2020/1 by Belgrade Photo Month

2020/1 BEOGRADSKI MESEC FOTOGRAFIJE BELGRADE PHOTO MONTH

ARTGET GALERIJA BALKAN BIOSKOP БАРТCЕЛОНА POP UP / RADISSON COLLECTION HOTEL, OLD MILL BELGRADE DOM OMLADINE BEOGRADA GALERIJA N.EON GRAFIČKI KOLEKTIV INSTITUT FRANÇAIS DE SERBIE INSTITUTO CERVANTES DE BELGRADO ISTITUTO ITALIANO DI CULTURA DI BELGRADO Kulturni centar GRAD KUĆA LEGATA Alternativni umetnički prostor KVAKA 22 LESKOVAČKI KULTURNI CENTAR MUZEJ GRADA BEOGRADA, KONAK KNEGINJE LJUBICE MUZEJ GRADA BEOGRADA, MUZEJ MLADENOVCA O3ONE ART SPACE / ДОРЋОЛ PLATZ RTS KLUB UK STARI GRAD

©Snežana Krstić Dobro došli na peto izdanje našeg festivala u šestoj godini organizovanja različitih događaja u vezi sa fotografijom. Niko nije očekivao da će epidemija virusa Covid-19 stići i do nas, pa kada smo prošle godine odlučili da pomerimo glavni deo festivala za 2021, nismo mogli ni pretpostaviti da će situacija i dalje biti jako teška. Upravo zbog toga neki od učesnika neće biti u mogućnosti da doputuju u Beograd tokom trajanja njihovih izložbi, tako da ćemo koristiti dostupnu tehnologiju, kao i za brojne zanimljive onlajn diskusije proteklih meseci. Veoma nam je drago da su se Beogradskom mesecu fotografije priključila dva nova prostora. Ovi prostori su od velike važnosti jer će se u njima održati otvaranje festivala BMF 2020/1. Najlepše se zahvaljujemo Kući legata i Bioskopu Balkan, njihovim direkcijama i timovima što veruju u naš rad i podržavaju naš projekat. Iskreno se nadamo da će interesovanje za ovogodišnji program festivala, koji će trajati do oktobra, biti veliko. Tim BMF-a već vredno radi na pripremi novog još bogatijeg izdanja festivala za 2022. godinu. Ovo izdanje BMF-a posvećujemo svima onima koji su ugroženi haosom izazvanim epidemijom Covid-a 19, onima koji više nisu sa nama, kao i svima koji se trude da nam učine život mogućim i lakšim. Nije važno kako fotograf gleda na svet, već je važna njihova intimna veza… Antoan d’Agata David Pužado

We would like to welcome you to our 5th edition of the festival, our 6th year of organising all kinds of events connected to photography. Nobody expected that an epidemic such as Covid-19 would arrive in our life and last year, when we decided to move the main part of the festival to 2021, no one imagined that the situation would still be so difficult. Because of the ongoing situation, some of the participants will not be able to travel to Belgrade during their exhibitions and for them we will continue to use the technology available to us, as we did over the last few months, with a number of interesting online talks. We are very pleased to welcome two new venues to Belgrade Photo Month. These new venues that will be a very important part of BPM 2020/1 as these are the venues that will open the festival. Huge thanks to Kuća legata and Bioskop Balkan, to the directors and the teams who work with them and thank you for believing in and supporting our project. We hope that you will be interested in the programme that we have prepared for this year, with events running through until October. The BPM team are already working hard to bring you an even better edition in 2022. This Belgrade Photo Month edition is dedicated to all the people who have suffered because of the chaos caused by Covid-19, to all those who are no longer with us, and to all the people that are working hard to make our life possible and easier. It’s not how a photographer looks at the world that is important. It’s their intimate relationship with it... Antoine d´Agata David Pujadó

KUĆA LEGATA Kneza Mihaila 46 kucalegata.org uto/Tue – pet/Fri º 14 – 19h sub/Sat – ned/Sun º 12 – 15h

PROGRAM I RADNO VREME GALERIJA SU PROMENLJIVI. PROVERITE NAJNOVIJE INFORMACIJE NA INTERNET STRANICI GALERIJE ILI BEOGRADSKOG MESECA FOTOGRAFIJE. THE PROGRAMME AND THE WORKING HOURS OF GALLERIES ARE SUBJECT TO CHANGE. PLEASE CHECK GALLERY WEBSITES OR THE BPM WEBSITE FOR ANY UPDATES.

NOVI TALENTI/NEW TALENTS 2020 otvaranje/opening 8/5/2021 º 18h traje do/ends 22/5/2021 Peto izdanje takmičenja pod imenom Novi talenti podržano je od strane Nikon Srbija, koji je sa nama od prve edicije festivala. Kao i prethodnih godina, odabrali smo žiri tim od pet članova: Paulina Ana Galančak; predsednica TIFF kolektiva i fondacije, kokreatorka TIFF festivala, kulturna animatorka, kustoskinja i fotografkinja), Mikiko Kikuta (umetnički direktor Šiogama fotografskog festivala u Mijagi kao i Setouči internacionalnog fotografskog festivala Takamatsu u Japanu, deo je fotografskog projekta European Eyes on Japan/Japan Today), Fransesk Fabregas (fotograf i član Komiteta za promociju Nacionalnog plana za fotografiju, a direktor je i Formentera Fotografica festivala), V. M. Hant (šampion fotografije, kolekcionar, kustos, konsultant i predavač. Bio je na čelu W. Eugene Smith Memorial Found-a kao sudija) i Branimir Karanović (fotograf i profesor fotografije). Među nagrađenima, po prvi put od samog početka, naći će se najbolji radovi iz Srbije i regiona, koji će biti u izložbenom delu. Žiri je imao veoma težak zadatak pred sobom, koji je podrazumevao odabir tri najbolja projekta od prijavljenih 141 (50 projekata datira od prošlog festivala). Skoro 60% prijava je bilo poslato od strane žena, a ostalih 40% od strane muškaraca, pristiglih iz 32 države. Prijave su najčešće pristizale iz Srbije (30%), Rusije (22%), Italije (10%) i Brazila (5%). --This is the 5th 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 5 members: Paulina Anna Galanciak – President of the TIFF Collective Foundation, co-creator of the TIFF Festival, cultural animator, curator and photographer, Mikiko Kikuta – Artistic director of Shiogama Photography Festival in Miyagi and Setouchi International Photography Festival, Takamatsu in Japan and European Eyes on Japan/ Japan Today photography project and curator of Sado Island Galaxy Art Festival, Director of exhibitions for Kanzan gallery in Tokyo, Francesc Fàbregues – Photographer, member of the Promotion Committee of the National Plan for Photography of the Government of the Generalitat de Catalunya and Formentera Fotografica Festival Director, W.M.Hunt – Hunt is a champion of photography: a collector, curator and consultant. He teaches and lectures. He was on the board of the W. Eugene Smith Memorial Fund and has been head judge twice and finally, Branimir Karanović – Photographer and Professor of Photography. This year, for the first time, we include in our awards list a special award for the best local project (Serbian) that will also form part of our exhibition. The jury had the very difficult task of selecting the best 3 projects and the best local project from the 141 proposals (50 more than the last edition) that met the conditions to be part of the contest. Almost 60% of proposals were sent by women and 40% by men, with applications arriving from 32 different countries. The countries with the highest amount of proposals were Serbia (30%), Russia (22%), Italy (10%) and Brazil (5%).

Prvo mesto/1st Place Любовь Ракшина

Teće mesto/3rd Place Кристина Сергеева

Drugo mesto/2nd Place Maxime Matthys

Najbolji domaći projekat/Best Local Project Nađa Repman

©Grebo Gray

Fotografija godinama unazad predstavlja naš najbliskiji medij u izražavanju mišljenja, beleženju i komentarisanju stvarnosti, čak i njenom preoblikovanju prema sopstvenim pravilima. Ona je često sredstvo za izražavanje emocija – ljutnje, neslaganja, frustracija, nada. Nastavlja uz to da bude veličanstveni element beleženja stvarnosti i svojevrsna hronika sećanja. Ona je svuda i može predstavljati bilo šta. I što je najinteresantnije – zbog svoje jedinstvenosti ne gubi snagu, naprotiv – i dalje jača i nadograđuje se. Zbog toga su takmičenja za mlade fotografe tako čudesna. Daju uvid u snagu fotografije koja se iznova rađa. To je neprekidna sila koja oduševljava one koji žele nešto da izraze, prikažu, zabeleže, zaborave, naglase. Da budu saslušani. Zahvaljujući tome, mi smo svedoci tih priča prikazanih na slikama, dok istovremeno možemo da vidimo šta je trenutno važno mladim ljudima. Za šta se zauzimaju, šta ih muči, a, idući još dublje, i kako njihova kultura utiče na njihov doživljaj stvarnosti. Oni se interesuju, što je prirodno, za sebe tokom promena, sazrevanja i ulaska u odraslu dob. Često su to teme seksualnosti, porodice, veza, emocija, sećanja. Mnogi od njih sagledavaju i šire svoje okruženje, društvo, politiku, ekologiju, način života ili uticaj tehnologije na njega; neki od njih se pitaju kuda idemo i kakva je budućnost pred nama. Očaravajuće je videti kako mladi ljudi koriste fotografiju kako bi dali snagu sopstvenom glasu. Kako preuzimaju ovu vizuelnu formu da bi iskazali svoje mišljenje. Kako žele da budu saslušani, poštovani, primećeni. Kako istražuju i kako nisu zadovoljni svojevrsnim odgovorima. Koliko su zreli u pristupu umetnosti, ali i u životu uopšte. Zahvalna sam veoma na njihovoj hrabrosti i snazi. I fotografiji, koja im omogućava da se udalje od određenih ograničavajućih reči i na posve drugačiji način imenuju sve ono što im je blisko i važno. Paulina Ana Galančak Predsednica TIFF kolektiva i fondacije, kokreatorka TIFF festivala, kulturna animatorka, kustoskinja i fotografkinja NOVI TALENTI

For years, photography has never ceased to be the closest medium for us to expressing opinions, capturing reality, commenting on it and even transforming it according to our own rules. It is often a tool for expressing emotions - anger, discord, frustration, hope. It also continues to be a fascinating element of recording reality and a kind of chronicle of memory. It is everywhere and can be anything. And what is interesting – due to this universalism it does not lose strength, on the contrary - it still gains it, it is constantly updating itself to the latest realities. That is why competitions for young photographers are so fascinating. They let you see the power of photography that is constantly reborn. It is an incessant current that thrills those who want to express, show, remember, forget, emphasise. Be heard. Thanks to it, we can witness the stories portrayed in the images, and at the same time see what is currently important for young people. What they are busy with, what bothers them and, going further - how their culture affects their perception of reality. They are interested, which is very natural, in themselves and the time of change, maturing and entering adulthood in which they are immersed. It often relates to topics of sexuality, family, relationships, emotionality, memory. Many of them also look more broadly - at their society, politics, ecology, the lifestyle we undertake or the impact of technology on it; some of them wonder where we are going and what the future brings us. It is fascinating to see how young people use photography to give strength to their own voice. How they take on this visual form to show us their opinion. How they want to be heard, appreciated, noticed. How they search and are not satisfied with the casual answers. How mature they are in their approach to art, but also to life in general. I am very grateful for the courage and strength they have. And for photography, which allows them to get away from tight and specific words and name everything that is close and important to them in a different way. Paulina Anna Galanciak President of the TIFF Collective Foundation, co-creator of the TIFF Festival, cultural animator, curator and photographer NEW TALENTS

PRVO MESTO/1ST PLACE

©Любовь Ракшина – Neispunjenost/Unfulfilled

ЛЮБОВЬ РАКШИНА Ljubov Rakšina rođena je 25. marta 1996. u Samari, u Rusiji. Pohađala je fotografsku školu Kristine Sjirčikove (Кристина Сырчикова) u galeriji Viktorija u Samari (Галерея Виктория). Osnovne ideje i glavnu inspiraciju za svoje fotografije pronalazi u privatnosti: dnevnici, projekti bazirani na ličnom unutrašnjem iskustvu, porodnične priče, kao i feministički projekti. Živi i radi u Samari. --Born 25th March, 1996, in Samara, Russia. Studied at the photo school of Kristina Syrchikova at Victoria Gallery. The main idea behind the photography is based on the theme of privacy: a diary, projects on the person’s inner experiences, family stories, and feminist projects. Lives and works in Samara. rakschina.ru NOVI TALENTI

©Maxime Matthys – 2091 : Ministarstvo privatnosti/2091 : The Ministry of Privacy

DRUGO MESTO/2

PLACE

MAXIME MATTHYS Maksim Matis rođen je u Belgiji 1995. godine. Maksim je vizuelni umetnik koji živi i radi na relaciji Ren–Pariz. Razvio je svoj umetnički domen kroz fotografiju, performans, video i instalacije. Njegov rad se zasniva na vezi tehnologije i života, i kako ona utiče na percepciju stvarnosti. Dok otkirva nove forme i narative, nastoji da dokumentuje ovaj problem i njegov uticaj na budućnost. Njegov rad je više puta nagrađivan, a izlagao je u Francuskoj, Kanadi, Litvaniji, Poljskoj, Maleziji, Koreji, Velikoj Britaniji, Indoneziji i Španiji. Njegovi radovi su objavljeni u magazinima kao što su Le Monde, Liberation, Fisheye Magazine, Polka Magazine, Mediapart, ArtInfo itd. Jedan od njegovih poslednjih radova 2091 : Ministarstvo privatnosti osvojio je nagradu Kaunas Photo Award u Litvaniji, a izložen je u Centru Žorž Pompidu (Le Centre Pompidou) u Parizu februara 2020. --Maxime Matthys (born 1995, Belgium) is a visual artist working and living between Rennes and Paris. He is developing an artistic practice using photography, performance, videography and installation. His work focuses on the way technologies are affecting our daily life and are shifting our perception of reality. While exploring new forms of narrative, he keeps documenting the important issues that are shaping our future. His work has been multi-awarded and exhibited in France, Canada, Lithuania, Poland, Malaysia, Korea, United Kingdom, Indonesia, Spain and published in various magazines and newspapers such as Le Monde, Libération, Fisheye Magazine, Polka Magazine, Médiapart, ArtInfo, etc. His most recent work 2091: The Ministry of Privacy has won the Kaunas Photo Award in Lithuania and was exhibited at the Centre Pompidou in Paris, February 2020. maximematthys.com NEW TALENTS

©Кристина Сергеева – Kako je Saša Litvinov sahranio pištolj/How Sasha Litvinov Buried the Gun

TREĆE MESTO/3RD PLACE

КРИСТИНА СЕРГЕЕВА Moje ime je Kristina Sergejeva, rođena sam 4/2/1996. godine u Sankt Peterburgu, u Rusiji. Fotografišem još od kada sam išla u školu, a od 2017. godine to radim na profesionalnijem nivou. Završila sam kurs fotografije na Akademiji za fotografiju (Академия документальной и арт фотографии Фотографика) 2019. godine. Nezavisna sam umetnica, a bila sam i učesnica nekoliko grupnih izložbi u Rusiji. Većina radova mi je posvećena individualnim projektima zasnovanim na memoriji, poremećajima usled posttraumatskog stresa, foto-arhivi, detinjstvu, studiji prostora i mesta. --My name is Kristina Sergeeva and I was born on 4/2/1996 in Saint Petersburg, Russia. I have been creating photographs since my school years and from 2017 I have been photographing at a more professional level. I graduated from the Academy of Photography in 2019. I am an independent artist and have participated in a number of group exhibitions in Russia. I have devoted most of my photographic work to working on individual projects based on memory, PTSD, archival photographs, childhood, and the study of space and place. kristina-sergeeva.ru NOVI TALENTI

©Nađa Repman – Koliko je kvadrat plavog?/How much is a square of blue?

