Rovinj Photodays 2012 by Rovinj Photodays

2012

ROVINJ PHOTODAYs

2012

ROVINJ PHOTODAYs SADRŽAJCONTENTS 06 UVODNICI/INTRODUCTIONS 10 PROGRAM DOGAĐANJA/EVENT TIMETABLE 18 OVOGODIŠNJI OCJENJIVAČKI SUD/THIS YEARS JURY 26 FINALISTI NATJEČAJA/COMPETITION FINALISTS 80 IZLOŽBE/EXHIBITIONS 114 RADIONICE/WORKSHOPS 134 PREDAVANJA / PREZENTACIJE 142 PREGLED PORTFOLIA/PORTFOLIO REVIEW 146 FOTO IZAZOV/PHOTO CHALLENGE 150 O ROVINJU/ABOUT ROVINJ 154 GENERALNI POKROVITELJ/GENERAL SPONSOR 156 PROGRAMSKI I ORGANIZACIJSKI ODBOR /PROGRAM AND ORGANIZATION COMMITTEE

Denis Redić, Photodays - DIREKTOR

Denis Redić, Photodays C.E.O.

Dragi prijatelji fotografije,

Dear friends of photograph,

Čast mi je i zadovoljstvo zaželjeti Vam dobrodošlicu na petim po redu rovinjksim danima fotografije Rovinj Photodays 2012.

It is my honour and pleasure to welcome you to the fifth „Rovinj Photodays 2012“.

Za nama je još jedan natječaj na koji se prijavilo 450 autora s ukupno 8500 radova u devet natjecateljskih kategorija. Ostali smo pri dosadašnjem konceptu da žiri festivala bude međunarodnoga profila upravo zbog lakše i kompetentne komunikacije prilikom otvaranja prostora nominiranim autorima izvan granica Hrvatske. Naravno da je pri tome i naš stručni savjet festivala, u kojemu su doista sva referentna imena hrvatske fotografske struke, dobio na uvid i sve one pohvaljene radove te je zajednički stav da se estetika radova mijenja iz godine u godinu te je pomak u kvaliteti i poimanju suvremenih trendova vidljiv. Svi nagrađeni i nominirani radovi i ove godine odlaze u stalni fundus Muzeja za umjetnost i obrt u Zagrebu gdje će se početkom rujna održati i izložba finalista Photodaysa 2012. kao i zasebna izložba dobitnika u kategoriji umjetnički koncept. Odlukom stručnog savjeta festivala Nagrada za životno djelo ove godine pripada Mladenu Tudoru, majstoru dokumentarističkoga pristupa stvarnosti, ali i umjetničkog izraza.

Another contest is behind us to which 560 authors applied with the total of 8500 works in nine contesting categories. We have retained our concept that the composition of the festival’s jury is international for easier and more competent communication when opening space for nominated authors outside of Croatia’s boundaries. Our expert panel of the festival, which contains all reputed names of the Croatian photographic profession, had insight into all commended works and our joint approach is that the aesthetics of works changes from one year to another, and a shift in the quality and concept of modern trends is quite visible. All awarded and nominated works shall go this year as well to the permanent stock of the Museum for Art and Crafts in Zagreb where an exhibition of finalists of Photodays 2012 will be held in early September, as well as a separate exhibition of winners in the category «Artistic concept». By decision of the expert panel of the festival, the award for life work goes this year to Mladen Tudor, the master of documentary approach to reality combined with an artistic expression.

U sklopu bogatog službenog programa završnice festivala pripremili smo desetak fotografskih izložaba koje uključuju radove svjetskih majstora fotografije, ali i domaćih suvremenih ostvarenja. Brojni su tematski susreti, radionice i predavanja. Obavezan je sadržaj festivala pregledavanja portfolija od strane domaćih i stranih uglednih predstavnika struke kako bismo još jednom naglasili misiju otvaranja novih mogućnosti svim fotografima koji se svojim radovima žele ciljano prezentirati. Neće izostati ni tradicionalno finale foto rute koja nakon šest hrvatskih gradova završava upravo u Rovinju. U proteklih pet godina Photodays smo pozicionirali kao vodeći fotografski festival jugoistočne Europe s vrlo jasnim ciljevima i zadacima. Dalje ćemo inzistirati na što kvalitetnijoj promociji najbolje nacionalne produkcije te je nastojati što bolje prezentirati u zemlji i inozemstvu. „Rovinj Photodays“ bi i dalje trebao biti međunarodno središte, mjesto susreta vrsnih fotografskih znalaca, majstora struke i svih zaljubljenika fotografije, istovremeno edukativan, suvremen, informativan, atraktivan i zabavan.. Želim vam puno ugodnih trenutaka i lijepih uspomena s druženja u Rovinju.

Within rich official programme of the finals of the festival, we have prepared ten photographic exhibitions which include the works of world masters of photograph, as well as local modern works. There are numerous thematic gatherings, workshops and lectures. As a mandatory content of the festival, local and foreign reputed representatives of the profession will review portfolios so that once more we may emphasize the mission of opening new possibilities to all photographers who wish to present themselves by their works. There will also be traditional finals of photographic route which, after six Croatian cities, shall finish in Rovinj. During the past five years, we have positioned Photodays as a leading photographic festival in the south-eastern Europe with clear goals and tasks. We shall continue to insist on a quality promotion of the best national production and to present it as best as possible in Croatia and abroad. «Rovinj Photodays» shall continue to be an international centre, a place for gathering of top photographic connoisseurs, masters of profession and all amateurs of photography, and by being at the same time educational, modern, informative, attractive and entertaining. I wish you a lot of pleasant moments and nice memories from gathering in Rovinj!

TomiSLAV POPOVIĆ, MAISTRA - DIREKTOR

TomiSLAV POPOVIĆ, MAISTRA C.E.O.

Pred nama su peti Dani fotografije u Rovinju, najveće regionalno fotografsko događanje, kako Rovinj i „Maistra“, kao glavni pokrovitelj manifestacije, to s ponosom ističu. Protekla su izdanja, a to će potvrditi I ovogodišnje, pokazala kako su turizam i fotografija prirodno i neraskidivo povezani jer, ipak, fotografija je uvijek ključni izričaj u promociji neke turističke destinacije, ali i najprikladniji način čuvanja naših uspomena s predivnog ljetovanja.

This year will see the fifth days of photography in Rovinj, the biggest regional photographic event. Both the town of Rovinj and “Maistra” as the main sponsor of the manifestation are proud to point this out. Previous years have shown, as this year will too, that tourism and photography are naturally and closely connected. This is because photography is still the key mode of expression in the promotion of a tourist destination, and photography is still the most appropriate way to keep the memories from a pleasant summer vacation. But that is not the only reason. Photography, dubbed by many the most democratic of arts, has also shown to be a cultural tourist challenge, as a mighty means of attracting the audience – of course, in this case, primarily tourist audience.

Uz to, fotografija, koju mnogi nazivaju najdemokratskijom umjetnošću, pokazala se i kao kulturološko-turistički izazov, kao moćno sredstvo privlačenja publike, dakako, u ovom kontekstu prije svega one turističke. Razvoj turizma u Rovinju, osmišljavanje Rovinja kao moderne kulturološke i kongresne destinacije upravo treba ovakve poticaje i ovakvu, recimo to, kulturnu pratnju i potporu. Mnogobrojna događanja u sklopu Photodaysa u Rovinju, desetci izložaba, mnoge I na otvorenom, neke koje se slobodno mogu tretirati i promicati kao europske premijere, niz tematskih radionica i diskusija, dolazak eminentnih stručnjaka iz mnogih zemalja, dio su Photodaysa. Svakako, valja naglasiti kako su i dio, sada već nezaobilazni, Rovinja, moderne turističke destinacije koja svojim gostima želi ponuditi bogatstvo doživljaja. Photodaysi su Rovinj promovirali kao iznimno fotogeničan grad, a Rovinj je pak fotografima i Photodaysima ponudio svoju dušu i svoj šarm. Sve to stopljeno je u jedinstvenu manifestaciju, veliko događanje fotografije. Dobro došli i uživajte u Rovinju i fotografijama!

