je u stihovima, kasnije pronađenim www.kcb.org.rs u džepu njegovog mantila, u istoriju upisanim kao Borska beležnica, da º pon/Mon – sub/Sat opiše veliki mađarski pesnik Mikloš Radnoti ( Miklòs Radnòti, 1909–1944.), 12 – 20h koji je u radnom logoru (rudnicima bakra) kraj Bora proveo svoje poslednje dane. Godine 2013, naš svetski priznati strip-autor Aleksandar Zograf je u listu Internazionale objavio dve strane svog ilustrovanog romana o Boru, jedinstvenog na Balkanu, što je i Mašonija podstaklo da se uputi u ovaj gradić. Projekat se nastavlja i produbljuje, te je Zograf pripremio novu priču: priču o borskoj beležnici. Na kraju, dijalog traje, u više smerova.

otvaranje/opening 11/4 º 19h traje do/ends 2/5

ALEKSANDAR ZOGRAF EMANUELE MASCIONI Apokalipsa – Bor/Apocalypse – Bor kustosi/curated by Milena Marjanović i/and Ilari Valbonesi

A non-typical exhibition that combines three arts – photography, comics and poetry. The small town of Bor, in eastern Serbia, is a hopeless case of decay, but with a tragic beauty of the unrealistic scenes of timelessness hidden behind it, shot by Emanuele Mascioni; this is exactly the atmosphere that the great Hungarian poet Miklós Radnóti, (1909-1944), who spent his last days in a labour camp (copper mines) near Bor, succeeded to describe in verses (later found in his coat pocket) that went down in history as Bor Notebook. In 2013, our world-renowned cartoonist Aleksandar Zograf published, in the magazine Internazionale, two pages of his illustrated novel about Bor, unique in the Balkans, which inspired Mascioni to set out for this town. The project is carried on and intensified and Zograf has prepared a new story: the story of the Bor Notebook. In the end, the dialogue is taking place in several directions. IZLOŽBA/EXHIBITION

©Aleksandar Zograf

©Emanuele Mascioni

Бартcелона gallery

Umetnik iz Čilea, koji danas živi i radi u Parizu, fotograf, eksperimentator i jedna od najvećih zvezda sveta Polaroida, u aprilu 2019. godine dolazi Belgrade Design District, sa svojom izložbom na Beogradski mesec fotografije. Donoseći sa sobom Čumićevo sokače, glamuroznu i nostalgičnu lepotu Polaroida, ali i jedinstvenu kreativnost, lokal/unit 96 Raul se ne plaši da seče Polaroid fotografije, otvara ih, skida i ponovo www.bartcelona.net sjedinjuje u novo umetničko delo. Njegov rad, odvojen od svih digitalnih º pon/Mon – pet/Fri procesa i trendova modernog vremena, često je izvan vremena.

14 – 19h Raul Diaz, najpoznatiji kao RRRDIAZ, rođen je u Santjagu de Čileu 1968. godine, a pogrešno se tokom svojih tinejdžrskih godina obrazovao u Sjedinjenim Američkim Državama, gde je studirao na školi vizuelnih 12 – 16h umetnosti u Njujorku i na kraju diplomirao fotografiju na Corcoran školi umetnosti u Vašingtonu. Godine 1990. preselio se u Pariz, u Francusku i započeo svoju karijeru kao modni fotograf, gđe je postao pomoćnik velikih imena u modnoj fotografiji kao što su Mario Testino ili JB Mondino. Godine 2009., nakon kratke, ali naporne karijere u modnoj fotografiji, odlučio je da otvori „En Face”, butik-galeriju posvećenu instant fotografiji. Njegova prodavnica je bila prva u Parizu koja je prodavala novi instant film kompanije Impossible Project i bila je domaćin brojnih izložbi sa umetnicima iz celog sveta.

sub/Sat

otvaranje/opening 1/4 º 18:30h traje do/ends 13/4

RAUL RODRIGO RAFAEL DIAZ (RRRDIAZ) Deca su dobro/The kids are alright Izložba instant fotografija/Instant photography exhibition

An artist originally from Chile, today living and working in Paris, photographer, experimentator and one of the biggest stars of the polaroid world, is coming to Belgrade Photo Month 2019, with his instant photography exhibition. Bringing with him a glamorous and nostalgic beauty of Polaroids, but also a unique creativity as Raul is not afraid of cutting the polaroid photographs, opening them, peeling them off and reassembling in a new piece of art. His work, detached from all the digital processes and trends of modern times, is often timeless in its aspects. Raul Diaz, best known as RRRDIAZ, was born in Santiago de Chile in 1968 and miseducated in the United States through his adolescent years where he studied at the New York School of Visual Arts and eventually graduated from the Corcoran School of Arts in Washington with a Bachelors of Fine Arts degree in photography. In 1990 he moved to Paris, France and began his career as a fashion photographer where he became the assistant to big names in fashion photography like Mario Testino and JB Mondino. In 2009, after a short but busy career in fashion photography, he decided to open En Face, a boutique-gallery devoted to instant photography. His store was the first store to sell Impossible Project film locally in Paris and he has hosted numerous exhibitions featuring artists from around the world at his gallery. IZLOŽBA/EXHIBITION

©Raul Rodríguez Rafael Días (RRRDIAZ)

Бартcелона gallery

Na katedri za fotografiju i kameru tokom decembra 2018. godine održana je radionica plemenitog fotografskog postupka iz 19. veka – cijanotipije. Belgrade Design District, Radionicu je vodio Uglješa Dapčević, diplomirani snimatelj i stručnjak za Čumićevo sokače, tradicionalne i plemenite fotografske postupke. Desetak studenata ali i lokal/unit 96 jedan profesor i dva saradnika u nastavi, učili su proces cijanotipije i izradili www.bartcelona.net pedesetak fotograma u toj tehnici. Fotografije nastale tehnikom cijanotipije º pon/Mon – pet/Fri specifične su po svojoj indigo plavoj boji koja varira od intenzivno tamne, skoro crno-plave boje, pa sve do nežnih pastelnih tonova plave koje kreiraju 14 – 19h kalijum i gvožđe. Lepota ovog postupka nije samo u neverovatnoj plavoj sub/Sat boji već i u jednostavnosti postupka.

12 – 16h Stečena znanja na radionici polaznici su primenili na svoje lične fotografske projekte, posebno prilagođene ovoj fotografskoj tehnici. Svaka od izloženih serija svojevrstan je spoj njihovih umetničkih aspiracija i tema koje istražuju, kao i specifičnosti tehnike cijanotipije. Na izložbi učestvuju: Marina Ilić, Matej Milenković, Katarina Ćuk, Lazar Vučković, Miloš Golubović, Marina Čabarkapa, Teodora Tomić, Tamara Antonović, Matija Munjiza Petrović i Miodrag Trajković. Organizator radionice i kustos izložbe je vanredni profesor Ivana Tomanović.

otvaranje/opening 15/4 º 19h traje do/ends 20/4

AKADEMIJA UMETNOSTI BEOGRAD Cijanotipija/Cyanotype

In December 2018, in the photography and camera department at the Academy of Arts, a workshop was held on the 19th century photographic cyanotype process. Uglješa Dapčević, a graduate cinematographer and expert on traditional photographic procedures, led the workshop. A dozen students, along with one professor and two associates, studied the process of cyanotype and produced about fifty photographs using this technique. Photos created by the cyanotype technique are specific in their indigo blue colour, which varies from intense dark, almost black-and-blue colours to gentle pastel blue tones created by potassium and iron. The beauty of this procedure is not only in the incredible blue colour achieved, but also in the simplicity of the process. Students applied knowledge gained from the workshop to their own photographic projects, especially adapted to this photographic technique. Each of the exhibited series is a unique combination of their artistic aspirations and topics they explore, as well as the specificities of the cyanotype technique. The exhibition will include works by: Marina Ilić, Matej Milenković, Katarina Ćuk, Lazar Vučković, Miloš Golubović, Marina Čabarkapa, Teodora Tomić, Tamara Antonović, Matija Munjiza Petrović and Miodrag Trajković. The organiser of the workshop and curator of the exhibition is associate professor Ivana Tomanović. IZLOŽBA/EXHIBITION

©Lazar Vučković

Бартcелона gallery Belgrade Design District, Čumićevo sokače, lokal/unit 96

Ovaj narativ je o ličnom prisustvu i nedostatku prisustva. Stvarnost i razmišljanja, privatni dnevnici i lični snimci, da zadrže trenutak kroz različita savremena pitanja: urbane krajolike, lične fotografije, kulturne i društvene teme...

Privatni dokumentarni prikaz različitih domova, bezličnih hotelskih soba, privremenih smeštaja na različitim lokacijama širom Evrope, kao unutrašnja º pon/Mon – pet/Fri opservacija po imenu DOM, i vizualni dnevnik spoljne stvarnosti: krajolici i 14 – 19h svakodnevne scene kao refleksije doživljenog trenutka. Opservacija, odnos između stvarnosti i unutrašnjeg sveta.

www.bartcelona.net

sub/Sat

12 – 16h

otvaranje/opening 22/4 º 17h traje do/ends 4/5

SZILVIA MUCSY Lično prisustvo/Personal Presence

This narrative is about the personal presence and the lack of presence. Reality and reflections, private diary and personal snapshots to preserve the moment by various contemporary issues: Urban landscapes, private photography, cultural and social subjects. A private documentary about different homes, impersonal hotel rooms, temporary accommodation in different European locations, as an inner observing, called HOME, and a visual diary of the outside reality: the landscapes and everyday scenes as reflections into the experienced moment. Observation, the relation between reality and the inner world. IZLOŽBA/EXHIBITION

Â©Szilvia Mucsy

Biblioteka grada Beograda

Pola veka Radio Beograda 202 na vrhu - ni Tito nije mogao bolje!

Knez Mihailova 56

Povodom 50 godina Radio Beograda 202, predstavljamo neke značajne i zanimljive momente i ljude čije fotografije dočaravaju istoriju ovog radija, sasvim drugačijeg od drugih.

www.bgb.rs º pon/Mon – pet/Fri

„Dvestadvojka” se prvi put čula u etru 27. juna 1969. godine. Od tada do

8 – 20h danas ostaje prepoznatljiva po svojim kultnim emisijama, prenosima, sub/Sat najboljoj muzici, drugačijim voditeljima, temama koje ne biraju uzrast i 8 – 14h stalnoj komunikaciji sa slušaocima.

Beograd 202 je prvi radio koji je izašao iz studija i emisije uživo radio na terenu i to na neobičnim mestima (iz aviona, tramvaja, pećine, sa Ade Ciganlije, stadiona, koncertnih sala). Izrastao je u jedini radio koji u kontinuitetu prenosi najbolje koncerte vodećih domaćih i inostranih bendova i organizuje nastupe najvećih i najperspektivnijih domaćih muzičara. „Radio koji se sluša i gleda”, stari moto iz vremena prvih emisija van studija, danas dobija novu dimenziju kroz fotografije i video sadržaje na društvenim mrežama i platformi RTS Planeta. Izložene fotografije predstavljaju fragmente prvih 50 godina koji otkrivaju suštinu „Dvestadvojke”.

otvaranje/opening 15/4 º 18h traje do/ends 30/4

50 PIŠEM, 202 PAMTIM! kustos/curated by Ružica Vrhovac

Radio Belgrade 202 – Half a Century On Top (Tito couldn’t do better!) On the occasion of fifty years of Radio Belgrade 202, we present some interesting moments and people, whose photos evoke the history of the radio station that is so different from the others. On June 27th, 1969, Radio ‘“Twohundredtwo” went on air for the first time. From that day, the station has been recognisable by its cult radio show, broadcasting, playing the best music, its prominent hosts, themes suitable for people of all ages and its constant interaction with listeners. Radio Belgrade 202 is the first radio station which went out of the studio and made live coverage in the field, often in unusual places (on planes, trams, caves, Ada Ciganlia, stadiums, concert halls, etc.). It has grown into the only radio station which broadcasts continuously the best concerts of leading local and foreign bands and organises performances by the greatest and the most promising local musicians. “Radio for listening and watching”, the old motto from the time of the first programmes out of the studio, today gets a new dimesnion through photographic and video content on social networks and the RTS Planeta platform. The exibited photographs represent fragments from the first 50 years of Radio Belgrade 202 and reveal the essence of the station. IZLOŽBA/EXHIBITION

Â©Arhiva Radio Beograda 202

Collegium Hungaricum Gračanička 14 www.belgrad.balassiintezet. hu/sr/ º pon/Mon – čet/Thu 9 – 16h pet/Fri 9 – 14h

Mnogo je fotografa radilo u pozorištu, radi i danas - prečesto se njihove fotografije ne mogu razlikovati od predstave do predstave, sve je isto: mračna pozadina i zbrka nekih pojava usred svega toga. Fotografije Srđana Doroškog nešto su potpuno drugačije, one odišu duševnim patnjama junaka na sceni, minucioznim detaljima sukoba junaka na sceni, prizorima delikatnih situacija koje vode radnju i menjaju njen tok, one intrigantno i upečatljivo ovekovečuju karaktere junaka, bure u njihovim dušama, verbalne dijagrame i vratolomije... Doroški uz sve to, svojim panterskim okom, uvek u predstavi pronađe i detalj koji je najlucidniji presek datog pozorišnog dela, koji na ubedljiv način odiše onim što su umetnici stvorili. Njegove fotografije se pamte i vrlo ubedljivo prodaju ono što reklamiraju, u slučaju Novosadskog pozorišta/Újvidéki Színhaz - predstavu. O pozorištu: Novosadsko pozorište/Újvidéki Színhaz, nastalo je 1974. godine s idejom da pomogne u očuvanju kulturnog identiteta Mađara u Vojvodini. Vremenom je ovo pozorište uspelo da postane, ne samo mesto okupljanja mađarske elite, nego je i prevazišlo mađarski okvir te danas slovi za jedno od najrelevantnijih pozorišnih adresa u Srbiji i regionu.

