GRAIN • special release • NEW TALENTS 2020

BELGRADE PHOTO MONTH NEW TALENTS 2020 EDITION supported by grain magazine www.grain.rs

beogradski mesec fotografije

edicija novi talenti 2020

uz podrĹĄku grain magazinA www.grain.rs

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 – Co-Creator of TIFF Collective Foundation and TIFF Festival; Cultural Animator, Producer 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 is on the board of the W. Eugene Smith Memorial Fund and has been head judge twice and finally, Branimir Karanovic – Photographer and Photography Professor.

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 %).

Grain Magazine has once again prepared a special issue featuring the work of the 10 finalists along with the best local project.

Ovo je peto izdanje našeg takmičenja pod imenom Novi Talenti, podžano od strane Nikon Srbija koji je sa nama od prve edicije festivala. Kao i prethodnih godina, odabrali smo stručan tim žirija od pet članova: Paulina Anna Galanciak (ko-kreator TIFF Collective Foundation i TIFF festivala), kulturni animator, producent i fotograf Mikiko Kikuta (umetnički direktor Shiogama fotografskog festivala u Miyagi kao i Setouchi internacionalnog fotografskog festivala, Takamatsu u Japanu, deo je fotografskog projekta European Eyes on Japan/ Japan Today), Francesc Fàbregues, fotograf I član Komiteta za promociju Nacionalnog plana za fotografiju, I direktor je Formentera Fotografica festivala, W.M.Hunt- Hunt je šampion fotografije, kolektor, kustos, I konsultant. Takođe je i predavač. Bio je na čelu W. Eugene Smith Memorial Fund-a, ali I u ulozi sudije, Branimir Karanović, fotograf i professor fotografije.

Među našim nagradama, po prvi put od samog početka, naći će se najbolji radovi na lokalnom nivou (srpski) koji će biti deo našeg izložbenog dela. Sudije sui male veoma težak zadatak pred sobom, I morali su da izaberu tri najbolja projekta od prijavljenih 141 (od kojih je 50 bilo sa prošlog festivala). Skoro 60% prijava je bilo poslato od strane žena, a ostalih 40% od strane muškaraca, koje su stigle iz 32 države. Države iz kojih su najčešće stizale prijave su: Srbija (30%), Rusija (22%), Italija (10%), i Brazil (5%).

Grain Magazin je ovog puta pripremio specijalnu ediciju koja se sastoji iz selekcije najboljih 10 finalista i njihovih projekata.

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 - I still gain 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. Its incessant current that thrills those who want to express something, show something, remember something, forget something, emphasize something. 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, what 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 is ahead of 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 their 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 – Co-Creator of TIFF Collective Foundation and TIFF Festival; Cultural Animator, Producer and Photographer

Fotografija godinama unazad ne prestaje da bude naš najbliskiji medij u izražavanju mišljenja, beleženju stvarnosti, njenom komentarisanju i čak preoblikovanju iste prema sopstvenim pravilima. Ona je često sredstvo za izražavanje emocija - ljutnje, neslaganja, frustracija, nada. Takođe nastavlja da bude veličanstveni element beleženja stvarnosti i svojevrsna hronika sećanja. Ona je svuda i može biti bilo šta. I što je interesantno - zbog svoje jedinstvenosti ne gubi snagu, naprotiv – I dalje jača I nadograđuje se.

Zato 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, nešto zaborave, nešto 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 i idući još dublje - kako njihova kultura utiče na njihov doživljaj stvarnosti. Oni se interesuju, što je prirodno, za sebe u vremenu promena, sazrevanja i ulaska u odraslu dob. To su često teme seksualnosti, porodice, veza, emocija, sećanja. Mnogi od njih sagledavaju I šire - na svoje okruženje, društvo, politiku, ekologiju, način života ili uticaj tehnologije na isti; neki od njih se pitaju kuda idemo i kakva je budućnost pred nama.

Očaravajuće je videti kako mladi ljudi koriste fotografiju kako bi dali jačinu 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 životu uopšte. Zahvalna sam veoma na njihovoj hrabrosti i snazi koju imaju. I za fotografiju 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 Anna Galanciak – koosnivač TIFF fondacije i TIFF festivala; Kulturni animator, producent i fotograf

1st Prize/Prva nagrada Lubov Rakshina

Unfulfilled Neispunjen

Born in 25 March 1996 in Samara. Studied at the photo school of Kristina Syrchikova at the Victoria Gallery.

In photography the main idea based on privacy: a diary, projects on the person’s inner experiences, family stories, and feminist projects. Lives and works in Samara.

My socialization as a female began with pink color. Mom loved this color so much that she could dress me from top to toe in clothes of shades of pink. She also wanted me to wear dresses and skirts, smile at everyone, and feel myself comfortable. As a child I tried to meet her expectations in order to earn love.

Mom has been gone for three years. Now pink has become for me as a guide to my mother's world, helps me to bear the longing for unfulfilled intimacy easier. I analyze our parent-child relationships through this color, create that deep connection and intimacy, which actually did not happen.