This is the very impulse that the development of tourism in Rovinj, the conceiving of Rovinj as a modern cultural and congress destination, needs, and it also needs such, let’s say, cultural accompaniment and support. The numerous events which will be held as part of Rovinj Photodays include dozens of exhibitions, many of which will be held in the open, some of which can be said to be European premiers and advertised as such, a series of thematic workshops and discussions, and the arrival of eminent experts from many countries. However, we should not forget they are an integral part of Rovinj, a modern tourist destination which is keen on offering its guests a rich selection of contents. Rovinj Photodays have been promoting Rovinj as an exceptionally photogenic town, and Rovinj offered photographers and Photodays its soul and its charm. This is all blended into a unique manifestation, a grand event for photography. Welcome and enjoy Rovinj and photography.

PROGRAM ZBIVANJA EVENT TIMETABLE

01 1. lipnja - petak friday, june 1st 2. lipnja - subota saturday, june 2nd

PETAK, 1. LIPNJA FRIDAY, JUNE 1ST 12:00 MULTIMEDIJALNI CENTAR: službeno otvorenje festivala i press konferencija

12:00 MULTIMEDIA CENTER: official opening of the festival and a press conference

/otvaranjem festivala, otvaraju se i izložbe:

/with the opening of the festival, there will also be the opening of some exhibitions:

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MULTIMEDIJALNI CENTAR: Rovinj Photodays 2012 – izložba fotografija finalista i pobjednika godišnjeg natječaja CVU BATANA: Marcus Doyle- noćne fotografije Rovinja, Pule i Rijeke ZAVIČAJNI MUZEJ GRADA ROVINJA: Između Amerike i Europe šest svjetski poznatih majstora fotografije: Wiliam Klein, Andre Kertezs, Robert Capa, John Philips, Lewis Hine, Walter Rosenblum ZAVIČAJNI MUZEJ GRADA ROVINJA: Global Photography - Stanovanje grupna izložba istaknutih europskih suvremenih fotografa: Frank Breuer (D); Frédéric Delangle (F); Alexander Gronsky (RUS); Roderik Henderson (CHILE); Martina Hoogland Ivanow (SVE); Cuny Janssen (NL); Bas Princen (NL); Massimo Sordi (I); Henk Wildschut (NL); Marco Zanta (I). 14:00 CRKVA SV. TOME: otvaranje izložbe dobitnika nagrade za životno djelo Mladen Tudor: Fotografija od 1954. do 2004.

16:00 MULTIMEDIJALNI CENTAR: Jezik nove fotografije - vizualizacija koncepta u fotografiji s kraja 20. i početka 21. stoljeća, Ivana Tomanović 17:00 MULTIMEDIJALNI CENTAR: Adobe Photoshop CS6 Novi alati za digitalne fotografe, Danijel Berković (prezentacija pod pokroviteljstvom HSM informatike)

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MULTIMEDIA CENTER: Rovinj Photodays 2012 – exhibition of photographs by the finalists and the winners of the annual competition CVU BATANA: Marcus Doyle – night photographs of Rovinj, Pula and Rijeka COUNTY MUSEUM OF THE CITY OF ROVINJ: Between America and Europe six world famous masters of photography: Wiliam Klein, Andre Kertezs, Robert Capa, John Philips, Lewis Hine, Walter Rosenblum COUNTY MUSEUM OF THE CITY OF ROVINJ: Global Photography – True Stories a group exhibition by eminent European contemporary photographers: Frank Breuer (D); Frédéric Delangle (F); Alexander Gronsky (RUS); Roderik Henderson (CHILE); Martina Hoogland Ivanow (SVE); Cuny Janssen (NL); Bas Princen (NL); Massimo Sordi (I); Henk Wildschut (NL); Marco Zanta (I). 2 p.m. CHURCH OF ST THOMAS: opening of the exhibition of the life achievement award winner Mladen Tudor: Photography from 1954 until 2004

4 p.m. MULTIMEDIA CENTER: The Language of New Photography – Visualization of the Concept in Photography at the End of the 20th Century and the Beginning of the 21st Century, Ivana Tomanović 5 p.m. MULTIMEDIA CENTER: Adobe Photoshop CS6 – New Tools for Digital Photographers, Danijel Berković (a presentation under the sponsorship of HSM informatics)

19:00 GALERIJA ADRIS: otvaranje izložbe Prodaja snova- hrvatska suvremena modna fotografija fotografi koju su obilježili protekle desetljeće hrvatske modne fotografije: Mladen Šarić, Romano Decker i Dejan Kutić, Bruna Kazinoti, Mare Milin, Ivana Vučić, Marko Grubišić, Sanja Bistričić 21:30 - 23:00 ISPRED HOTELA ADRIATIC- PROJEKCIJA NA OTVORENOM: ■■ ■■

Hrvatska fotografija 1950.- 2000 Mladen Grčević: Velikani hrvatskog glumišta 1946 -1950

21:30 - 23:00 TERASA HOTELA ADRIATIC: Piće dobrodošlice- uz akreditacije MASTER CLASS RADIONICE: Industrijska fotografija: trodnevna radionica za naprednu skupinu polaznika voditelj: Alexander Sauer/SCANDERBEG SAUER PHOTOGRAPHY petak, subota, nedjelja na različiitim lokacijama po dogovoru s akreditiranim polaznicima Modna fotografija i korištenje društvenih medija u samopromociji i promidžbi projekata voditelj: Douglas Freidman petak, Hotel Lone, 11:00 sati jednodnevna radionica za naprednu skupinu polaznika po dogovoru s akreditiranim polaznicima IZLOŽBE NA OTVORENOM : ■■ Prijatelji mora -Mediteranski eseji ■■ Cropix ■■ Pixsel ■■ Refoto ■■ Fotogard ■■ Fotoruta-hrvatski foto izazov

7 p.m. GALLERY ADRIS: opening of the exhibition Selling Dreams – Croatian Contemporary Fashion Photography photographers who marked the past decade of Croatian fashion photography: Mladen Šarić, Romano Decker and Dejan Kutić, Bruna Kazinoti, Mare Milin, Ivana Vučić, Marko Grubišić, Sanja Bistričić 9:30 p.m. - 11:00 p.m. IN FRONT OF THE HOTEL ADRIATIC PROJECTION IN THE OPEN: ■■ ■■

Croatian Photography 1950 - 2000 Theater Photography by Mladen Grčević from 1946 - 1950

9:30 p.m. - 11:00 p.m. TERRACE OF THE HOTEL ADRIATIC: A welcoming drink - with accreditation MASTER CLASS WORKSHOPS: Industrial Photography: a three-day workshop for an advanced group of attendants head: Alexander Sauer/SCANDERBEG SAUER PHOTOGRAPHY Friday, Saturday, Sunday at different locations by arrangement with accredited attendants Fashion Photography and the Use of Social Media in SelfPromotion and Project Promotion: head: Douglas Freidman Friday, Hotel Lone, 11:00 a.m. one-day workshop for an advanced group of attendants by arrangement with accredited attendants EXHIBITIONS IN THE OPEN: ■■ ■■ ■■ ■■ ■■ ■■

Friends of the Sea – Mediterranean Essays Cropix Pixsel Refoto Fotogard Photo Route – Croatian Photo Challenge

SUBOTA 2. LIPNJA SATURDAY, JUNE 2ND 10:00 - 14:00 - na ulicama grada Rovinja: nagradni fotoizazov - najveće natjecateljsko okupljanje fotografskih zaljubljenika u Hrvatskoj uz bogati nagradni fond

10:00 a.m. - 2:00 p.m. – on the streets of Rovinj: prize photochallenge - the largest competition gathering photography fans in Croatia with a rich prize fund

u suradnji s Učilištem Algebra

in cooperation with the Educational Institute Algebra

10:30 MULTIMEDIJALNI CENTAR: Canon revolucionarni profesionalni fotografski i video proizvodi i Canon CPS profesionalna podrška u Hrvatskoj, Ferenc Torok

10:30 a.m. MULTIMEDIA CENTER: Canon Revolutionary Professional Photography and Video Products and Canon CPS Professional Support in Croatia, Ferenc Torok