otvaranje/opening 8/4 º 18h traje do/ends 17/4

SRĐAN DOROŠKI Pabllography – emocija pozorišta/theater emotion

Many photographers worked and are still working in theaters - too often their photos can not be differentiated from one show to the other, they are all the same: a dark background and the confusion of some phenomena in the middle of it. The photos of Srđan Doroški are somewhat different, they admire the emotional suffering of the characters, the minutely detailed conflicts of the characters, the delicate situations that lead the action and change its course, the intriguing and impressive immortalisation of characters, the buzzing in their souls, the verbal diagrams and neckbreaking stunts. With all of this, the panther-eyed Doroški always finds a detail in the play that is the most striking cross-section of a given theater work, which in a convincing way reflects what the artists have created. His photos are rememberable and can convincingly sell what they advertise, in the case of the Novi Sad Theater/Újvidéki Színhaz - a play. About the theater: The Novi Sad Theater/Újvidéki Színhaz, was founded in 1974 with the idea to help preserve the cultural identity of Hungarians in Vojvodina. Over time, this theater managed to become, not only the gathering place of the Hungarian elite, but it also overcame the Hungarian framework and today it is deemed one of the most relevant theaters in Serbia and the region. Snežana Miletić IZLOŽBA/EXHIBITION

©Srđan Doroški

Atelje i galerija Čubrilo Milenijumska kula na Gardošu

Tokom fotografisanja prizora na ulicama, onako kako savremeni ulični fotografi pristupaju toj temi, polazi se od ideje uočavanja apsurda, neobičnih i lucidnih životnih situacija koje se, izborom ugla i odnosa prvog i drugog plana, približavaju idejama nadrealizma. Što je situacija čudnija fotografija Grobljanska bb, Zemun ubedljivije prenosi atmosferu kretanja, života i svakodnevnih rituala. www.kulanagardosu.com/ Fotografije Dragana Babovića istražuju upravo tu liniju i, pored toga što su sr/umetnicki_atelje_cubrilo snimljene u Parizu, zapravo ilustruju fenomen grada na univerzalnom planu. º pon/Mon – ned/Sun Umetnik je izbegao romantičan odnos prema Parizu, nije podlegao idejama turističke fotografije ili uzdizanja grada isključivo po njegovim istorijskim 11 – 18h toponimima. Čak i kada se uoče spomenici kulture ili druga značajna mesta u Parizu, oni su skrajnuti, jer autoru nisu bili primarni element interesovanja. Ono na čemu je, sa druge strane, Babović insistirao upravo su životne priče, komunikacija prolaznika, a na prvom mestu pomenuti nadrealizam svakodnevice u kome se dešavaju suštinski momenti zanimljivi za fotografisanje, jer je ulica uvek mesto provokativnih motiva. Ali oni su često proizvod inteligencije fotografa koji uspeva da poveže situacije koje običan prolaznik ne primećuje. Autor nam sugeriše da, kada šetamo velikim metropolama, ne posmatramo isključivo kulturu koja je istorijski identitet, već i da, putem foto-aparata, izdvojimo ono što je pozicija autorskog gledanja. Kadar koji ograničava vidno polje je suštinski izbor, on je lična karta fotografa koji određuje šta je to što zavređuje pažnju. A kod uličnih fotografija Dragana Babovića upravo to je ključni detalj u definisanju umetničkog pogleda na Pariz, ali i sveta oko nas.

otvaranje/opening 1/4 º 20h traje do/ends 16/4

DRAGAN BABOVIĆ Let iznad Pariza/Flight Above Paris

While photographing scenes on the streets, contemporary street photographers approach the subject starting from the idea of perceiving the absurd, unusual and lucid life situations that, by choosing the angle and relation of the first and second plan, approach the ideas of surrealism. The photographs of Dragan Babović are exploring exactly that line and, in addition to being photographed in Paris, they are actually illustrating the phenomenon of the city on a universal scale. The artist avoided the romantic attitude towards Paris, did not fall to the idea of a tourist photograph or the rise of the city solely by its historical toponyms. On the other hand, Babović insisted on life stories, the communication of passers-by, and we must mention the surrealism of everyday life in which essential moments are interesting for photography, because the street is always a place of provocative motives. But they are often the product of the intelligence of a photographer who manages to link situations that a common passer-by does not notice. When limiting the field of view is an essential choice, it is the identity of the photographer that determines what is worthy of attention. And with the street photographs of Dragan Babović, this is precisely the key detail in defining the artistic view of Paris, but also the world around us. Petar Jončić, istoričar umetnosti/art historian IZLOŽBA/EXHIBITION

©Dragan Babović

Dom omladine Beograda Makedonska 22 www.domomladine.org º uto/Tue – sub/Sat 12 – 21h ned/Sun 12 – 18h

otvaranje/opening 2/4 º 19:30h traje do/ends 14/4

Fotografija Alekse Vitorovića je autoritativna koliko je i naivna. On ne vidi spektakl u bolu ili patnji. On ne traži lepotu u subjektima kao što su lepe žene ili lepi zalasci sunca. On transformiše realnost kao takvu u egzotičnu nagradu. Iz njegovih se fotografija često ne može ništa razumeti. Čin kidnapovanja stvarnosti i njihovo prevođenje u slike je njihova jedina svrha. ALL PROS NO CONS, njegova prva samostalna izložba, će pak biti svojevrsni meganarativ ispričan slikovnim fragmentima akumuliranim otkako je počeo fotografisati na film. Iskopava fascinaciju u svakodnevnom životu, boreći se protiv ultimativnog ubice ljudskog duha – dosade. Potom tu zaplenjenu fascinaciju nesebično distribuira među posmatračima. Oslanjajući se na tradiciju snepšot fotografije, Aleksin rad je memoar mladosti, kvir ideologija, skejt kulture, opijata, panka, tehno žurki i snažnih stavova. Prostorna instalacija će biti postavljena kako bi pomogla posmatraču da transcendira u svet izgrađen na slikama. Zidovi su vrtoglavo zasićeni ogromnom količinom fotografija, stvarajući atmosferu spektakla i haosa. Ova egzibicija je pozivnica da se izgubite unutar tripozne vizuelne utrobe. Sve u vezi nje je sjajno, prelepo, ugodno i odlično – stoga joj je i ime ALL PROS NO CONS.

ALEKSA VITOROVIĆ All Pros No Cons kustos/curated by Andrea Tešanović

Aleksa’s photography is as authoritative as it is naive. He doesn’t see spectacle in pain and suffering. He doesn’t seek beauty in subjects such as pretty women and pretty sunsets. He transforms reality itself into an exotic prize. One doesn’t really understand anything from his photographs. The act of hi-jacking existence and translating it into image is his only purpose. ALL PROS NO CONS, his first solo exhibition, is on the other hand, going to be a meganarrative told via pieces of imagery he has accumulated ever since he started shooting on film. He is digging for fascination in everyday life, in order to defy the ultimate assassin of human spirit – boredom. And he is selflessly sharing that captured fascination with spectators of his work. Relying on the tradition of snapshot photography, Aleksa’s work is a memoire of youth, queer ideologies, skate culture, opiates, punk, techno raves and strong opinions. There will also be a spatial installation that helps the observer transcend into the world he builds with his images. Walls are heavily saturated with an immense amount of photographs, creating the atmosphere of spectacle and chaos. It is an invitation to get lost inside a trippy visual womb. Everything about this exhibition is amazing, beautiful, pleasurable and great - hence the name ALL PROS NO CONS. IZLOŽBA/EXHIBITION

©Aleksa Vitorović

Дорћол Platz

Fotografska grupa „3 Objektiva”

Dobračina 59b

Neformalna fotografska grupa „3 Objektiva” postoji više od 4 godine i za to vreme je napravila 24 izložbe projekta „PUTOVANJA” širom Srbije.

www.dorcolplatz.rs

º pon/Mon – ned/Sun „Dimenzije” je nova izložba, namenski napravljena za Beogradski mesec

fotografije. Ova izložba se bavi posmatranjem i preispitivanjem realnosti,

10 – 2h vremena, prostora, kao i postojanosti.

Reč je o kompilaciji fotografija nastalih od kraja 60tih godina prošlog veka do danas, sastavljenoj od tri nezavisne celine koje svaki od autora radi za sebe. Tomislav Peternek predstavlja deo svoje kolekcije „Svet mašte” koja je prvi put prikazana 1972. Godine u Beogradu - Salon fotografije. Autor je koristio crno bele negative za izvođenje kolor fotografija, separacijom određenih tonova iz sivog valera i na taj način apstrahovao već astrakovanu realnost. Goran Kukić iskazuje svoju impresioniranost tragovima vremena u izbrazdanim kamenim masivima. Vreme oblikuje sve. Igor Mandić prikazuje deo kolekcije „Pinpointed” kojom ukazuje na težinu i gravitaciju nematerijalnog, iskrivljenu projekciju stvarnog oblika u sopstvenoj senci... sa ciljem provokacije na preispitivanje percepcije realnosti.

otvaranje/opening 11/4 º 20h traje do/ends 21/4

IGOR MANDIĆ GORAN KUKIĆ TOMISLAV PETERNEK Dimenzije/Dimensions Photo collective “3 Lenses” Informal photo collective “3 Lenses” has existed for over 4 years. During this time the project “Travels” has been exhibited in 24 locations throughout Serbia. “Dimensions” is a new exhibit, created specifically for Belgrade Photo Month. The focus of this project is the observation and questioning of reality, time and persistence. This project consists of chosen photographs from the 1960’s until the present time, divided into three independent chapters, each curated by individual authors. Tomislav Peternek is presenting part of his collection: “World of Imagination”, which was presented for the first time in Belgrade in 1972, during “Salon fotografije”. The author used black and white film, to derive colour photos, separating specific shades of grey, and by doing so, he abstracts already abstract reality. Goran Kukić is impressed by traces of time found in grooved stone boulders. Time shapes everything. Igor Mandic is presenting a part of his collection “Pinpointed” which sheds light on the weight and gravitational pull of non-material, distorted projection of real shape in its own shadow... with a goal of provoking the questioning of perception of reality. IZLOŽBA/EXHIBITION

©Goran Kukić

©Tomislav Peternek

©Igor Mandić

Filmska galerija Kolarčeva 6 www.kcb.org.rs

Quan sigui gran vull ser fotògraf!/Kada porastem želim da budem fotograf!, san je Murata, osmogodišnjeg dečaka iz Sirije koji je polovinu svog života proveo u izbegličkom kampu u Iraku. Njegova želja da postane fotograf inspirisala je GRISART da zajedno sa

º pon/Mon – ned/Sun UNICEF-om kreira obrazovni projekat namijenjen dečacima i devojčicama 16 – 21h koji žive u izbegličkim kampovima i koji su, poput njega, pobegli iz ratova i oružanih sukoba.

Projekat je realizovan u septembru 2018. godine organizovanjem fotoradionice u dva kampa pored Erbila (Irak). Izložba prikazuje izbor fotografija koje su izveli učesnici radionice. Slike su prozor u njihov svakodnevni život: njihovo gledište i njihova poruka svetu.

otvaranje/opening 18/4 º 12h traje do/ends 10/5

QUAN SIGUI GRAN VULL SER FOTÒGRAF!

kustosi/curated by Fidel Balaguer, Chiara Fabro, Ivan Ferreres, Daniel Solsona i/and Camila Marinone

Quan sigui gran vull ser fotògraf!/When I grow up I want to be a photographer! is the dream of Murat, an 8 year old boy from Syria, who passed half of his life in a refugee camp in Iraq. His desire of being a photographer inspired GRISART to create, along with UNICEF, an educational project addressed to young boys and girls living in refugee camps and who, like him, escaped from wars and armed conflicts. The project was carried out in September 2018 by organising a photography workshop in two camps next to Erbil (Iraq).The exhibition shows a selection of photos made by the workshop participants. The images are an open window on their daily life: their point of view and their message to the world. IZLOŽBA/EXHIBITION

ÂŠKubar Mohammad Masho

KC Grad

Impresionizam je rođen u studiju čuvenog fotografa koji je dozvolio da mladi slikari, okupljeni u udruženju, izlažu svoja dela. Veza impresionizma i Braće Krsmanović 4 fotografije ostala je neraskidiva od te prve izložbe do danas. Jezik fotografije www.gradbeograd.eu i slikarstva je jako sličan i one jedan na drugu utiču već više od jednog veka. º pon/Mon – ned/Sun Serija fotogarfija koje radim je ekperiment i inspirisana je Impesionizmom i Impresionistima, začetnicima moderne umetnosti, nastavljajući neraskidivu 14 – 20h vezu između slikarstva i fotografije.

otvaranje/opening 25/3 º 20h traje do/ends 31/3

MITAR MITROVIČ Impresionizam/Impressionism

Impressionism was born in a famous photographer’s studio who allowed young painters, gathered in the association, to expose their works. The connection between impressionism and photography has remained inseparable from this first exhibition to the present time. The language of photography and painting is very similar and they have been influencing each other for more than one century. The series of photos I’m working on is an experiment and it’s inspired by Impressionism and impressionists, the founders of modern art, continuing the inextricable link between painting and photography. IZLOŽBA/EXHIBITION

ÂŠMitar MitroviÄ&#x2021;

KC Grad Braće Krsmanović 4 www.gradbeograd.eu

„Svi su oni bili ostavljeni tamo, da im tela istrunu. Umesto toga, priroda ih je prisvojila i svi su bili tranformisani u prelepe bezdušne leševe. Svi su oni sada ponovo ispunjeni životom, zbrinuti i sačuvani. To je jedan nepredvidljiv krug, od pepela do prirode”.