Rođena 25. Marta 1996. u Samari. Pohađala je fotografsku školu Kristine Syrchikove u Victoria Gallery. U fotografiji je glavna ideja bazirana na privatnosti: dnevnici, projekti na unutrašnjem iskustvu osobe, priče iz porodice, kao i feministički projekti. Živi i radi u Samari.

Početak socijalizacije sa ženskim je bilo sa roze bojom. Mama je toliko volela tu boju da me je u samu oblačila od glave do pete u svim nijansama roze. Takođe, želela je da nosim haljine i suknje, da se smejem pred svima, i da se osećam komforno.

U detinjstvu sam pokušavala da ispunim njena očekivanja da bih zauzvrat dobila ljubav.

Mame nema već tri godine. Sada je roze boja postala vodič ka maminom svetu, pomaže mi da se izborim sa neispunjenošću.

Analizirala sam odnos između roditeja i deteta kroz ovu boju, kreirajući jaku konekciju i intimu, koja se zapravi nije desila.

2nd Prize/Druga nagrada

Maxime Matthys

2091 : THE MINISTRY OF PRIVACY 2091: Ministarstvo privatnosti

Maxime Matthys (1995, Belgium) is a visual artist working and living between Rennes and Paris. He is developing an artistic practice using mainly 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 will be exhibited at the Centre Pompidou in Paris, in February 2020.

For the past 2 years, China has been conducting a massive crackdown against Muslim-minority communities, essentially Uyghurs and Kazakhs, in its vast western Xinjiang region. Some of the most advanced surveillance technologies, such as facial recognition, are being massively deployed in the region so as to monitor every aspect of the inhabitant’s life, and thus destroy any hope of privacy.

The series “2091:The Ministry of Privacy” is exploring the mechanism of facial recognition technologies used by the Chinese government to monitor and oppress the inhabitants of the Xinjiang region. To do so, I worked with a French IT engineer, William Attache, who helped me develop and install facial recognition software on my computer. The software we developed is very close to the ones used by the Chinese government in the region to track its inhabitants. Later, I travelled to Kachgar, one of the last bastions of the Uyghur culture in Xinjiang, and probably the most monitored city of the region, where I’ve photographed the daily life of the inhabitants.

Once in my hotel room, I uploaded the pictures inside the facial recognition software and waited for the operating systems to recognize the facial information of the people appearing in my photographs. After recognizing it, the software drew the respective biometric facial information directly on the faces of the people appearing in the photographs, allowing us to finally see facial recognition.

Through this creative process, “The Ministry of Privacy” reveals the intrusiveness and the dangerousness of this invisible technology, while documenting and paying tribute to the last remains of these communities’ vibrant culture before its planned disappearance. It is translating a virtual technology into a real, visible, and frightening tool we can look at. In this new documentary approach, the final photographs are blurring the borders between reality and virtuality, but are also embodying in the same picture, a glimpse of the future and the ruins of the past.

Rođen u Belgiji 1995. godine. Maxime je vizuelni umetnik koji živi i radi na relaciji Rene-Pariz.

Razvio je svoj umetnički domen kroz fotografiju, performans, video, i instalacije. Njegov rad se zasniva na vezi tehnologije i života i kako to utiče na našu percepciju stvarnosti. Dok otkirva nove forme i narative on nastoji da dokumentuje ovaj problem i njegov uticaj na našu budućnost.

Njegov rad je više puta nagrađivan na izložba u Francuskoj, Kanadi, Litvaniji, Poljskoj, Malaziji, Koreji, Ujedinjenom Kraljevstvu, Indoneziji i Španiji. Njegovi radovi su objavljeni u nekoliko magazina kao što su Le Monde, Liberation, Fisheye Magazine, Polka Magazine, Mediapart, ArtInfo itd…

Jedan od njegovih poslednjih radova je “2091: Ministarstvo privatnosti” je osvojio nagradu Kaunas Photo Award u Litvaniji, koji će biti izložen u Centre Pompidou u Parizu, februara 2020.

U prethodne dve godine, Kina sprovodi veliki napad nad muslimanskim manjinama, posebno nad Ujgurima i Kazahstancima u zapadnom Sinkjangu.

Neke od naprednih tehnologija za nadzor, kao što su prepoznavanje lica, su masivno postavljane kako bi posmatrale život stanovnika, uništavajući nadu koja je obećavaa privatnost.

Tema „2091: The Ministry of Privacy“ je istraživanje mehanizma prepoznavanja lica i tehnologije korišćene od trane kineske vlade kako bi se nadgledao život u Xinjiang regiji. Radio sam sa francuskim IT inženjerom Williamom Attache, koji mi je pomogao da napravim i instaliram softver za prepoznavanja lica. Softver koji smo mi napravili je veoma sličan onom koji kineska vlada koristi kako bi pratili stanovnike. Nakon toga, doputovao sam u Kachgar, jedan od poslednjih bastiona ujgurske kulture u Xinjiangu, koji je najverovatnije mesto koje se najviše nadgleda i tu sam fotografisao svakodnevni život stanovnika.