(prezentacija pod pokroviteljstvom Canon Hrvatska)

(a presentation under the sponsorship of Canon Croatia)

11:30 ZAJEDNICA TALIJANA GRADA ROVINJA, Trg Campitelli: Radionica: Komunikacija s modelom kao preduvjet uspješne fotografije

11:30 a.m. ITALIAN COMMUNITY OF THE CITY OF ROVINJ, Square Campitelli: Workshop: Communication with the Model as a Prerequisite of a Successful Photograph

voditelj: Vedran Marjanović uvodno predavanje- otvoreno za javnost praktični dio- po dogovoru s akreditiranim polaznicima (pod pokroviteljstvom Učilišta Algebra)

head: Vedran Marjanović introductory lecture –open for the public practical part - by arrangement with the accredited attendants (under the sponsorship of the Educational Institute Algebra)

12:00 MULTIMEDIJALNI CENTAR: Radionica: Kritička selekcija fotografija i pisanje umjetničke izjave

12:00 MULTIMEDIA CENTER: Workshop: Critical Selection of Photographs and Writing an Artist’s Statement

voditelj: Jelena Blagović po dogovoru s akreditiranim polaznicima 13:00 ZAJEDNICA TALIJANA GRADA ROVINJA, Trg Campitelli: Radionica: Život ulice voditelj: Darko Stanimirović uvodno predavanje- otvoreno za javnost praktični dio- po dogovoru s akreditiranim polaznicima (pod pokroviteljstvom časopisa Refoto)

head: Jelena Blagović by arrangement with the accredited attendants 1:00 p.m. ITALIAN COMMUNITY OF THE CITY OF ROVINJ, Square Campitelli: Workshop: Street Life head: Darko Stanimirović introductory lecture –open for the public practical part - by arrangement with the accredited attendants (under the sponsorship of the magazine Refoto)

14:00 ZAJEDNICA TALIJANA GRADA ROVINJA, Trg Campitelli: Radionica: Makro fotografija

2:00 p.m. ITALIAN COMMUNITY OF THE CITY OF ROVINJ, Square Campitelli: Workshop: Macro Photography

voditelj: Milan Živković uvodno predavanje- otvoreno za javnost praktični dio- po dogovoru s akreditiranim polaznicima (pod pokroviteljstvom časopisa Refoto)

head: Milan Živković introductory lecture –open for the public practical part - by arrangement with the accredited attendants (under the sponsorship of the magazine Refoto)

14:30 -17:00 MULTIMEDIJALNI CENTAR: Pregled portfolia

2:30 p.m. - 5:00 p.m. MULTIMEDIA CENTER: Portfolio Review

(prema unaprijed utvrđenom prookolu i prijavama)

(according to a pre-arranged protocol and applications)

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Stefania Rosl- SIFEST Massimo Sordi- SIFEST Marcus Doyle- fotograf Andreana Scanderberg- SCANDERBEG SAUER PHOTOGRAPHY Milan Živković- Refoto Marina Viculin- Klovićevi dvori Iva Prosoli- Muzej grada Zagreba, ADU

21:00 Hotel Lone: Svečana dodjela nagrada pobjednicima godišnjeg natječaja Rovinj Photodays (uz pozivnice i akreditaciju)

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Stefania Rosl- SIFEST Massimo Sordi- SIFEST Marcus Doyle- photographer Andreana Scanderberg- SCANDERBEG SAUER PHOTOGRAPHY Milan Živković- Refoto Marina Viculin- Gallery Klovićevi Dvori Iva Prosoli – Zagreb City Museum, ADU

9:00 p.m. Hotel Lone: Ceremony of presenting awards to the winners of this year’s annual competition Rovinj Photodays (with invitations and accreditation)

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OCJENJIVAÄ&#x152;KI SUD JURY

02 SERGIO BESSA KAREN IRVINE SORAJA HELAC ANDREANA SCANDERBEG HRVOJE SLOVENC

SERGIO BESSA

Sergio Bessa (dr. sc.) direktor je programa namijenjenih kustosima i edukaciji u muzeju za umjetnost u Bronxu (The Bronx Museum of the Arts). Bessa, koji je ugledan poznavatelj konkretne poezije, diljem Europe i u New Yorku organizirao je nekoliko izložbi koje je kritika pozdravila, uključujući Double Space, Apex Art, 2000., Re: La Chinoise, u galeriji Baumgartner, New York, 2002., Animating Fahlstrom, u galeriji BAWAG Foundation u Beču i institutu suvremene umjetnosti (Institut d’Art Contemporain), Lyon, Francuska, 2002., kao i Intersections: The Grand Concourse at 100 u muzeju u Bronxu, 2009. Njegovi eseji i članci objavljeni su u brojnim publikacijama, na primjer u časopisima Cabinet i Zing, kao i u antologijama u SAD-u i Europi. Autor je knjige Öyvind Fahlström: The Art of Writing (Northwestern University Press, 2009) i urednik knjiga Novas: Selected Writings of Haroldo de Campos (Northwestern University Press, 2007) i Mary Ellen Solt: Towards a Theory of Concrete Poetry (OEI Editor, 2010).

Sergio Bessa (PhD) is the director of curatorial and education programs at The Bronx Museum of the Arts. A distinguished concrete poetry scholar, he has organized several critically acclaimed exhibitions throughout Europe and New York, including Double Space, Apex Art, 2000; Re: La Chinoise, Baumgartner Gallery, New York, 2002; Animating Fahlstrom, at the BAWAG Foundation, Vienna, and the Institut d’Art Contemporain, Lyon, France, 2002; and Intersections: The Grand Concourse at 100 at the Bronx Museum, 2009. His essays and articles have appeared in such publications as Cabinet and Zing magazine as well as in anthologies in the US and Europe. He is the author of Öyvind Fahlström: The Art of Writing, (Northwestern University Press, 2009), and editor of Novas: Selected Writings of Haroldo de Campos (Northwestern University Press, 2007), and Mary Ellen Solt: Towards a Theory of Concrete Poetry (OEI Editor, 2010).

KAREN IRVINE

Karen Irvine kustosica je i zamjenica direktora čikaškog muzeja suvremene fotografije (Museum of Contemporary Photography). Organizirala je više od četrdeset izložbi suvremene fotografije u tom muzeju i na drugim lokacijama, uključujući umjetnički centar Hyde Park Art Center, muzej za umjetnost Rockford, međunarodni festival fotografije Lishui International Photography Festival u Kini i festival New York Photo Festival. Karen Irvine pisala je za mnoge časopise, kataloge i knjige, uključujući Ann Lislegaard: Eyes Wide Open (Kraljevski muzej fotografije, Kopenhagen), Anthony Goicolea (časopis Contemporary), Laura Letinsky: Alone Somewhere (galerija Kusseneers, Antwerpen), New Catalogue (časopis Art on Paper), Paula McCartney: Non-flights of Fancy (Princeton Architectural Press), Barbara Probst: Exposures (Steidl), kao i pogovor knjizi Redheaded Peckerwood autora Christiana Pattersona (MACK, 2011.). Na sveučilištu Tuft u Medfordu, Massachusetts (SAD) diplomirala je francuski jezik i međunarodne odnose, na Fakultetu za film i TV Akademije scenskih umjetnosti u Pragu, Češka, magistrirala je umjetnost te je magistrirala na području povijesti umjetnosti na ilinoiškom sveučilištu u Chicagu.

Karen Irvine is Curator and Associate Director of the Museum of Contemporary Photography, Chicago. She has organized over forty exhibitions of contemporary photography, at the MoCP and other venues including the Hyde Park Art Center, Rockford Art Museum, Lishui International Photography Festival, China, and the New York Photo Festival. Irvine has contributed texts to many magazines, catalogues, and books including Ann Lislegaard: Eyes Wide Open (The Royal Museum of Photography, Copenhagen); Anthony Goicolea (Contemporary magazine), Laura Letinsky: Alone Somewhere (Galerie Kusseneers, Antwerp), New Catalogue (Art on Paper magazine); Paula McCartney: Non-flights of Fancy (Princeton Architectural Press), Barbara Probst: Exposures (Steidl), and the afterward to Redheaded Peckerwood by Christian Patterson (MACK, 2011), amongst others. She has a BA in French and International Relations from Tufts University, Medford, MA, an MFA in photography from FAMU, Prague, Czech Republic, and an MA in art history from the University of Illinois at Chicago.