º pon/Mon – ned/Sun Ova serija fotografija predstavlja ponovno rođenje gde je smrt samo jedan 14 – 20h novi život. Ove fotografije su tu da bi Vas povele da odletite u svet nade, da vizualizujete i zamislite život u životu, život posle smrti i sam život iznutra. Serija je ograničena na 19 slika. Svaka slika je dostupna u dve veličine: 28cm x 28cm i 56cm x 56cm u ediciji od šest radova.

otvaranje/opening 8/4 º 20h traje do/ends 14/4

TARECK RAFFOUL Od pepela do prirode/Ashes To Nature

“They were all left there, bodies to decay. Instead, nature invaded them and they were all transformed into beautiful soulless corpses. They are now filled with life again, nurtured and preserved. It’s an unpredictable cycle, from Ashes to Nature.” This series of photographs represent the rebirth where death is just another life. These images are meant to make you fly into a world of hope to visualise and imagine the life in life, the afterlife, and the life from within. The series is limited to 19 pictures: Each picture is available in two sizes 28cm x 28cm and 56cm x 56cm edition of 6. Stilista/Stylist: Har Nakkashian Umetnički director/Art Director: Rémie Maksoud SFX makeup umetnik/SFX makeup artist: Samantha Ayoub IZLOŽBA/EXHIBITION

Â©Tareck Raffoul

Institut français de Serbie Knez Mihailova 31 www.institutfrancais.rs º pon/Mon – pet/Fri 13 – 19h sub/Sat 10 – 15h

Instinkt i teren su dve premise francuskog fotografa Lorana Baea. Rođen 1970. godine u Poatjeu, na početku karijere pokriva međunarodne sportske događaje, pre nego što će se okrenuti životinjama i divljini. Od početka 2000-ih godina, radi na seriji prikaza prirode u monohromnom stilu, sirovom, ispunjenom i punom kontrasta. Poput humanista koji boravili na ulicama da bi fotografisali život ljudi, Loran Bae provodi vreme u divljini da bi fotografisao životinje. Bez kaveza ili ograde, subjekti postaju ličnosti koje u datom trenutku iskazuju snagu slobode, lepotu svoje ličnosti i svu nežnost života u zajednici. Bilo da je perspektiva sužena ili bez ose, da se radi o zrnu ili šumu, Loran istražuje sve puteve u cilju uvećanja životinje, pre nego njenog predstavljanja. Fotograf postaje aktivista koji se bori za zaštitu životinja i podržava inicijative, udruženja i fondacije kao što su GoodPlanet, Institut Jane Goodall, Cheetah For Ever, One Voice ili l’Aspas. Godine 2013, postaje ambasador dobre volje programa Ujedinjenih nacija za zaštitu životne sredine i učestvuje u kampanji protiv krivolova Wild & Precious. Loran Bae primarno podržava aktivnosti u cilju zaštite živog sveta i protvi eksploatacije životinja. Fotograf poziva na prekid destruktivnih aktivnosti kao što su lov, fizičko ili psihičko maltretiranje poput cirkusa, zooloških vrtova ili koride. Veoma poznate zbog svoje estetske snage i autentičnosti, crno-bele fotografije Lorana Baea su predmet raznih izdanja, publikacija, izložbi, predavanja i redovno su prikazivane u Francuskoj i inostranstvo.

otvaranje/opening 5/4 º 19h traje do/ends 5/5

LAURENT BAHEUX Instinkt i teren/Instinct and Terrain Instinct and terrain are the two premises of French photographer Laurent Baheux. Born in Poitiers in 1970, he began his career by covering international sports events before eventually turning to the subject of animals and wildlife. Since the early 2000s he has been developing a collection of images of nature in a raw monochrome style, dense and contrasted. Like the humanists who roamed the streets to capture the lives of people, Laurent Baheux travels through wild territories to photograph the life of animals. Without a cage or enclosure, his subjects become individuals expressing in a single moment the power of freedom, the beauty of their personalities, and all the tenderness of their life within a community. Whether the perspective is narrow or without axis, set amidst a grain or a forest, Laurent explores every possibility in order to magnify the animals’ subjectivity rather than simply represent it. As an activist, the photography is committed to animal welfare and supports initiatives, associations and foundations such as GoodPlanet, Jane Goodall, Cheetaf For Ever, One Voice and L’Aspas. In 2013 he became a good will ambassador for the United Nations Environment Programme and their Wild and Precious anti-poaching campaign. Primarily, it supports actions aimed at protecting wildlife from exploitation. The photographer calls for the cessation of destructive activities towards animals such as hunting, along with the physical or psychological abuse caused by circuses, zoos and bullfighting. Praised for their aesthetic strength and authenticity, Laurent’s black and white photos are the subject of various books, publications, exhibitions and lectures, and are regularly displayed in galleries in France and abroad. IZLOŽBA/EXHIBITION

Â©Laurent Baheux

Instituto Cervantes de Belgrado Čika Ljubina 19 www.belgrado.cervantes.es

Garsija de Marina (Hihon, Španija, 1975). Predmet koristi kao sredstvo izražavanja od 2011. godine. Do sada je imao više samostalnih izložbi i učestvovao je na brojnim umetničkim događajima, kako u Španiji, tako i u inostranstvu. Ovog pesnika svakodnevnog, privlači simbolika predmeta, nasumična veza

º pon/Mon – ned/Sun elemenata koji na prvi pogled nemaju ništa zajedničko, sažimanje i suština. 10 – 21h Njegovo stvaralaštvo se zasniva na intuiciji, idejama, nadrealnom i svetu snova i podsvesti.

Izložba „Nedovršena reč” istražuje vezu između vizuelnog i verbalnog jezika. Osnovna ideja je pokretanje dijaloga o nastanku jezika, razlikama među jezicima, indentitetu, kulturnom bogaćenju i granicama njihove upotrebe. Izložba naglašava moć imaginacije, gde se svaka ideja, začeta konceptualizacijom na minimalističkim osnovama, pojavljuje kao razgovor između dela i posmatrača, kao čin kojim se, simbolički izražena, dovršava u mislima pojedinca. Svako delo prolazi kroz istu tu perspektivu posmatrača koji ga opaža pogledom, a dešifruje umom. Predmeti su elementi nastali da bi bilo korišćeni na jedan određeni način, ali onog trenutka kada prođu kroz sito nadrealizma i nestvarnosti, stvaraju drugačiju simboličku kategoriju.

otvaranje/opening 2/4 º 19h traje do/ends 28/4

GARCÍA DE MARINA Nedovršena reč/The Unfinished Word

García de Marina (Gijón, Spain 1975). The Object has been his main mean of expression since 2011. He has had several solo exhibitions and taken part in numerous art events, both national and international. This Poet of the Prosaic is attracted by the symbolism of objects, making random connections between objects that by default don’t have anything in common, by the condensation and the essence. His works derive from intuition, ideas, the surrealism and from the world of dreams and the subconscious. The exhibition named “The Unfinished Word” explores the relation between visual and verbal languages. The basic idea is to create a dialogue on the origin of the language, differences between various languages, identities, cultural enrichment and limits of their use. The exhibition tries to stress the power of imagination, where every idea, conceived by conceptualisation and minimalism, appears as a talk between the artistic work and the observer, as an act by which, embodied through the symbolism, the idea is being finalised in the mind of an individual. Every artistic work is processed through that kind of observer’s perspective, where it is perceived by the vision and deciphered by the mind. Everyday objects are elements created to be used for one specific purpose, but from the moment they are processed through the lens of surrealism and the irreality, they form a totally different symbolic category. IZLOŽBA/EXHIBITION

©García de Marina

Jugoslovenska kinoteka

Dušan D. Aranđelović: fotografije, 1973 – 1979

Uzun Mirkova 1

Dušan D. Aranđelović (1939-2003) je bio jedan od najzačajnijih jugoslovenskih i srpskih fotografa i grafičkih dizajnera druge polovine XX veka. Bavio se komercijalnom i umetničkom fotografijom, a između 1973. i 1979. godine, realizovao je jedinstven umetnički opus koji obuhvata studijske portrete znamenitih ličnosti jugoslovenske kulturno-umetničke scene sedamdesetih, zatim portrete osoba bliskih autoru, modne editorijale i konceptualne radove. Svoju jedinu samostalnu izložbu fotografija, Aranđelović je priredio u Muzeju primenjene umetnosti u Beogradu, 1978. godine. Tom prilikom, prikazano je dvadesetak radova veličine 104x104cm, što predstavlja jednu od prvih izložbi fotografija velikog formata u Jugoslaviji. Ovakav pristup otvorio je nov diskurs u načinu prezentacije fotografije u galerijskom prostoru i promenio odnos posmatrača prema ovom mediju, čime je fotografija napokon zakoračila u teritoriju koja tradicionalno pripada slikarstvu. Izložba „Između dva sveta” pokušaće da definiše mesto Dušana D. Aranđelovića u jugoslovenskoj i srpskoj vizuelnoj umetnosti XX veka između primenjene i lepih umetnosti, između istočne i zapadne Evrope, između nekad i sad. Radovi koji će biti predstavljeni beogradskoj publici prvi put posle četiri decenije, obuhvatiće deo selekcije iz 1978. godine i izbor do sada neobjavljenih fotografija, sa posebnim osvrtom na portrete velikana srpske glume.

www.kinoteka.org.rs º pon/Mon 17 – 21h º uto/Tue – ned/Sun 9 – 21h

otvaranje/opening 19/4 º 19h traje do/ends 7/5

DUŠAN D. ARANĐELOVIĆ Između dva sveta/Between Two Worlds kustos/curated by Siniša Vlajković Dušan D. Aranđelović: Photographs, 1973 – 1979 Dušan D. Aranđelović (1939-2003) was one of the most distinguished Yugoslav and Serbian photographers and graphic designers of the latter half of the 20th century. He was active as a commercial and fine art photographer. Between 1973 and 1979, Aranđelović created a unique body of work, consisting of studio portraits of prominent figures of Yugoslavia’s arts and culture scene of the nineteen-seventies, fashion editorials, personal and conceptual work. Aranđelović’s only solo show took place at the Museum of Applied Arts in Belgrade in 1978. It featured twenty artworks, 104x104 cm in size, in what was one of the first large-format photography exhibitions in Yugoslavia. The approach opened up a new discourse in the presentation of photography in gallery spaces, thus establishing a novel relationship between the media and the beholder, and for the first time, capturing a territory that has traditionally belonged to painting. The exhibition “Between Two Worlds” will attempt to determine Aranđelović’s place in Yugoslav and Serbian visual art of the 20th century - between applied and fine art, between Eastern and Western Europe, between then and now. Artworks that will be presented to the Belgrade public for the first time in four decades will include part of the selection from the 1978 show and a number of previously unseen images, with special focus on the portraits of great Serbian actors and actresses. IZLOŽBA/EXHIBITION

©Dušan D. Aranđelović

Galerija „Karst” Muzej Jovana Cvijića Jelene Ćetković 5 www.mgb.org.rs ivanhadzizdravkovicsosa.com º uto/Tue – čet/Thu 10 – 17h º pet/Fri 10 – 18h º sub/Sat 10 – 17h º ned/Sun 10 – 14h

otvaranje/opening 5/4 º 19h traje do/ends 18/4

Interesovanje za fotografiju i pokretne slike odvodi Ivana Hadži Zdravkovića Sosu 1971. godine iz Niša u Beograd, gde upisuje tek osnovane studije kamere pri Fakultetu dramskih umetnosti. Idući u korak sa savremenom tehnologijom, usavršavao se i nesebično prenosio svoju ljubav i znanje na mlađe generacije. Bavio se obrazovnim radom sve do smrti, kako u stručnim školama, tako i na univerzitetskom nivou. Izložba je inspirisana istraživanjima Jovana Cvijića o odnosu čoveka i prirode, i njegovim tvrdnjama da je dinarski tip blisko vezan za zemlju i prirodu. Na Dinarsku lepotu i ideju Cvijića o čoveku kao ekosenzibilnom biću aludira se preko lepote ženskog tela i motiva iz prirode. Ovi radovi nastali u poslednjim godinama umetnikovog života jasno prenose Ivanovu beskrajnu ljubav prema fotografiji, i veštinu i talenat da se istom izrazi. Na fotografijama je izražen kolorit, uravnotežena kompozicija, kako na ženskim aktovima, tako i na motivima iz prirode. Tehnikom preklapanja, po kojoj je umetnik poznat, ženski aktovi su smešteni u prirodni ambijent. Cilj izložbe je da se fotografijama koje ilustruju Cvijićeve reči podstakne pre svega na povratak prirodi, na razmišljanje o njegovom delu i ukaže na aktuelnost njegove ideje o ekosenzibilnosti ljudskog bića. Autorke izložbe Ivanovih fotografija su njegova ćerka Ivana Zdravković i kustoskinja Ljudmila Đukić. Dizajner izložbe je Jelena Macanović.

IVAN HADŽI ZDRAVKOVIĆ SOSA (1952-2013) Dinarska lepota/Dinaric Beauty kustosi/curated by Ivana Zdravković i/and Ljudmila Đukić

An interest in photography and motion pictures motivated Ivan Hadži Zdravković Sosa to move from Niš to Belgrade in 1971 to study camera at a newly founded department at The Faculty of Dramatic Arts. He continuously followed contemporary technologies and generously transmitted his love and knowledge to younger generations by teaching photography. He taught in both specialised schools and at university level throughout his life. The exhibition is inspired by the research of Jovan Cvijić on the relationship between humankind and nature, and his description of the Dinaric type as closely connected to the land and nature. Dinaric Beauty and the ecological sensibility of Jovan Cvijić are conveyed through the beauty of a female form and motifs from nature. The exhibited art works were produced during the later periods of Sosa’s life and epitomise both his endless love and talent for photography. The strong color scheme and balanced composition are distinctive to photographs of both female nudes and nature. By superimposing images, for which he was famous for, the artist placed female nudes in a natural setting. Through photos that illustrate Cvijić’s words, the exhibition is striving to inspire a return to nature, reflecting on his work, and to highlight his timeless idea about human ecological sensibility. Authors of the exhibition of Ivan Sosa’s photographs are his daughter Ivana Zdravković and curator Ljudmila Đukić. Exhibition designer is Jelena Macanović. IZLOŽBA/EXHIBITION

©Ivan Hadži Zdravković Sosa

Kuća Legata

Izložba Helga Paris: Fotografija realizovana je kao putujuća izložba nemačkog Instituta za međunarodne odnose u kulturi (ifa) u saradnji sa Kneza Mihaila 46 Kućom legata u Beogradu i Goethe-Institutom Srbije. Kustoskinja izložbe je www.kucalegata.org Inka Schube, a izložbu će u Beogradu otvoriti kustoskinja Franziska Schmidt, º uto/Tue – ned/Sun ekspertkinja opusa Helge Paris kao i drugih fotografkinja Istočne Nemačke.