NAJBOLJI DOMAĆI PROJEKAT/BEST LOCAL PROJECT

NAĐA REPMAN Nađa Repman je rođena 14/2/2002. godine u Somboru gde trenutno završava srednju školu. Aktivna je u fotografiji i videografiji. Bila je zvanični fotograf 27. Pozorišnog maratona 2019. godine i dobila je drugu nagradu na Sombor film festivalu. Fotografisala je veliki broj koncerata, festivala i radionica (koncert muzičke škole, Terminal fest, ekološke radionice u prirodi Planeta, Krigla fest, 40. Somborski polumaraton...). Trenutno je angažovana kao samostalni fotograf u Nacionalnom pozorištu u Somboru. Fokusirana je i na autorske projekte u sferi vizuelnih umetnosti. --Nadja Repman was born on February 14th, 2002 in Sombor, Serbia, where she is currently graduating from high school. She is actively involved in photography and videography. She was the official photographer of the 27th Theater Marathon 2019 and the 2nd Sombor Film Fest. She has captured a large number of photographs at various concerts, festivals and workshops (including concerts of the Music School, Terminal fest, ecological workshops in nature Planeta, Krigla fest and the 40th Sombor half marathon). She is currently engaged as a freelance photographer at the Sombor National Theater. She is primarily focused on authorial projects in the field of diverse visual arts. @nadja.repman NEW TALENTS

KUĆA LEGATA Kneza Mihaila 46 kucalegata.org uto/Tue – pet/Fri º 14 – 19h sub/Sat – ned/Sun º 12 – 15h

otvaranje/opening 8/5/2021 º 18h traje do/ends 22/5/2021

Dušan Kochol Karoliina Paatos Lorena Ros Marija Ćalić Matej Milenković Vladimir Živojinović

Brate, nekad te prebiju jer si jednostavno to i tražio. Bol usled kastracije oduzima ti naboj testosterona, a ožiljke ponosno nosiš kao odlikovanja falične legije. Nadahnut obožavanjem svega toga što možeš pružiti, ti, heroju moj, maltretiraš samog sebe do izbezumljenja, do kastracionog pomračenja. Kolekcija crnih i plavih mapa raste i jedini put koji treba da pokazuju je onaj od kože do naše ružne strane. Čoveče, oslobodi se egoističke jeze, oslobađajući put ka bolu da bi ožiljke naslikao ponovo.

DUŠAN KOCHOL Cruising for a Bruising

Brother, sometimes you get beaten up because you simply ask for it. Getting a testosterone thrill out of the emasculating pain and then wearing your marks proudly as war medals of phallic legion. Fed on the adoration all that you, my hero, can deliver is to bully yourself to unconsciousness, as the castrating eclipse occurs. The collection of black and blue maps is growing but the only road they show leads through your skin to the ugly side. Man up, shake off your ego erected goose bumps to make way for the pain to paint those bruises all over again. dusankochol.com @dusankochol IZLOŽBA

©Dušan Kochol EXHIBITION

Generalno je neobično, čak i oni koji poznaju rodeo se zbune kada čuju za gej rodeo i pitaju se... šta to zapravo znači? Čak Mislim da je rodeo sam po sebi sveobuhvatan. Zove se gej rodeo, ali nije nužno da ste gej da biste se takmičili. Fil Ono što čini gej rodeo drugačijim je to što se međusobno pomažemo. Mi smo porodica. Dru Američki Zapad je oduvek bio mesto susreta različitih kultura. Gej rodeo je svakako njen deo. Premda marginalan i skoro nepoznat čak i u gej zajednici, kontrira uobičajenoj predstavi kauboja, gde se obično ne podrazumevaju različite uloge i seksualni identiteti. Nastao je zbog diskriminacije tokom sedamdesetih, a postao je utočište svima koji se ne osećaju prijatno u uobičajenom rodeu, čije porodice i dalje ne prihvataju njihove seksualne identitete. Karnevalska dreg kultura je esencijalni deo gej rodea i svako ima pravo da učestvuje u bilo kojoj disciplini, bez obzira na pol.

KAROLIINA PAATOS Heroji/Heroes Kustos/Curated by David Pujadó It is odd in general for people, even for people that know rodeo, that when they hear about gay rodeo they’re perplexed because they are like... what does that mean? Chuck I think the rodeo in itself is all-inclusive. It’s called the gay rodeo but obviously one doesn’t have to be gay to compete. Phil I think what makes gay rodeo so different is that we help each other. We’re a family. Drew The American West has been the home of many countercultures. Gay rodeo is one of them. Still marginal and little known, even among the gay community, it contradicts the prevailing idea of the cowboy, which does not include different roles or sexual identities. It was born out of discrimination in the 1970s but has become a chosen family for many who do not feel at home in regular rodeos and whose families still do not accept their sexual identities. The carnivalistic drag culture is an essential part of the gay rodeo and everyone is allowed to take part in any sport regardless of their gender. karoliinapaatos.com @kpaatos IZLOŽBA

©Karoliina Paatos

EXHIBITION

Neizgovoreno spaja portrete i svedočenja žena i muškaraca iz Španije, Sjedinjenih Američkih Država i Meksika, koje su tokom detinjstva seksualno zlostavljali članovi porodice, ljudi od poverenja, sveštenici i ugledni predstavnici zajednice. Lorena Ros je šest godina održavala blizak odnos sa ovim ljudima. Kroz fotografije i snimke njihovih svedočenja ohrabrivala ih je da javno govore o svojim traumatičnim iskustvima. Uz to, dokumentovala je i mesta koja su preživeli vezivali za traume. Prema Studiji negativnih iskustava u detinjstvu u zapadnim društvima 25% žena i 13% muškaraca biva žrtvom seksualnog zlostavljanja pre 17. godine. Seksualno zlostavljanje dece je zločin koji je rasprostranjen u svim socioekonomskim i kulturnim okvirima. Ono što je zajedničko svim žrtvama seksualnog nasilja je osećaj krivice i uverenje usađeno od strane nasilnika da sve što se dogodilo mora ostati tajna. Iako je zlostavljanje konstantno i vrlo rašireno, do pre nekoliko godina je i sam pomen predstavljao svojevrsni tabu. Čak i danas, nakon što je pokret Me too pokrenuo zajednice na Zapadu osvešćivanjem prema problemu seksualnog zlostavljanja i seksualnog uznemiravanja žena, u ostalim delovima sveta je ovaj problem i dalje pod velom tajne i smatra se sramotnim, dok žrtve ćute, prisiljene da se iznova suočavaju s bolom i traumama.

LORENA ROS Neizgovoreno/Unspoken Kustos/Curated by Natasha Christia

Unspoken brings together portraits and testimonies of women and men from Spain, the United States and Mexico, who have suffered sexual abuse during childhood by family members, trusted people, priests and respected members of their community. For six years, Lorena Ros maintained a close relationship with these individuals. Through photographs and recordings of their testimonies, she encouraged them to share in public their traumatic experiences. In addition to this, she portrayed the places where the survivors suffered their abuse. According to a study of Adverse Childhood Events, in western societies, 25% of women and 13% of men have been victims of sexual abuse before reaching the age of 17. Child sexual abuse is a crime that knows no socioeconomic or cultural boundaries. What people who have suffered abuse have in common is guilt and the conviction instilled in them by their abusers that what happened should be kept secret. Although abuse is frequent and widespread, talking about it was taboo until a few years ago. Even today, after the Me Too movement aroused in western societies a global wave of awareness against the sexual harassment and sexual assault of women, in the rest of the world the issue is still shrouded in shame and its victims remain silent, forced to face their trauma and pain over and over again. lorenaros.com @lorenarosphoto IZLOŽBA

©Lorena Ros EXHIBITION

Polazište za ciklus Spokojna noć je pisanje Semjuela Beketa, koji strukturom rečenice, ritmom, glasom, kao i postavkom scene dolazi do mračnih istina o ljudskom biću. Kroz opise savremenog sveta i pojedinca, dovodi do apsurda sveopštu egzistenciju. To je bio povod da svojim fotografijama dam jednu dimenziju preobražaja, gde se taj vidljivi svet pretvara u nešto što postoji oko nas, nevidljivo na prvi pogled. Priroda se preobražava u preteće, a prostori nisu ono čemu su namenjeni i njih ne pohode očekivani. Mogućnost stvaranja takvih slika kroz njegov tekst i jezik bili su polazište za moje fotografske – kolažne postupke. Fotografije su građene kao slike kako vidljivog sveta tako i onog zamišljenog. One su deo šireg ciklusa koji je u nastajanju i čiji se ishod ne može predvideti.

MARIJA ĆALIĆ izbor iz ciklusa Spokojna noć from the photo cycle Calm Night

The foundation for the series Calm Night comes from the writings of Samuel Beckett, renowned for revealing the dark truths of human beings through the structure of sentence, rhythm and voice, as well as the scene settings. Through descriptions of the modern world and the individual, he emphasises the absurdity of general existence. This was the reason for my photographs to provide a transformative dimension, where that visible world turns into a realm that exists around us, but is invisible at first glance. Nature is transformed into a threat, spaces are not what they are intended for and they are not visited by those who are to be expected. The possibility of creating such images through his text and language were the inspiration for my photographic-collage procedures. The photographs are built as images of both a visible and imagined world. They are the parts of a wider cycle that is emerging and whose outcome cannot be predicted. mariacalic.com IZLOŽBA

©Marija Ćalić EXHIBITION

Susret sa samim sobom neizbežan je čin u svakom umetničkom stvaralaštvu. Za mladu osobu taj susret je nejasan, neizvestan i često nedokučiv. Još tokom studija na Akademiji umetnosti u Beogradu, Matej Milenković često je tragao za sopstvenim ja u pokušaju da ga razume, definiše i kreativno predstavi. Kroz sistem pokušaja i potenciranja greške dolazio je do zanimljivih i smelih rešenja koja su uvek otkrivala malo, a sugerisala mnogo. Sledeći premisu čuvenog antičkog pesnika Horacija da je slika poezija bez reči, njegove fotografije komuniciraju na asocijativnom, nikad deskriptivnom nivou. Većinu fotografskih serija zaista prate njegovi poetski zapisi koji uz vizuelni ritam fotografija kreiraju jedinstvo slike i reči, sublimirajući tako mali narativ – nešto nalik filmskom krokiju. Deo izložbe je i video-rad za koji je muziku pisao Aleksandar Ranđelović. Iz filmskog jezika Matej pozajmljuje i fikciju, kojom se služi da u seriji fotografija Astronaut govori o svakom od nas u potrazi za nevidljivim, nedostupnim, izvan racionalnog poimanja sopstvenim ja, koje pokušava da spozna svoje postojanje unutar samog sebe, ali i sveta koji ga okružuje. Taj poduhvat u startu je osuđen na neuspeh jer bi sama spoznaja značila kraj. Kraj traganju, pitanju, putu. Izolovan u skafanderu, osluškujući svoj dah, suženog pogleda i omeđenih pokreta, Astronaut se kreće u sopstvenom svetu, ali ipak duboko zavisan od svega što ga okružuje, od svega što mu se obraća. To okruženje Matej svodi na dva primarna aspekta – prirodu i veru. Na datost i kulturu. Na ono što nas čini ljudima. Ivana Tomanović Redovna profesorka, Akademija umetnosti Novi Sad

MATEJ MILENKOVIĆ Astronaut Kustos/Curated by Ivana Tomanović The encounter with oneself is an inevitable act in any artistic creation. For a young person, that encounter is vague, uncertain and often elusive. Even during his studies at the Academy of Arts in Belgrade, Matej Milenković often searched for his own self in an attempt to understand, define and creatively present it. Through a system of trial and error, he came up with interesting and bold solutions that always revealed little, but suggested much more. Following the premise of the famous ancient poet Horace that the image is poetry without words, his photographs communicate on an associative, but never descriptive level. Most of the photographic series are accompanied by his poetic writings, which, along with the visual rhythm of the photographs, create the unity of image and word, sublimating a small narrative - something like a film sketch. Part of the exhibition is a video work for which the music was written by Aleksandar Ranđelović. Matej also borrows fiction from film language, which he uses to talk about each of us in his series of photographs Astronaut, in search of the invisible, inaccessible, beyond the rational understanding of his own self, which tries to realise its existence within itself and the world around us. That endeavor in the beginning was doomed to failure because the realisation itself would mean the end. The end of the search, the question, the path. Isolated in a spacesuit, listening to his own breath, narrowed vision and limited movements, Astronaut moves in his own world, but is still deeply envious of everything that surrounds him, of everything that addresses him. Matej reduces this environment to two primary aspects - nature and faith. On the given and the culture. On what makes us human. Ivana Tomanović Professor, Academy of Arts, Novi Sad IZLOŽBA

©Matej Milenković EXHIBITION

Poslednjih godina pratim izvanrednu priču Nikole Stevanovića, šesnaestogodišnjaka koji je uveren da će biti prvi olimpijski ski-skakač iz Srbije. On i njegov posvećeni otac žrtvovali su sve da bi ispunili ovaj san. Praveći staze ručno i trenirajući na njima bez podrške Vlade, slede olimpijski san uprkos ogromnim žrtvama. Otac i sin su me pustili u svoj život i omogućili mi da vidim ne samo njihov jedinstveni trening, već i njihov lični život u Srbiji, a sada i Sloveniji, gde je Nikola upisan u školu i trenira na planinama. Nameravam da ih pratim u pripremama za Olimpijske igre 2022. godine, a sada vam predstavljam ovaj rani rad.

VLADIMIR ŽIVOJINOVIĆ Prvi srpski ski-skakač – Od ručno pravljenih staza do Zimskih olimpijskih igara The First Serbian Ski Jumper – From Hand-made Slopes to the Winter Olympics Kustos/Curated by David Pujadó

For the past year I’ve been following the extraordinary story of Nikola Stevanović, a 15-year old boy who is convinced he will be the first Olympic ski jumper from Serbia. He and his dedicated father have sacrificed everything to fulfil this dream. Building handmade tracks, training on makeshift slopes with no government support, the two are pursuing the Olympic dream despite the enormous sacrifices. The father and son have let me into their lives and allowed me to see not just their unique training, but their personal lives in Serbia and now in Slovenia also, where Nikola is enrolled in school and is now training on the mountains. I intend to follow them in preparation for the 2022 Olympics and present this early work for your consideration. vladimirzivojinovic.com IZLOŽBA

©Vladimir Živojinović EXHIBITION

BIOSKOP BALKAN Braće Jugovića 16 fondacijasasamarceta.org uto/Tue – pet/Fri º 14 – 19h sub/Sat – ned/Sun º 12 – 15h

otvaranje/opening 8/5/2021 º 19h traje do/ends 3/6/2021

Inês d’Orey Ivan Blazhev Karsten Kronas Klaus Pichler Made of Photos #2 Milan Marković Miloš Nešić Miloš Tomić Olatz Vázquez Stephanie Pistel

Ogledalo u ogledalu (Spiegel im Spiegel) Arva Perta, kompozicija za dva instrumenta koja objedinjuje jednostavnost, nevinost i čistotu, proistekla je 1978. iz njegovog klavira i violine. Reminiscencija na uspon između violinskog sola i tri klavirska tona postaje anđeo čuvar kompozicije. Kako Pert sam kaže povratak nakon puta. Postoje slike koje nas vraćaju muzici, poetici uzvišenog, univerzalnoj i večitoj umetnosti, jer dotiču ono najintimnije i najskrivenije. Antre Ines d’Orej vodi do neopisivog sveta, gde je priroda reči i simbola drugačija. Iskazuje prazninu pri čekanju, traganje za anđelom, poput Pertovog klavira, koji, kao i ogledalo, može odvesti negde gde se čeka van vremena i prostora. Povremeno ili indirektno ljudsko prisustvo preuzima ulogu protagoniste ovih fotografija, dok je posmatrač pozvan da luta kroz narative kompozicija izabranih radova iz različitih serija, gde se mogu iz daljine čuti stihovi Vinisiusa de Moraesa. Oh, želeo bih nikad čuti koje kaže da će život uvek ovakav biti kraj je čekanju na proleće čuću da neko me doziva. Ana Matos

INÊS d’OREY Antre/Antechamber/Antecâmara Kustos/Curated by Ana Matos

Arvo Pärt’s violin and piano spawned, in 1978, Spiegel im Spiegel (Mirror in the Mirror), a melody for two instruments that gathers together simplicity, innocence and purity. It resembles an ascent, the coming together of the violin solo and the three piano notes; the composition becomes the sound of a guardian angel. In Pärt’s own words, he described the piece as returning home after being away. There are some images that bring us back to music, to the poetics of that supreme, universal and eternal art, because they touch us in our most intimate and hidden self. Inês d´Orey’s Antecâmara (Antechamber) takes us to that unspeakable world, where lexicon and symbols are of a different nature. They express the emptiness we feel in waiting, the search for our own angel like Pärt’s piano that, also as a mirror, can take us elsewhere, waiting in a suspended time and space. Occasionally the human presence indirectly becomes protagonist in these photos, the viewer is invited to wander through these narratives that are the composition of selected works from a number of different series by the artist, and where one can hear, at a distance, the lyrics by Vinicius de Moraes: Oh I wish I could hear a nevermore Saying life will be forever this way The waiting is over And in the spring I’ll hear Someone calling out for me. inesdorey.com

Ana Matos IZLOŽBA

©Inês d’Orey EXHIBITION

Drezden ima dugu istoriju prestonice i kraljevske rezidencije. Na samom kraju Drugog svetskog rata, u istorijski posmatrano kontroverznom savezničkom bombardovanju, grad je devastiran, kao i istorijski gradski centar. Nakon rata, grad je rekonstruisan i vraćen mu je prvobitni izgled. Moj rad inspirisan je Vonegatovim romanom o bombardovanju Drezdena, Klanica 5, temom nelinearnosti vremena, kao i osetljivošću sećanja. Odrazi ovih tema se vide u istoriji Drezdena, u stvaranju identične replike grada kakav je bio pre, tako da je iz današnje perspektive nejasna linija između starog i novog, prošlog i sadašnjeg, sećanja i sadašnjosti. Fotografišući grad digitalnom pinhol kamerom, stvorio sam paralelu problematizujući samog medijuma i njegovu autentičnost, direktno se oslanjajući na paradoksalnost novog starog, a tako namerno pocrtavajući kompleksnost urbane i arhitektonske istorije grada, potpuno uništenog, pa rekonstruisanog. Umesto čistog prikaza sadašnjosti, fotografije prikazuju i pukotinu prošlosti, ostatke uništenog poput živog svedoka bombardovanja. Fotografije zato mogu biti posmatrane kao uspomene, ali i kao fakti. Namera mi je bila da stvorim fotografije koje prikazuju prošlost u sadašnjosti, poput traga paralele vremena i simultanosti događaja.