SORAJA HELAC

Soraja Heralc, trgovkinja umjetninama iz New Yorka, osnivačica je tvrtke Helac Fine Art LLC. Helac Fine Art privatno trguje modernim i suvremenim umjetničkim djelima te nudi savjetodavne usluge privatnim kolekcionarima i institucijama. Soraja Helac magistrirala je na poslovnom smjeru u Sotheby’su i radila u sjedištu tvrtke MercedesBenz i u administraciji muzeja Neue Galerie Museum. Soraja Helac uspješno kombinira svoje obrazovanje i iskustvo na području povijesti umjetnosti te je tako osnovala tvrtku Helac Fine Art LLC. Sorajin poduzetnički duh doveo ju je do mjesta kustosice nekih od prvih “pop-up” izložbi u New York Cityju. Jedna je od vodećih konzultantica na području umjetnosti i kustosica umjetničkih izložbi priznatih umjetnika, a svoje konzultantske usluge nudi privatnim kolekcionarima i institucijama diljem svijeta. Soraja je aktivna članica vijeća mladih kolekcionara i vijeća za kupnju umjetnina u njujorškom muzeju Solomon R. Guggenheim.

New York-based art dealer Soraja Helac is the founder of Helac Fine Art LLC. Helac Fine Art deals privately in modern and contemporary art and offers advisory services to private and institutional collections. A Sotheby’s Master of Art Business graduate, former Mercedes-Benz corporate headquarters employee and Neue Galerie Museum administrator, Soraja Helac successfully merged her art history and business background in founding Helac Fine Art LLC. Soraja’s entrepreneurial thinking led her to curate some of the first “pop-up” shows in New York Cit. A leading voice in art consultancy, Soraja curates art exhibitions for established artists and her advisory services extend to private and institutional collections across the globe. Soraja is an active member of the Young Collectors Council and Acquisitions Committee at the Solomon R. Guggenheim Museum in New York.

ANDREANA SCANDERBEG

(rođena 1969. u Los Angelesu) u tvrtci SCANDERBEG SAUER PHOTOGRAPHY glavna je osoba za kontakt s klijentima, agencijama i partnerima. Ima široko iskustvo u vodstvu, strateškom i operativnom planiranju, kao i upravljanju međunarodnim projektima, koje je stekla tijekom svoje desetogodišnje karijere u jednoj od najvećih svjetskih kompanija za financijske usluge. Godine 2005. odlučila je više se baviti kreativnim radom pa se pridružila Alexanderu i njegovom menadžeru i predstavniku. Vrlo uspješna suradnja Andreane i Alexandera dovela je do osnivanja tvrtke SCANDERBEG SAUER PHOTOGRAPHY godinu dana kasnije. Njihov rad polučio je međunarodno priznanje, a prvenstveno se bave korporativnom, industrijskom, portretnom i pejzažnom fotografijom, koju odlikuju jedinstveni vizualni izražaj i dosljedna vizija. Andreana ima opsežno iskustvo, kontakte i znanje koje može koristiti za istraživanje, nadzor i upravljanje gotovo svakom vrstom proizvodnje. Voli izazove, nove početke i nepoznata područja, kao i upoznavanje različitih ljudi diljem svijeta. Andreana je potpredsjednica udruge švicarskih profesionalnih fotografa i fotodizajnera (SBF).”

(born 1969 in Los Angeles) is the primary point of contact for customers, agencies and partners when it comes to SCANDERBEG SAUER PHOTOGRAPHY. She holds a strong track record in leadership, strategic and operational business planning as well as managing international projects – all gained during a successful 10-year career at one of the world’s largest financial services companies. In 2005, she wanted to get more creative and joined Alexander as his manager and representative. Andreana and Alexander’s very fruitful collaboration lead to the founding of SCANDERBEG SAUER PHOTOGRAPHY one year later. Their work is internationally recognized and it’s primarily focused on Corporate-Industrial-People & Landscape photography, all characterized by a unique visual expression and consistent vision. Andreana has the extensive experience, connections and know-how to research, supervise and control just about every production! She loves to challenge herself with beginnings and unknown territories, as well as meet all kinds of people worldwide. Andreana is Co-President of the Swiss professional photographers and photo designers association (SBF).

HRVOJE SLOVENC

Hrvoje Slovenc hrvatski je fotograf. Diplomirao je biokemiju na zagrebačkom sveučilištu i magistrirao fotografiju na fakultetu za umjetnost sveučilišta Yale. Njegove su fotografije izložene na desecima izložbi u zemlji i svijetu, uključujući čikaški Muzej suvremene umjetnosti (Museum of Contemporary Photography), Muzej nove umjetnosti (Museum of New Art)u Detroitu, Muzej za umjetnost u Bronxu (The Bronx Museum of the Arts)i Muzej za umjetnost i obrt u Zagrebu. Dobitnik je brojnih nagrada: London Photography Award, International Photography Award, Golden Light Award, Photography Now Award, BRIO Award, kao i Mortimer Hays-Brandeis and Alice Kimball English Traveling Fellowship. Njegova djela izložena su u njujorškoj galeriji Michael Mazzeo Gallery i galeriji Marisall u Zagrebu. Hrvoje trenutačno predaje fotografiju na fakultetu Parsons The New School for Design i koledžu College of Morris.

Hrvoje Slovenc is a Croatian photographer. He holds degree in Biochemistry from University of Zagreb and MFA in Photography from Yale University School of Art. His photographs have been exhibited in dozens of shows nationally and internationally including Museum of Contemporary Photography in Chicago, Museum of New Art in Detroit, the Bronx Museum of the Arts, and Museum of Arts and Crafts in Zagreb. Also, he is a recipient of London Photography Award, International Photography Award, Golden Light Award, Photography Now Award, BRIO Award, as well as Mortimer Hays-Brandeis and Alice Kimball English Traveling Fellowships. Hroje is represented by Michael Mazzeo Gallery in New York, and Galerija Marisall in Zagreb. Hrvoje currently works as a professor of photography at the Parsons The New School for Design, and the College of Morris.

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SAMO U GRUPI PRIVREDNE BANKE ZAGREB

finalisti NATJEÄ&#x152;AJA COMPETITION Finalists

03 PUBLIKACIJE PUBLICATIONS Primijenjena fotografija applied Photography MODA Fashion arhitektura architecture dokumentarna fotografija Documentary Photographs pejzaĹž Landscape portreti portraits akt/tijelo nude Posebna nagrada za mlade autore (do 28 godina) Special Award for Young Authors (under 28) umjetniÄ?ki koncept Artistic Concept

ODABIR FINALISTA I POBJEDNIKA GODIŠNJEG NATJEČAJA ROVINJ PHOTODAYS SELECTION OF FINALISTS AND WINNNERS OF THE ANNUAL CONTEST ROVINJ PHOTODAYS

piše: Hrvoje Slovenc, predsjednik žirija

written by: Hrvoje Slovenc, President of the Jury

Kada sam se prošle godine prijavio na natječaj Photodays, nisam niti sanjao da bih se mogao naći u poziciji pobjednika. Prvu obavijest o nominaciji među finaliste dočekao sam euforično skačući iz sobe u sobu (euforiju je prekinuo, na pravi njujorški način, zvuk lupanja metlom u plafon susjeda koji živi na katu ispod mene). Pobjedničku statuu podigli su moji roditelji u Rovinju, u gradu u koji su se vratili po prvi puta 40 godina nakon što su, gotovo na dan točno, tamo proveli medeni mjesec. Danas, godinu dana poslije, kao predsjednik ovogodišnjeg ocjenjivačkog suda, mogu izraziti svoje iskreno divljenje, ne samo prema kvaliteti ovog festivala, već i prema ljudima koji ga vode. Njihov je profesionalizam i ljudskost garancija da će festival rasti i prerasti okvire koje si je prvobitno zacrtao.