Jednom u mojoj hotelskoj sobi, ubacio sam fotografije koje sam ranije napravio i ubacio u operativni sistem za prepoznavanje lica. Nakon prepoznavanja, program je iscrtao biometrijske informacije sa lica direktno na lica sa fotografija, dopuštajući nam da zapravo dobijemo kompletno prepoznavanje lica.

Kroz ovaj kreativni proces, „The Ministry of Privacy“ otkriva se nametljivost i opasnost ove nevidljive tehnologije, dok dokumetuje i odaje počast poslednjim ostacima ove zajednice pre njenog nestanka. Prevodi virtualnu tehnologiju u stvarnu, vidljivu, zastašujuću alatku koju možemo da vidimo. U novom dokumentarnom pristupu, finalne fotografije mute granicu između realnosti i virtuelnog ali takođe i prikazuju tračak budućnosti i uništene prošlosti.

3rd Prize / Treća nagrada

Kristina Sergeeva

How Sasha Litvinov buried the gun kako je SAĹ A litvinov zakopao piĹĄtolj

My name is Kristina Sergeeva, born on 04.02.1996 in Saint Petersburg. I have been photographing since my school years, and since 2017 I have been photographing at a more professional level. I completed a full course at the Academy of photography in 2019.

I am an independent artist and participant of some 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.

My parents threw away almost all the things that were left of my grandfather. My first attempt to stay with someone who has been gone for a long time - a box with his things. Since then, I have been interested in the phenomenon of memory, the relationship with the past, its influence on the present.

Memory tends to collect, save letters, keep diaries, and pass stories from hand to hand. A person needs to leave fragments of his life to the future generation in advance and be sure that, that someone would remember him.

Post-memory is the transfer of memory to the next generation. It is inseparable from attachment to the family, roots, traditions, as it is inseparable from grief and memory of wars and conflicts. We think the past can influence our lives. Close relations with the past create new memories, reconstruct them. A person has a craving to relive something that cannot be returned. Time loses its linearity. The “celebration� of tragedies forms our loyalty to the past. Sometimes it traumatizes, clogs the consciousness between reality and fiction.

Moje ime je Kristina Sergeeva, rođena sam 4.2.1996. godine u Sankt Peterburgu. 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 2019. godine.

Nezavisna sam umetnica i učesnica u nekoliko grupnih izložbi u Rusiji. Većina radova mi je posvećena individualnim projektima zasnivanim na memoriji, posttraumatskim stresnim poremećajima, foto arhivi, detinjstvu i studiji prostora i mesta.

Moji roditelji su bacilli skoro sve stvari mog dede. Moj prvi pokušaj da ostanem sa nekim koga više nema dugo vremena je bila kutija sa stvarima te osobe. Od tada, zainteresvana sam za fenomen memorije, vezom sa prošlošću, I njenom uticaju na sadašnjost.

Pamćenje ima tendenciju da sakupi, sačuva pisma, sačuva dnevnike, i sve priče koje su prenošene kroz vreme. Osoba uvek treba da ostavi nešto svoje, kako ga ne bi zaboravili.

Post-memorija je transfer memorije na sledeću generaciju. Neodvojiva je od porodice, korena, tradicije i od tuge i sećanja na ratove i konflikte. Mislimo da prošlost može da utiče na naše živote. Bliska veza sa prošlošću može da stvori nove memorije, da ih promeni. Osoba ima želju da oživi nešto što se ne može povratiti. Vreme gubi svoju linearnost. „Slavlje“ tragedičnih formi je naša privrženost ka prošlosti.

Best local

Nađa Repman

HOW MUCH IS SQUARE OF BLUE? POÅ TO kvadrat plavog?

Nadja Repman was born on February 14, 2002 in Sombor, 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 (concerts of the Music School, "Terminal fest," ecological workshops in nature "Planeta," "Krigla fest," 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.

The project is about re-examining the limits of freedom through the relationships between the human figure and the sky as one of the most recognizable symbols. The focus is on finding the answer to the question of whether we can distance ourselves from everyday ambitions and hustles and turn our attention to the usual things that hide beauty. Through playing with the theme of freedom the emphasis is placed on a young person who is between desire and reality, living in the moment and leaving a mark in time. The sky is a metaphor for the unknown, the expectation, the future, the unattainability, but at the same time it represents something close, familiar, part of our everyday life. If we view freedom as a person's ability to choose between different options and make decisions, then this project wants to suggest that sometimes we choose life in the moment, indulging in everyday, accessible and infinitely beautiful because the end is usually where you started.

Nadja 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. 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 polu maraton“...). Trenutno je angažovana kao samostalni fotograf u Nacionalnom pozoruštu u Somboru. Trenutno je fokusirana na autorske projekte u sferi vizuelnih umetnosti.