10 – 17h Delo Helge Paris (rođ. 1938.) u nemačkoj fotografiji zauzima značajnu ulogu.

Izložba donosi 133 crno-bele fotografije nastale u periodu od 1968-1996. i čini dosad najobuhvatniju izložbu Helge Paris, jedne od najpoznatijih portretistkinja svakodnevice Istočnog Berlina i Istočne Nemačke. Zanimali su je pre svega banalni momenti egzistencije: držanje, pogledi, gestovi, pokreti i prostori, koji svedoče o okolnostima, pričama i iskustvima ljudi, uključujući pritom i ljude iz skromnih sredina. Tu su tako pobunjena mladež, gosti u kafanama, kao i radnici koji odvoze smeće. Posebno osećajno približava se osobama, daje im prostor da se razviju i tako stvara slike izuzetne autentičnosti. Pored slika iz Istočnog Berlina, posebno su uzbudljivi i portreti s putovanja u Transilvaniju na kome je bila početkom 80-ih godina.

otvaranje/opening 16/4 º 19h traje do/ends 1/5

HELGA PARIS Berlin. Svakodnevica. Portreti. Putovanja.

The photography exhibition by Helga Paris is made as a travelling exhibition of the German Institute for international relationships in culture (ifa) in cooperation with Kuća legata in Belgrade and the Goethe-Institute in Serbia. The curator of the exhibition is Inka Schube, while the exhibition in Belgrade will be opened by the curator Franziska Schmidt, an expert in the work of Helga Paris and also other female photographers of East Germany. In German photography, the work of Helga Paris (born in 1938) plays an important role. The exhibition brings together 133 black and white photographs made in the period between 1968 and 1996 and so far, it represents the most voluminous exhibition of Helga Paris, one of the most famous portraitists of East Berlin and East German everyday life. She was most interested in simple existential moments: attitude, looks, gestures, movements and spaces that give testimonies about people’s circumstances, stories and experiences including herewith also people from poor environments. There is rebellious youth, pub guests, as well as workers that take away garbage. She approaches people with great affection; she gives them a space to develop and thus creates images of great authenticity. Besides photographs from East Berlin, portraits from the trip to Transylvania are very exciting. She took this trip at the beginning of the eighties. IZLOŽBA/EXHIBITION

Â©Helga Paris

Alternativni umetnički prostor „Kvaka 22“

Biciklistički klub Black Label je poznat kao prvi nezakonski biciklisticki klub. Osnovali su ga Džejkob Hol i Per Henson 1992. godine u Minepolisu u Minesoti i od tada piše svoja poglavlja širom sveta. Njih dvojica su glavni Ruzveltova 39 inicijatori u stvaranju visoke biciklističke kulture i u organizaciji viteškog takmicenja. Zanimljivo je videti ovu destruktivnu i buntovničku kulturu koja www.kvaka22.com iskazuje svoj revolt kroz jedan nepreteći objekat - bicikl. º pon/Mon – sub/Sat Po mom mišljenju, ovo je neka mešavina panka, grandža i hipi kulture. 15 – 20h Oni su jedna nezavisna zajednica koja iskazuje svoj bunt protiv sistema. U drustvu koje nas pritiska na to da stavljamo najveći fokus na novac i na prečesto korišćenje tehnike, zanimljivo je videti grupu mladih ljudi koja se odupire i bori protiv toga. Njihova zajednica je većinski zasnovana na kulturi bicikla, umetnosti i pravim vrednostima međuljudskih odnosa. Ovo se mene naročito tiče, jer sam ziveo u Nju Jorku. Tamo su svi izgledali kao da žive u nekom virtuelnom svetu, dok ova „deca” zaista nesto osećaju. Oni govore iskreno i ne boje se da preuzmu rizik ili da budu povređeni (kako fizički tako i u donošenju nekih životnih odluka). Oni žive sada, u trenutku, i žele da se zabavljaju nesmatrajući život previše ozbiljim. Strastvena mlada bića koja vode realne životne razgovore i kojima telefoni ne zvrče svaki sekund – eto to su oni! Iako deluje da ne mare ni za šta i da su destruktivni, ovi mladi ljudi su prilično svesni današnjeg života. Poput svih ostalih, oni vole, mrze i imaju brige i strahove. Otkriće subkulture poput ove, jedne kreativne grupe ljudi koja veoma malo mari za današnju tehonlogiju, koja brani svoje stavove i koja se bori protiv main stream-a, uliva mi nadu i mislim da ovo može biti veoma ohrabrajuće za ostatak današnje mlade populacije.

otvaranje/opening 20/4 º 19h traje do/ends 30/4

JULIE GLASSBERG Bike Kill The Black Label Bike Club is known as the first “outlaw bicycle club.” It was created in 1992 by Jake Houle and Per Hanson in Minneapolis, Minnesota and has chapters nationwide. They are one of the main contributors to the rise of tall bike culture and organise jousting competitions. It is interesting to see this destructive, rebel culture revolving around such a non-threatening object: the bicycle. I consider them a blend of punk, grunge and hippie culture. They are an independent community rebelling against the system. In a society that pushes us to consume, focus on money and overly use technology, it is interesting to see a group of young people resisting and fighting against it. Their community is mainly based on the bike culture, art and on the real values of relationships. This particularly affected me as I was living in NYC. Everyone seemed to be living virtually, but those “kids” felt real. They speak frankly, and are not afraid to take risks and get hurt (physically or in life decisions.) They are living now, in the moment and want to have fun without taking life too seriously. They are passionate young people with real discussions and their phone doesn’t beep every second! Although they seem to be the carefree, self-destroying youth, they are quite aware of the situation today. As everyone, they love, hate, and also have their fears and concerns. When I find subcultures like the Black Label Bike Club, a creative group, using very little technology, interested in defending causes and resisting the main stream, it gives me hope, and I think it could be very encouraging for today’s youth. IZLOŽBA/EXHIBITION

ÂŠJulie Glassberg

Laufer ART

Selfi kultura? Istraživanje identiteta kroz autoportrete.

Devedesetih godina prošloga veka dobila sam priliku da živim kao subjekat ispred kamere. Nekoliko godina kasnije radikalno sam promenila lauferart.com ovu orijentaciju: postala sam autor sopstvene pojave, konačno stvarajući uveličano telo autoportreta. Bavila sam se ovim tipom posla jako dugo, gallery@laufer.net preispitujući položaj subjekta-žene, sa poštovanjem prema objektivu kamere. º uto/Tue – sub/Sat Kada sam prvi put počela da radim kao fotograf, crpela sam inspiraciju, 16 – 20h između ostalih, od Klod Kaun i Sindi Šerman i osećala sam da sam u dobrim rukama, jer sam u ovom prilično eksluzivnom krugu umetnika autoportreta. Ko bi samo mogao da zamisli da će 15 godina kasnije reč „selfi” da postane reč 2013. godine i da će ljudi širom sveta da se fotkaju kamerom mobilnog telefona sa rukama udaljenim od sebe, telefonima okrenutim naopačke usmerenih ka njima? Kako se čovek uopšte definiše u našoj sve snažnijoj „selfi kulturi” i šta mi kao umetnici biramo da stavimo u ramove? Postoji li razlika između toga kako predstavljamo sami sebe na društvenim mrežama i u umetničkim galerijama? Šta „savršenstvo” uopšte znači? Koja je razlika između umetničke fotografije i privremenog selfija? I tako razmišljajući probudim u sebi eksploziju anksioznosti i slavlja koje dolazi od ideje da se usudim da shvatim apstraktnost ovih ideja svojim sopstevim telom, zajedno sa karakteristikama apsolutne jedinične mešavine utrnulosti i fizičkog bola koji se javljaju pri stvaranju fotografije kao iskustva procesa stvaranja umetnosti. Kakav, ako u uopšte bilo kakav, kontinuum možemo da uspostavimo između slike nastale iz takvog intenzivnog iskustva i brzog snimka napravljenog pomoću IPhone-a X i propuštenog kroz dostupne filtere?

Svetozara Radića 4

otvaranje/opening 29/3 º 18h traje do/ends 13/4

SUSANNE JUNKER Preispitivanje identiteta/Researching Identity Selfie culture? Researching Identity through self-portraiture. In the 1990s I earned a living as a subject in front of the camera. Years later, I radically shifted this orientation: I became the author of my own representation, gradually creating an extensive body of self-portraits. I have been doing this kind of work ever since, questioning always the position of the subject-woman with respect to the camera lens. When I first began my work as a photographer, I drew inspiration from the work of Claude Cahun and Cindy Sherman among others, and I felt myself in good hands in this rather exclusive club of self-portraiture artists. Who could have imagined that 15 years later, “selfie” would become the word of the year in 2013 and that what seems like everyone in the world would be snapping away with a built-in camera-telephone turned around and aimed at themselves? How the “self” actually figures in our increasingly “selfie culture” and what we as artists choose to put in our frames? Is there a difference of how do we present ourselves on social media and in art galleries? What does “perfection” mean? I ask about the distinction between art photography and contemporary selfies? In so doing, I evoke the explosive combination of anxiousness and celebration that comes from daring to realise abstract ideas with one’s own body, during the performance of the absolutely singular mixture of numbness and physical pain produced by the photo shoot as an experience of the process of creating art. What, if any, continuum can we draw between the image produced by that intense experience and the quick image produced by an IPhone X and available filter work? IZLOŽBA/EXHIBITION

ÂŠSusanne Junker

Kulturni centar Magacin

Departman za fotografiju jedan je od najmlađih na Akademiji umetnosti u Novom Sadu. I pored toga ostvario je zavidne rezultate i pozicionirao se kao Kraljevića Marka 4-8 jedan od najprestižnijih u zemlji. Karakteriše ga rad u malim grupama (do pet kcmagacin.org studenata), širok raspon znanja kako iz praktičnog tako i teorijskog aspekta º uto/Tue – sub/Sat fotografije, kao i studiozan rad u svim klasičnim umetničkim disciplinama. Sve to kreira širinu razmišljanja, interpolaciju različitih umetničkih disciplina 10 – 21h ali i slobodu eksperimentisanja koja se ogleda u radovima studenata pa tako neki od njih izlaze iz klasičnog formata dvodomenzionalnog prostora fotografije izražavajući se kroz video, instalaciju, objekat, tekst, publikaciju... Fotografija je značajno promenila svoje lice i ulogu u 21. veku, a kreatori njenog novog značenja upravo su mladi ljudi čije poimanje umetnosti i umetničkog izražavanja prevazilazi standardne akademske okvire. Ova izložba presek je produkcije departmana za fotografiju tokom poslednjih par godina koja objedinjuje zadate teme u okviru školskog programa ali i slobodne radove nastale kao završni izložbeni radovi studenata. Na izložbi će biti predstavljeni radovi studenata: Sara Kecman, Darko Sretić, Miloš Točiković, Bela Benišek, Dejan Stanivuković, Aleksandar Danguzov, Mila Pejić, Anđela Cipar, Jovana Semiz, Maša Vujinović, Igor Šiler, Una Tomašević, Ivan Vuknić, Sandra Jakovljević, Ivana Čavić, Ognjen Tadić, David Popov i Zoran Rašić.

otvaranje/opening 5/4 º 20h traje do/ends 11/4

AKADEMIJA UMETNOSTI NOVI SAD Studenti/The Students

The Department of Photography is one of the youngest at the Academy of Arts in Novi Sad. Nevertheless, it has already achieved enviable results and positioned itself as one of the most prestigious in the country. The specifics of the department are small group classes (up to five students), a wide range of knowledge both from the practical and the theoretical aspect of photography and the studious work in all classical artistic disciplines. All this creates open minded thinking, the interpolation of different artistic disciplines, and the freedom of experimentation that is reflected in student work, so some of them come out of the classic form of a two-dimensional photo space, expressing themselves through video, installation, object, text, publication. Photography has significantly changed its face and role in the 21st century, and the creators of its new meaning are young people whose perception of art and artistic expression goes beyond standard academic frameworks. This exhibition is a cross-section of the production of the department for photography over the last couple of years, which combines the given topics within the school curriculum, as well as the free works created as final exhibitions of the students. The exhibition will include works by students: Sara Kecman, Darko Sretić, Miloš Točiković, Bela Benišek, Dejan Stanivuković, Aleksandar Danguzov, Mila Pejić, Anđela Cipar, Jovana Semiz, Maša Vujinović, Igor Šiler, Una Tomašević, Ivan Vuknić, Sandra Jakovljević, Ivana Čavić, Ognjen Tadić, David Popov and Zoran Rašić. IZLOŽBA/EXHIBITION

©Ivan Vuknić

©Ognjen Tadić

©Sara Kecman

Malabar Jurija Gargarina, 151/1 lokal/unit 63 www.instagram.com/ malabar_nbg º pon/Mon – sub/Sat

Ovaj projekat je uvek u toku... uvek u izradi, nikad neće biti dovršen... čak ni kada se završi. Autorov osvrt na okolinu, na prijatelje i poznanike. Na upoznavanje sebe kroz poglede drugih. Svojevrstan omaž, svima nama... običnim ljudima, sa našim malim pričama i velikim željama...

9 – 23h

otvaranje/opening 13/4 º 19h traje do/ends 30/4

VUKAŠIN DANILOVIĆ CommonPeopleProject 2019

This project is in constant progress... continuously in development and will never reach completion... even when it’s over. An author’s reference to the environment, to friends and acquaintances. Discovering oneself through the perspective of others. A kind of homage to all of us... the ordinary people, with our little stories and our great desires... IZLOŽBA/EXHIBITION

©Danilović Vukašin

Ostavinska galerija

Izmeštanje je tema izložbe na kojoj se predstavljaju studenti master programa departmana Digitalne umetnosti, Fakulteta za medije i komunikacije u Kraljevića Marka 8 Beogradu. Studenti, koji su se opredelili za kurs konceptualne fotografije, kcmagacin.org imali su zadatak da metaforički prenesu na fotografije svoje prethodno º pon/Mon – ned/Sun osmišljene priče i ideje upotrebom kontekstualnih elemenata-objekata.