IVAN BLAZHEV All Time is All Time

Dresden has had a long history as a capital and royal residence. At the end of WWII, in what history considers controversial bombing by the Allies, the city was devastated and the whole historic city center destroyed. After the war, it was reconstructed and restored to its original state. My work is inspired by Kurt Vonnegut’s book about the Dresden bombing, Slaughterhouse Five, and it’s themes about broken, non-linear time and fragility of memory. I see reflection of these themes in Dresden’s history of being rebuilt as an exact replica of what it used to be, thus from today’s perspective blurring the line of old and new, past and present, memory and the present. Using a digital pinhole camera to photograph the city, I create a parallel; problematising the medium itself and its authenticity, and directly revealing the paradoxicality of the new as old, thus purposefully emphasising the complex urban and architectural history of the city, completely destroyed, then reconstructed. Instead of just showing the present, these photographs open a fissure to the past, the remains of a destroyed space, as living witnesses of the bombing. The photographs can be seen as memories and/or facts. I try to create photographs which capture the past in the present, as clues of parallel times and simultaneous events. ivanblazhev.com @ivanblazhev IZLOŽBA

©Ivan Blazhev

Svaki trenutak, prošli, sadašnji i budući, uvek je postojao i uvek će postojati... Iluzija je to što mi na Zemlji mislimo da jedan trenutak prati sledeći, poput nanizanih perli, i kada nestane, nestao je zauvek. Kurt Vonegat, Klanica pet All moments, past, present, and future, always have existed, always will exist... It is just an illusion we have here on earth that one moment follows another one, like beads on a string, and that once a moment is gone it is gone forever. Kurt Vonnegut, Slaughterhouse Five EXHIBITION

Da li mi je g-din X ukrao mobilni telefon? On se sasvim neočekivano pretvorio u duha: Preko Dropbox aplikacije instalirane na moj telefon video sam svaku fotografiju koju je g-din X uslikao, pa i njega, njegove prijatelje, eritrejska venčanja, društvo, detaljnije od svih ostalih fotografija koje sam video u životu. Na tim slikama sam video i ženu koju sam fotografisao dve nedelje pre njega. Nakon što sam primio 156 slika i nekoliko videa, počeo sam potragu za g-dinom X po Tel Avivu, a kasnije i po Eritreji. To je navodno bila potraga za mojim ukradenim telefonom. U Tel Avivu sam došao do zajednice pravoslavnih hrišćana iz Eritreje, koji nisu mogli sagledati svoju budućnost ni u rodnoj Eritreji, niti u Izraelu. U Eritreji sam upoznao najiskrenije ljude na svetu. Potraga se metaforički preokrenula. Serijal je kombinacija mojih i fotografija g-dina X. Panoptičke slike i koncizni detalji okreću se oko pitanja koja vizuelno transformišu specifičnu pretragu u odiseju; pitanje identiteta, doma i sudbine, pitanja o lutanjima koje ne postavljam samo g-dinu X već i zbog g-dina X.

KARSTEN KRONAS Potraga za g-dinom X/Searching for Mr. X

Is Mr. X the one who stole my mobile phone? At least it was him who unexpectedly turned into a ghost: Through the Dropbox-interface of my phone, I saw every photograph Mr. X took with the camera, saw him, his friends, Eritrean weddings, and a community, more detailed than the one I have seen before. And, I discovered a woman on one of his photos whom I photographed two weeks earlier than him. After I received 256 images and some videos files, I set out searching for Mr. X in Tel Aviv, later also in Eritrea. It was a search that was never one for my stolen mobile phone. In Tel Aviv I found a home from a community of Orthodox Christians from Eritrea who do not see any future either in their home country, nor, for most of them, in Israel. In Eritrea I found the most sincere people ever. The search has long turned metaphorical. The series combines my photographs with those of Mr. X. With panoptic images and concise details, it revolves around questions which also visually transform a specific inquiry into an odyssey; questions of identity, home and faith, questions about wandering around. I am not only asking Mr. X, but because of Mr. X. karstenkronas.com IZLOŽBA

©Karsten Kronas

EXHIBITION

Klaus Pihler, 2015–2017. Ezoterija novog doba je jedino od nekoliko alternativnih sistemskih verovanja koje iznosi tvrdnju da je otkriven novi model istine (spiritualni, politički i pseudonaučni). Ezoterijske teorije, bez obzira na to koliko su spekulativne ili iritantne, polako ali sigurno napreduju sa margine ka širem društvu. Više to nisu samo lakoverni očajnici, već profitabilni poslovni modeli koji se baziraju na marketingu i obećanju spasenja. Klaus Pihler je poželeo da sazna više: Tokom dve godine proučavao je scenu predstavljajući se kao ezoterijski fanatik. Priključio se onlajn forumima, prisustvovao je ezoterijskim sajmovima i okupljanjima, upoznao se sa relevantnim teorijama, poručivao je proizvode i koristio usluge. Na ovaj način je omogućio dublji uvid u iracionalni svet ezoterije, prepun daljinskog isceljivanja, sprejeva za auru i esencija jednoroga. U samom procesu, svedočio je kombinaciji lakovernosti, nadrilekarstva i prevare. Rezultat ovakvog Pihlerovog pristupa je serija fotografija Ovo će vam zauvek promeniti život, koja sadrži fotografije produkata, reprodukcije slika pronađenih na onlajn forumima, kao i vizualizaciju ezoterijskih teorema.

KLAUS PICHLER Ovo će vam zauvek promeniti život/This Will Change Your Life Forever

Klaus Pichler, 2015–2017 New age esotericism is only one of several ‘alternative’ belief systems which claim to have discovered their own (spiritual, political or pseudoscientific) model of truth. Esotericism theories – no matter how speculative or irrational they may be – are slowly but surely making their way into the centre of mainstream society. They are not only a game played with the hopes of gullible or desperate people; they are also profitable business models that lie somewhere between marketing and promises of salvation. Klaus Pichler wanted to know more: For a period of two years, Klaus Pichler immersed himself into the scene by pretending to be an esotericist fanatic. He joined online forums, attended esotericism fairs and gatherings, familiarised himself with relevant theories, ordered products and made use of services. This enabled him to gain an inside view of the irrational world of esotericism, filled with remote healing, aura sprays and unicorn essences. In the process, he witnessed a mixture of credulity, quackery and betrayal. The result of Klaus Pichler’s approach is the series This Will Change Your Life Forever which consists of pictures of products, re-staging of images found on online forums and visualisations of esotericism theories. klauspichler.net IZLOŽBA

©Klaus Pichler EXHIBITION

Oktobar 1878, gospodski klub, slabo osvetljena prostorija puna duvanskog dima, uzavrela diskusija se završava opkladom... Kada konji galopiraju...da li su sve četiri kopite u vazduhu? Liland Stenford, američki industrijalac i političar koji se bavio i konjima, pa i konjičkim trkama, želeo je dokazati ovu teoriju, pa je angažovao britanskog fotografa Edvarda Majbridža da napravi dvanaest fotografija konja u punom galopu, savršenom nizu pokreta konjskog tela. Liland Stenford osvojio je opkladu pošto je fotografija pokazala da su sve četiri kopite u vazduhu. Ova ekstravagantna opklada sama po sebi nije donela značajne novine za nauku, umetnost ili zabavu, ali fotografije proistekle iz opklade na neki način su oslikavale ono što se spremalo sa druge strane okeana, u Evropi. U to vreme Etjen Žil Mari u Francuskoj i Otomar Anšic u Nemačkoj radili su na sličnim idejama, pa se godinu dana kasnije pojavio zoogiroskop, uređaj za prikazivanje pokretnih slika. Danas su mogućnosti gotovo neograničene kad je reč o obradi slike, kako fotografija tako i pokretnih slika, a nauka i tehnologija se stalno razvijaju pa se više ne može ni zamisliti šta sve može biti u budućnosti. U jedno se ipak možemo pouzdati, a to je da će umetnici prigrliti sve mogućnosti i zahtevati nove. Made of photos #2 je serija radova u kojima su fotografi eksperimentisali sa video-formatom kako bi prikazali svoje fotografije.

Made of Photos #2

October 1878, we can imagine a gentlemen’s club, a dimly lit room full of cigar and pipe smoke, a heated discussion can be heard that ends in a bet... when a horse is galloping... are the four hooves off the ground? Leland Stanford, an American industrialist and politician who also had an interest in breeding and racing horses, wanted to provide evidence of this theory and enlisted British photographer Eadweard Muybridge to shoot 12 photos of a horse in full gallop, a perfect sequence of the movement of the horse body. Leland Stanford won the bet as the photos showed that all four hooves were off the ground. This extravagant bet in itself didn’t change the story of science, art or entertainment, but the resulting photos of that bet somehow mirrored what was also starting on the other side of the ocean in Europe. At this time Étienne-Jules Marey in France and Ottomar Anschütz in Germany were working on similar ideas and one year later the zoogyroscope appeared, an instrument for displaying moving pictures. Nowadays, the possibilities are almost unlimited with what we can do with photos and moving images and who knows what technology will be available in the future. One thing we can be sure of is that artists will be squeezing all the possibilities out of it and demanding new ones. Made of Photos #2 is comprised of a series of works in which photographers have experimented with the video format in order to present their photography work. IZLOŽBA

©Sylvain Granjon

Drugi serijal predstavlja sledeće autore: The second series includes projects by: Grebo Gray – Michael J Sheehy, Judas Hour (Srbija/Serbia+UK) Hélène Veilleux – Lava Tubes (Francuska/France) Ivan Blazhev – All Time is all Time (Severna Makedonija/North Macedonia) Jakub Wawrzak – Oasis (Poljska/Poland) Miloš Nešić – Sateran u ćošak (Srbija/Serbia) Momen Khaled Malkawi – 7 Mountains in Search of Home (Jordan) Sylvain Granjon – Blakol (Francuska/France) EXHIBITION

Tema međupovezanosti prirodnih elemenata u vezi korelacija i kauzalnosti do sada je bila prisutna u mom radu u vidu ispitivanja njihove dualnosti. Ovom serijom fotografija odbacujem dualnost i prihvatam stanje jedinstva. U stanju jedinstva, dve sukobljene strane prestaju da budu sukobljene, postaju komplementarne u formiranju nove prirode koja više nema dualistički pandan. Sve je povezano u jednom univerzalnom jedinstvu svega što je bilo, što jeste i što će biti; ne u borbi, već u dopunjujućoj komplementarnosti koja čini sistem života. Nasuprot dualističkom posmatranju sveta u kojem su jedinke i prirodni elementi u borbi, u stanju jedinstva sve što postoji treba da postoji. Nema borbe i svi smo povezani. Svaki činilac u sistemu života je UVEZAN. Uvezani, svi i sve zajedno činimo kompleksnost bivanja, Uvezani, neodvojivi smo od okoline, Uvezani, neodvojivi smo jedni od drugih. Baš kao ćelije, svako sa svojom jedinstvenom ulogom. Inspiracija za rad potekla je od testa Ćelijska međupovezanost (Within Cells Interlinked – Blade Runner 2049).

MILAN MARKOVIĆ Ćelijska međupovezanost/Within Cells Interlinked

The topic of the interconnectedness between natural elements that are in the relation of correlation and causality has been present in my work, primarily as an examination of their duality. With this series of photographs however, I reject dualism for a state unity- where there is no longer any conflict because everything is complementary and comes together to form one new nature without conflicting sides. We are all linked in an eternal bond, which extends through all the things that have, and are still happening now, as well as all things that will, ahead of us. Not in war, but coming to harmony when coming together as complementary elements to make up the whole life cycle we know today. At a point of unity, dualities cease to exist. Dual forces become complementary and work together for an unknown outcome that is exactly what nature wants it to be. Every factor in the system of life is INTERLINKED. INTERLINKED, we all and all together make complexity of Being, INTERLINKED, inseparable from environment our lives are intertwined with one another. Like the cells within, each with its own distinct role. The inspiration for the work came from the Within Cells Interlinked – Blade Runner 2049 test. IZLOŽBA

©Milan Marković

Ne mogu ti reći kako znam – ali prešao sam Granicu. Sve što sam voleo izgubljeno je Ali aorta ne konstatuje kajanje. Gumeno sunce se zgrčilo i zašlo; I ništavilo crno od krvi se zavrtelo Ćelijski sistemi su se ispovezivali u Ćelije ispovezane ćelijskim povezivanjem U stabljici. I odvratno drugačija od mraka, visoka bela fontana je igrala. Bleda vatra, Vladimir Nabokov EXHIBITION

I can’t tell you how I knew - but I did know that I had crossed The border. Everything I loved was lost But no aorta could report regret. A sun of rubber was convulsed and set; And blood-black nothingness began to spin A system of cells interlinked within Cells interlinked within cells interlinked Within one stem. And dreadfully distinct Against the dark, a tall white fountain played. Pale Fire, Vladimir Nabokov

Sateran u ćošak je fotografski performans koji je izveden u periodu od 17/4/2020 od 17h do 21/4/2020 do 5h, u Beogradu, tokom policijskog časa u trajanju od 84 sata. Umetnik je svakog sata, na pun sat, snimao po jedan autoportret, postavljajući sebe na pozadinu koja je u obliku ćoška. Nakon snimanja, napuštao je studio i vraćao se za jedan sat. Predmet performansa je vreme, prostor i uklanjanje mogućnosti izbora. Ćošak predstavlja nemogućnost kretanja, paralizovanje uma, dakle, smanjivanje mentalnog prostora. Umetnik eksplicitno prekida sve što radi u trenutku punog sata, snima autoportret, time izvršava naređenja i postavljajući sebe u ćošak, pod kaznom, postaje poslušan. Koristeći protok vremena u veoma limitiranoj sredini, kroz repeticiju, monotoniju, Miloš transformiše društvenu poslušnost i patnju u alat za stvaranje političkog elementa, kako bi se pokrenula više filozofska pitanja, između ostalih, da li je korišćenje sile i poniženja u cilju kontrole opravdano? Da li izolacija i usamljenost predstavljaju univerzalne okolnosti ljudskih bića? Sa ovim fundamentalnim egzistencijalnim istraživanjima Miloš prolazi kroz eksperiment koji postaje univerzalan, i koji svakog pojedinca stavlja u istu poziciju. Finalni rezultat su 85 fotografija i video dužine 1:37:08, formata 4:3. Muzika za film: Tasos Stamou ©tasosstamou.com, Logo: Bladi ©rebellion7.com