Tema projekta je ponovno ispitivanje granica slobode kroz veze sa ljudskom figurom i nebom kao najprepoznatljivijim simbolom. Fokus je na pronalaženju odgovora na pitanje da li možemo da se distanciramo od svakodnevne ambicije i rada i da pažnju okrenemo ka jednostavnim stvarima koje sakrivaju lepotu. Kroz igru sa temom slobode, naglasak je postavljen na mlade osobe koje su između želje i realnosti, živeći u trenutku i ostavljajući trag u vremenu. Nebo je metafora nepoznatog, budućnosti, iščeivanja, neodrživosti ali u isto vreme predstavlja nešto blisko, poznato, deo svakodnevnog života. Ako vidimo slobodu kao ličnu mogućnost da bira između različitih opcija i pravljenja odluka, ovaj projekat želi da sugeriše na to da mi biramo život u trenutku, prepuštajući se svakodnevnom, lepom jer je kraj uvek tamo gde smo počeli.

FINALISTI FINALISTS

4th Iza Ĺ trumbelj Oblak 5th Rakibul Alam Khan 6th Stefani Georgieva 7th Dylan Perlot 8th Dmitry Sapolgin 9th Krittipong Thitithanakul 10th Gabriel Santana

Iza Å trumbelj Oblak

My name is Iza Štrumbelj Oblak, I was born on the 12th of July. Currently, I am a student living in Medvode, Slovenia. Since I was a child I knew I wanted to be an artist, at first either more traditionally oriented as a painter or a sculptor, but during my attendance at the Secondary School for Design and Photography in Ljubljana, I discovered my real passion - photography. Now I am a student of the last year of Photography at the VIST – The Higher School of Applied Sciences in Ljubljana.

Besides that, I am currently educating at VII Academy masterclass and workshops. A big passion that has been accompanying me for a decade is equestrian sport. I am competing at show jumping and horses are a very important part of my life.

We are very (self)-critical when it comes to (our) appearance, especially millennial women. It looks as if we feel forced to keep up with certain beauty standards, which are for the most part unreachable. Have you ever wondered how you would look like if something on your face were different – maybe the nose or lips? How about if I give you the chance to see it: everything that bothers you about your appearance changing completely based on your preferences. Your wishes should just be announced, and I shall make them come true. All of your insecurities will be replaced by new parts of you, but even better: you get to choose which ones I will glue on your newly-made collaged portrait, but without you trying how they suit you before-hand. ...and do you really believe that those changes are going to make you feel (or look) better?

Technique: digital manipulation and collage Captured in Ljubljana, 2018. Adjusted in 2019.

Moje ime je Iza Štrumbelj Oblak, rođena sam 12. jula. Trenutno sam student i živim u Medvode u Sloveniji. Od kada sam bila dete, znala sam da želim da postanem umetnik, u početku tradicionalno okrenuta slikanjem i vajanjem, ali od kada sam završila Secondary School for Design and Photography u Ljubljani, otkrila sam svoju pravu strast- fotografiju. Danas sam student na poslednjoj godini na smetu fotografije na Visokoj školi primenjenih nauka u Ljubljani. Pored toga, trenutno pohađam radionicu i masterklas na VII Akademiji. Velika strast koja me prati već oko deset godina su konjički sportovi.

Takmičim se takođe, konji su veliki deo mog života.

Mi smo ponekad samokritični kada je u pitanju naš izgled, pogotovo mlade devojke. Čini se da je veoma bitno da, kao I što izgleda, održavamo određene standard lepote koje su nekada nedodirljive. Da li ste se ikada pitali kako biste izgledali ako biste imali drugačije lice- vaš nos ili usne? Kako bi bilo ako bismo pružili šansu tome: sve što ti smeta oko tvog izgleda da promeniš, po tvojim standardima. Tvoje želje treba da se ostvare, I ja ću pokušati da ih ostvarim. Sve tvoje nesigurnosti će biti zamenjene novim delom tebe, još boljim: dobijaš šansu da biraš št ću zalepiti na tvom novonapravljenom kolažnom portretu, ali bez prethodnog privida kako bi izgledalo… i da li stvarno misliš da će promene učiniti da se osećaš ili izgledaš bolje?

Tehnika: digitalno manipulisanje i kolaž Ljubljana 2018. Prepravljeno u aprilu 2019.

Rakibul alam khan

My name is Rakibul alam khan. I live in Dhaka Bangladesh. I was born on 9th June 1995. My hobby is become a photographer, but my family does not support this dream. They always push me to do other things. I bought my first camera to save tuition fees, because I teach other young primary students to get some money. I always fight for photography. It’s my dream and everything I do something for it. I have no educational background in photography. I always follow other works and try to gather some knowledge in it. One day I will prove myself and make me and my family proud. And that day my family supports me, that day will be my big day‌

Moje ime je Rakibul Alam Kan. Živim u Daki, u Bangladešu. Rođen sam 9. juna 1995. godine. Hobi mi je fotografija, ali moja porodica ne podržava taj san. Primoravaju me da se bavim drugim stvari. Svoj prvi fotoaparat kupio sam da bih uštedeo za školarinu, jer zarađujem novac podučavajući druge, mlade polaznike u fotografiji. Zalažem se za fotografiju, uvek. Recimo da je to moj san i da ću sve učiniti za njega. Nisam školovani fotograf. Pratim dela drugih fotografa i trudim se da od njih sakupim znanje. Jednog dana ću biti ponosan na sebe i učiniću ponosnom i svoju porodicu. Dan kada će me porodica podržati biće moj veliki dan.