Last year, when I applied for the Photodays competition, I never dreamed I could be the winner. I celebrated the first notice of nomination among the finalists by euphorically jumping from room to room (my euphoria was interrupted, in the true New York way, by the sound of my downstairs neighbor’s banging with a broom against the ceiling). My parents received the winning plaquette in Rovinj, the town where they returned for the first time 40 years after they, almost to the day, spent their honeymoon there. Today, a year later, as president of this year’s jury, I can express my sincere admiration for, not only the quality of this festival, but also the people who organize it. Their professionalism and humanity guarantee that this event will outgrow the frame that it originally outlined.

Ovogodišnji je ocjenjivački sud bio u sastavu: Karen Irvine, kustosica i zamjenica direktora čikaškog Muzeja suvremene fotografije (Museum of Contemporary Photography); Sergio Bessa, direktor programa namijenjenih kustosima u Muzeju za umjetnost u Bronxu (The Bronx Museum of the Arts); Soraja Helac,

This year’s jury was composed of: Karen Irvine, curator and deputy director of the Chicago Museum of Contemporary Photography, Sergio Bessa, director of programs for curators at the Bronx Museum of the Arts; Soraja Helac, art dealer and member of the Young Collectors Council and Acquisitions Committee at

trgovkinja umjetninama i članica vijeća za kupnju umjetnina u njujorškom muzeju Solomon R. Guggenheim; te Andreana Scanderbeg, potpredsjednica udruge švicarskih profesionalnih fotografa i foto-dizajnera.

the Solomon R. Guggenheim Museum in New York, and Andreana Scanderbeg, co-president of the Swiss professional photographers and photo designers association.

Prilikom odabira ocjenjivačkog suda, želio sam okupiti stručnjake koji su specijalizirani za različite aspekte fotografske umjetnosti, ali koji sa mnom dijele neizmjernu strast prema mediju; stručnjake za koje sam znao da će svoj posao obaviti s puno brige i s jednim ciljem – pronaći i nagraditi najbolje što se trenutno događa u hrvatskoj fotografiji. A ono što se događa nije samo intimna večera za obitelj i prijatelje, već pravi tulum, čiji zvuk zaslužuje čuti se daleko izvan zidova kuće. U pauzama tijekom završne faze ocjenjivanja, često smo spominjali analogiju između veličine Hrvatske i Brooklyna, meke mladih suvremenih umjetnika u ovom dijelu svijeta. Kako bi izgledala selekcija da su prijave limitirane samo na stanovnike tog dijela grada? I nismo bili sigurni da bi radovi finalista bili puno kvalitetniji. Kada sam pokazao radove finalista svojoj prijateljici Estonki, nije se mogla načuditi kvaliteti fotografija. „Zašto nitko nije čuo za fotografe iz Hrvatske?“, upitala me. Zaista, zašto nitko nije čuo za nas? Nedavne izvrsne izložbe hrvatskih umjetnika Sanje Iveković i grupe The New Art Practice u njujorškoj MoMA-i pokazuju da se stvari polako mijenjaju. Međutim, da bi došlo do drastičnije promjene, biti će potrebna sustavnija promocija kvalitetnih hrvatskih fotografskih umjetnika. Nadam se da će ustrajnost festivala Photodays, i što je još važnije, ustrajnost i izvrsnost hrvatskih fotografa, dokazati zaduženim institucijama da ono što imamo, možemo i moramo s ponosom pokazati svijetu.

When selecting a jury, I wanted to bring together experts who specialize in different aspects of photographic art, but who share immense passion for the medium; professionals who I knew would perform their job with care and with one aim - to find and reward the best that is currently happening in Croatian photography. And what is currently happening is not only an intimate dinner for family and friends, but a real party that deserves to be heard far beyond the walls of the house. During the breaks in the final stage of evaluation, we have often mentioned the analogy between the size of Croatia and Brooklyn, the Mecca of young contemporary artists in this part of the world. What would the selection look like if the applications were limited only to the inhabitants of that part of city? And we were not sure that the finalists’ works would be of better quality. When I showed my Estonian friend the works of the finalists, she could not get over the quality of the photos. “Why has nobody heard for Croatian photographers?” she asked. Indeed, why has nobody heard of us? Recent outstanding exhibitions of Croatian artists Sanja Iveković and The New Art Practice group in New York MoMA show that things are slowly changing. However, to achieve more drastic changes, it takes a more systematic promotion of quality Croatian photographic artists. I hope that the perseverance of the Photodays festival and, more importantly, perseverance and excellence of Croatian photographers, will prove to institutions in charge that what we have, we can and must proudly present the world.

Ovogodišnja selekcija finalista i pobjednika obavljena je u nekoliko faza. U svakoj je sljedećoj fazi bilo sve teže stavljati radove na stranu, da bi se na kraju vodila žestoka rasprava o tome koga uključiti u selekciju finalista i koga proglasiti pobjednikom. Pri-

This year’s selection of finalists and winners was carried out in several stages. In each proceeding phase it was increasingly difficult to put the works aside, finally there was a heated discussion on whom to include in the selection of finalists and whom

likom tog odabira, tražili smo radove koji prikazuju harmoniju fotografske forme i umjetničkog koncepta. Ovdje bih želio napomenuti da koncept ne znači ilustraciju duboke intelektualne ideje. Koncept može biti otvoren u svojoj interpretaciji, i koji ga puta čak i sam umjetnik teško može verbalno objasniti. Međutim, kada smo vidjeli fotografije koje su nas očarale svojom pojavom, a onda natjerale na razmišljanje, fotke kojima smo se željeli ponovno vratiti i u kojima smo svaki put otkrili nešto novo, fotke koje su nam na iznenađujući i svjež način pokazale ono što već znamo, nismo ih mogli izostaviti iz sljedećeg kruga glasanja. Na kraju, odlučili smo nagraditi fotografe za koje smo vjerovali, koliko god je to moguće, da im glavni motiv nije bio stvaranje umjetnosti. Željeli smo nagraditi umjetnike kojima je koncept možda nastao u glavi, ali se radio u srcu, gdje se „kuhao“ godinama, dok napokon nije vizualno izražen u obliku fotografije. U današnje doba, kada nije problem napraviti savršenu tehniku fotografije i kada je prelako uloviti se u mrežu fotografija za koje mislimo da bismo ih trebali napraviti (čitaj: klišej), pravo je osvježenje vidjeti koncept koji je rođen iz strasti i osobnog uvjerenja, i kao takav pretočen na dvodimenzionalnu plohu fotografskog „papira“ u obliku svježe i iznenađujuće forme koja ima smisla s prvobitnom idejom. I time je čarobni krug fotografije zatvoren. Kao što je Sandra Vitaljić u prošlogodišnjem eseju lijepo napisala, fotografija se ne može mjeriti u kilogramima i centimetrima. Ovogodišnji finalisti i pobjednici odabir su ovog ocjenjivačkog suda, dok će sljedeće godine doći neki drugi ljudi sa svojom vizijom i stavom o fotografiji. Ono što mogu reći jest da niti jedna fotografija prijavljena na natječaj nije uzeta zdravo za gotovo, niti je odbačena jer ne odgovara našoj estetici. Sve su fotografije pregledane s jednakim poštovanjem. Mnoge pobjedničke fotografije nisu niti slične onima koje bismo mi sami kao umjetnici napravili, ali posjeduju ranije objašnjenu izvrsnost, pred kojom smo morali skinuti kapu.

to declare winner. During this selection, we searched for works that show the harmony of photographic form and art concept. Here I would like to mention that the concept does not mean an illustration of a profound intellectual idea. The concept can be open in its interpretation, and, at times, it is verbally hard to explain it even for the artist. However, when we saw photos whose appearance captivated us and made us think, photos that we wanted to come back to, only to discover something new every time we did, photos that showed what we already know in a surprising and refreshing way, we could not exclude them from the next round of voting. Finally, we decided to reward photographers for whom we believed, as much as possible, that their main motive was not the creation of art. We wanted to reward artists whose concept may have been sprung to life in the head, but was made in the heart, where it was “cooked” for years, until it was finally expressed in the form of a photograph. Today, when it is no problem to make a technically perfect photograph and when it is too easy to get caught up in a web of the photos we think we should take (read: a cliché), it is a refreshment to see a concept that was born out of passion and personal conviction, and was transformed as such to two-dimensional photographic “paper” in the shape of a fresh and surprising form, which makes sense with the original idea. And thus the magical circle of the photo is closed. As Sandra Vitaljić beautifully wrote in her last year’s essay, a photo cannot be measured in kilograms and centimeters. This year’s finalists and winners are the selection of this jury, while the following year some other people will arrive with their vision d attitude about photography. What I can say is that none of the photos that entered the competition was not taken for granted, nor rejected because it did not fit our aesthetics. All photos were viewed with equal respect. Many of the winning photos are not even similar to those that we ourselves would make as artists, but they possess the above explained excellence and we had to take a bow before it.