MILOŠ NEŠIĆ Sateran u ćošak/Cornered Cornered is a photography performance, executed in Belgrade during the longest 84 hour curfew that lasted from 17/4/2020, 5 pm to 21/4/2020, 5 am. The artist has positioned himself in a painted corner, shooting a single self-portrait every hour on the hour, during the entire period of the 84 hour lockdown. The artist was leaving the studio after every shot and kept returning on an hourly basis. Subject of this act are time, space and abolition of free will and personal choice. The corner represents the inability to freely move while the mind is being paralyzed, thus reducing one’s mental space. The artist is explicitly leaving everything else every hour to take the self-portrait, by this he is executing the order and by cramming himself into a corner as if being punished, thus becoming obedient. Using time in extremely limited conditions, through monotonous repetition, Miloš is transforming social obedience and suffering into a tool to create a political element in order to raise more philosophical questions. Are force and humiliation justified for the purposes of control? Are isolation and solitary universal circumstances of human beings, among others? With this fundamental exsistencial investigation, Miloš goes through an experiment that becomes universal, consequently placing each individual in the same position. The final result is 85 photographs and a video of length 1:37:08 and ratio 4:3. Music: Tasos Stamou ©tasosstamou.com, Logo: Bladi ©rebellion7.com milosnesic.com IZLOŽBA

©Miloš Nešić EXHIBITION

Nisam neki fotograf ali svuda oko sebe primećujem prizore i bez razmišljanja reagujem – fotografišem ih. Više od slikanja, voleo sam da seckam slike, većinom fotografije iz starih časopisa i pravim kolaže. Još više od slikanja, godinama sam opsesivno sakupljao stare fotografije. Uslikane neobične situacije, privlačna fotogenična lica, ili slučajno uhvaćeni detalj koji nije trebalo da bude na slici. Kao omađijan, gledao sam i gomilao te birane prizore, i tek skoro počeo da ih animiram. Ohrabrio sam se da krenem da ovako uništavam B-klasu slika iz kolekcije da bi od njih napravio nešto novo. Nežni vandalizam, može se i tako reći.

MILOŠ TOMIĆ Nežni vandalizam/Gentle Vandalism

I’m not a good photographer, but I notice scenes and moments all around me and I react without thinking – I photograph them. More than photographing, I love chopping pictures, mostly photos from old magazines, turned now into paper collages. Even more than photographing, I have been obsessively collecting old photographs for years. Captured unusual situations, attractive, bizarre, photogenic faces, or a randomly recorded detail that should not have been in the picture. Enchanted, I watched and piled those selected images for years and only recently, I started animating them. I encouraged myself to destroy those images in order to make something new out of them. Gentle Vandalism, so to speak. @milos.tomic_filmmaker IZLOŽBA

©Miloš Tomić EXHIBITION

Olac je fotograf, novinar, žena, rođena 1994. godine u Bilbau. Novinar po zanimanju, a fotograf po potrebi. Od početka je svoj rad zasnivala na svom telu, svojoj duši, ženi koja se krije u svojoj koži. Njeni autoportreti imaju suptilnu delikatnost, ali sadrže i senzualnost dostojnu fotografa kao što su Edvard Vetson, Cveće Roberta Mapltorpa, rad japanskog fotografa Masaa Jamamota i jednostavnost i minimalizam Noela Osvalda. Ali 2020. godine, njen život i rad su izbačeni iz koloseka i sva ta suptilnost, delikatnost, senzualnost, jednostavnost i minimalizam prekriveni su dodatnom tvrdoćom, onom koju jedino možemo da zamislimo da je poput gutanja slomljenog stakla, nečega što može da nas približi radu Norvežanke Lene Marie Fosen. Ovo delo ima ime, a ime i prezime je Rak. *Minbizia (bask) – jak, intenzivan bol; rak

OLATZ VÁZQUEZ Minbizia* Kustos/Curated by David Pujadó

Olatz is a photographer, a journalist, a woman, born in 1994 in Bilbao. Journalist by trade and photographer by necessity. From the beginning she has based her work on her body, her soul, the woman who hides within her skin. Her self portraits have a subtle delicacy, but also contain a sensuality worthy of photographers such as Edward Weston, the Flowers of Robert Mapplethorpe, the work of Japanese photographer Masao Yamamoto and the simplicity and minimalism of Noel Oszvald. Come 2020, her life and her work are knocked sideways from their natural flow and all that subtlety, delicacy, sensuality, simplicity and minimalism have been infused with an added hardness, a hardness that I can only imagine is like swallowing broken glass, something that could bring us closer to the work of the Norwegian Lene Marie Fossen. This work has a name, the first and last name being Cancer. *Minbizia (Basque) – strong, intense pain; cancer

olatzvazquez.com @olatzvazquez IZLOŽBA

©Olatz Vázquez EXHIBITION

Sergej je zauzimao visoko mesto na mojoj listi prioriteta. Veoma dugo... Delovao je kao jedan od najfascinantnijih i najtalentovanijih ljudi. Trebalo mi je oko godinu dana da doprem do njega i uradim intervju i specijal za renomirani Schön! Magazine. Foto-snimanje je trebalo da bude u Parizu, ali je pomereno u London, a zatim ponovo u Pariz, da bi se na kraju sve odigralo u LA-u! Njegov se raspored svakodnevno menjao... Iznenada se pojavio na zapanjujućoj pustinjskoj lokaciji oko 10 ujutru 9. januara. Druželjubiv, stidljiv, skroman ali ujedno i zanosan. Nije bilo moguće napraviti lošu Sergejevu fotografiju. Toliko lica, toliko emocija... U jednom momentu jako napet i introvertan, pa prelepo odsutan u sledećem... Proveli smo predivan dan iz kojeg je proizašlo mnogo fantastičnih fotografija. Tada je počeo naš fotografski put. Od tog trenutka počela su naša fotosnimanja širom sveta. I, prijatelju, nastaviće se.

STEPHANIE PISTEL Bucket List Sergei was VERY, VERY high up on my bucket list. For a long time... He just seemed to be one of the most fascinating and talented people out there. It took me over a year to ‘get’ him for an interview and high fashion special for the renowned Schön! Magazine. We were supposed to shoot in Paris, which changed to London, then back to Paris and it finally got confirmed to take place in LA! His agenda changed by the day... In a stunning desert location, at 10 a.m. on January 9th, there he suddenly was. He was friendly, shy and humble - but unbelievably captivating at the same time. It was impossible to take a bad picture of Sergei. He had so many faces, so many emotions to share. Highly intense in one second, introvert and beautifully absent in the next. We had an amazing day with far too many fabulous images to choose from. This is when our photographic journey started. Since then we’ve shot together in many places around the globe. To be continued, my friend. studiostephaniepistel.com IZLOŽBA

©Stephanie Pistel

EXHIBITION

©Snežana Krstić

RAZGOVORI UŽIVO LIVE TALKS VODIČ KROZ IZLOŽBE I RAZGOVORI GUIDED TOURS AND TALKS

Razgovori uživo Prošle godine tokom izolacije zbog pandemije koja je pogodila ceo svet, u okviru Beogradskog meseca fotografije dogodile su se serije onlajn razgovora u kojima su učestvovali fotografi, čak i prijatelji sa drugih festivala fotografije. Imali smo čast da virtuelno predstavimo četiri mlada fotografa koji su nagrađeni na našem takmičenju Novi talenti. Pozivamo vas da pratite naš YouTube kanal na kojem možete čuti i uživati u svim razgovorima.

Vodič kroz izložbe i razgovori Pozivamo vas da nas pratite na društvenim mrežama na kojima možete dobiti najnovije informacije o izložbama, kao i poslušati razgovore s umetnicima. Fotografi koji učestvuju na izložbama, a sprečeni su da dođu u Beograd, biće sa nama virtuelno. Određeni broj fotografa će biti prisutan tokom festivala, pa ćete imati prilike da ih upoznate, uživate u njihovom radu i podelite svoje utiske. Trenutno je u pripremi zanimljiv okrugli sto na kojem će govoriti najbolji srpskim foto-reporteri o svojim ratnim iskustvima. Učesnici razgovora su Imre Szabó, Marko Đurica i Filip Krainčanić, a moderator je Igor Čoko.

Live Talks Over the past year during the lockdown that has affected the whole world, BPM began a series of live online talks with a variety of photographers, including friends from other photography festivals. We also had the honour to celebrate virtually with the four young photographers who were awarded in our New Talents competition. We would like to invite you to follow our YouTube channel where you can enjoy all these talks whenever it suits you.

Guided Tours and Talks We invite you to follow our social networks which are kept up to date with all the latest news about guided tours of exhibitions and artist talks. Photographers that have exhibitions but are unable to travel to Belgrade will join us virtually. A number of photographers will be present during the festival and you will have the opportunity to meet them, enjoy their work and share their experiences. We are currently preparing a very interesting round table event with some of the best Serbian photojournalists talking about their experience in war scenarios, featuring: Imre Szabó, Marko Đurica and Filip Krainčanić. Moderated by Igor Čoko. facebook.com/BGDphotomonth @belgradephotomonth belgradephotomonth.org

IZLOŽBE EXHIBITIONS

Joan Alvado Sonja Žugić i/and Luka Klikovac Katarina Marčetić Nikola Vrzić Imre Szabó Espe Pons Aleksandar Slavković Grebo Gray Tako je talasao NOVI TALAS Luka Cako Philippe Poncet Feđa Kiselički Studenti Fakulteta za medije i komunikacije Andrej Pavićević i/and Danilo Ceković Mad About Hollywood Siniša Vlajković Natan Dvir Maradona Francesco Amorosino

MUMA PADURI: Magija, spiritualnost i legende vlaškog naroda

Instituto Cervantes de Belgrado Čika Ljubina 19 belgrado.cervantes.es º pon/Mon – pet/Fri 9 – 20h sub/Sat – ned/Sun 9 – 18h

otvaranje/opening 12/3 º 12h traje do/ends 16/5/2021

Vlasi predstavljaju etničku manjinu u Srbiji, koja ima svoju kulturu i jezik, i naseljava veliki deo istočnog dela zemlje, tik uz obalu Dunava. Tokom istorije, Vlasi su bili usko povezivani sa magijom i drugim natprirodnim moćima: šamanizmom, veštičarenjem, spiritizmom, padanjem u trans, crnom magijom, vampirizmom, kultom mrtvih... Većina ovih praksi je i dalje prisutna u današnjim zajednicama, stvarajući živu duhovnu kulturu jedinstvenog bogatstva u modernoj Evropi XXI veka. Đoan Alvado (Altea, 1979) je fotograf koji od 2005. godine živi u Barseloni. Njegov rad je usmeren na dugoročne projekte sa antropološkim fokusom na prirodu i njenom vezom sa čovekovom verom kroz različite slojeve istorije. Njegova dela, izlagana u galerijama i na festivalima u više zemalja, nalaze se u privatnim i javnim kolekcijama. Neke od njegovih fotografija objavljene su u različitim medijima, kao što su Newsweek, CNN, The Washington Post, The Guardian, Der Spiegel, El País, između ostalih. Projekat Muma Paduri nastao je kao rezultat umetničke rezidencije, na poziv Instituta Servantes i Beogradskog meseca fotografije, a u okviru programa mobilnosti EUNIC Srbija.

JOAN ALVADO MUMA PADURI Kustos/Curated by Zeren Oruc

MUMA PADURI: Magic, spirituality and legends of the Vlach people The Vlachs are an ethnic minority of Serbia, with their own language and culture, which inhabits a vast region in the east of the country, next to the Danube riverbank. Throughout history the Vlachs have maintained a close relationship with magic and other aspects of the supernatural: shamanism, witchcraft, trances, spiritism, black magic, vampirism and cult of the dead. Most of these practices remain as real beliefs in today’s communities, constituting a spiritual culture that is alive and is of a unique wealth in modern Europe of the 21st century. Joan Alvado (Altea, 1979) is a photographer based in Barcelona since 2005. His work focuses on long-term projects with an anthropological approach about nature and its relationship with the faith of man throughout various layers of history. His projects have been exhibited in galleries and photography festivals in several countries and some of his work resides in public and private collections. A number of his photos have been published in international media such as Newsweek, CNN, The Washington Post, The Guardian, Der Spiegel, El País, among others. The Muma Paduri project was created as a result of an art residency at the invitation of the Instituto Cervantes de Belgrado and Belgrade Photo Month as part of the EUNIC Serbia mobility programme. joanalvado.com IZLOŽBA

©Joan Alvado EXHIBITION

Jelena Matić, umetnička direktorka Galerije Artget u 2015, predstavlja dvoje umetnika, Sonju Žugić i Luku Klikovca, koji imaju veoma osobene pristupe fotografiji i svetu koji nas okružuje.

Galerija Artget Trg Republike 5/1 kcb.org.rs º pon/Mon – sub/Sat 12 – 20h

otvaranje/opening 22/4 º 12h traje do/ends 3/6/2021

Sonja Žugić fotografiše pejzaže u različitim krajevima sveta uglavnom bez čovekovog prisustva ili je ono prikazano u tragovima. Na njima su nebo, zemlja, kamen, voda i poneki ostatak civilizacije gotovo sve. To se posebno vidi u ovom ciklusu pejzaža morske obale Vijetnama, u kome autorka prikazuje vodu i obalu koja sa svakim novim udarcem talasa sve više nestaje. Luka Klikovac uz pomoć hardverski i softverski modifikovane industrijske lajnsken kamere briše uglavnom urbane pejzaže i čovekovo okruženje, stvarajući gotovo prikaze nekog drugog sveta. Na njegovim fotografijama sve ono što čini grad nestaje, postaje nejasan prostor, dok su ljudi, uglavnom snimljeni u pokretu, postali razloženi i razvučeni, gotovo karikaturalni prikazi koji se kreću u jednom smeru kao na fabričkoj traci i u nekom monotonom prostoru bez identiteta.