17 – 21h Udaljujući se od fizičkih dimenzija i upotrebnih značenja, autori su nastojali

da iskažu svoje unutrašnje, intimno i „artističko” u odnosu na objektivno i svakodnevno. Na izloženim fotografijama, ideje se analiziraju kroz niz različitih situacija, dok prepoznavanje realnih predmeta postaje deo metaforičkog i konceptualnog. Serije fotografija objedinjuje ideja kontekstualnih izmeštanja raznih intimnih, profanih i javnih predmeta iz okruženja uz istovremeno dodeljivanje novih metaforičkih i konceptualnih značenja. Dok se klasični odnosi problematizuju njihovom dekompozicijom, prostor slobode se širi izmeštenim stanovištem kako autora, tako i posmatrača. U potpuno novom prostoru-kontekstu nude se izmešteni strukturalni elementi i nova stvarnost. Autori fotografija su Aleksandra Budžak, Emilija Gajić, Isidora Veljković, Milica Bogdanić, Milica Novaković, Milica Staletović, Nina Grbić, Rastko Petrović, Sara Mitić, Suzana Stojković i Vanja Seničić.

otvaranje/opening 12/4 º 19h traje do/ends 17/4

STUDENTI FAKULTETA ZA MEDIJE I KOMUNIKACIJE Izmeštanje/Relocation kustos/curated by Dragan Pavlović

Relocation is the topic of the exhibition, where students of the Department of Digital Arts, Faculty of Media and Communications in Belgrade will be presented. Students who opted for a course on conceptual photography had the task of transferring metaphorically to photographs of their previously designed stories and ideas using contextual elements-objects in strictly controlled conditions or in an urban environment. Moving away from physical dimensions and usages, the authors tried to express their inner, intimate and “artistic” relation to objectivity and everyday. On exposed photographs, ideas are analysed through a series of different situations, while the recognition of real objects becomes part of the metaphorical and conceptual. The series of photographs incorporate the idea of contextual relocations of various intimate, profane and public objects from the environment, while conferring new metaphorical and conceptual meanings. While classical relations are problematised by their decomposition, the space of freedom expands the displaced view of both the author and the observer. In a completely new space-context, there are displaced structural elements and a new reality. Authors of photography are Aleksandra Budžak, Emilija Gajić, Isidora Veljković, Milica Bogdanić, Milica Novaković, Milica Staletović, Nina Grbić, Rastko Petrović, Sara Mitić, Suzana Stojković and Vanja Seničić. IZLOŽBA/EXHIBITION

©Milica Novaković

©Suzana Stojković

Ostavinska galerija

Reminiscencija (od latinskog reminiscor - sećam se) je sećanje o skoro zaboravljenim predstavama. Pojava, koja podstiče sećanje, nekada Kraljevića Marka 8 nesvesno prepoznata, linija koja podseća na nešto. Po svojoj prirodi, kcmagacin.org reminiscencija je uvek izvedena, sekundarna, to je mentalna aluzija, º pon/Mon – ned/Sun svesno ili nesvesno poređenje, pogled unazad, ili u prošlost. Pribegavanje umetnika procesima analogne štampe – obraćanje ka izvorištu, stvara novi 17 – 21h vizuelni jezik koji inicira dijalog sa sadašnjošću. Ideološko-umetničke odlike reminiscencije odnose se, takođe, na prvobitne izvore i tiču se tehnologije stvaranja i pojavljivanja slike. Autori interpretiraju teme sećanja, vremena i učestvovanja u prošlim događajima, odnoseći se kako prema ličnom iskustvu ili društveno-kulturnim procesima, tako i prema iščezlim, ili skoro zaboravljenim slikama. Izložba postavlja pitanja o mestu fotografije u medijima savremene umetnosti i istražuje proces transformacije uloge analogne fotografije kao nezavisnog medija. Termin „reminiscencija“ ne samo da objedinjuje različitost autorskih interpretacija teme, već se i konstituiše kao kustoski metod rada.

otvaranje/opening 19/4 º 20h traje do/ends 24/4

REMINISCENCIJA/REMINISCENCE kustosi/curated by Olga Matveeva, Ekaterina Pryanichnikova

Reminiscence (from Latin reminīscor - remember) - the memory of an almost forgotten concept. A phenomena pushing to the remembrance, sometimes unconsciously perceived, a trait resembling something. By its nature, the reminiscence is always derivative or secondary, it is a mental reference, conscious or unconscious juxtaposition, looking backwards or into the past. The artist’s reference to the processes of analogue printing is an appeal to the origins, creating a new visual language that triggers a dialogue with the present. The ideological and artistic features of the reminiscence also refer to the original sources and relate to the technology of creation and appearance of the image. The authors interpret the memory, time and belonging to the events of the past years, referring both to their personal experience or sociocultural processes, as well as to disappearing or almost forgotten images. The exhibition raises questions about the place of photography in the modern art field and explores the process of transforming the role of analogue photography as an independent media. The term “Reminiscence” does not only connect a variety of author’s interpretations of the topic, but also represents the method of the curators. IZLOŽBA/EXHIBITION

Anna Block

Ekaterina Pryanichnikova

Denis Budilov

Mikhail Ptitsyn

Pavel Bukreev

Daria Trofimova

Larisa Fedotova

Anna Scherbakova

Anastasia Lobanova

Anton Smuglienko

Olga Matveeva

Elizaveta Vdovina

Sofia Pankevich

Ludmila Zinchenko

Papergirl Gallery Hub

Splet događaja koji ne bi da prođu mimo naših reagovanja, prisustvujemo i kad ih ne želimo. Počinju, traju, nestaju, a još su tu. Ostavljaju za sobom Kralja Milana 15 ponešto od tih trajanja, davanja i oduzimanja. Ne pitamo, ne odgovaraju, papergirlgalerija.com uživaju sva prava da budu deo nas i kad nisu u nama. Transcendentalno º pon/Mon – pet/Fri otkrivanje jave, zataškavanje snoviđenja, preplitanje i kolažiranje fragmenata stvarnosti ili irealnosti.

9 – 21h

otvaranje/opening 3/4 º 20h traje do/ends 16/4

Možemo birati da vidimo kako želimo, osećamo kako pulsiramo, stvaramo kao nikada do sada, pa se samo-iznenađujemo, prijatno i vanvremenski, vanprostorno. Naši svetovi, kataklizmične matrice opterećujuće ili prijatne scenografije. Zašivanje predela da bismo amnestirali pukotine. Imaginarna stvarnost je realna iako ne lažemo. Svačija istina prirode je neiscrpni prostor osmišljavanja prilika, nekome ili nikome vidljivih slojeva.

VESNA DOBRIČIĆ, DRAGANA MILOSAVLJEVIĆ Nestvarna je stvarnost/The reality is unreal (Unreal is real) kustosi/curated by Mira Vujović

A web of events that would not pass near our responses, we also attend when we do not want them. They start, last, disappear and they are still there. They leave behind some of these times, giving and taking away. We do not ask, do not respond, they enjoy all the rights to be part of us and when they are not in us. Transcendental detection of java, suppression of dreams, interweaving and collapsing fragments of reality or irrationality. We can choose to see how we want, we feel like we pulse, we create it as never before, so we are self-indulgent, pleasant and timeless, out-of-place. Our worlds, cataclysmic matrices of burdensome or pleasant scenography. Sewing the area to justify cracks. Imaginary reality is real, although we are not lying. Everyone’s true nature is an inexhaustible space for designing opportunities, somebodies or nobodies visible layers. Mira Vujović IZLOŽBA/EXHIBITION

©Dragana Milosavljević

©Vesna Dobričić

Papergirl Gallery Hub Kralja Milana 15

EXITUS je rad o bolesti i smrti mog oca i moje majke. Exitus, reč koja potiče iz latinskog, znači „Exit” i koristi se u medicini za potvrđivanje smrti.

Kada smo moja porodica I ja saznali da moj otac ima rak pluća, odlučila sam da ga fotografišem kako bih prošla kroz ovu tešku fazu mog života. Cilj ovog º pon/Mon – pet/Fri rada je približavanje smrti, pokušaj da se objasni nešto što je u mnogim 9 – 21h društvima tabu tema I naravno, odavanje počasti najvažnijim osobama u mom životu: mom ocu i mojoj majci.

papergirlgalerija.com

Odlučila sam da sve slike snimim mobilnim telefonom, jer nisam želela da moja kamera bude prepreka: mobilni telefon je nešto prirodno u našim životima i prema tome, daje više istinitosti zarobljenim trenucima. Suočavanje sa smrću roditelja je težak zadatak za decu, jer nas niko ne uči da se nosimo sa bolom, a i to je tema o kojoj se retko govori. Rušenje granica između nas (mene i mog oca) bila je veoma važna za mene. Odjednom, dete je pred ocem koji govori o smrti i o onome što treba da se uradi kada više ne bude živ. To su teški trenuci. Postoji određena rezerva u pričanju o određenim stvarima sa našim roditeljima, ali da bismo živeli u miru, moramo se suočiti sa smrću kao samo još jednom fazom našeg života. Mislim da je u mom slučaju, to prelepo vreme susreta ali i prilika da zatvorim krug svog života, ali ne bez bola od gubitka roditelja.

otvaranje/opening 18/4 º 20h traje do/ends 30/4

MAI SAKI EXITUS EXITUS is a work about my father’s and mother’s illness and death. Exitus, a word coming from Latin, means “Exit”, and is used in medicine to certify death. Once me and my family knew my father had lung cancer, I decided to take photos to get through this hard stage of my life. The objective of this work is bringing death closer to people, trying to naturalise something that, in many societies, is a taboo. And, of course, paying tribute to the most important persons in my life: my father and my mother. I decided to take all the pictures with my mobile phone, because I did not want my camera to be an obstacle: a mobile phone is something natural in our lives and, therefore, gives more veracity to the captured moments. Facing the death of parents is a tough task for sons, because nobody teaches us to deal with pain and it is a topic which is seldom talked about . The fact of breaking down barriers between both of us (me and my father) has been very important for me. Suddenly a son is in front of his father talking about death and about what he is supposed to do when he no longer lives. They are hard moments. There is some reserve in talking about certain things with our parents, but to be able to live in peace we must face death as just one more stage of our life. Personally I think in my case it’s being a beautiful period of encounters and an opportunity to close this circle of my life, although not without the pain of the loss of a parents. IZLOŽBA/EXHIBITION

Â©Maii Saki

Galerija Про3ор

Jedna od onih misterioznih i zagonetnih stvari koje muški rod uočava ali ne uspeva u potpunosti da shvati jeste ženstvenost, osobina koja nastaje Koče Popovića 9 kombinacijom pre svega prirode, potom ponašanja i na kraju izgleda www.pro3or.org žene. Ova osobina nije vezana za lepotu niti je povezana sa starošću, to º pon/Mon – sub/Sat je jednostavno ono „nešto” što izaziva posebnu pažnju kako muškog tako i ženskog roda. Posebno je važno naglasiti da se muška vizija savršene 11 – 19h ženstvenosti drastično razlikuje od onoga šta žene gledaju - na ženi. Ono što bi mogli da dodamo jeste i to da se ženstvenost postiže stvaranjem a ne brisanjem razlika između polova. Pokretanje našeg konkursa izazvalo je (očekivane i željene) žestoke reakcije. Ono što smo mi želeli jeste otkrivanje posebnosti i vašeg shvatanja termina ženstvenost. Deo ženske populacije imao je kritičke pokušaje koji iskreno rečeno nisu imali smisla jer su bili žestoko polarizovani. Sa muške strane saradnja sa ženskim modelima ponekad je, zbog neodgovarajuće interpretacije pojma ženstvenost, dala fotografije koje su okarakterisane kao promašena tema. Ipak, a u skladu sa tradicijom i reputacijom Refoto konkursa pred vama je izložba nastala kao izbor od nekoliko hiljada pristiglih fotografija.

otvaranje/opening 29/3 º 19h traje do/ends 3/4

ŽENSTVENOST/ FEMININITY Finale konkursa portala Refoto za najbolju fotografiju The finals of the Refoto competition for the best photo

One of those strange and mysterious things that the male gender notices but does not fully understand is femininity, a characteristic that arises with a combination of nature, behavior and finally a womans look. This feature is not related to beauty, nor is it associated with age, it is simply “something” that causes special attention - both male and female. It is especially important to emphasise that the male vision of perfect femininity drastically differs from what women see on other women. What we can add is that femininity is achieved by creating rather than by deleting gender differences. Launching our competition has caused (expected and desired) fierce reactions. We wanted to discover the speciality and especialy your understanding of the term femininity. A part of the female population had critical attitudes which honestly did not make sense because they were extremly polarised. From a male side, cooperation with female models sometimes, due to an inappropriate interpretation of the concept of femininity, gave photographs that were characterised as missing the topic. However, in accordance with the tradition and reputation of the Refoto competition, the exhibition in front of you is a selection of the best, chosen from several thousand photos. IZLOŽBA/EXHIBITION

©Milan Živković

Galerija Про3ор Koče Popovića 9 www.pro3or.org

Kuba je jedna od poslednjih zemalja u koju je islamska vera kročila. Iako je još uvek nepoznato, broj kubanskih muslimana u proteklih par godina raste. Ovaj rast je jako povezan sa trenutnim promenama na Kubi, koje podrazumevaju veću religijsku toleranciju.

º pon/Mon – sub/Sat Sa trenutnom populacijom od svega 3.000, kubanski muslimani su naseljeni 11 – 19h u nekoliko okruga Havane, ali takođe i širom drugih okruga, kao što su Kamagvej, Santiago, ili Varadero.