Stefani Georgieva

Stefani Georgieva completed secondary education at National Vocational High School of Polygraphy and Photography in Sofia, Bulgaria, with specialty : Computer Graphics.

I am currently studying at the Academy of Music, Dance and Fine Arts in Plovdiv, Bulgaria.

Second year of specialty:Photography. I have been awarded in two photographic competitions and participated in many exhibitions. Photography is an integral part of my life and it gives me the most pleasure!

“Photos, instead of just capturing the reality, they become the norm for the way things look to us, thus changing the very concept of reality and realism.”

- Susan Sontag, “On Photography” The photographic images I present are miniature copies of reality – my reality. They are inspired by different authors, personal life events and the feelings and states generated by these events.

When the soul is influenced by a strong emotion, especially a negative emotion, it must be released from it. Art is a natural tool for this to happen in a constructive and beautiful way. I am sure that each one of us has at least once in their life experienced hunger (urgent need) for closeness, love, touch, communication ... My work, “Biography of hunger“ expresses exactly that hunger.

I created the photo "Throat Tension" a few days after I found out that my grandmother was in the hospital and in a very bad state. "Throat tension" is my interpretation of that unpleasant feeling that makes your throat contract, and you are short of air, there is complete chaos inside you, but only a few words come out of your mouth.

The photos "Composition without name" and in particular "The Cut" are inspired by the silent surrealist short film by the spanish director Luis Buñuel and artist Salvador Dalí: "Un Chien Andalou.”

"The handprint" is inspired by Man Ray rayographs. The process of creating a photogram has always been very interesting to me and I have always enjoyed it. In this photo, I decided to combine the use of a photogram glued to a wall and the reflection of a simple fork on it. What turned out to be the final result met my expectations.

“The Egg” and “Fertilization” express my conception of creating life, the beginning of life.

“The tulip sister” is a reflection of a tulip in a mirror. With the image of the tulip, I represent my sister, by looking at the mirror and seeing the tulip, I reflect the strong connection between us.

“Nostalgia - the enchanted circle of memories” With this composition, I express my sentimental personality. I define myself as someone who sometimes goes back in time, lives there, and can't get out of there. The orange pieces and the shrimp are a reference to my memories, the circle-shaped tray represents this enchanted circle of the past, and the scissors aside represent my inability to interrupt this cycle.

“Composition 1”, “Composition 2”, “Composition 3”, are an experiment with light, colors, reflection.

“Composition 1”, “Composition 2”, “Composition 3”, are an experiment with light, colors, reflection.

Završila sam srednju školu u Državnoj Stručnoj Srednjoj Školi za poligrafiju i fotografiju u Sofiji, Bugarskoj, sa specijalizacijom u domenu kompjuterske grafike.

Trenutno studiram na Akademiji za Muzičke, plesne i lepe umetnost u Plovdivu, Bugarskoj. Druga godina specijalizacije: fotografija. Nagrađivana sam na 2 foto-konkursa i učestvovala sam na mnogim izložbama. Fotografija je sastavni deo mog života i pruža mi mnogo zadovoljstva!

“Fotografije, umesto pukog beleženja stvarnosti, postaju norma za način na koji gledamo na stvari, menjajući tako sam koncept realnosti i realizma.“ – Susan Sontag, “O fotografiji“ Fotografske slike koje prezentujem su minijaturne kopije realnosti – moje realnosti. One su inspirisane različitim autorima, događajima u ličnom životu, i osećanjima i stanjima izazvanim ovim događajima. Kada na dušu utiče jaka emocija, posebno negativna emocija, ona se toga mora osloboditi. Umetnost je prirodni alat da se u tome uspe na konstruktivan i lep način.

Sigurna sam da je svako od nas barem jednom u životu iskusio žudnju (goruću potrebu) za bliskošću, ljubavlju, dodirom, razgovorom... Moje delo, “Biografija žudnje“, predstavlja upravo tu vrstu žudnje.

Stvorila sam fotografiju “Tenzija grla“ nekoliko dana nakon što sam saznala da je moja baka u bolnici i u veoma lošem stanju. “Tenzija grla“ je moja interpretacija tog neprijatnog osećaja koji vam stvara knedla u grlu, ostajete bez vazduha, u vama nastaje potpuni nemir, ali samo nekoliko reči uspeva da izađe iz vaših usta.