SONJA ŽUGIĆ i/and LUKA KLIKOVAC PRELAZ | PROLAZ/TRANSITION | PASSAGE Kustos/Curated by Jelena Matić

In the 20th jubilee season of the Artget Gallery, in which the artistic directors of the gallery in the previous decade re-map the domestic scene with one selected exhibition, Jelena Matić presents two artists – Sonja Žugić and Luka Klikovac – with very distinctive approaches to photography and the world around us. Sonja Žugić photographs landscapes in different parts of the world, mostly without human presence, or with just traces of it. Almost all you can find in them are the sky, earth, stone, water and some remnants of civilization. This is especially evident in this cycle of landscapes of the sea coast of Vietnam, in which Sonja Žugić shows the water and the coast, disappearing more and more with each new wave. With the help of a hardware and software modified industrial line scan camera, Luka Klikovac erases mostly urban landscapes and the human environment, creating images of almost another world. In his photographs everything that makes a city disappears, become a blurred space, while people, usually captured in motion, become decomposed and stretched, almost caricatured figures that move in one direction, like on a factory line, and in some monotonous space with no identity. lensculture.com/sonja-zugic behance.net/lukaklikovac IZLOŽBA

©Luka Klikovac

©Sonja Žugić EXHIBITION

Radisson Collection Hotel, Old Mill Belgrade Bul. vojvode Mišića 15 radissonhotels.com\ collection facebook.com/ bartcelonapopup º pon/Mon – ned/Sun 10 – 20h

U seriji fotografija Don Quijote, Katarina Marčetić dokumentarističkim postupkom beleži prostor iza scene Narodnog pozorišta u Beogradu tokom izvođenja istoimenog baleta. Delikatne i suptilne, ove fotografije svoju lepotu saobražavaju kroz višestrukost imanentnih kontrastnih odnosa, kako u formalnom, tako i u idejnom pogledu. Specifičnost ovih odnosa proizilazi iz suprotstavljanja, svetlosti – senkе, pokret – mirovanjе, a potom i simboličkih oprečnih registara kao što je suprotstavljanje predstave (igre) spram života i konačno iluzije prema stvarnosti. Upravo ova opozicija između iluzije (izvođenja) i stvarnosti (života) predstavlja temelj po kojem se kihotski narativ u kontekstu dodatno podupire i ističe. Sveobuhvatna pokretljivost silueta i figura kao da konstantno teži proboju na onu drugu stranu, bez obzira da li su u pitanju kulise ili stvarnost. Fotografije Katarine Marčetić raslojavaju pred našim očima veoma žive i gotovo fantazmatske predstave između istine i iluzije. Na njima je zabeležen dinamičan ambijent sa kvalitetima snolikosti, koji u isti mah zadržava stabilnost utemeljenu u stvarnosti posredstvom dokumentarne fotografije. Tijana Savatić

otvaranje/opening 23/4 º 19h traje do/ends 18/5/2021

KATARINA MARČETIĆ Don Quijote

In her series of photographs Don Quijote, Katarina Marčetić, through a documentary lens, captures the backstage space at the National Theater in Belgrade during the vivid performance of the famed ballet. Delicate and subtle, these photographs convey their beauty through the multiplicity of prominent contrasting relationships, both formally through their elegant execution, and through the illustrative narrative they reveal. The specificity of these relationships arises from the opposition of light and shadow, movement versus rest, the juxtaposition of symbolically opposite motifs such is performance (theatre) to real life, and finally, the illusion to reality. The all-encompassing mobility of silhouettes and figures seems to constantly strive to break through to the other side, regardless of whether it is a matter of scenery or reality. Before us, Katarina Marčetić’s photographs reveal very vivid, compelling, almost phantasmal representations between truth and illusion. They show a dynamic ambience imbued with dream-like qualities, while maintaining stability grounded in reality through documentary photography. @katarinamarcetic

Tijana Savatić IZLOŽBA

©Katarina Marčetić EXHIBITION

Kulturni centar GRAD Braće Krsmanović 4 kcgrad.rs º pon/Mon – ned/Sun 10 – 20h

otvaranje/opening 3/5 º 17h traje do/ends 15/5/2021

Fotografije pod nazivom Beograd 2020 predstavljaju presek/pogled na 2020-tu godinu, susret sa ekstremno-restriktivnim promenama društvenog ponašanja i novim čitanjem grada kao entiteta. Ukidanjem/ograničenjem upotrebe javnog prostora, kulturnih institucija i uslužnih delatnosti grad drastično menja svoj identitet, a obavezom nošenja zaštitnih maski, njegovi žitelji gube svoj. Jedina podgrupa stanovništva na koje ova promena nije bitnije uticala jesu, apsurdno, osobe bez doma. Nikola Vrzić je video-montažer (N1 TV), fotograf (diplomirani etnolog/ antropolog). Pored stalnog angažmana na televiziji, Nikola često sarađuje sa domaćim muzičarima na realizaciji muzičkih spotova.

NIKOLA VRZIĆ Beograd 2020

The photographs entitled Belgrade 2020 represent a cross-section/view of the year 2020, an encounter with the extremely restrictive changes in social behaviour and a new reading of the city as an entity. By abolishing/ restricting the use of public space, cultural institutions and service activities, the city drastically changes its identity, and with the obligation to wear protective masks, its inhabitants lose theirs. The only sub-group of the population that was not significantly affected by this change are, absurdly, homeless people. Nikola Vrzić is a video editor (N1 TV), photographer (graduate ethnologist/ anthropologist). In addition to his constant engagement with television, Nikola often collaborates with local musicians on the realisation of music videos. IZLOŽBA

©Nikola Vrzić EXHIBITION

Alternativni umetnički prostor Kvaka 22 Ruzveltova 39 kvaka22.com º sre/Wed – ned/Sun 15 – 19h

otvaranje/opening 4/5 º 19h traje do/ends 24/5/2021

Imre Sabo, rođen 1956. godine u SFR Jugoslaviji, bio je jedan od najpriznatijih jugoslovenskih foto-reportera svoje generacije. Moglo bi se reći da je bio samouk, iako nikada nije izostao ni sa jednog časa fotografije na Fakultetu dramskih umetnosti, ali uvek samo kao posmatrač. Sa dvadeset i tri godine počeo je da radi kao foto-reporter u Ilustrovanoj politici, a u trenutku kada je imao dvadeset i četiri godine, dogodila se Titova smrt, kao i to da ga Ilustrovana politika nije akreditovala kao reportera za taj događaj. Međutim, on je na sopstvenu inicijativu pokrio Titovu sahranu. Bez pristupa najboljim lokacijama i bez najbolje opreme na raspolaganju, uradio je veliki posao po kojem će kasnije biti prepoznat, a čiji deo je ovde izložen i objavljen u različitim publikacijama. Autokrata, maršal, na njegovoj državničkoj sahrani zabeležena je najveća posećenost do sahrane pape Jovana Pavla II 2005: četiri kralja, trideset i jedan predsednik vlade, šest prinčeva, dvadeset i dva premijera, četrdeset i sedam ministara spoljnih poslova iz sto dvadeset i osam različitih zemalja od sto pedeset i četiri koje su činile UN. Ono što su mnogi verovali da će se dogoditi, dogodilo se: U vreme konačnog zapečaćenja njegovog mauzoleja, unutra ostaviše i Jugoslaviju... tačno pre 40+1 godine. Prevele s katalonskog: Tajana Marković, Sonja Stanković, Kristina Stevanović i Doris Pantelić.

IMRE SZABÓ Državnička sahrana, sahrana jedne države State Funeral, Funeral of One State Kustos/Curated by David Pujadó i Puigdomènech

Imre Szabó, a photographer born in 1956 in Yugoslavia, is one of the most renowned photojournalists of his generation in the entire former Yugoslavia. It could be said that he was self-taught, although he never missed a single hour of photography at the Faculty of Dramatic Arts, Belgrade, but always only as an observer. He started working as a photo reporter in Ilustrovana Politika at the age of 23, and a year later when aged 24, Tito’s death occurred. Ilustrovana Politika did not accredit him as a reporter for the state funeral but he set out to cover Tito’s funeral on his own initiative. Without access to the best locations and considering the equipment available to him at the time, he did a great job for which he was later recognised, and a part of which is exhibited here and published in various publications. The state funeral of the autocrat and Marshall was the largest until the funeral of Pope John Paul II in 2005. It was attended by four kings, thirty-one state presidents, six princes, twenty-two prime ministers and forty-seven foreign ministers from one hundred and twenty-eight different countries of the one hundred and fifty-four that made up the UN. What many believed would happen happened: At the time of the final sealing of his mausoleum, they left Yugoslavia inside... exactly 40+1 years ago. imreszabo.com IZLOŽBA

©Imre Szabó

EXHIBITION

Muzej grada Beograda, Konak kneginje Ljubice Kneza Sime Markovića 8 mgb.org.rs º uto/Tue – čet/Thu 10 – 17h pet/Fri 10 – 18h sub/Sat 10 – 14h otvaranje/opening 9/5 º 12h traje do/ends 24/5/2021

Da biste razumeli delo Espe Pons, morate ga pozorno posmatrati. Neće nas lako zavesti predmeti ili lica, odeća ili osvetljenje. Prostori su prazni. Arhitektonski detalji su izgubljeni u vremenu. Na terenu se ne vidi nijedan znak koji bi nas podsetio na nešto konkretno. Znamo da je to delo nastalo u znak sećanja na mlađeg brata njenog dede, koji se tokom građanskog rata borio na republikanskoj strani i koji je nastradao u potonjem represivnom režimu. Kada posmatramo fotografije, moramo upotpuniti informacije, učestvovati u procesu. Navode nas da se prisećamo. Sintija Jang Kustos Arhive Roberta Kape u Međunarodnom centru za fotografiju, Njujork Ko zna da li pojačavanjem tišine koja živi na slici čovek može uhvatiti bolne krike pohranjene u sećanju na ta mesta. Ko zna može li emocija probuđena tim mestima, nakon istraživanja, naterati lokaciju da progovori, i možemo li mi u toj nemoj slici osetiti iskustvo naučnog istraživanja istorijskog pamćenja i istovremeno estetskog istraživanja. Visens Altajo Pesnik, esejista, umetnički kritičar i trgovac idejama Tekstovi preuzeti iz kataloga izložbe Na morskom svetlu (Sota la llum del mar) održane u Muzeju Palau Solterra Fondacije Vila Casas, od 18. jula do 22. novembra 2020. godine. Preveli sa španskog na srpski jezik studenti 4. godine Španskog jezika i književnosti: Ana Gligorić, Anastasija Basarić, Kristina Tutorić, Maja Dimitrijević, Nikola Kostić, Sanja Petrović i Verica Marković.

ESPE PONS Na morskom svetlu/Under the Light of the Sea

To look at the work of Espe Pons you have to look actively. There is no easy seduction by objects or faces, clothes or lighting. The locations appear empty. Architectural details are lost to time. The land does not have familiar landmarks. You are told the work is in memory of her grandfather’s younger brother who fought for the Republicans during the Civil War and died as a result. As a viewer, you have to fill in information and participate in the process. You are asked to remember. Cynthia Young Curator of the Robert Capa Archive at the International Center of Photography, New York Who knows if by intensifying the silence which lives in the image, one can manage to capture the screams of pain in the memory of those places. Who knows if the emotion of finding herself in these places, having carried out the research, can make the location speak, and if we can also perceive in the silent image the experience of scientific research on historical memory and at the same time aesthetic research. Vicenç Altaió Poet, essayist , art critic and ideas trafficker Texts excerpts from the catalogue for the Sota la llum del mar (Under the Light of the Sea) exhibition at the Museu Palau Solterra, of the Vila Casas Foundation which took place between 18th July and 22nd November 2020). espepons.com IZLOŽBA

©Espe Pons

EXHIBITION

Srbija – lepa i slepa je vizuelni dnevnik bez početka i kraja, o parčetu zemlje na Balkanu i ljudima koji tu žive. Ovaj dokumentarni projekat istražuje svakodnevicu, privilegije i posledice života u nedefinisanom sistemu vrednosti. Govori o jednoj državi u tranziciji, zaglavljenoj između turbulentne prošlosti i neizvesne budućnosti, nemoćnoj da napravi razliku između sna i stvarnosti. Na kraju, ovo je priča o društvu i pojedincu, i njihovoj borbi da se održe na površini nemirnog okeana.

Grafički kolektiv Dragoslava Jovanovića 11 grafickikolektiv.org º pon/Mon – sub/Sat 12 – 16h

Aleksandar Slavković je dvadesetsedmogodišnji foto-reporter i dokumentarni fotograf iz Srbije. Nakon diplomiranja na Visokoj hotelijerskoj školi i nekoliko poslova u struci, počeo je da se zanima za dokumentarnu fotografiju i vizuelno pripovedanje priča kao jedan od najboljih načina istraživanja sveta. Nakon tri godine kao slobodni fotograf počeo je saradnju sa medijskom kompanijom Ringier Axel Springer u Beogradu. Godine 2019. dobio je stipendiju od VII akademije u Sarajevu da pohađa interdisciplinarni seminar za narativnu i dokumentarnu praksu, zajedno sa četrnaest fotografa iz šire balkanske regije. Njegov rad objavljivan je u poznatim srpskim časopisima NIN i Vreme, kao i u nekoliko internet magazina i publikacija.

otvaranje/opening 9/5 º 14h traje do/ends 19/5/2021

ALEKSANDAR SLAVKOVIĆ Srbija – lepa i slepa/Serbia – Beautiful and Blind Serbia - Beautiful and Blind is a visual diary without beginning or end, about a piece of land in the Balkans and the people who live there. This documentary project explores everyday life, privileges and consequences of living in an undefined system of values. It talks about a country in transition, stuck between a turbulent past and an uncertain future, unable to distinguish between a dream and reality. In the end, this is a story about society and an individual, and their struggle to survive on the surface of a restless ocean.

Muzej grada Beograda, Muzej Mladenovca 14/11 – 14/12/2020

Kralja Aleksandra Obrenovića 69 Mladenovac mgb.org.rs

Aleksandar Slavković is a 27 year old photojournalist and documentary photographer based in Serbia. After graduation from the College of Hotel Management and a few hospitality jobs, he started to gain interest in documentary photography and visual storytelling as the best way to explore the world. After three years as a freelance photographer, he started working for the media company Ringier Axel Springer. In 2019 he received a scholarship from VII Academy in Sarajevo to attend the 9 months-long interdisciplinary Seminar for Narrative and Documentary Practice, together with 14 photographers from the wider Balkans region. His work has been published in several Serbian magazines, such as NIN and Vreme and a selection of online publications. behance.net/aleksandarslavkovic IZLOŽBA

©Aleksandar Slavković

EXHIBITION

Grafički kolektiv Dragoslava Jovanovića 11 grafickikolektiv.org º pon/Mon – sub/Sat 12 – 16h

Grčko ostrvo. Topli junski dan. Nas četvoro smo sami na plaži. More mi je u kosi, sunce na knjizi, vetar među prstima, kamenolom pod tabanima. Ovaj dan je trenutak u večnosti. Nema fotografije. Bitno je da smo ovde i sada. Život je lep! Sutra se vraćamo u grad. Ana

Prolaznici svuda. Svaki u svojoj izgrebanoj stvarnosti. Ispod je ulica. Ispod ulice je voda. Iz asfalta izbija korenje. Plaši me ponor. Iznad je crno-crveno nebo. Sivi ljudi žive u broju 36. Ja sam dete grada. Maja

Grebo Grej je vizuelni umetnik iz Velike Britanije koji živi i radi u Beogradu, u Srbiji. Diplomirao je slikarstvo na akademiji Portsmouth Polytechnic 1990. godine, na univerzitetu u Brajtonu je završio postdiplomske studije umetnosti i dizajna, a predavao je i likovno u školi nekoliko godina. Preseljenje u Beograd omogućilo mu je da se usredsredi na svoje umetničko delo. Poslednjih godina fotografije su postale važan deo njegovog rada, mada se nerado naziva fotografom. Foto-aparat koristi kao alat za stvaranje skica, beležeći sitne detalje na predmetima iz svakodnevice koji nas okružuju, a koji su mahom ignorisani. Grebove fotografije privukle su pažnju mnogih, pogotovo muzičara, pa se neke od njih mogu videti na omotima različitih nosača zvuka.

otvaranje/opening 9/5 º 14h traje do/ends 19/5/2021

GREBO GRAY Zagrebi ispod površine/Scratch Beneath the Surface Kustos/Curated by Ana Šćepanović Greek island. A warm June day. The four of us are alone on the beach. I have the sea in my hair, the sun on my book, the wind between my toes, the quarry under my soles. This day is a moment in eternity. No photo. It is important that we are here and now. Life is Beautiful! We’re going back to the city tomorrow. Ana

Passers-by everywhere. Each in its own scratched reality. Below is the street. There is water under the street. Roots sprout from the asphalt. The abyss scares me. Above is a black-red sky. Gray people live in number 36. I am a child of the city. Maya

Grebo Gray is a British visual artist now living and working in Belgrade, Serbia. Grebo graduated from Portsmouth Polytechnic in 1990 with a BA (Hons) in Fine Art Painting and followed that by going back to university in Brighton to obtain a Postgraduate Certificate in Education (Art & Design) and teaching art in a school for a few years. Relocating to Belgrade enabled Grebo to focus on his own artwork once more and in recent years photographic images have become an important part of his work, though he is reluctant to call himself a photographer. He uses the camera as a tool to create a visual sketchbook, capturing small details from the everyday objects that surround us but are largely ignored. These images have caught the eye of a number of musicians who have used some of the imagery on various music releases. @f666 IZLOŽBA

©Grebo Gray

EXHIBITION

РТС Клуб Hilandarska 2 (ulaz iz Svetogorske) rts.rs º pon/Mon – pet/Fri 11 – 17h

otvaranje/opening 10/5 º 12h traje do/ends 6/6/2021

Povodom obeležavanja 40 godina novog talasa, Radio Beograd 202 u saradnji sa Jugotonom organizuje izložbu Tako je talasao NOVI TALAS. Ovaj sveumetnički pokret koji je pomerio granice popularne kulture, ostavio je dubok trag u našem društvu i danas se, iz više uglova, može posmatrati kao fenomen. Trenutak koji se smatra početkom novog talasa u SFRJ je objavljivanje albuma Paket aranžman, pre tačno četiri decenije. Na izložbi će biti prikazan proces stvaranja ovog, višestruko značajnog izdanja, kao i niz do sada neobjavljenih fotografija i artefakata koji su pratili glavne aktere novog talasa na prostoru bivše Jugoslavije.