Zašto je muslimanska zajednica rođena usred socijalističkih Karipskih ostrva? „Kubanski muslimani” je projekat koji ne nastoji da ponudi konkretne odgovore, već želi da ponudi trag razmišljanja. Istraživajući jednu od najjedinstvenijih religija širom sveta, stvara se inovativan pristup Kubi i islamu. Cilj je razbijanje vizuelnog stereotipa, istraživanje problema kao što su identitet, vera i tradicija.

otvaranje/opening 4/4 º 19h traje do/ends 16/4

JOAN ALVADO Kubanski muslimani, tropska vera Cuban Muslims, Tropical Faith

Cuba is one of the last countries in the world where Islam has entered. Although is still widely unknown, the number of Cubans embracing Islam has constantly increased in the recent years. This growth is strongly linked with the current scenario of changes in Cuba, which includes a higher tolerance towards religions. With a current population around 3,000, Cuban Muslims are present in several districts of La Habana but also have expanded to many other provinces, like Camagüey, Santiago or Varadero. Why a Muslim community is born in the middle of a Socialist Caribbean Island? The “Cuban Muslims” project is not aiming to give closed answers, but provide clues for reflection. By delving into one of the most unique Muslim communities worldwide, an innovative approach to Cuba and Islam is generated. The goal is to break visual stereotypes, questioning issues like identity, faith and traditions. Joan Alvado IZLOŽBA/EXHIBITION

Â©Joan Alvado

Galerija Про3ор

Zašto se društvo trudi da izgradi „Europastrasse” (evropski put)? Većina ovih „evropskih puteva”, proteže se preko čitavog našeg kontinenta, ponekad i Gavrila Principa 16 dalje. Bilo da je to od Holiheda do Išima, od Šanona do St. Petersburga, od www.pro3or.org Kalea do Leninogorska, od Lisabona do Dogubajazita ili od Sitije do Vardoa. º pon/Mon – sub/Sat To su ogromne strukture. Svaka je označena svojim brojem.

11 – 19h Postavljanje obrnutog pitanja još je intrigantnije: šta nam građevinski

poduhvat poput „evropskog puta” govori o društvu koje ga je izgradilo?! Reći će mnog toga o nama samima, pošto smo mi upravo mi to društvo. Tragom ovog razmišljanja, Otto Hainzl rešio je da proputuje celom dužinom evropskog puta E75 - od grčkog ostrva Krita sve do Vardoa blizu Severnog rta (North Cape). To je učinio u jednom koraku u toku jedne četvrtine godine. U svom radu umetnik koristi sve vrste medija kao što su fotografija, video, tekst, metapodaci kako bi ostvario ovaj refleksivan pristup. On uspeva da da sliku društva na osnovu markera koje nalazi duž puta. Most Gazela u Beogradu, samo nekoliko blokova dalje od izložbenog prostora mali je deo E75 - skrenite levo za Sitiju, skrenite desno za Vardo! Delovi „Europastrasse” prikazani su u Finskom muzeju fotografije u Helsinkiju, kao i u Vardou tokom „One Day Residency” programa dok je umetnik još uvek putovao. Tako je i sam rad evoluirao na samoreflektujući način. Planirano je da se beogradska izložba prikaže i u brojnim drugim zemljama na putu E75.

otvaranje/opening 17/4 º 20h traje do/ends 30/4

OTTO HAINZL Europastrasse Why does a society undertake the effort to build a “Europastrasse”? Most of these “European Routes”, stretch across our whole continent, sometimes beyond. Be it from Holyhead to Ishim, from Shannon to St. Petersburg from Calais to Leninogorsk, from Lissabon to Doğubeyazıt or from Sitia to Vardø. They are immense structures. Each is signposted throughout with it‘s own number. Asking the question the other way round is even more intriguing: What does a construction like a “Europastrasse” tell us about the society which built it?! It will tell a lot about ourselves as we are this very society. In search of this reflection Otto Hainzl set off to travel along the entire Europastrasse E75 - from the Greek island of Crete all the way to Vardø near the North Cape. He did so in one go over the course of a quarter of a year. In his work the artist uses all different types of media like photography, video, text, metadata to accomplish this reflective approach. He achieves to mirror society by it’s markers found along the route. The Gazela Bridge in Belgrade, just a few blocks away from the exhibition site, is a tiny fraction of the E75 - take a left to Sitia, take a right to Vardø! Parts of ‘Europastrasse’ were shown at the Finnish Museum of Photography in Helsinki as well as in Vardø during “One Day Residency” programmes whilst the artist was still travelling. So the work itself evolved in a self reflective way. The Belgrade exhibition is planned to move on to numerous other E75 countries. www.ottohainzl.at IZLOŽBA/EXHIBITION

Â©Otto Hainzl

Radisson Collection Hotel, Old Mill Belgrade Bulevar Vojvode Mišića 15 www.radissoncollection. com/en/old-mill-hotelbelgrade

Verena Andrea Prener je slučajno srela mog bivšeg suseda koji joj je rekao da ima slike koje bi je zanimale. Originalne fotografije koje je snimio bivši istraživač i lovac u Africi, Rudolf Grauer, tokom svoje ekspedicije u Ugandi i Kongo-Kinšasu između 1904. i 1906. godine. Nekoliko meseci kasnije pozvana je da realizuje fotografski projekt u Kongu-Brazavilu.

º pon/Mon – ned/Sun U ovom radu,koji je još uvek u procesu, pozivajući se na Grauerove fotografije

želi da uspostavi dijalog između dve perspektive, onoga o bivšem lovcu i

10 – 20h kolekcionaru i njenom viđenju, sociologa.

Da bi istražila uslove, boje i svetlost na terenu, počela je da pravi otiske cijanotipa. Cijanotip je jedan od najstarijih fotografskih procesa. Papir je presvučen hemijskim rastvorom koji je osetljiv na svetlost i zatim izložen sunčevoj svetlosti. Rezultati su plave boje. Plave, vrlo retke boje u tropima. Verena Andrea Prener je sociolog i fotograf rođena i odrasla u Austriji. Poslednjih godina uglavnom je na Bliskom istoku radeći na raznim sociološkim i umetničkim projektima. U svom umetničkom radu fokusira se na ljude i njihovo društveno okruženje, kombinujući sociološke teorije i terenska istraživanja sa medijem fotografije.

otvaranje/opening 30/3 º 17h traje do/ends 2/5

VERENA ANDREA PRENNER Plavi Kongo/Congo Blue Bartcelona PopUp 147

Verena Andrea Prenner accidentally met again her former neighbour who told her he has pictures that might interest her. Original photographs taken by the former researcher and hunter in Africa, Rudolf Grauer, during his expedition to Uganda and Congo-Kinshasa between 1904 and 1906. A few months later, she was invited to realise a photographic project in Congo-Brazzaville. In this work, still in progress, she wanted to refer to Grauer’s photographs and engage in a dialogue between the two perspectives, that of a former hunter and collector and her view, that of a sociologist. In order to explore conditions, colors and light on site, she started making cyanotype prints. Cyanotype is one of the oldest photographic processes. The paper is coated with a chemical solution sensitive to light and then exposed to sunlight. The results are blue colour images. Blue, a very rare colour in the tropics. VERENA ANDREA PRENNER is sociologist and photographer born and raised in Austria. The last years she mainly spent in the Middle East working on various sociological and artistic projects. In her artistic work she focuses on humans and their social environment and combines sociological theories and field research with the medium of photography. IZLOŽBA/EXHIBITION

Radisson Collection Hotel, Old Mill Belgrade Bulevar Vojvode Mišića 15 www.radissoncollection. com/en/old-mill-hotelbelgrade º pon/Mon – ned/Sun

U mojoj svakodnevnoj fotografskoj karijeri klijenti me angažuju da fotografišem lepe zgrade i prostore koje stvaraju, ali na svim mestima na koje putujem ja uvek obraćam pažnju na zanimljive strukture. Ova namenska serija je kolekcija mojih omiljenih zgrada koje sam fotografisala širom Bliskog istoka i Azije, od čuvenog Burj Khalifa nebodera od 828 metara u Dubaiju, do manje poznate, ali jednako lepe Palate mira i pomirenja u Astani u Kazahstanu.

10 – 20h

otvaranje/opening 13/4 º 17h traje do/ends 30/4

CATALIN MARIN Spomenici od betona, stakla i čelika Concrete, glass and steel monuments

In my day to day photography career I get hired by clients to photograph beautiful buildings and the spaces they create, yet I still keep an eye out for structures I find interesting in all the places I get to travel to. This particular series of images includes a collection of my favourite buildings I have photographed throughout the Middle East and Asia, ranging from the famous Burj Khalifa in Dubai, United Arab Emirates, topping out at 828 metres to the less famous, but equally beautiful Palace of Peace and Reconciliation in Astana, Kazakhstan. IZLOŽBA/EXHIBITION

ÂŠCatalin Marin

Residence of the Swiss Ambassador Andre Nikolića 30

Zürich, Sommer 1980 (Cirih, leto 1980.) je izložba koja govori o preprekama, barikadama, o uniformisanoj policiji, demonstracijama, gumenim mecima, vodenim topovima, i uobičajenim dozama suzavca. Pre trideset godina, ulice Ciriha su bila na korak od rata. Sukob koji se dešavao između alternativne scene i institucija kao i nasilje i pripravnost koji su bili na ulicama je danas teško zamislivo. Anarhistička omladina 1980. za razliku od 1968. godine, je predstavljala avangardni spektakl koji je dostigao internacionalni uspeh. Jedini zahtev koji su oni imali je bio otvaranje Autonomnog Omladinskog Centra (AJZ), ali zapravo ono što su oni hteli je bilo sve i odmah. Insistirajući na svemu, naginjujući ka apsurdu, dadaističkim duhom i subverzivnom kamuflažom, pokret je uznemirio već postojeće političke sile, uključujući i one koji su tek 1968. započeli svoju karijeru u institucijama. Bitke na ulicama tog leta 1980. godine obeležile su pomak na kulturnoj sceni u Cirihu, ali su takođe obeležile i sveobuhvatni razvoj promocije urbane kulture mladih. U ordređenoj meri, ovaj kulturni događaj je bio ispred svog vremena, a bez njega ne bi bilo uličnih protesta, kultura ne bi imala međunarodni uticaj. Kao fotograf, Olivia Heussler je bila ujedno i aktivista i svedok tog vremena. Njene fotografije prikazuju leto čije su scene nasilja i radosnih događaja promenile ali takođe i dale trajan uticaj na mnoge živote.

Grupne posete po upitu Group visits upon request info@belgradephotomonth.org

º od/from 4/4 do/until 17/4

OLIVIA HEUSSLER Zürich, Sommer 1980

Zürich, Sommer 1980 is all about barriers, barricades, police, demonstrators, rubber bullets, water cannons and tear gas. Almost 40 years ago, the city was on a war footing. Clashes in public places between the establishment and the alternative scene were played out at levels of violence that would be unimaginable today. Unlike 1968, the anarchic youth revolts in Zurich in 1980 were an avant-garde spectacle and made international headlines. The demand of the young people was that they wanted an Autonomous Youth Centre, but in fact what they wanted was everything, now. Using this insistence on everything, deliberately slanted towards the absurd, with Dadaist wit and subversive camouflage, the movement unsettled representatives of all the established political forces, including many 68ers who were just starting to take over the institutions. The street battles mark a shift towards open cultural politics in Zurich and to comprehensive development and marketing of urban youth culture. To a certain extent, the movement was event culture avant la lettre. Without it there would have been no street parade, and no party culture making an international impact. Heussler is an internationally known, independent photographer and artist. She made investigations on her own stake into regions of crisis, was active for human rights, grassroots activism, feminism and against repression and discrimination on several continents. Her works are shown in international exhibitions and various photo books. She teaches regularly and documented her work, its use and publication on www.oliviaheussler.com. IZLOŽBA/EXHIBITION

Ruski dom, Ruski centar za nauku i kulturu u Srbiji

Magičan svet Dijega Rivere i Fride Kalo

Kraljice Natalije 33

U okviru festivala Beogradski mesec fotografije 2019. Ambasada Meksika sa zadovoljstvom predstavlja izložbu Dijego i Frida: osmeh na pola puta, koja će biti izložena od 5. do 12. aprila u Ruskom domu u Beogradu.

www.ruskidom.rs

Dijego Rivera je bio jedan od najznačajnijih predstavnika meksičkog

º pon/Mon – pet/Fri muralizma a Frida Kalo je bila poznata kao tvorac autobiografskih slika

pod uticajem narodne meksičke i starosedelačke umetnosti. Izložba

9 – 21h nas upoznaje sa njihovim čudesnim svetom, pretvarajući ih u jedan od sub/Sat najkontroverznijih parova u meksičkoj istoriji umetnosti. Skoro četvrt veka

zajedno, njihova ljubavna veza koja je prevazilazila granice, bila je puna

9 – 15h bezbrojnih susreta, bliskosti, nesuglasica i iskrenih prijateljstava sa velikim ličnostima epohe. Izložba se sastoji od 95 crno-belih fotografija čuvenih fotografa kao što su Manuel Alvares Bravo, Nikolas Marej i Edvard Veston, koje prikazuju različite etape ljubavnog odnosa, društvenog i političkog života i smrti Fride Kalo i Dijega Rivere. Zadovoljstvo nam je da pozovemo srpsku javnost na ovaj kulturni događaj koji nam pruža bolji uvid u magičnu stvarnost ovog izuzetnog meksičkog para i njihovo prisustvo u svetskim umetničkim, političkim i kulturnim tokovima tridesetih, četrdesetih i pedesetih godina prošlog veka.

otvaranje/opening 5/4 º 18h traje do/ends 12/4

DIJEGO I FRIDA: OSMEH NA POLA PUTA DIEGO AND FRIDA: A SMILE HALFWAY THROUGH THE PATH The Magical Universe of Diego Rivera and Frida Kahlo Within the framework of the Belgrade Photo Month 2019 Festival the Embassy of Mexico is pleased to present the exhibition Diego and Frida: A Smile Halfway Through the Path, which will be on display from 5th to 12th of April at the Russian House in Belgrade. Diego Rivera was one of the greatest representatives of Mexican muralism and Frida Kahlo distinguished herself as the creator of autobiographical paintings influenced by Mexican folk art with indigenous roots. The exhibition reveals the wonderful universe that both shared, making them one of the most controversial couples in the history of art in Mexico. Together for almost a quarter of a century in a love relationship marked by innumerable contacts, closeness, complicity and deep friendships with great personalities of the time, their influence transcended borders. The exhibition presents 95 black and white photographs with images captured by notable photographers such as Manuel Alvarez Bravo, Nicolas Murray and Edward Weston, among others, who present different stages of the love relationship, social and political life and the death of Frida Kahlo and Diego Rivera. We are pleased to invite the Serbian public to this cultural event that allows us to get up close and personal with the magical reality of this unique Mexican couple and their inclusion in the great artistic, political and cultural movements that shaped the world of the 1930s, 40s and 50s of the last century. IZLOŽBA/EXHIBITION

Umetnička galerija Stara Kapetanija

Izložba Arslokacija Foto mapira i prikazuje razvoj tri srpska fotografa različitih generacija, koji su nakon formiranja na srpskoj umetničkoj sceni, svoj profesionalni razvoj nastavili u inostranstvu. Kustoskinje izložbe Kej Oslobođenja 8 Ivana Đorđević i Sonja Beljić fokus su postavile na pitanje kako promene www.facebook.com/ kulturnog, društvenog i geografskog konteksta utiču na umetničku umetnickagalerija. produkciju. Paralelnim izlaganjem radova iz beogradskog perioda i onih starakapetanija nastalih u toku proteklih godinu dana u inostranstvu, publika stiče jasan º uto/Tue – ned/Sun uvid u kontinuitet i razvoj njihovog stvaralaštva.