Fotografije “Kompozicija bez imena“ i posebno “Rez“ su inspirisane nemim nadrealističkim kratkim filmom španskog režisera Luisa Bunjuela i umetnika Salvadora Dalija: “Andaluzijski pas“.

“Otisak ruke“ je inspirisan fotogramima Men Reja. Oduvek sam uživala u procesu kreiranja fotograma koji mi je veoma zanimljiv. Na ovoj fotografiji sam odlučila da kombinujem upotrebu fotograma zalepljenog na zid i projekciju viljuške na njega. Rezultat je ispunio moja očekivanja.

“Jaje“ i “Oplođenje“ izražavaju moj koncept kreiranja života, početka života.

“Sestra lale“ je refleksija lale u ogledalu. Fotografijom lale, predstavljam svoju sestru, pogledom u ogledalo na lalu, ja odražavam snažnu povezanost između nas.

“Nostalgija – začarani krug sećanja“ Ovom kompozicijom izražavam moju sentimetalnu ličnost. Opisujem sebe kao nekoga ko se povremeno vraća u prošlost, tamo živi, i ne može iz nje da se izbavi. Komadi narandže i račići su referenca na moja sećanja, okrugli poslužavnik predstavlja taj začarani krug prošlosti, a makaze pored njega predstavljaju moju nemoć da se izbavim iz tog kruga.

“Kompozicija 1“,“Kompozicija 2“,“Kompozicija 3“ su eskperimenti sa svetlom, bojama i refleksijom.

Dylan Perlot

Born on January 2nd 1995 and raised in France, Dylan left his hometown after high school to pursue his dreams of Filmmaking and Fashion Photography by coming to Los Angeles, CA. After graduating from The Los Angeles Film School, he started working full-time as a photographer and filmmaker.

His fashion photography work has been published in numerous magazines such as: Vogue Italia, Cosmopolitan, L’Officiel, V Magazine, Numéro, Gay Times, Nylon, Schön! etc. Moreover, his first short fashion experimental film “Life” got recognition worldwide with awards in different countries, and his music video directing work premiered on Time and DuJour, for instance.

Creating has always been a passion for him, and combining many elements such as: people, fashion, and places are his best way to tell unique stories. His inspiration comes from different kinds of arts mixed with childhood in Europe memories and new life culture in America.

Love isn’t about gender, ethnicity, race, or religion, but Love should be defined by its beauty and power to transgress all social stigmas. If it is strong enough it will help you gain confidence, bravery, awareness, and self-love. It is our differences that bring us together, that link us, that teach us how to grow as constantly learning humans and therefore units us.

Interpretation is always up to the viewer, but the core message of this project remains the same. Playing with the simplicity of background mixed with strong poses and confident real couples, mixed-couples helped create that statement of brave Love.

The strong link between two partners in a couple is shown through complimentary clothing: a similar jacket but in a different color, a pants with no top next to a top with no pants, or the same color of clothing for both. Differences bring us together, and having all the couples wearing the same simple white tank tops and underwear in the same photo was the perfect visual way to show unity among our differences.

“A photo is worth a thousand words,” the quote popularized by Fred R. Barnard, describes well what this series is about. You don’t really need a paragraph to explain the story, it’s just there, and as strong as it is will hopefully speak with power to the person looking at it.

Shot by Dylan Perlot in NYC in June 2019 during pride month with three same-sex couples.

Rođen je 2. januara 1995. godine i odrastao u Francuskoj. Dilan je napustio svoj rodni grad po završetku srednje škole, i sledeći svoje snove o kinematografiji i modnoj fotografiji, došao je u Los Anđeles, Kaliforniju. Nakon diplomiranja na filmskoj školi u Los Anđelesu, bio je stalno zaposlen kao fotograf i kinematograf.

Njegovi radovi iz domena modne fotografije su objavljeni u brojnim časopisima kao što su: Vogue Italia, Cosmopolitan, L’Officiel, V Magazine, Numéro, Gay Times, Nylon, Schön! itd. Pored toga, njegov prvi kratki modni eksperimentalni film "Život" dobio je priznanja širom sveta uz nagrade u više zemalja, a njegov rad iz domena muzičke video režije premijerno je predstavljen, između ostalog, u časopisima "Time" i "DuJour".

Stvaralaštvo je za njega uvek bila strast, a kombinovanje više različitih elemenata kao što su ljudi, moda, i mesta, najbolji je način da se ispričaju jedinstvene priče. Njegove inspiracije dolaze iz različitih umetničkih pravaca pomešanih sa sećanjima iz detinjstva u Evropi i novom kulturom življenja u Americi.

Ljubav ne definišu pol, nacionalnost, rasna pripadnost ili religija - ljubav treba da definiše njena lepota i moć da premaši sve društvene stigme. Ako je dovoljno jaka, pomoći će vam da steknete samopouzdanje, hrabrost, svesnost i ljubav prema sebi.