Tako je talasao NOVI TALAS Those Were the Waves of the NEW WAVE Radio Beograd 202 uz podršku Jugotona

On the occasion of 40 years of New Wave, Radio Belgrade 202, in collaboration with Jugoton publishing house, are organising an exibition titled Those Were the Waves of the NEW WAVE. This movement, that pushed a total art concept, expanded our pop culture boundaries and left a deep mark on our society. In retrospect, New Wave can be regarded as a phenomenon. The release of the Paket aranžman album in the former Yugoslavia can be considered as the beginning of the New Wave movement, exactly forty years ago. The exibition will show the creation process of this significant release, with artefacts and a series of previously unpublished photographs which followed the main participants of New Wave in the ex-YU territories. IZLOŽBA

©Brian Rašić EXHIBITION

Inspiraciju za izložbu Oči moje Luka je pronašao u dokumentarnom filmu Everybody Street, Cheryl Dunn (2013). Kreativnost i slobodu koje je osetio gledajući film pokrenuli su ga da sam krene u avanturu ulične fotografije.

Kulturni centar GRAD Braće Krsmanović 4 kcgrad.rs º pon/Mon – ned/Sun 10 – 20h

otvaranje/opening 10/5 º 17h traje do/ends 23/5/2021

Luka Cako je fotograf mlađe generacije. Živi i radi u Beogradu. Detinjstvo je proveo u Grčkoj i Keniji, a po povratku u Srbiju počinje da se bavi uličnom fotografijom. Beleži gradska dešavanja i situacije na koje nailazi. Pored ulične fotografije aktivno se bavi modnom i studijskom fotografijom. Izložba Oči moje je izbor radova nastalih u periodu od 2017. do 2021. godine.

LUKA CAKO Oči moje/My Eyes

Luka Cako found inspiration for the exhibition My Eyes in the documentary Everybody Street by Cheryl Dunn (2013). The creativity and freedom he felt while watching the film prompted him to embark on an adventure in street photography. Luka Cako is part of a younger generation of photographers. He currently lives and works in Belgrade having spent his childhood in Greece and Kenya. Upon returning to Serbia, Luka started exploring with street photography, recording city events and the situations he encounters. In addition to street photography, Luka is actively involved in fashion and studio photography. The exhibition My Eyes is a selection of works created in the period from 2017 to 2021. IZLOŽBA

©Luka Cako

EXHIBITION

Institut français de Serbie Zmaj Jovina 11 institutfrancais.rs º uto/Tue – pet/Fri 13 – 19h sub/Sat 10 – 15h

Ova izložba predstavlja skup radova francuskog fotografa Filipa Ponsea (1963–2015). Filip Ponse se profesionalno bavio fotografijom i paralelno s tim studirao filozofiju u klasi Žana-Morisa Monoajea, profesora na Collège de France. On je 1998. godine osvojio nagradu Agfa European Portrait Award i njegove fotografske radove objavili su Éditions cent pages, Le Monde, Qantara (časopis Instituta arapskog sveta u Parizu). Njegova dela uvršćena su u kolekcije Narodne biblioteke Francuske. Od morskih obala do bašti, psi laju, karavani prolaze. Radi se o putevima i kvarovima, jurcanju i čekanju, kočevima i stolicama. Vidimo napuštenu fabriku, pa barake. U daljini vidimo granice. Izgleda da je horizont udaljen petnaest kilometara. Ne skidamo pogled s njega. Nešto nam izmiče. Smisao ovih fotografija je diskretan, kao da je u iščekivanju. Iz njih izviru brojne priče, tonovi i pokreti: varijacije, preludijumi i fuge. Samo je gledao kako se njegovo nebo gasi, a senka uobličava. Horizont se gubio, nije ga ispuštao iz vida, jer znao je za njegove nagle prelaze, iz iskustva. U tami je i bolje čuo, čuo je zvuke koje mu je dugi dan skrivao, žamore ljudi, ili kišu na vodi. Semjuel Beket, Mersije i Kamije

otvaranje/opening 11/5 º 18h traje do/ends 22/5/2021

PHILIPPE PONCET Vanishing Point by Olivier Gadet Kustos/Curated by David Pujadó This exhibition presents a series of photographs by French photographer Philippe Poncet (1963-2015). Philippe Poncet trained as a professional photographer and also studied philosophy under Jean-Maurice Monnoyer, a professor at the Collège de France. Winner of the Agfa European Portrait Award in 1998, his photographic work has been published by Éditions Cent Pages, Le Monde, Qantara (magazine of the Institut du Monde Arabe). His work is represented in the public collections of the Bibliothèque Nationale de France. From the seaside to the allotments, a vague dog barks, caravans pass by. It is a question of roads and breakdowns, of running and waiting, of wooden stakes and chairs. Here we see a wasteland, then huts. In the distance one sees the borders. The horizon is fifteen kilometres away, it seems. One does not remove their eyes from it. Something escapes. The meaning of these photographs remains discrete, as if in suspension. Snippets of stories emerge; a tone and a movement emerge: variations, preludes and fugues. Alone he watched the sky go out, dark deepen to its full. He kept his eyes on the engulfed horizon, for he knew from experience what last throes it was capable of. And in the dark he could hear better too, he could hear the sounds the long day had kept from him, human murmurs for example, and the rain on the water. Samuel Beckett, Mercier and Camier IZLOŽBA

©Philippe Poncet EXHIBITION

O3ONE Art space Dobračina 59 o3one.rs dorcolplatz.rs º pon/Mon – ned/Sun 10 – 23h

Feđa Kiselički se godinama bavi buđavim predelima koje je njegov nemar prema hrani umeo da rasprostre po namirnicama u frižideru. Kako kaže, projekat fotografskog interesovanja za živi svet frižidera osmislio je kao kritiku savremenog bahatog odnosa prema hrani. Fasciniran oblicima, bojama i svetlosnim efektima detalja golom oku nevidljivog stvaralaštva buđi, Feđa je snimao mikrosvet nastao iz sopstvenog, ali i šireg ljudskog nemara makroobjektivom, da bi potom snimke višestruko uvećavao, čemu svedoče ovde izložene fotografije. Takvim umetničkim postupkom, koji bi mogao da se shvati i kao izraz bioumetnosti, ljudska neodgovornost je dobila monumentalne razmere gusto satkanog i nezaustavljivog života razigranih micelijuma majušnih gljiva, čime je Feđa umnogome otežao navike neprimećivanja i nebavljenja problemom prehrambenog javašluka. Njegov je umetničko-fotografski potpis jedinstven među čitavom plejadom umetnika i umetnica čije je stvaralaštvo nadahnula plesan, a među koje spadaju i nemački umetnički fotograf Klaus Pihler, čije mrtve prirode s buđavom hranom kritički podsećaju na činjenicu da danas blizu milijardu ljudi na planeti gladuje, ali i meni omiljena Elin Tomas, koja veze, hekla i šije verističke motive plesni. Zaposlen je u Muzeju grada Novog Sada kao fotograf, a izlagao je na jedanaest samostalnih izložbi. Dr Ivana Pražić

otvaranje/opening 12/5 º 19h traje do/ends 22/5/2021

FEĐA KISELIČKI Pejzaži nemara/Panoramic Neglect A few years ago, Feđa Kiselički started channelling his creative efforts into the making of a series of mouldscapes or images of landscape-like scenery depicting the spread of mould over neglected food items in his refrigerator. According to the author, this photographic interest in the living world inside his fridge has emerged as a form of critique of reckless food-related habits which characterise (a large part of ) the contemporary world. Enchanted by shapes, colours and light/shade effects of minute, almost invisible products of mould-made modelling, Feđa has photographed a micro world of this wide-spread food-related human carelesseness using a macro lense. Thus taken pictures were then substantially enlarged, as exhibited here. Feđa’s BioArt(istic) method renders human inattention simultaneously monumental in proportions and comprised of a tightly knit, unstoppable life of frolicking mycelia belonging to tiny fungi. In so doing, the author has made it rather difficult for us to ignore or leave untackled the problem of alimentary abuse. Feđa’s artistic expression has earned him a distinct place among other mould-inspired artists, such as German art photographer Klaus Pichner, whose series of still life with rotten food scraps is a criticising reminder of the fact that almost one billion people across the planet are exposed to starvation, or Elin Thomas (particularly admired by the author of this text), who crochets and sews veristic mould patterns. Feđa works as a photographer at the City Museum of Novi Sad. He has thus far exhibited his oeuvre in 11 solo exhibitions. Ivana Pražić Phd IZLOŽBA

©Feđa Kiselički EXHIBITION

Moda i strast naziv je izložbe fotografija na kojoj se predstavljaju studenti osnovnih studija departmana Digitalne umetnosti, Fakulteta za medije i komunikacije iz Beograda. U specifičnim okolnostima usled pandemije, u okviru kursa modne fotografije, studenti su bili primorani da ograničeno koriste studijske uslove uz aktiviranje dodatne kreativnosti, improvizacije i adaptacije. Predstavljene radove, pored žanrovski orijentisane modne fotografije, tematski dopunjavaju autoportreti i portreti u slobodnoj formi. Lice i telo u metaforičnim i simboličnim pokretima odraz su specifičnosti vremena u kome se živi, a istovremeno i modnih stavova i odnosa.

Galerija N.EON Crnogorska 10 galerijaneon.rs º pon/Mon – ned/Sun 17 – 21h

otvaranje/opening 14/5 º 19h traje do/ends 20/5/2021

Autori fotografija: Ana Stanojević, Andrea Ašanin, Angelina Kačunković, Balša Leković, Bojana Božičić, Isidora Dimitrijević, Jasna Mijušković, Julija Radosavljević, Luka Rajković, Marija Đorđević, Mina Davidovac, Olga Tomić, Sofija Ivanović, Teodora Arsić i Viktorija Đorđević.

STUDENTI FAKULTETA ZA MEDIJE I KOMUNIKACIJE Moda i strast/Fashion and Passion Kustos/Curated by Dragan Pavlović

Fashion and Passion is the name of the photo exhibition which presents works from the students of the Department of Digital Art, Faculty of Media and Communications from Belgrade. As students participating in a fashion photography course and due to the specific epidemic circumstances, they were forced to make limited use of study facilities, therefore forcing them to adapt, improvise and find new ways to be creative. The presented works, in addition to genre-oriented fashion photography, thematically complement self-portraits and portraits in free form. The face and body in metaphorical and symbolic movements are a reflection of the peculiarities of the moment and time in which one lives, and, at the same time, they are a reflection of fashion attitudes and relationships. The authors of the photographs are: Ana Stanojević, Andrea Ašanin, Angelina Kačunković, Balša Leković, Bojana Božičić, Isidora Dimitrijević, Jasna Mijušković, Julija Radosavljević, Luka Rajković, Marija Đorđević, Mina Davidovac, Olga Tomić, Sofija Ivanović, Teodora Arsić and Viktorija Đorđević. IZLOŽBA

EXHIBITION

Glavna inspiracija za izložbu U potrazi za Ivanom potiče iz dokumentarnog filma 8, koji se bavi odnosom reditelja Danila Cekovića i tinejdžera romskog porekla Ivana Stankovića. Kroz njihov odnos, koji traje već šest godina, film predstavlja sud neprekidnog i nesvakidašnjeg prijateljstva.

Kulturni centar GRAD Braće Krsmanović 4 kcgrad.rs º pon/Mon – ned/Sun 10 – 20h

otvaranje/opening 17/5 º 17h traje do/ends 29/5/2021

Foto i video materijal za izložbu nastao je kroz višemesečno druženje Danila Cekovića i urednika Andreja Pavićevića sa grupom dece romskog porekla, koje je krenulo sasvim spontano. Radovi, sa decom kao autorima, reflektuju početak našeg druženja time što su i sami nastali spontano i organski. S te strane, radovi predstavljaju rezultat spontanog, dokumentarnog stvaralaštva. S druge strane, oni demonstriraju izgradnju novih, nekonvencionalnih odnosa – kako prijateljskih, a sada i koautorskih, tako i odnosa deca–odrasli, učitelji–učenici – kroz zajedničko stvaralaštvo. Izložba U potrazi za Ivanom za cilj ima podizanje svesti o svetu, svakodnevici i životu dece-autora kroz prikazivanje njihove perspektive; obrazovanje dece-autora u sferi umetnosti kroz različite radionice; podsticaj i ohrabrenje njihove kreativnosti i interesovanja za foto/video umetnost; i pružanje platforme za izražavanje koju do sada nisu imali, a za koju su pokazali veliko interesovanje.

ANDREJ PAVIĆEVIĆ i/and DANILO CEKOVIĆ U potrazi za Ivanom/In Search of Ivan

The main inspiration for the exhibition In Search of Ivan comes from the documentary film 8, which deals with the relationship between director Danilo Ceković and Roma teenager Ivan Stanković. Through their relationship, which, like the film, has lasted for six years, the film captures the spirit of the uninterrupted and unusual friendship. The photo and video material for the exhibition was created through several months of socialising, which started quite spontaneously, with a group of children of Roma origin by Danilo Ceković and the editor Andrej Pavićević. The works, with children as authors, reflect the beginning of their friendship by the fact that they themselves were created spontaneously and organically. On one hand, the works are the result of a spontaneous, documentary creation. On the other hand, they also demonstrate the construction of new, unconventional relationships - both friendly, and now co-authorial, as well as child-adult, teacher-student relationships - through joint creation. The exhibition In Search of Ivan aims to raise awareness of the world and the everyday life of the children–authors by showing their perspective; the education of children-authors in the field of art through various workshops; encouraging their creativity and interest in photo/video art; providing a platform for expression that they have not had so far, and for which they have shown great interest. IZLOŽBA

©Danilo Ceković

EXHIBITION

Instituto Cervantes de Belgrado Čika Ljubina 19 belgrado.cervantes.es º pon/Mon – pet/Fri 9 – 20h sub/Sat – ned/Sun 9 – 18h

Ova izložba fotografija otkriva i identifikuje tragove koje su u Madridu ostavili holivudski glumci koji su živeli i radili u ovom gradu i njegovoj okolini pedesetih i šezdesetih godina, u trenutku kada je Madrid bio u centru interesovanja kao lokacija za snimanje filmova, zahvaljujući privlačnosti Semjuel Bronston studija. Pedestih godina prve velike holivudske superpodukcije stižu u Madrid: Aleksandar Veliki (1956) Roberta Rosena i Ponos i strast (1957) Stenlija Krejmera. Madrid je postao atraktivna lokacija zahvaljujući raznovrsnosti pejzaža prirode, niskim cenama tehničkih i ljudskih resursa (statista), mogućnosti jednostavnog dobijanja dozvole za snimanje filmova i bogatog društvenog života glavnog grada, što je bilo izuzetno privlačno za glumce i njihove agente. Dobar primer je i Ava Lavinija Gardner, koja je živela u Madridu od 1953. do 1967. godine i koja je, bez sumnje, bila glavni predstavnik ovog novog načina snimanja filmova. Izložba MAD about Hollywood kustoskinje Esperanse Garsije Klaver, u produkciji Sekretarijata za kulturu, turizam i sport Autonomne pokrajine Madrid, deo je festivala Španski metar 2021, jednog od omiljenih programa svih zaljubljenika u film na španskom jeziku u Beogradu i Novom Sadu. Izložba će biti prikazana u galeriji Instituta Servantes od 18. maja i u holu Jugoslovenske kinoteke od 10. maja.

otvaranje/opening 18/5 traje do/ends 16/8/2021

Jugoslovenska kinoteka Uzun Mirkova 1 kinoteka.org.rs º pon/Mon 17 – 21h uto/Tue – ned/Sun 9 – 21h

MAD about Hollywood Kustos/Curated by Esperanza García Claver

This photo exhibition reveals and identifies the traces left in Madrid by Hollywood actors who lived and worked in the city and its surroundings in the 1950s and 1960s. At that time Madrid was the centre of interest as a filming location, thanks to the attractiveness of Samuel Bronston Studios. In the fifties, the first great Hollywood super productions arrived in Madrid: Alexander the Great (1956) by Robert Rossen and The Pride and the Passion (1957) by Stanley Kramer. Madrid had become an attractive location thanks to the diversity of the natural landscape, low prices of technical and human resources (extras), the possibility of easily obtaining a filming license and the rich social life of the capital, which was extremely attractive for actors and their agents. A good example is Ava Lavinia Gardner, who lived in Madrid from 1953 to 1967 and who, without a doubt, was the main representative of this new way of making films. The MAD about Hollywood exhibition by curator Esperanza García Claver, produced by the Secretariat for Culture, Tourism and Sports of the Autonomous Province of Madrid, is part of the festival – Španski metar 2021, one of the favourite programmes for lovers of Spanish language films in Belgrade and Novi Sad. The exhibition will be shown in the gallery of the Instituto Cervantes de Belgrado from 18th of May and in the hall of the Jugoslovenska kinoteka from 10th of May. IZLOŽBA

Orson Vels sa suprugom Paolom Mori i njihovom kćerkom Beatris Vels u uličici Travesija de Nunsio. Oko 1960. godine. Orson Welles with wife Paula Mori and their daughter Beatrice Welles in Travesia de Nunzio street. Around 1960. ©Galerie Lumière des Roses, Paris EXHIBITION

Anahronike 1995–2020 je pregled dvadesetpetogodišnjeg umetničkog rada srpskog fotografa Siniše Vlajkovića, koji vodi posmatrača na svojevrsno putovanje otkrića i samootkrivanja, krećući se napred kroz prostor i unazad kroz vreme.