14 – 20h Dragan Popović koji danas živi i radi u Stokholmu, svojim fotografijama

ružno, često neprimećeno, pretvara u nešto što direktno komunicira sa njegovim doživljavanjem lepote. On tako, kolažiranjem i ređanjem detalja tla po kojem gazi, stvara nove, veličanstvene i bestežinske pejzaže. Ilija Lazarević nastanjen u Nirnbergu, kroz svoj narativ nastoji da reši večitu dilemu: „Ako odem od kuće na neodređeno vreme, imaću uvek osećaj da nešto propuštam. Ne znam kako da kompenzujem izostanak, kako sebi tako i drugima. Ono što me zanima je – da li je uopše moguće zauvek otići i potpuno se vratiti?” Nemanja Zdravković, u Čikagu nastavlja da razotkriva čovekove unutrašnje svetove, sa svim konfliktima koje nose, kao i spoljašnji život pojedinaca, na koji utiču brojni spoljašnji faktori. U serijama fotografija To the Unknown Man and Newborn, Nemanja kroz objektiv vešto beleži intimne, a opet veoma javne trenutke.

otvaranje/opening 10/4 º 19h traje do/ends 21/4

NEMANJA ZDRAVKOVIĆ ILIJA LAZAREVIĆ DRAGAN POPOVIĆ Arslokacija Foto The Arslokacija photo exhibition locates and shows the development of three Serbian photographers belonging to different generations, who were part of the Serbian artistic scene and then continued their development abroad. The main focus of the exhibition curators, Ivana Đorđević and Sonja Beljić, is exploring how changes of cultural, social and geographical context influence artistic production. By displaying works from their Belgrade period parallel to their works made during the last year that they spent abroad, the audience will gain clear insight into the continuity and development of their creativity. Dragan Popović, who is living and working in Stockholm, uses his photos to turn ugly and frequently unnoticed elements into something which directly communicates with his impression of beauty. By collaging and arranging details of the soil he is stepping on, he creates new, grand and weightless landscapes. Ilija Lazarević, living in Nurnberg, through his narrative intends to solve the everlasting dilemma: “If I go away from home indefinitely, I will always feel that I am missing something. I don’t know how to make it up, to myself and to others. I am wondering is it even possible to go away forever and to be completely back?” In Chicago, Nemanja Zdravković continues to expose the inside realms of a human with all the conflicts they bear, just as the outer life of an individual, affected by numerous factors. In the series To the Unknown Man and Newborn, through his lens he skilfully records those intimate yet very public moments. IZLOŽBA/EXHIBITION

Ustanova kulture gradske opštine Stari grad

Instagram su pre skoro devet godina kreirali Kevin Sistrom (Kevin Systrom) i Majk Kriger (Mike Krieger). Prvobitno su ga razvili za korišćenje na Epl (Apple) uređajima. U prva dva meseca od pokretanja, Instagram je privukao Kapetan Mišina 6a dva miliona korisnika a na kraju prve godine njegovog postojanja ta cifra ukstarigrad.rs je dostigla deset miliona. Pre sedam godina, u mesecu aprilu, Instagram je º pon/Mon – sub/Sat postao dostupan na Android telefonima i za prva 24 časa preuzet je milion puta. U septembru 2017.godine imao je 800 miliona registrovanih korisnika.

9 – 22h

Instagram je, sa svojim specifičnim kvadratnim formatom 1:1 i izborom filtera koji se mogu primeniti na slike, započeo kao omaž Kodak Instantu i Polaroidu. Od 2015.godine Instagram dozvoljava postavljanje fotografija u formatu pravougaonika. Fotografija koja je do sada dobila najveći broj lajkova na Instagramu, čak 52,3 miliona, je fotografija jajeta koju je objavio @world_record_egg u januaru 2019. godine. Tim Beogradskog meseca fotografije je pre tri godine odlučio da napravi otvoreni konkurs za korisnike Instagrama. Iz godine u godinu broj prijava je nevorovatno brzo rastao, da bi 2019.godine dostigao 1100 prijavljenih fotografija. Članovi tima i nekoliko saradnika Beogradskog meseca fotografije napravili su selekciju ne znajući unapred ko su autori radova i te izabrane fotografije čine Instagram izložbu Beogradskog meseca fotografije za 2019.godinu.

otvaranje/opening 28/3 º 19h traje do/ends 1/4 + 10/4 traje do/ends 23/4

BELGRADE PHOTO MONTH Instagram 2019

Instagram was created almost nine years ago, by Kevin Systrom and Mike Krieger and was developed for use with Apple devices. Within the first two months of launching, Instagram had attracted two million users and that figure reached ten million by the end of the 1st year. Seven years ago in the month of April, Instagram became available on Android phones and was downloaded one million times in the first 24 hours. By September 2017 it had 800 million registered users. Instagram started out as a homage to Kodak Instant and Polaroid with its particular square format 1:1 and a selection of filters that could be applied to the images. In 2015 Instagram allowed photographs to also be uploaded in rectangular form. The photo with the most likes ever on Instagram is a photo of an egg posted by @world_record_egg in January, 2019 and has received over 53.2 million likes! Three years ago the Belgrade Photo Month team decided to do an open call competition for Instagram users. The applications for this open call have increased enormously year by year, with the 2019 call receiving 1,100 entries. The Belgrade Photo Month team and some BPM contributors did a blind selection of all the entries and the best entries form the BPM Instagram exhibition 2019. IZLOŽBA/EXHIBITION

ÂŠsoumyabrataroy2

ÂŠmehrdad.vahed

Ustanova kulture gradske opštine Stari grad Kapetan Mišina 6a

Anastasija Asja Zec, ovom izložbom prvi put predstavlja svoje radove beogradskoj publici. Prvu koncertnu fotografiju napravila je 2014. godine, ali joj se aktivno posvećuje tek od 2016. godine.

„Koncertnu fotografiju smatram za jednu od težih. Fotograf nema kontrolu nad svetlom, subjektom, a vrlo često ni nad mestom odakle fotografiše. Zato je º pon/Mon – sub/Sat svaki koncert jedinstven izazov, neponovljiv i istinit.”

ukstarigrad.rs

9 – 22h Jovana Milovanović – Skullcheez je više puta prvonagrađeni koncertni

fotograf i najmlađi učesnik izložbe „50 godina koncertne rock fotografije u Srbiji”, sa aktivnim fotografskim prisustvom na muzičkoj sceni od 2012. do 2015. godine, kada fotografiše za lokalne portale i magazine. Od 2018. sarađuje sa Američkim muzičkim portalom Music Existence. Završila je VŠSS Beogradsku Politehniku, smer grafički dizajn, sa završnim radom iz fotografije pod nazivom „Fotografija i muzika”. Svoje radove izlagala je i u kolektivnim izložbama Foto saveza Srbije i Međunarodnog salona fotografije. Milica Cvetković – Autosugestija je snimatelj, fotograf i student kamere na FDU. Od 2015. godine fotografiše za nekoliko domaćih muzičkih portala i autor je muzičkih alternativnih spotova. „Za mene je koncertna fotografija prva ljubav. Prvi aparat sam kupila s namerom da zabeležim „pravi” trenutak na sceni, dok usputno uživam u svakoj svirci. Postoji nešto duboko u emociji koja nastaje u odnosu publike i izvođača, taj trenutak je ključan. Borimo se u haotičnosti, i tu smo da taj trenutak osetimo, zabeležimo i prenesemo.”

otvaranje/opening 10/4 º 19:30h traje do/ends 23/4

ANASTASIJA ASJA ZEC JOVANA MILOVANOVIĆ – Skullcheez MILICA CVETKOVIĆ – Autosugestija e/motion Anastasija Asja Zec presents her works for the first time to the Belgrade public in this exhibition. She made her first concert photography in 2014, but has been actively engaged in documenting concerts from 2016. “I consider concert photography as technically challenging. The photographer does not have control over the light, subject or location for these photos. That’s why every concert is a unique challenge, unrepeatable and true.” Jovana Milovanović – Skullcheez is a more than once rewarded rock photographer and was the youngest participant in the exhibition “50 Years of Concert Rock Photography in Serbia”. Between 2012 and 2015 she had an active photographic presence on the local music scene, capturing photos for local portals and magazines. Since 2018 she has been collaborating with the American music portal Music Existence. She graduated in Graphic Design from Belgrade Polytechnic with a final photo project work entitled “Photography and Music”. She has exhibited her works in collective exhibitions by the Photo Association of Serbia and International Salon of Photography. Milica Cvetković – Autosugestija is a cameraman, photographer and student at The Faculty of Dramatic Arts. Since 2015 she has photographed for several Serbian music portals and she is the author of a number of music videos. “For me, concert photography is my first love. I bought my first camera with the intention of recording the “real” moments at concerts while I enjoy every performance. There is something deep in the emotions that arises in that relationship between audience and performer, that moment is crucial. We are struggling in chaos, and we are here to feel, record and carry on that moment.” IZLOŽBA/EXHIBITION

Restoran ТРИ

Radionica Geometrija je kreativna platforma namenjena studentima Odseka za pejzažnu arhitekturu i hortikulturu, gde imaju priliku da razvijaju Kosovska 51, bašta/garden i izražavaju svoje kreativne sklonosti kroz istraživanje geometrije, različitih º pon/Mon – sub/Sat formi i kompozicija, vizuelno predstavljajući svoja dela na različite načine. 12 – 24h Rukovodilac kreativne platforme „Radionica Geometrija” je dr Biljana Jović, docent Šumarskog fakulteta, Univerziteta u Beogradu. Počasni mentor: magistar umetnosti Nenad Glišić, umetnik Platonova tela su pravilni poliedri u trodimenzionalnom prostoru. Tetraedar se vezuje za vatru, oktaedar za vazduh, ikosaedar za vodu, heksaedar kao najprepoznatljivi element za nas, simbolizuje zemlju ili telo, a dodekaedar predstavlja planete. Platonove idealne forme prkose zakonima prirode, stvarajući snažan kontrast. Privlače naše poglede i postavlja se pitanje - Da li je simbioza ovih, naizgled, nekoherentnih elemenata moguća? Učesnici radionice Geometrija ove godine, istražujući lepote prirodnih geometrijskih obrazaca kroz vizuelni pristup, uvode posmatrače u svet vidljive i nevidljive geometrije prirode na ovogodišnjoj izložbi u okviru Beogradskog meseca fotografije. Koordinatori i aktivni članovi Radionice Geometrija, studenti odseka za pejzažnu arhitekturu i hortikulturu, Šumarskog fakulteta i članovi Radionice Geometrija Koordinatori: Nikola Debeljak, Petar Rakočević

otvaranje/opening 25/4 º 17h traje do/ends 23/5

RADIONICA GEOMETRIJA Platonova tela u prirodi/Platonic solids in nature The Geometry Workshop is a creative platform designed for all students at the Department of Landscape Architecture and Horticulture, where they have the opportunity to develop and express their creative inclinations through the exploration of geometry, various forms and compositions, visually interpreting their works in different ways. The Head of the Workshop Geometrija is Dr. Biljana Jović, docent at the Faculty of Forestry, University of Belgrade. Honorary mentor: MA Nenad Glišić Artist Platonic solids are regular polyhedra in three-dimensional space. Tethrahedon was commonly associated with fire, octahedral with air, icosahedron with water, hexahedral as the most recognisable element to us was related to earth, while dodecahedron represents the universe. Platon’s ideal forms defy the laws of nature, creating strong contrast and discrepancy. It attracts our glances because of so many differences and asks a question for itself – Is symbiosis of these, seemingly incoherent elements, even possible? Participants of the Geometry Workshop this year were exploring the beauties of natural geometric patterns around us and, through a visual approach, introduce observers into the world of visible and invisible geometry of nature at this year’s exhibition at Belgrade Photo Month Festival. Coordinators and active members of Geometry Workshop, students of the Department of Landscape Architecture and Horticulture, University of Belgrade, Faculty of Forestry, members of Geometry Workshop Coordinators: Nikola Debeljak, Petar Rakočević IZLOŽBA/EXHIBITION

ÂŠNikola Debeljak

Ušće Shopping Center

Zašto Balans?