Različitost je ono što nas povezuje, spaja, ono što nas uči da rastemo kao ljudi koji konstantno uče i stoga nas ujedinjuje.

Interpretacija uvek zavisi od posmatrača, ali glavna poruka ovog projekta ostaje ista. Igra sa jednostavnošću pozadine pomešana sa jakim pozama i samouverenim pravim i mešovitim parovima pomogla je stvaranje te izjave o hrabroj ljubavi.

Jaka veza između dva partnera je prikazana kroz komplementarno oblačenje: slična jakna ali u drugoj boji; pantalone bez majice naspram majice bez pantalona; ili ista boja odeće za oboje. Različitosti nas spajaju, i imajući u vidu da svi parovi nose iste bele potkošulje i donji veš na istoj fotografiji je savršen vizualni način da se prikaže jedinstvo među našim razlikama.

"Slika vredi više od hiljadu reči", popularni citat Freda R. Barnarda, dobro opisuje o čemu se radi u ovoj seriji fotografija.

Nije vam zaista potreban čitav pasus kako bi se objasnila priča, slika je jednostavno tu, i sa svojom snagom će, nadajmo se, moćno dočarati priču osobi koja je posmatra.

Fotografija Dilana Perlota u Njujorku, jun 2019., za vreme meseca ponosa sa 3 istopolna para.

Dmitry Sapolgin

My name is Dmitry Sapolgin. I am a self-taught photographer, born in 1999 in the city of Novotroitsk, and later moved to Orenburg. these cities will be discussed in my project.

Novotroitsk is a real province, in a bad sense of the word. An industrial city that has big problems with the environment, it currently ranks as the 27th dirtiest city in Russia. This city has no prospects and future, entertainment is not enough, so many people here just drink after work, and sometimes during. The adult generation lives as if in a mousetrap, want to run, but not have the strength and money! Mostly the younger generation leaves, most often to one of the nearest major cities Orenburg. That's exactly what I did.

Orenburg is a classic Russian province, in a good sense of the word. It looks depressing in places, but I still love this city.

Time here goes slowly, unhurriedly, everything seems to stand still. This is why the old wooden houses scattered all over the city fit in perfectly. Perhaps the main problem of this city for me remains "new Buildings" - terrible multi-story buildings that spoil the appearance of the entire city.

I want to devote my life to traveling around the provincial cities of Russia, covering their problems, showing the lives of people, of course, now I do not have such an opportunity.

Moje ime je Dmitri Sapolgin. Ja sam samouki fotograf. Rođen sam 1999. godine u Novotroitsku, a kasnije sam se preselio u Orenburg. Ovi gradovi će biti predmet diskusije mog projekta.

Novotroitsk je prava provincija, i to u negativnom smislu te reči. Industrijski grad koji ima velike probleme sa životnom sredinom i trenutno je rangiran kao 27. najprljaviji grad u Rusiji. Ovaj grad nema perspektivu niti budućnost, zabava nije dovoljna, u ovom gradu mnogo ljudi pije posle posla, a ponekad i za vreme posla.

Generacija odraslih živi kao u mišolovci, žele da pobegnu ali nemaju ni snage ni novca!

Uglavnom mlađe generacije odlaze, najčešće u neke od najbližih velikih gradova kao što je Orenburg. To je upravo nešto što sam i ja uradio.

Orenburg je klasična ruska provincija, u pozitivnom smislu te reči. Na momente deluje depresivno ali ja i dalje volim taj grad. Ovde vreme teče sporo, bez žurbe, čini se kao da sve stoji u mestu. Zbog toga se stare drvene kuće razbacane po čitavom gradu savršeno uklapaju. Možda glavni problem ovog grada za mene i dalje predstavljaju "nove zgrade" - užasne višespratnice koje kvare izgled čitavog grada. Želim da posvetim svoj život putovanju po provincijskim gradovima Rusije, rešavajući njihove probleme, prikazujući živote ljudi. Naravno, trenutno nemam te mogućnosti.

Krittipong Thitithanakul

My name is Krittipong Thitithanakul (Earth). I’m a Thai-based Year-One film student. I was born on January 5, 2001. I hope I can make changes in my country by using my photography to let freedom of speech happen in Thailand.

Utopia (n.): An Imagined place or state of things in which everything is perfect.

My overall concept was “Utopia,” but OUR society, “Thailand,” is so far away from that word. We have so many problems in society. We can’t say everything we want. Sometimes, if you say things, you may end up in jail. Criticizing groups of people is something you have to think about before you say it in Thailand. Our system is so absurd. So, I want to represent this absurdity by using a red circle. I let you fulfill the meaning of that red circle with anything you can think of. It’s like a blank space in a textbook that you can fill by yourself, without right or wrong. It’s a blank space that fills with the pain of the Thai people.

Moje ime je Krittipong Thitithanakul (Zemlja). Ja sam student prve godine kinematografije sa Tajlanda. Rođen sam 5.

Januara, 2001. Nadam se da ću moći da napravim promene u svojoj zemlji koristeći fotografiju kako bih pospešio slobodu govora na Tajlandu.