Radisson Collection Hotel, Old Mill Belgrade Bul. vojvode Mišića 15 radissonhotels.com\ collection facebook.com/ bartcelonapopup º pon/Mon – ned/Sun 10 – 20h

otvaranje/opening 20/5 º 19h traje do/ends 15/6/2021

Svet slika koji Siniša Vlajković godinama dokumentuje služi kao podsetnik da svi mi nasleđujemo jednu opaku bolest – nostalgičnost. Njegovi radovi su portreti fragmenata različitih gradskih prizora, koji uvek sadrže neki predmet iz prošlosti ili ideju o staroj i propadajućoj distopiji – prikaz čitavih svetova koje ćemo u budućnosti zaboraviti. Nije nikakva misterija zašto Anahronike pretražuju vrednosti naše kulture, ponekad nas i pritiskajući svojim neprestanim podsećanjem na istorijsko breme previsokih društvenih očekivanja. Odlomak iz eseja Sećanje na sliku, nezavisna kustoskinja Lara Pan

SINIŠA VLAJKOVIĆ Anahronike/Anachronicles 1995–2020

Anachronicles 1995-2020 is a 25-year survey of the work of Serbian photographer Siniša Vlajković, taking the viewer on an idiosyncratic journey of discovery and self-discovery, moving forward through space and backwards through time. The imagery that Siniša Vlajković has been documenting for years serves as a reminder that we are the inheritors of a deadly disease: nostalgia. His work portrays a fragmenting of various cityscapes, which always contain an object from the past or the idea of the old and decaying dystopia – images of worlds that we will forget in the future. It is no mystery why the Anachronicles are searching throughout the values of our culture, sometimes even oppressing us with a constant reminder of a difficult history or high societal expectation. From the essay The Reminiscence of an Image by independent curator Lara Pan sinisavlajkovic.com IZLOŽBA

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

otvaranje/opening 25/5 º 19h traje do/ends 4/6/2021

Platforme predstavljaju istraživačku seriju jedinstvene podzemne arhitekture Njujorka, kroz koju se svakodnevno prolazi, tj. u kojoj se privremeno boravi. Metro platforme posmatrane sa tačke gledišta putnika sa suprotnih strana predstavljaju voajersko iskustvo precizno presečeno arhitekturom prostora. Vizualna reminiscencija na filmsku traku sveprisutnih metro kolona organizuje prostor u višestruki narativ. Postoji potreba za posmatranjem druge strane kako bi se održala dinamika između prolaznika i upotpunila slika. Platforma postaje pozornica gde glumci zauzimaju svoja privremena mesta pre dolaska voza prizivajući naredni čin. Slike ove serije predstavljaju nijanse samoizolacije u gustini haotičnog megalopolisa. Interakcije, ili njihova odsustva, manifestuju se kroz govor tela i mesta sa kojih putnici posmatraju. Preplavljujućom upotrebom personalizovanih uređaja gubi se još više mogućnosti za ljudski kontakt. Kombinovanjem voajerizma i fotografije i korišćenjem prednosti arhitekture podzemne železnice, u seriji se odražava otuđenost, odvajanje, lični prostor, individualizam, usamljenost i prolazna povezanost podzemnih prolaza urbanog megalopolisa.

NATAN DVIR Platforme/Platforms

Platforms is a series exploring the unique New York underground architecture and the people temporarily passing through it. Subway platforms seen from the point of view of a waiting commuter on the other side, present a voyeuristic experience geometrically dissected by the architecture of the space. Visually reminiscent of photographic filmstrips, the ubiquitous subway columns organise the space into multiple narratives. One needs to scan across in order to reveal dynamics between the passersby and see the complete picture. The platform becomes a stage where actors take their temporary place until the train passes and invites the following act.

Embassy of Israel BELGRADE

The images in this series visualise the nuances of a self-inflicted isolation in an otherwise dense and chaotic mega-city. Interactions, or lack there of, manifest themselves in body language and spatial locations of the commuters observed. Overwhelming usage of personal technological devices minimise the potential for human connection even further. Combining a voyeuristic practice with a photographic strategy taking advantage of the stations’ architectural characteristics, the series reflects detachment, separation, personal spaces, individualism, loneliness, and momentary connections in the underground niches of an urban metropolis. natandvir.com IZLOŽBA

Ambasada Republike Argentine u Beogradu Kneza Mihaila 24/1 eserb.cancilleria.gob.ar

Savska promenada º pon/Mon – ned/Sun 00 – 24h

otvaranje/opening 3/6 º 18h traje do/ends 18/6/2021

Povodom odlaska Dijega Armanda Maradone, osvrnuli smo se na život ovog fudbalskog genija. Ova izložba predstavlja ekskluzivni izbor fotografija fotografskih arhiva argentinske novinske agencije Agency Télam i srpskog MN Press Agency, kao i rad fotografa Dragane Udovičić i Aleksandra Dimitrijevića. Maradona je imao tri velike ljubavi: porodica, fudbal i njegova domovina Argentina odnosno Latinska Amerika. Zavoleo je i Srbiju nakon dve posete, prve u oktobru 1982, kada je postigao svoj čuveni gol na Maloj Marakani pred devedeset i pet hiljada gledalaca posle kojeg su usledile ovacije, kao i druge, 2005, tokom snimanja sjajnog Kusturičinog dokumentarca Maradona by Kusturica. Materijal je beskonačan: Pokušali smo da sumiramo njegov život kroz već legendarne fotografije koje ne samo da dokumentuju trenutak, već i istoriju i osećanja. Ako umrem, želim da se ponovo rodim i budem fudbaler. Maradona 1982.

Maradona

In memory of the passing of Diego Armando Maradona we want to take a journey through the life of this football genius. This exhibition will present an exclusive selection of photographs, both from the photographic archive of the Argentine News Agency Télam and of the Serbian MN Press Agency, plus will also include work by photographers Dragana Udovičić and Aleksandar Dimitrijević. Maradona had three great loves: family, football and his homeland, both Argentina and Latin America. Maradona also had a little bit of love for Serbia after his two famous visits, the first on October 20th, 1982, when he scored one of his most famous goals in the Little Maracaná in front of more than 95,000 spectators who gave him a standing ovation and the second, in 2005, when he visited for the filming of the fantastic documentary Maradona by Kusturica. The material is infinite: we tried to summarise his life through photos that are already iconic because more than documenting just a moment they represent the history and feelings of the people. If I die, I want to be born again and I want to be a footballer. Maradona 1982 IZLOŽBA

Omaž Danteu Aligijeriju

Istituto Italiano di Cultura di Belgrado Kneza Miloša 56 iicbelgrado.esteri.it º pon/Mon – čet/Thu 10 – 17h pet/Fri 10 – 15h

otvaranje/opening 18/10 º 18:30h traje do/ends 12/11/2021

Pakao, Čistilište i Raj. Dante Aligijeri ih je sve posetio u Božanstvenoj komediji, najznačajnijem delu italijanske književnosti. Ove godine je sedamstota godišnjica od smrti velikog pesnika, pa je Frančesko Amorozino odlučio da posveti svoj rad neiscrpnoj inspiraciji koju pruža Danteova poema. Šuma i zvezde okuplja različite projekte ovog italijanskog fotografa koje spaja Danteov put kroz zagrobni svet. Put počinje u Paklu, mračnim zastrašujućim slikama Index Librorum Prohibitorum-a, projektom koji prikazuje knjige zabranjene od strane katoličke crkve (ovde spada i Danteov esej Monarhija); nastavlja se Knjigom komandi, pričom o lovu na veštice u severnoj Italiji i njihovom čuvenom knjigom o crnoj magiji. Čistilište kao mesto iščekivanja predstavljaju dva skorašnja dela, oba digitalna kolaža: Dijamant, povezan sa reinkarnacijom duša, i Nova renesansa, u kojem su stare crkve i druge građevine smeštene u limb, gde je sve mirno. Raj je predstavljen instalacijom prilagođenom prostoru, Svi anđeli padaju, sa fotografijama koje vise u vazduhu, što upućuje na ljudsko stremljenje ka uzdizanju. Tokom puta, moguće je slušati muziku koju je za projekat komponovao Stefano Đ. Falkone, kao i čitati odlomke Božanstvene komedije.

FRANCESCO AMOROSINO Šuma i zvezde/The Forest and the Stars

Homage to Dante Alighieri

SETTIMANA DELLA LINGUA ITALIANA NEL MONDO

Hell, Purgatory and Heaven. Dante Alighieri visited them all in the Divine Comedy, the most important work in Italian Literature. This year is the 700th anniversary of the death of the great poet and Francesco Amorosino decided to pay tribute to the endless inspiration provided by his long narrative poem. In The Forest and the Stars different projects by the Italian photographer are connected to the voyage of Dante in the afterworld. The journey begins in hell with dark and scary pictures of the Index Librorum Prohibitorum, a project about the books forbidden by the Catholic Church (including Dante with his essay On Monarchy); it continues with The Book of Command, the story of witches being hunted in northern Italy and their famous book of black magic. Purgatory is a suspended place of waiting and here you can find two recent works, both created using digital collage: Dàimon, linked to the reincarnation of souls and New Renaissance, in which old churches and buildings are placed in limbo where everything is still. Heaven is represented by a site specific installation, All the Angels Fall, where photos are suspended in the air referring to the human aspiration for elevation. During the path it’s possible to listen to music realised for the projects by composer Stefano G. Falcone and read quotes from the Divine Comedy. francescoamorosino.com IZLOŽBA

IZLOŽBE IZ 2020. GODINE EXHIBITIONS FROM 2020

ZBOG SITUACIJE SA KORONA VIRUSOM FESTIVAL JE OTKAZAN 2020, ALI SMO USPELI ORGANIZOVATI OSAM IZLOŽBI I DVANAEST RAZGOVORA UŽIVO. DUE TO THE SITUATION WITH CORONA VIRUS, THE FESTIVAL WAS CANCELLED IN 2020. HOWEVER, WE DID MANAGE TO ORGANISE EIGHT EXHIBITIONS AND HOST TWELVE LIVE CONVERSATIONS.

Fernando Bayona Ivana Tomanović Niloufar Banisadr Made of Photos #1 Jovana Milovanović Duško Vukić

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

Fotograf Fernando Bajona (Linares, 1980) uronio je u bogate fondove fotografskog arhiva dnevnog lista ABC zarad projekta Varljivost sećanja, čiji je kustos Havijer Dijas-Gvardiola. Opsednut idejom neuspeha, njegov cilj bio je da poveže analitički i naučni način kojim jedan arhiv upravlja sećanjima, sa haotičnijim i subjektivnijim oblikom ljudskog pamćenja. Za umetnika, način na koji se pamti i prikazuju događaji u sadašnjosti, dovodi do njihovog preklapanja i stvaranja iskrivljene slike. Dela koja je stvorio Bajona nastajala su iz superpozicije stotinak originalnih fotografija iz arhiva koje za temu imaju neki specifičan koncept (nasilje, eksplozija, izbeglice, vatra...), čije granice se takođe preklapaju sa krajnjim rezultatom. Svaki od radova ilustrovan je originalnom fotografijom iz kolekcije ABC-a, koja prikazuje neki od važnih događaja iz prošlog veka koji su uticali na evoluciju čoveka (Prvi i Drugi svetski rat, Španski građanski rat, 11. septembar ili sletanje na Mesec). U želji da potvrdi ideju da se istorija ponavlja i da je naše pamćenje slabo, Bajona upotpunjuje svaki diptih portretom pojedinaca koji i danas trpe nepravde na koje ukazuje ovaj projekat. Ova izložba realizovana je u saradnji Instituta Servantes u Beogradu i Beogradskog meseca fotografije uz veliku podršku Acción Cultural Española, AC/E kroz PICE program za međunarodnu promociju španske kulture putem mobilizacije umetnika.

2/7 – 10/9/2020

FERNANDO BAYONA Varljivost sećanja/La Memoria Traidora

Fernando Bayona (Linares, 1980) dived into the rich fond of the ABC photographic archives to compose his project La Memoria Traidora, curated by Javier Díaz-Guardiola. Obsessed with the idea of failure, his intention has been to relate the analytical and scientific way in which an archive manages memories compared to the more chaotic and subjective form of human memory. For the artist, our way to remember and to bring the past into the present, is by distorting and overlapping. The artworks that Fernando Bayona has created were born in the same way, overlapping up to one hundred archive original images based around a certain concept (#violence, #explosion, #refugees, #ﬁre…) whose limits become a fusion in the resulting oeuvre. Each one of the proposals is illustrated by an original photograph from one of the ABC’s archive sections, which refer to some of the most important historical events of the past century that have influenced humans (World War I & II, Spanish Civil War, the September 11 attacks or the first step on the moon by a human). Aiming to reinforce the idea that history repeats itself, that our memory is weak, Bayona completes each diptych with a portrait of a person who still suffers nowadays from the injustices denounced in his project. This exhibition has been organised through the collaboration of the Instituto Cervantes de Belgrado and Belgrade Photo Month Festival with the essential support of Acción Cultural Española, AC/E through its Programme for the Internationalisation of Spanish Culture (PICE) which support artist mobility. @fernandobayona IZLOŽBA

Muzej grada Beograda, Konak kneginje Ljubice Kneza Sime Markovića 8 mgb.org.rs

Lebdeća instalacija u prostoru sačinjena je od dvanaest fotografija metarskog formata s prizorima pejzaža Deliblatske peščare. Proteže se u formi talasa zamračenim galerijskim prostorom, a svaki posetilac osvetljava rad baterijskom lampom čime se postiže nestalnost doživljaja celine i detalja. Na fotografijama su rađene intervencije u vidu tkanja žicom i vunicom čime se fotografski pejzaž proširuje na trodimenzionalni prostor. Intervencije na pejzažu prirodan su nastavak motiva na fotografiji, akcentuju ga i oživljavaju. Posmatrač/učesnik pozvan je da slobodno dodiruje pejzaž i sve njegove artefakte s upozorenjem da može biti povređen (oštrinom žice), baš kao i u realnom pejzažu. Kroz ovu instalaciju preispitujem mogućnost prenošenja pejzaža izvan njegove realnosti i promene percepcije s uobičajenog posmatranja na čulni doživljaj kroz lični/privatni pogled posmatrača omogućen parcijalnim gledanjem rada u tmini galerije. Pejzaž predstavlja poslednje utočište čoveka i ovom instalacijom podsećam gledaoce na njihovo poreklo, na vezu s prirodom, potrebu za dodirom i emocijom koju proizvodi. Repetitivnost fotografija odvraća gledaoca od tradicionalnog gledanja jedne fotografije kao ultimativnog doživljaja i usmerava ga ka sagledavanju celokupnog doživljaja baš kao u prirodi gde, pored vizuelnog, doživljaj gradimo na zvuku, mirisu i dodiru. Umesto zvuka prirode, instalaciju prati zvučna improvizacija muzičara i dizajnera zvuka Marka Jevtića koja je nastala na samom otvaranju izložbe kao refleksija odnosa publike i samog rada.