Bulevar Mihajla Pupina 4

Zato što prirodni poredak teżi stabilnosti i ne podrazumeva neminovno rast, koji često może da bude neumeren, uznemiravajući i iracionalan.

usceshoppingcenter.rs

º pon/Mon – ned/Sun Rast ili balans? 10 – 22h Moj projekat Balans kreiran je imajući u vidu ovu dilemu i sugeriše da one koji pričaju o balansu kao alternativi bi trebalo pażljivije saslušati. Serija Rizik Rizik kao żivotni koncept intrigira moju fotografsku maštu. Ova serija je jedan od pokušaja njegove vizuelne prezentacije. „Samo oni koji rizikuju da odu predaleko mogu otkriti dokle je moguće poći.” – T.S. Eliot

otvaranje/opening 3/4 º 17h traje do/ends 13/4

MIĆO PAVLOVIĆ Balans/Balance

Why balance? Because nature’s aim is stability, which isn’t necessarily growth, which can be excessive, disturbing and irrational. The alternative to balance is imbalance and destruction. Growth or Balance? My Balance project was created having in mind this dilemma and the project suggests that those who speak about balance as an alternative should be listened to more carefully. Project: Risk A visual responce to T.S. Eliot’s dictum: “Only those who risk going too far can possibly find out how far one can go.” IZLOŽBA/EXHIBITION

X Vitamin

Izložba pod nazivom EROSTALGIJA vs PORNIVORA se bavi problematizacijom erotskog i pornografskog kulturalnog sižea u masovnoj, tzv. neumetničkoj Studentski trg 11 globalnoj kulturi prevashodno dvadesetog veka, uz kratak osvrt na raniji xvitamin.org period i anticipaciju eventualnih budućih kulturalnih trendova. Okosnicu º pon/Mon – pet/Fri izložbe tj. eseja u katalogu predstavlja razmatranje date teme kroz prizmu tri (uslovne) epohe: period do početka ili sredine XIX veka, do kada erotski 14 – 20h i pornografski kulturni sadržaji nisu bili strogo razgraničeni; period od sredine XIX do sedamdesetih godina XX veka, kada je došlo do napete i uvek ambivalentne polarizacije ta dva termina i sadržaja na koje se odnose; i period posle sedamdesetih godina prošlog veka do danas, od kada, u doslovnom ali i metaforičnom smislu, kulturni primat ima pornografija. Kao ilustrativni materijal pomenute teze, biće izložene fotografije erotske i/ili pornografske provenijencije, iz zbirke kolekcionara i fotografa Muzeja nauke i tehnike, Miloša Jurišića.

otvaranje/opening 29/3 º 20h traje do/ends 8/4

DUŠICA POPOVIĆ EROSTALGIJA vs PORNIVORA

The exhibition titled EROSTALGIA vs PORNIVORA problematises the erotic and pornographic cultural content in mass, that is, nonartistic global culture primarily of the twentieth century with a short overview of the previous period and anticipation of the possible future cultural trends. The core of the exhibition presented in the catalogue essays discusses the topic through the prism of three (conditionally speaking) epochs: the period until the middle of the XIX century when the erotic and pornographic cultural contents were not so strictly demarcated; the period from the middle of the XIX century up to the seventies of the XX century when a tension and always ambivalent polarisation between the terms and contents they refer to were present; and the period that came after the seventies of the last century and continues until the present when pornography has taken cultural primacy both in the literal and metaphoric sense. The material that illustrates the mentioned thesis will be the exhibited photographs of erotic or/and pornographic provenience from the collection of the collector and photographer of the Museum of Science and Technology Miloš Jurišić. Dušica Popović IZLOŽBA/EXHIBITION

Železnički muzej u Beogradu, galerija

Božidar Vitas je rođen 26. novembra 1939. godine u Beogradu, na Dorćolu, gde i sada živi. Svetlopisom se bavi od 1957. godine. Samostalno izlagao 132 put (84 izložbe svetlopisa, 15 projekcija dijapozitiva i 33 projekcije Nemanjina 6 svetlopisa) širom Srbije. Dva puta samostalno izlagao u Solunu, jedan put u japanskom gradu Tađimiju, sedam puta u Frankfurtu na Majni, dva Udruženje umetnika puta u Doboju, jednom u Trebinju i Višegradu (Republika Srpska), jednom Železnica Srbije u Travniku (BiH), jednom u Pertu (Australija). Učesnik je 290 kolektivnih º pon/Mon – pet/Fri izloćžbi i likovnih menafistaja u zemlji i inostranstvu, kao i 62 saborovanja 10 – 15h (kolonija) likovnih umetnika. Na dosadašim izlaganjima prikazao je javnosti više od 3800 različitih fotografija i oko 1300 različitih dijapozitiva u boji. U muzejskim, galerijskim i privatnim kolekcijama u zemlji i inostranstvu ima više od 300 radova.

otvaranje/opening 29/3 º 18h traje do/ends 5/4

BOŽIDAR VITAS Oproštaj od Stare dame

Božidar Vitas was born on November 26th, 1939 in Belgrade, Dorćol area, where he still resides. He has been engaged in the “art of painting with light” since 1957. He has had 132 solo exhibitions (84 “art of light paintngs” – photo exhibitions, 15 slide shows and 33 light shows) throughout Serbia. He has also had two solo exhibitions in Thessaloniki, one in the city of Tajimio (Japan), seven in Frankfurt (Germany), two in Doboj, one in Trebinje and Višegrad (Republic of Srpska), one in Travnik (Bosnia and Herzegovina) and one in Perth (Australia). He has participated in 290 multi-artist exhibitions and art events, domestically and internationally, as well as 62 art gatherings and workshops. Altogether, 3800 different photographs and 1300 different dias oeuvres have been presented. More than 300 art pieces are now part of national and foreign museums, galleries and private collections. IZLOŽBA/EXHIBITION

Železnički muzej u Beogradu, galerija

Katarina Ristić rođena je jedne zimske večeri 1967. godine u Nišu. U Beogradu živi od 1971. godine.

Nemanjina 6

Otkrivši ljubav prema fotografiji na jednom putovanju istom se bavi od 2009. godine kao član Foto saveza Srbije i Udruženja umetnika Železnica Srbije.

Udruženje umetnika Železnica Srbije

º pon/Mon – pet/Fri Svoje radove je izlagala na preko 100 kolektivnih i pet samostalnih izložbi 10 – 18h fotografija osvojivši niz nagrada i priznanja. Ovo je njena šesta samostalna izložba fotografija kojom će pokušati da iskaže svoje viđenje interesantnih detalja sa putovanja u Prag. Reč je o autoru koji se fotografijom služi da oslika svoja osećanja prema životu i svetu koji je okružuje. Ona voli život, ljude, životinje, arhitekturu, voli putovanja i susret sa drugim kulturama. Sa takvim širokim spektorm zanimanja, ona pravi isečke iz života u kojima svaki gledalac može pročitati svoju priču. Kroz mnoge fotografije Katarine Ristić provejava pojam i prizor putovanja. Posebnu pažnju u fotografiji privlače joj detalji iz sveta oko nas. Tako i ovaj put kada možemo videti niz interesantnih detalja iz Praga pretočenih u minijature kao oblik umetničkog izražavanja.

otvaranje/opening 6/4 º 18h traje do/ends 12/4

KATARINA RISTIĆ Prag u minijaturi/Miniature of Praha

Katarina Ristic was born one winter evening in 1967 in Niš. She has lived in Belgrade since 1971. Discovering her love for photography during one trip, she has been taking photos since 2009 as a member of the Photo Association of Serbia and the Association of Railway Artists. She has participated in more then 100 group and five solo exhibitions, winning a number of awards and praises. This is her sixth solo exhibition of photographs with which she will try to show her views of details she found interesting in Prague. It is about the author who uses photography to depict her feelings about life and the surrounding world. She loves life, people, animals, architecture, loves travelling and meeting other cultures. With such a wide range of occupations, she makes real life snippets in which every viewer can read their own story. Through many photographs, Katarina Ristic is performing the concept and scenes of journey. With her particular attention in photography she finds the details around us. This time we can see a series of interesting details from Prague styled in the form of miniatures as a form of artistic expression. IZLOŽBA/EXHIBITION

Železnički muzej u Beogradu, galerija

Aleksandar Pfićer, rođen je 1980. godine. Godine 2005. diplomirao fotografiju na Akademie für Bildende Künste IVAS Minhen, istureno odeljenje u Beogradu, u klasi profesora Nikole Radoševića i stekao zvanje Nemanjina 6 diplomirani majstor fotografije. Član je Udruženja samostalnih umetnika Udruženje umetnika i diplomiranih majstora fotografije USUF Srbije i Udruženja umetnika Železnica Srbije Železnica Srbije iz Beograda. Imao je deset samostalnih i učestvovao na više º pon/Mon – pet/Fri od 100 kolektivnih izložbi u zemlji i inostranstvu. Nagrađivan je sedam puta. Živi i radi u Beogradu.

10 – 18h

otvaranje/opening 6/4 º 18h traje do/ends 12/4

ALEKSANDAR PFIĆER Zumiranje prošlosti

Aleksandar Pfićer, born in 1980, Graduated as Master of Photography in 2005 at the Academy of Art IVAS Munich, department in Belgrade, in the class of professor Nikola Radošević. He is a member of the Association of Independent Artists and Masters of Photography USUF of Serbia and the Association of Serbian Railways artists from Belgrade. He has shown work in ten solo exhibitions and participated in more than 100 collective exhibitions in Serbia and abroad, and has been awarded seven times. He lives and works in Belgrade. IZLOŽBA/EXHIBITION

Železnički muzej u Beogradu, galerija

Izložbom „Tajne beogradske železničke stanice”, kroz fotografiju, arhivsku građu i isečke iz štampe, predstavljen je život stanice, od gradnje 1884, do savremenog doba. Izložene fotografije i građa potiču iz zbirki Muzeja Nemanjina 6 Jugoslavije, Arhiva Jugoslavije, Istorijskog muzeja Srbije, Muzeja grada, º pon/Mon – pet/Fri Železničkog muzeja, kao i zbrike Miloša Jurišića. Beogradska stanica je 10 – 18h jedna od građevina koja je izvršila veliki uticaj na razvoj grada, ali i šire. Od perioda izgradnje, do šezdesetih godina XX veka, svako ko je posetio Srbiju, prvo je kročio na perone beogradske stanice. Utvrđena je za kulturno dobro od velikog značaja.

otvaranje/opening 15/4 º 13h traje do/ends 18/4

MEDIJA CENTAR „ŽELEZNICA SRBIJE” ad Tajne beogradske železničke stanice kustosi/curated by Ivana Jovičić Ćurčić

The exhibition “Secrets of the Belgrade Railway Station”, presents the life of the station through photographs, archival material and printouts from the construction of the station in 1884 to the modern era. Photos and exhibit materials are a part of collections of the Museum of Yugoslavia, the Archives of Yugoslavia, the Historical Museum of Serbia, the City Museum, the Railway Museum, and the private collection of Miloš Jurišić. Belgrade station is one of the building constructions that has significantly influenced not only the development of the city, but it also had a wider influence. Since the construction, up to the sixties of the twentieth century, anyone who visited Serbia started their visit on the platforms of Belgrade station. The station is declared as a cultural building of great significance. IZLOŽBA/EXHIBITION

Elektrifikacija stanice Beograd, maj 1970

Zoom Art Cafe & Photo Studio Dobarčina 76 www.zoomstudio.rs º pon/Mon – sub/Sat 9 – 23h ned/Sun 10 – 21h

otvaranje/opening 7/4 º 16h traje do/ends 20/4

Ova izložba predstavlja tri serije fotografija izrađenih alternativnom tehnikom štampe u izvođenju dva ruska fotografa. „Zid plača” Svetlane Borozentceve, posvećen Jerusalimu- izvan vremena i prošlosti. Njen izražajan, mada delikatan i inspirativan rad je velikim delom izrađen tehnikom gum-bihromatskog ručnog štampanja. „Vremenske mašine” i „Posna sreda” Asje Gordejeve su dela koja istražuju estetiku sušenja i razlaganja , simbiozu žive i mrtve prirode poredeći je, u njenoj lepoti i grandioznosti, sa razrušenim tvrđavama i gradovima nestalih u prašinu. Asja u svom radu koristi ulje i vodu u tehnici duboke štampe kako bi dočarala magiju rđe i njenog utapanja u okolinu.

ASYA GORDEEVA SVETLANA BOROZENTSEVA Timeless

This exhibition presents three series of photos in an alternative printing technique performed by two Russian photographers. “The Wailing Wall” by Svetlana Borozentseva is dedicated to Jerusalem - beyond age and time. Her expressive, though delicate and inspiring works, are created with gum bichromate hand printing. “Time machines” and “Meatless Wednesday” by Asya Gordeeva are a masterful exploration of the aesthetics of withering and decay, a symbiosis of live and dead nature, comparing its beauty and grandeur to ruined fortresses or ancient cities gone into the sand. Asya uses water & oil printing and etching machine to convey the magic of rusty iron and its absorption by the environment. IZLOŽBA/EXHIBITION

Zoom Art Cafe & Photo Studio

Visprene i ironične, fotografije Eugena Safijana predstavljaju primer savremene ulične fotografije u kojoj svaka fotografija priča svoju priču. Ne zahtevaju sve priče, bile one simpatične ili dramatične, prisustvo akcije. Dobračina 76 Zapravo, nekad odsustvo akcije ostavlja prostor posmatraču da ispriča www.zoomstudio.rs svoju priču. Eugen je pripremio izbor svojih najdražih uličnih momenata iz º pon/Mon – sub/Sat svakodnevnog života uhvaćenih širom sveta. Autor lično je osnivač i kustos Bugarskog Foto Festivala.

9 – 23h

ned/Sun 10 – 21h

otvaranje/opening 24/4 º 19h traje do/ends 15/5

EUGENE SAFIAN Batman and others

Smart and ironic, these photos by Eugene Safian are an example of contemporary street photography, where every single picture is a short story. Not all the stories, cute or dramatic, require much action. In fact, the lack of action can sometimes provide the story telling space for the viewer. Eugene prepared the selection of his favorite street moments from everyday life, taken all over the world. The author himself is the founder and curator of the Bulgarian Photo Festival. IZLOŽBA/EXHIBITION

SPONZORI/SPONSORS

MEDIJSKI SPONZORI/MEDIA SPONSORS

COLLABORATORS/SARADNICI

PRIJATELJI/FRIENDS