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umjetniÄ?ki koncept Artistic Concept

Hassan Abdelghani - From a distance

Opis koncepta

Concept description:

“U Laodamiji, za lijepih poslijepodneva živi stanovnici posjećuju mrtve I otkrivaju vlastita imena na njihovim kamenim pločama: slično gradu živih I ovaj grad priopćuje svoju priču o naporima, bjesovima, iluzijama, osjećajima; samo što je ovdje sve nužno, oslobođeno slučajnosti, uladičeno, dovedeno u red. Da bi se osjetila sigurnom, Laodamija živih osjeća potrebu da u Laodamiji mrtvih potraži objašnjenje o samome sebi, čak I uz opasnost da pronađe više ili manje od traženog: objašnjenje o više no jednoj Laodamiji, o različitim gradovima koji su mogli postojati ali nisu, ili pak djelomična, proturječna I nedostatna tumačenja.

“On fine afternoons the living population pays a visit to the dead and they decipher their own names on their stone slabs: like the city of the living, this other city communicates a history of toil, anger, illusions, emotions; only here all has become necessary, divorced from chance, categorized, set in order. And to feel sure of itself, the living Laudomia has to seek in the Laudomia of the dead the explanation of itself, even at the risk of finding more there, or less: explanations for more than one Laudomia, for different cities that could have been and were not, or reasons that are incomplete, contradictory, disappointing.“

Italo Calvino, Nevidljivi gradovi “Sa distance” fotografovo oko žudjelo je približiti se gradovima I upoznati njegove ljude. Gradu živih približio se međutim, posjećujući njegov grad mrtvih. Davno pokojna lica izmješana u svojim podudarnim sudbinama I smrtima oživjela su u univerzalnom životu poslije života po palimpsestima I keramičkim portretnim ovalima koje je odlučio fotografirati posvećeno kao da ih nanovo portretira.

Italò Calvino, Invisible cities The photographer’s eye longed to approach the cities „from a distance” and meet their people. However, it has approached the city of the living by visiting the city of the dead. Long gone faces intertwined in their matching fates and deaths have come alive in the universal afterlife on palimpsests and ceramic portraits on tombstones that the author decided to photograph as if he was portraying the people all over again. What has the photographer recognized in these portraits from a photographic distance?

Što je fotograf prepoznao u tim portretima portreta sa fotografske distance?

He has recognized the category of dualism, the perception of life through death.

Prepoznao je kategoriju dvostrukosti, prispodobivost života kroz smrt.

He has recognized the city of the living that breathes in the city of the dead and, vice versa, the city of the dead pulsating in the city of the living.

Prepoznao je grad živih koji diše u gradu mrtvih I obrnuto grad mrtvih koji pulsira u gradu živih. Spoznao je Calvinovu I svoju Laodamiju živih koja u Laodamiji mrtvih traži objašnjenje o samoj sebi, čak I uz opasnost da pronađe manje ili više od traženog: objašnjenje o više no jednoj Laodamiji. Fotografirane fotografije, portreti portreta učinili su ga odlučnim u nakani da jos jednom zaustavi trenutak nakon trenutka.

He has come to experience his and Calvino’s Laudomia of the living that seeks in the Laudonia of the dead the explanation of itself, even at the risk of finding less or more than expected; explanations for more than one Laudomia. Photographs of photographs, portraits of portraits have made him determined to freeze the moment after moment once again.

Život nakon života. Da ovjekovječi smrt koja živi. Oksimoron: živu smrt.

Life after life. To capture the living death. Oxymoron: the living death.

Mada je znao da je njegova distanca svojevrstan luksuz I sigurnosni pojas- hladna zaštitna aura koja će ga kao putnika namjernika prošetati neokrnjenog gradskim vizuarama, pogled žudnje činio je da svaki pritisak na otponcu aparata prelazi tu hladnu granicu i uspostavlja poglavlja neposredne bliskosti I prepoznavanja.

Even though he knew that his distance was a sort of a luxury and a safety belt- a cold protective aura that would enable the accidental traveler to stroll through the city streets unharmed - his lustful eye caused each pressure on the shutter button to transcend over that cold border, thus producing whole chapters of immediate closeness and familiarity.

Tako je u pogledu fatalne žene jarko nacrvenjenih usnica sa napuknutim pogledom na keramickom ovalu prepoznao vlastitu susjedu čije je koketno oko nastradalo jedne zime pod rukom razjarenog muza koji je šamarom post festum okončao vatrenu aferu sa oficirom čiji se pak portret sa kočoperno ufitiljenim brkovima gizdao u svoj svojoj vojnoj veličini tek nekoliko gredica udaljen od nje.

In a femme fatale with bright red lips and a cracked eye on a ceramic portrait he recognized his neighbor whose wandering eye was some winters ago injured by the hand of her angry husband who celebrated the end of her affair with a military officer with a single slap in the face. The officer’s portrait with a smug pointy mustache struts in all its military glory just a few tombstones away.

U blago začuđenom pogledu dječaka koji vec cijelo jedno stoljece sa izbljedjelog portreta bojažljivo strepi hoce li rat uskoro završiti bas kao I njegova plućna boljka zbog koje su iz srca monarhije preselili na njen blagotvorni Jadran, prepoznao je I nanovo portretirao svog najboljeg prijatelja iz djetinjstva koji se bas isto tako nikada nije vratio u skolsku klupu nakon ljetnog raspusta. U trogodišnjoj djevojčici u svečanoj bijeloj haljini položenoj na odar širom otvorenih ukočenih očiju (nadodanih naknadno u atellieru najboljeg gradskog fotografa), prepoznao je pokojnu sestru svoje bake koju nikada nisu stigli fotografirati za njena kratka života pa je ova fotografija njene neživosti bila jedino što je njegovu porodicu podsjećalo I držalo u vezi sa tužnim malim životom kojeg se gotovo nitko više nije niti sjećao.

In the slightly surprised eyes of a boy who has, for over a century now, been fearfully anticipating the end of a war and the termination of his lung condition due to which he was forced to move from the heart of the monarchy to the medicinal Adriatic coast, the photographer recognized and portrayed once again his best childhood friend who also never returned to his classroom after a summer break. In a three-year old girl placed at the altar in a festive white dress, with her stiff eyes wide open (subsequently added on in the studio of the city’s finest photographer), he recognized his grandmother’s sister who died before she could ever be photographed, which made this photograph of her non-life the only thing to make the family remember and keep in touch with a tragic short life that almost nobody even remembered.