14/8 – 28/8/2020

IVANA TOMANOVIĆ Talasi/Waves A floating installation in the space is made of twelve photographs in meter format with landscape scenes of Deliblato Sands. It stretches in the form of waves through the darkened gallery space, and each visitor illuminates the work with a flashlight, thus attaining the evasiveness of experience of wholeness and detail. Interventions in the form of weaving with wire and wool were made on the photographs, expanding the photographic landscape into three-dimensional space. Landscape interventions are a natural continuation of the motif in photography, accentuating it and bringing it to life. The observer/participant is invited to freely touch the landscape and all its artefacts with a warning that he/she may be injured (by the sharpness of wire), just like in a real landscape. Through this installation, I am questioning the possibility of “transferring” the landscape beyond its reality and of changing perception from usual observation to a sensory experience through the observer’s personal/ private view enabled by partial viewing of the work in the darkness of the gallery. The repetitiveness of photographs distracts the viewer from a traditional viewing of a photograph as an ultimate experience and directs him/her to see the entire experience like the one in nature where, in addition to visual, we build our experience based on sound, smell and touch. Instead of the sound of nature, the installation is accompanied with a sound improvisation by musician and sound designer Marko Jevtić, which was created at the very opening of the exhibition as a reflection of the relationship between the audience and the work itself. IZLOŽBA

Tokom perioda dugog osam godina, svoj fotografski rad sam štampala na tekstilu, što zbog raznih načina na koji može biti upotrebljen, što zbog pokreta i igre senki koje uzrokuje.

Institut français de Serbie Zmaj Jovina 11 institutfrancais.rs

U Iranu, gde sam rođena i odrasla, žene obavezno moraju nositi veo, čak i one koje tu samo privremeno borave, bez obzira na njihovu veroispovest. Blagi povetarac duva na slabo prozirne velove koji štite intimnost od indiskretnih pogleda. Tada nastaje kaleidoskop koji pojedine oblike propušta na plavetnilo neba. Veo krije i žensku žudnju koja se poput ptice izvlači iz svog kaveza i pevajući poleće ka ponovo otkrivenoj slobodi. U fotografskoj seriji Velovi na vetru, nastaloj u mom pariskom stanu, bavim se delom Poreklo sveta Gistava Kurbea kroz prizmu sopstvene ženstvenosti, suptilnošću koja mi omogućava da zbunjujem bez provokacije cenzore i konformiste. Tokom istog perioda, fotografisala sam brojne cеrade u svojoj otadžbini, Iranu, i tako je nastala serija koju sam isprva nazvala Plavo i roze, da bih je posle preimenovala u Himen. U svom čarobnom serijalu umetnica koristi obične cеrade koje nalazi u svom rodnom Iranu kako bi predstavila najosetljiviji problem: odnos društva prema ženama, njihovim telima, a na koncu i njihovim psihama.

9/9 – 12/10/2020 Beograd 3/11 – 13/11/2020 Leskovac

NILOUFAR BANISADR Ici Et Là... Paris, Téhéran During a period which lasted eight years, my photographic work focused on fabrics from the perspective of their uses as well as from the angle of the movements and light-and-shadow effects which they lend themselves to.

Leskovački kulturni centar Bul. oslobođenja 101 Leskovac lkc.org.rs

In Iran, where I was born and raised, women are required to publicly wear the veil, even female visitors from foreign countries, regardless of their religious beliefs. As it whispers through the translucent curtains which preserve the intimacy of the bedroom, a soft breeze gives life to a kaleidoscope of shapes and openings into the blue yonder. The woman’s desire, like a bird, then sings and whirls its way out of the cage and flies off into a newly found freedom. In my photographic series Veil in the Wind, which I created at my Parisian place of abode, I reinterpret Gustave Courbet’s Origin of the World through the prism of my own womanhood, and with a gentleness and subtlety that allow me to bewilder, without any provocation, the censors and the conformists. During the same period, I photographed tarpaulins in my homeland, Iran, and derived from this work a series which was first entitled Blue and Pink, before I renamed it Hymen. In this spellbinding series, the artist makes use of simple tarpaulins, found in her native Iran, to ingeniously address a most sensitive issue: society’s treatment of women, of their bodies and, as a result, of their psyches. niloufarbanisadr.com IZLOŽBA

Taj materijal činio se najpogodnijim za ilustrovanje fizičkog i psihološkog maltretiranja kojeg su žene prečesto žrtve. Ujedno minimalistički i preokupiran estetikom, konceptualni pristup ovog serijala kroz dela koja ga čine u nama osvešćuje rane i bol nanete najintimnijim delovima ženske anatomije, ostavljajući neizbrisive tragove. Frejzer King Engaged by a conceptual approach blending minimalism with a clear aesthetic pursuit, the viewer gradually realises, from one image to the other, that the wounds and pains inflicted on a young woman’s most intimate anatomy will not only leave on the victim a durable physical mark, but also have on her a profound and long-lasting psychological impact. Frazier King EXHIBITION

UK Stari grad Kapetan Mišina 6a ukstarigrad.rs

Ova ekstravagantna opklada sama po sebi nije donela značajne novine za nauku, umetnost ili zabavu, ali fotografije proistekle iz opklade na neki način su oslikavale ono što se spremalo sa druge strane okeana, u Evropi. U to vreme Etjen Žil Mari u Francuskoj i Otomar Anšic u Nemačkoj radili su na sličnim idejama, pa se godinu dana kasnije pojavio zoogiroskop, uređaj za prikazivanje pokretnih slika. Danas su mogućnosti gotovo neograničene kad je reč o obradi slike, kako fotografija tako i pokretnih slika, a nauka i tehnologija se stalno razvijaju pa se više ne može ni zamisliti šta sve može biti u budućnosti. U jedno se ipak možemo pouzdati, a to je da će umetnici prigrliti sve mogućnosti i zahtevati nove. Made of photos #1 je serija radova u kojima su fotografi eksperimentisali sa video-formatom kako bi prikazali svoje fotografije. Ova tribina je snimljena i dostupna je na našem YouTube kanalu.

7/10/2020

Made of Photos #1

October 1878, we can imagine a gentlemen’s club, a dimly lit room full of cigar and pipe smoke, a heated discussion can be heard that ends in a bet... when a horse is galloping... are the four hooves off the ground? Leland Stanford, an American industrialist and politician who also had an interest in breeding and racing horses, wanted to provide evidence of this theory and enlisted British photographer Eadweard Muybridge to shoot 12 photos of a horse in full gallop, a perfect sequence of the movement of the horse body. Leland Stanford won the bet as the photos showed that all four hooves were off the ground. This extravagant bet in itself didn’t change the story of science, art or entertainment, but the resulting photos of that bet somehow mirrored what was also starting on the other side of the ocean in Europe. At this time Étienne-Jules Marey in France and Ottomar Anschütz in Germany were working on similar ideas and one year later the zoogyroscope appeared, an instrument for displaying moving pictures. Nowadays, the possibilities are almost unlimited with what we can do with photos and moving images and who knows what technology will be available in the future. One thing we can be sure of is that artists will be squeezing all the possibilities out of it and demanding new ones. Made of Photos #1 is comprised of a series of works in which photographers have experimented with the video format in order to present their photography work. This session was recorded and is available on our YouTube channel. IZLOŽBA

©Jakub Wawrzak Tokom 2020. organizovali smo onlajn tribinu i projekciju u UK Parobrodu, uključivši radove sledećih autora: In 2020 we organised a live online session in UK Parobrod including projects by: Hélène Veilleux – Lava Tubes (Francuska/France) Ivan Blazhev – All Time is all Time (Severna Makedonija/North Macedonia) Ivana Tomanović – Love Yourself (Srbija/Serbia) Jakub Wawrzak – Oasis (Poljska/Poland) Miloš Nešić – Sateran u ćošak/Cornered (Srbija/ Serbia) Momen Khaled Malkawi – 7 Mountains in Search of Home (Jordan) Sylvain Granjon – Blakol (Francuska/France) EXHIBITION

Jovana Milovanović (Skullcheez) je više puta prvonagrađeni koncertni fotograf i najmlađi učesnik izložbe 50 godina koncertne rock fotografije u Srbiji.

O3ONE Art space Dobračina 59 o3one.rs dorcolplatz.rs

Najaktivnije prisustvo na domaćoj muzičkoj sceni imala je u periodu od 2012. do 2015. godine kada je fotografisala za lokalne portale i magazine, među kojima su Nocturne Magazine i Urban Bug Magazine. Nakon toga započinje samostalnu saradnju sa domaćim bendovima i festivalima. Svoje radove izlagala je i na kolektivnim izložbama Foto saveza Srbije i Međunarodnog salona fotografije. Imala je trinaest grupnih i dve samostalne izložbe. Do sada je osvojila pet nagrada za koncertnu fotografiju, od kojih su tri prva i dva druga mesta. Od 2018. sarađuje sa američkim muzičkim portalom Music Existence. Krajem 2019. godine počinje saradnju i sa američkim metal bendom Unearth, sa kojim u februaru 2020. godine odlazi na evropsku turneju kao fotograf. Ova serija fotografija nastala je na austrijskom festivalu Nova Rock 2015. Haotična razmena energija, nepredvidljivi pokreti tela i druželjubiva publika koja iako možda ne izgleda tako, vrlo je otvorena ka svakome. Ova serija fotografija otvara pogled u drugi svet onima koji nisu doživeli šutke, pokazujući im jedno od svojih lica. Takođe afirmiše one koji već praktikuju ovaj plesni ritual, koji im zasigurno nedostaje tokom pandemije.

21/10 – 26/10/2020

JOVANA MILOVANOVIĆ – SKULLCHEEZ Face u masi/Faces of the Mosh Pit Jovana Milovanović (Skullcheez) is a multi-award winning concert photographer and the youngest participant in the exhibition 50 Years of Concert Rock Photography in Serbia. She had a very active photographic presence on the local music scene in the period 2012–2015, when she photographed for local portals and magazines including Nocturne Magazine and Urban Bug Magazine. Following that she started working independently with local bands and festivals. Her photos have been exhibited in group exhibitions by the Photo Association of Serbia and the International Salon of Photography. Images from her concert photography have been exhibited in 13 group and two solo exhibitions. So far, she has won five awards in music photography, of which three are first places and two second places. Since 2018, she has been collaborating with the American music portal Music Existence. Towards the end of 2019 she worked with American metal band Unearth and accompanied them on a European tour in February 2020 as their photographer. Faces of the Mosh Pit is a series of photographs taken at the Austrian festival Nova Rock 2015. The chaotic exchange of energy, unpredictable body movements and a friendly audience which, although it may not look like that, is very open to everyone. This series of photos offers a unique view of behaviour in the mosh pit to those who have not experienced moshing. It celebrates those who are involved in this dance ritual, which they certainly miss during the current pandemic. IZLOŽBA

EXHIBITION

Još kada je Žozef Nisefor Nijeps snimio prvi heliograf, fotografija je značila magiju, a fotografi su postali neka vrsta alhemičara. Svetlosti, staklo, hemikalije... naučnik ili umetnik? Mađioničar? Gotovo isto stara koliko i fotografija je manipulacija fotografijom.

Radisson Collection Hotel, Old Mill Belgrade Bul. vojvode Mišića 15 facebook.com/ bartcelonapopup radissonhotels.com/ en-us/hotels/radissoncollection-old-millbelgrade

Men Rej još 1924. koristi dvostruku ekspoziciju, solarizaciju i obrnuti tonalitet da poremeti prepoznavanje stvarnosti i dovede do preklapanja sna i jave; Li Miler se igra solarizacijom, Dora Mar foto-montažom. Florans Аnri koristi ogledala za poigravanje perspektivom, kao i za stvaranje udvostručenih slika. Moris Tabar se bavi solarizacijom, infracrvenom fotografijom i dvostrukom ekspozicijom, a Rene Magrit eksperimentiše sa slikama i kompozicijama koje kasnije pretače u danas dobro poznate slike. Tehnički gotovo da možemo da radimo šta god poželimo, ali na kraju, potreban je umetnik. Platno i četka u mojim rukama su poput šargarepe, ali u rukama Mihaela Milunovića su alati za stvaranje umetnosti. Duško Vukić je dugogodišnji fotograf, uvek gleda korak ispred, poput deteta koje testira nove igračke. Koristi tehnologiju koja u njegovim rukama stvara nadrealistične geometrijske forme, koje odvode u frojdovsko stanje svesti. Sećate li se Zone sumraka? Tema ove serije se odlično uklapa uz postavku. Srećom, spavaćete okruženi Duškovim spiralama... Slatki snovi! David Pužado

16/12 – 30/12/2020

DUŠKO VUKIĆ Duško’s Twilight Zone Kustos/Curated by David Pujadó From early times when Joseph Nicéphore Niépce shot the first heliograph, photography meant magic and that photographers could be viewed as alchemists... light, glass, chemicals... scientists or artists? Perhaps magicians? Photography manipulation is almost as old as photography itself. Man Ray used double exposures in 1924, solarisation and reversed tonality to disturb the viewer’s recognition of things and to suggest the overlapping of dreams and reality. Lee Miller also played with the idea of solarisation, while Dora Maar investigated photomontages. Florence Henri incorporated mirrors to alter perspective, as well as to create double images. Maurice Tabard delved into solarisation, infrared photography and double exposure while René Magritte experimented with images and compositions that he later translated into now-well-known paintings. We can probably do whatever we want with photography in terms of technology and manipulation, but at the end of the day we still need the artist. A canvas and a brush in the hands of Mihael Milunović are tools for creating great art, put a brush in my hands and it may as well be a carrot! Duško has been a photographer for many years, he always looks one step ahead, like a child testing new toys. He uses technology that creates surrealistic geometric forms, which lead to a Freudian state of Surrealism. Do you remember the American series The Twilight Zone? You should listen to the theme tune created by Marius Constant while you enjoy this work! If you are lucky you will sleep surrounded by the Duško‘s spirals... sweet dreams! David Pujadó IZLOŽBA

RAZGOVORI UŽIVO IZ 2020. GODINE LIVE TALKS FROM 2020

Carole Bellaïche Brian Rašić Imre Szabó New Talents 2020 Siniša Vlajković Off Bratislava Diana Blok Panoràmic Festival Image Festival Amman Mohammad Rakibul Hasan Olatz Vázquez

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Izdavač: Beogradski mesec fotografije www.belgradephotomonth.org Urednik: David Pujadó Autor fotografije na koricama: Matej Milenković Obrada teksta: Marija Gačanović Gray, Grebo Gray, Duška Rajković Dizajn i prelom: Beogradski mesec fotografije Štampa: Digital Art Company, Vojvode Milenka 48, Beograd Tiraž: 200 Beograd 2021. CIP - Каталогизација у публикацији - Народна библиотека Србије, Београд 77.04:069.9(497.11)”2020”(083.824) 77.04(100)”20”(083.824) БЕОГРАДСКИ месец фотографије (2020 ; Београд) Beogradski mesec fotografije 2020/1 = Belgrade Photo Month / [urednik David Pujadó]. - Beograd : Beogradski mesec fotografije, 2021 (Beograd : Digital Art Company). - [112] str. : fotogr. ; 24 cm Uporedo srp. tekst i engl. prevod. - Tiraž 200. ISBN 978-86-900717-2-2 a) Београдски месец фотографије (2020 ; Београд) - Изложбени каталози COBISS.SR-ID 37063177