Utopija (imenica): Zamišljeno mesto ili stanje stvari u kojem je sve savršeno.

Moj opšti koncept je bio “Utopija“, ali NAŠE društvo, “Tajland“ je veoma daleko od tog pojma. Imamo mnogo problema u društvu. Ne možemo da kažemo sve što želimo. Ponekad, ako nešto kažete, možete da završite u zatvoru. Kritikovanje odreženih ljudi je nešto o čemu morate dobro da razmislite pre nego što izgovorite na Tajlandu. Naš sistem je tako besmislen. Zato, želim da prezentujem tu besmisao koristeći crveni krug. Dopustiću vam da odredite značenje tog crvenog kruga bilo čime što vam padne na pamet. To je kao prazan prostor u svesci koji možete popuniti, gde ne postoji tačno ili pogrešno rešenje. Taj prazan prostor je ispunjen bolom ljudi sa Tajlanda.

Gabriel Santana

Gabriel Santan was born in Carapucuíba, Sao Paulo, Brazil on 3/18/1996. Santana’s interest in photography arose when he won his first digital camera in 2010. It is through his works and author's drawings that he finds his freedom of creation, giving life to those simple outlines. ALWAYS EXPLORING EVERY MORE BACKGROUND YOUR CREATIVE CAPACITY. “From childhood, I always have liked art! Mainly drawing, loved drawing! Even after the photograph, I did not fail to take advantage of my talent, whenever a new idea came up, instead of writing it down, I draw it. ” Hand's Nowadays the media and society refuse to accept a lot of explicit content because often the people impose it to be something absurd and inappropriate. Even those who do not think the same way can easily be intimidated by the social body that votes against this kind of content, as if it incited or gave a wrong message, especially when it comes to the naked, natural body of us human beings, which is absurd coming from something that is human essence. Given that we have free will, we all have a body and it must be respected and often admired, regardless of its physical form.

The Hand's Project aims to make a social critique of this censorship, implementing a combination of photography, the nude and sensuality. The images produced aim to confront and at the same time provoke, with the hands representing the censorship and sensuality the "natural.” The provocation being the support of this project in order to intimidate people who deny this fact and this reality that will never change.

Gabriel Santana je rođen u Karapikuibi, Sao Paulo, Brazil 18.03.1996. godine. Santanino interesovanje za fotografiju je dobilo zamajac kada je osvojio svoju prvu digitalnu kameru 2010. godine. Slobodu stvaranja pronašao je u svojim radovima i autorskim crtežima, dajući život tim jednostavnim obrisima, neprekidnim istraživanjem pozadine kreativnog kapaciteta.

"Još od detinjstva sam voleo umetnost! Uglavnom crtanje, obožavao sam crtanje! Čak i kada sam počeo da se bavim fotografijom, uspeo sam da iskoristim prednosti ovog talenta - kad god bi se pojavila neka nova ideja, umesto da je zapišem, ja sam je nacrtao" Hand's project U današnje vreme, mediji i društvo odbijaju da prihvate malo veću količinu eksplicitnog sadržaja jer ga ljudi smatraju apsurdnim i neprikladnim. Čak i oni koji ne misle tako su sa lakoćom zastrašeni javnim mnjenjem koje glasa protiv ovakvog sadržaja, kao da podstiče ili daje pogrešnu poruku, posebno kada se radi o golom, prirodnom telu nas, ljudskih bića, što je apsurdno budući da proizilazi iz nečeg što je suština ljudskog bića. Obzirom da posedujemo slobodnu volju, svi imamo telo koje moramo poštovati i diviti mu se, bez obzira na njegov fizički oblik.

The Hand's projekat ima za cilj da stvori društvenu kritiku ove cenzure, implementirajući kombinaciju fotografije, golog tela i senzualnosti. Proizvedene slike imaju za cilj da se suoče i u isto vreme deluju kao provokacija u odnosu na ruke koje predstavljaju cenzuru i senzualnost koja predstavlja "prirodu". Provokacija je podrška ovom projektu u cilju zastrašivanja ljudi koji osporavaju ovu činjenicu i ovu realnost, koja se nikada neće promeniti.

IMPRESSUM: GRAIN - digital magazine showcasing documentary and street photography. Special edition. May 2020. www.grain.rs Editor in chief: Igor Čoko Selection and release edition: David Pujado- Belgrade photo month General manager https://www.belgradephotomonth.org Translation: : Ana Šćepanović, Prevod: Jelena Kostić i Andjelina Bartula GRAIN - digitalni magazin za kulturu dokumentarne i ulične fotografije. Posebno izdanje. Maj 2020. www.grain.rs Glavni i odgovorni urednik: Igor Čoko Selektor i urednik izdanja: David Pujado- Direktor Beogradskog meseca fotografije https://www.belgradephotomonth.org Prevod: Ana Šćepanović, Prevod: Jelena Kostić i Andjelina Bartula