I tako redom, od jednog lica do drugog, fotograf je prepoznavao I desifrirao kodove života I smrti koji su ga uvukli u tajne labirinte njegove I Calvinove Laodamije. Sa distance sa koje su njegovo oko, srce I um čeznuli dokidati je, fotografova je žudnja na tren uspjela savrseno desifrirati redundantnost oblika fuge zivota. piše: Paola Orlic

And so it goes, from one face to the next, the photographer recognized and deciphered the codes of life and death that lured him into the secret labyrinths of his and Calvino’s Laudomia. From a distance at which his eye, heart and mind strived to extinguish it, the photographer’s longing managed just for a moment to decipher perfectly the redundancy of shapes and forms of life. written by: Paola Orlic

Životopis:

Curriculum vitae:

Hassan Abdelghani, osnivač Umjetničke organizacije „Film i Film“ i voditelj fotografske galerije „Makina“ u Puli, dosad je realizirao i organizirao brojne fotografske izložbe u Hrvatskoj i inozemstvu. Rođen je u Osijeku 1965. godine, odrastao u Kairu (Egipat). U Kopenhagenu 1991. završava školu fotografije, a 1998. osniva privatnu fotoškolu Global Fotoskole. Član je Udruženja danskih filmskih i fotografskih radnika (FAF), Hrvatskoga društva filmskih djelatnika (HDFD), HDLU Istre i Osijeka. U Danskoj je radio i kao glumac u raznim filmovima, TV serijama i reklamama. Potpisuje niz umjetničkih projekata: bio je kustos na više od 30 izložbi, umjetnički direktor fotogalerije «Vrata starog grada» u Osijeku, imao samostalne i skupne fotografske izložbe u Danskoj, Italiji, Hrvatskoj, Srbiji, Austriji, Tajlandu i BiH. Radio je i kao production i location manager na filmovima «Un Autre Souce Jour», fotograf na filmu “Sve džaba”, pobjedniku Pula Film Festivala 2008., filmu “Kenjac“ te „Buick riviera“ i „White lightning“. Po povratku u Hrvatsku radi kao dugogodišnji voditelj fotografskog odjela na Zagreb Film Festivalu, Pula Film Festivalu, Motovun Film Festivalu, Animafestu i Human Rights Film Festivalu. Gostujuci je predavač na Osiječkoj likovnoj akademiji. Živi i stvara u Puli.

Hassan Abdelghani, the founder of the arts organization “Film i film” and the manager of photo gallery ”Makina” in Pula, Croatia, has so far produced and organized various photo exhibitions both in Croatia and abroad. He was born in Osijek, Croatia, in 1965 and grew up in Cairo, Egypt. In 1991 he completed his photography training in Copenhagen where, in 1998, he opened a private photography training centre called Global Fotoskole. He is a member of the Association of Danish Film and Photography Workers (FAF), the Croatian Association of Film Workers (HDFD) and the Croatian Association of Artists of Istria and Osijek. In Denmark he worked as an actor in various films, TV series and commercials. He has been involved in numerous art projects: he has been the curator for more than 30 shows, the art director of the photo gallery “Vrata starog grada” in Osijek. He has exhibited in photography shows in Denmark, Italy, Croatia, Serbia, Austria, Thailand and Bosnia and Herzegovina. He also worked as a production and location manager on the motion picture “Autre Souce Jour” and as a photographer on the motion picture “All for Free” (“Sve džaba”), winner of the Pula Film Festival in 2008, motion picture “Donkey“ (“Kenjac”) , „Buick Riviera“ and „White Lightning“. Upon his return to Croatia he started working as the head of the Photography Department of the Zagreb Film Festival, Pula Film Festival, Motovun Film Festival, Animafest and the Human Rights Film Festival. He works as a guest lecturer at the Osijek Academy of Fine Arts. He lives and works in Pula, Croatia.

umjetnički koncept Artistic Concept

Maša Bajc - Maša’s Imaginarium //Mašin Imaginarijum

Opis koncepta

Concept description:

Mašin Imaginarjum je kolekcija slika, zanimljivosti, misli… većinom nastalih korištenjem mobitela - fotoaparata koji je, za razliku od profesionalne nezgrapne kamere, dostupan u svakom trenutku. Dokumentarno se isprepliće sa elementima surealnog kroz tekstualne intervencije te slaganjem fotografija u diptihe i triptihe. Fotografije nastale u različitim vremenima i na različitim mjestima dobivaju novi kontekst i ne mogu se povezati sa sjećanjem na određeno mjesto i događaj, već su dio kostruirane memorije autora.

Maša’s Imaginarium is a collection of images, interesting themes, thoughts… These have mainly been created by using a mobile phone camera that is always at hand, unlike professional bulky cameras.

Dimenzije pojedinacnih fotografija: 3.5x4”, 3x4”, pigment ink print na arhivski baryta papir Godina nastanka: 2007-2012

Životopis: Maša Bajc rođena je 1980. u Čakovcu. Diplomirala je na Ekonomskom fakultetu u Zagrebu. Fotografijom se počela baviti na Studiju dizajna pri Arhitektonskom fakultetu u Zagrebu. Školovanje je nastavila u SAD-u gdje je magistrirala fotografiju (MFA in Imaging Arts) na Rochester Institute of Technology u Rochesteru, država New York. Izlagala je samostalno i na grupnim izložbama u SAD-u, Hrvatskoj i drugim europskim zemljama. Dobitnica je priznanja na svjetskim natječajima poput International Aperture Awards, PX3 – Prix de la Photographie Paris te International Photography Awards. Stipendistica je Bronx Museum Artist-in-Marketplace programa za 2012. godinu. Trenutno živi i radi u New Yorku i Zagrebu. Istražuje područja fotografije, videa i instalacijske umjetnosti.

The documented materials are intertwined with elements of the surreal through textual interventions and by arranging photographs in diptychs and triptychs. Photographs created at different times in different places acquire a new context and can no longer be linked with memories of previous places and events since they have become a part of the author’s constructed memory. Dimensions of individual photographs: 3.5x4”, 3x4”, pigment ink print on archive baryta paper Year: 2007-2012

Curriculum vitae: Maša Bajc was born in 1980 in Čakovec, Croatia. She graduated from the Faculty of Economy in Zagreb. Maša started pursuing photography as a design student at the Faculty of Architecture in Zagreb. She continued her training in the USA where she completed an MFA in Imaging Arts at the Rochester Institute of Technology in Rochester, New York. She has exhibited solo and in group shows in the USA and Croatia, as well as in other European countries. Her work has received awards in various international competitions, such as the International Aperture Awards, PX3 – Prix de la Photographie Paris and the International Photography Awards. She was also awarded a scholarship as a part of the Bronx Museum Artist-in-Marketplace Program for 2012. She currently lives and works in New York and Zagreb. Her work explores the areas of photography and video and installation art.

umjetniÄ?ki koncept Artistic Concept

Sandra VitaljiÄ&#x2021; - Voljena/Beloved

Opis koncepta

Concept description:

Serija fotografija pod nazivom Voljena nastala je nakon dugogodišnjeg praćenja novinskih napisa i policijskih izvješća o ubojstvima u partnerskim vezama. Fotografije prikazuju ozljede na tijelu i organima koje su dovele do smrti. Dijelovi tijela koji su nekada budili ljubavne i erotske osjećaje - grudi, kosa, lice, usne – ovdje su mrtvi, hladni, “oštećeni”, a univerzalni simbol ljubavi - prostrijeljeno srce, dobiva sasvim drugo značenje. Raskomadani dijelovi tijela pretvoreni su u fetišizirane foto-objekte podsjećajući na dragocjenosti koje se često poklanjaju u ime ljubavi, koja tako biva određena upravo posjedovanjem. U trenutku kada voljenu osobu nije više moguće posjedovati, ona biva pretvorena u stvar, neživi objekt koji je moguće odbaciti i tako uništiti izvor boli.

The series of photographs entitled Voljena /Beloved was created after many years of collecting newspaper articles and police reports of killings between partners. The photographs portray bodily and organ injuries which subsequently proved to be lethal. Body parts that once aroused romantic and erotic feelings - breasts, hair, face, lips – are depicted as dead, cold and “damaged”. The universal symbol of love – a pierced heart - acquires a completely different meaning. Dismembered body parts are turned into fetishized photo-objects reminiscent of precious gifts given in the name of love- a love that is, in turn, defined by possession. At a moment when it becomes impossible to own the person you love, the love becomes an inanimate object that can be discarded in order to destroy the source of pain.

Serijom Voljena/Beloved propitujem ljubavne odnose, te destruktivne osjećaje koji mogu nastati iz idealiziranog osjećaja ljubavi.

Through the series Voljena / Beloved I am exploring partner relationships and destructive emotions which can arise from an idealized sense of love.

Tehnički podaci: Rad se sastoji od 12 foto-objekata dimenzija 20x20cm, izvedenih u tehnici Diaseca (fotografije su s obje strane kaširane na perspex, te tako tvore transparentni trodimenzionalni fotoobjekt), izloženih na postamentima. Fotografije do sada nisu izlagane.

Specifications: 12 photo-objects / photographic installation Dimensions: 20x20cm The series consists of 12 photo-objects, created using the DIASEC technique (double mounted on perspex), displayed on exhibiting pedestals. Artwork has not been exhibited so far.

Životopis: Sandra Vitaljić rođena je u Puli 1972. godine. Magistrirala je fotografiju na Akademiji za film i TV (FAMU) u Pragu, a na istom fakultetu doktorirala je iz područja povijesti i teorije fotografije 2010. godine. Zaposlena je kao izvanredni profesor na Odsjeku snimanja Akademije dramske umjetnosti u Zagrebu. Njeni radovi nalaze se u stalnom postavu Moderne galerije u Zagrebu, zbirci Muzeja moderne i suvremene umjetnosti u Rijeci i Polaroid Collection u SAD- u. Članica je ULUPUH- a i HDLU-a. Dobitnica je stipendije ArtsLink (1997.) u Ansel Adams Center for Photography, San Francisco,CA i Fulbright (2006-7.) u Rochester Institute of Technology, Rochester, NY.

Curriculum vitae: Sandra Vitaljić was born in Pula in 1972. She completed an MA in photography at the Academy of Performing Arts, Film and TV (FAMU) in Prague, where she was also awarded a Ph.D. in the history and theory of photography in 2010. She works as an associate professor at the Cinematography Department of the Academy of Dramatic Art in Zagreb. Her works are placed on permanent display at the Gallery of Modern Art in Zagreb, the Museum of Modern and Contemporary Art in Rijeka and the Polaroid Collection in the USA. She is a member of the Croatian Association of Artists of Applied Arts (ULUPUH) and the Croatian Association of Artists (HDLU). In 1997 she was awarded the ArtsLink scholarship to attend the Ansel Adams Center for Photography, San Francisco, CA. In 2006 and 2007 she attended the Rochester Institute of Technology in Rochester, NY, as a Fulbright scholar.

Samostalne izložbe (izbor): 2011. NEPLODNA TLA, Latvian Museum of Photography, Riga, Latvija 2010. NEPLODNA TLA, Hanikah, Sarajevo 2009. NEPLODNA TLA, Galerija Karas, Zagreb 2008. Galerija Photon, Ljubljana, Slovenija 2007. LATENTNA SLIKA, Galerija Lang, Samobor 2004. LIVE ON CCTV, Fotogalerija Kic-klub, Zagreb 2002. LICA, Galerija MMC LUKA , Pula 2002. 10 ŽENA, Moderna galerija, Zagreb 2001. PROUD TO BE CROAT, Galerija Josip Račić, Zagreb 2000. PEOPLE AND PLACES, Galerija MAK, Sarajevo, BiH 1997. Studio galerije Forum, KIC, Zagreb

Grupne izložbe (izbor): 2010. T-HTnagrada@MSU, Muzej suvremene umjetnosti, Zagreb 2010. “Strogo osobno”, Galerija V. Bužančić, Zagreb 2010. “Suvremena umjetnost Srednje Europe: Donja Austrija – Hrvatska – Slovenija”, gotički dormitorij Zaklade Lilienfeld, Lilienfeld, Austrija 2007. RIT Grad show, Galerija RIT, Rochester, New York, USA 2007. 42. Zagrebački salon, Velesajam, Zagreb 2006. Akt u hrvatskoj fotografiji od 1865. do 2006., Mjesec fotografije u Bratislavi, Slovačka 2005. Preko sedam mora i sedam gora, Umjetnički paviljon, Zagreb 2005. 39. Zagrebački salon, Dom HDLU, Zagreb 2005. Photonic Moments- Salon fotografije jugozapadne Evrope, razne galerije, Ljubljana, Slovenija 2003. Much Too Much, Umjetnički paviljon, Zagreb 2002. ‘’The world will never be the same again’’, Contemporary Croatian Photography and video, Kunstwerk Loods, Amsterdam, Netherlands 1997. Hrvatska fotografija, Umjetnički paviljon, Zagreb 1996. “Start-Cilj”, Tehnički muzej, Prag, Češka 1995. “Int. Exhibition of New, Generation Photographers”, Galerija Kapelica, Ljubljana, Slovenia 1994. “FAMU-fotografie”, Lichtensteinski Palac, Prag, Češka 1989. 21 salon mladih, Umjetnički paviljon, Zagreb

Solo exhibitions (selection): 2011- INFERTILE GROUNDS, Latvian Museum of Photography, Riga, Latvia 2010- INFERTILE GROUNDS, Hanikah, Sarajevo, Bosnia and Herzegovina 2009- INFERTILE GROUNDS, Gallery Karas, Zagreb, Croatia 2000 - Gallery Photon, Ljubljana, Slovenia 2007- THE LATENT IMAGE, Gallery Lang, Samobor, Croatia 2000 - LIVE ON CCTV, Photo gallery Kic-klub, Zagreb 2002- FACES, Gallery MMC LUKA , Pula, Croatia 2002 - 10 WOMEN, Gallery of Modern Art, Zagreb 2001- PROUD TO BE CROAT, Gallery Josip Račić, Zagreb 2000- PEOPLE AND PLACES, Gallery MAK, Sarajevo, Bosnia and Herzegovina 1997- Gallery studio Forum, KIC, Zagreb

Group exhibitions (selection): 2010- T-HTnagrade@MSU, Museum of Contemporary Art, Zagreb 2010- “Strictly personal”, Gallery V. Bužančić, Zagreb 2010 - “Contemporary Art in Central Europe: South of Austria – Croatia - Slovenia”, the gothic dormitory of the foundation Lilienfeld, Lilienfeld, Austria 2007 -RIT Grad show, RIT Gallery, Rochester, New York, USA 2007 – 42nd Zagreb Salon, Zagreb Fair, Zagreb 2006 – Nude art in Croatian photography from 1865 to 2006, The Month of Photography in Bratislava, Slovakia 2005 – Across the seven seas and seven hills, Arts pavilion, Zagreb 2005 – 39th Zagreb salon, the Seat of HDLU, Zagreb 2005 - Photonic Moments- The Salon of Photography of SouthEastern Europe, various galleries, Ljubljana, Slovenia 2003 -Much Too Much, Art Pavilion, Zagreb 2000- ‘’The world will never be the same again’’, Contemporary Croatian Photography and Video, Kunstwerk Loods, Amsterdam, Netherlands 1997 – Croatian photography, Art Pavilion, Zagreb 1996 -”Start-Finish Line”, Tehnical Museum, Prague, Czech Republic 1995 -”Int. Exhibition of New, Generation Photographers”, Kapelica gallery, Ljubljana, Slovenia 1994- “FAMU-fotografie”, Lichtensteinski Palac, Prague, Czech Republic 1989 – 21st Salon of Young Artists, Art Pavilion, Zagreb

Posebna priznanja Special Awards

04 Abdulah SeferoviÄ&#x2021; Virgilio GIURICIN

ABDULAH SEFEROVIĆ Slavist (Filizofski fakultet u Zadru, 1961), glumac (Narodno kazalište i Kazalište lutaka u Zadru, 1955 - 1964) i novinar (Slobodna Dalmacija u Splitu, 1964 - 1993). Rođen u Banjoj Luci. Fotografijom se počeo baviti u drugoj polovici šezdesetih godina, orijentirajući se uglavnom na novinsku, scensku i turističku fotografiju. Publicirao velik broj prikaza, ogleda i studija iz područja fotografije. U zadarskome Kazalištu lutaka pohranjeno više od 400 njegovih crno-bijelih negativa i kolor dijapozitiva, snimljenih od 1972. do 1997. Član priređivačkoga odbora trijenala Čovjek i more od 1979. do 1986. i član žirija 1982. godine. Za djelo Photographia Iadertina nagrađen Nagradom grada Zadra za 2009. godinu. Počasni član Hrvatskog centra UNIMA-e. Lit.: ■■ Antun Travirka, Prepoznatljivi fotografski rukopisi, Narodni list, Zadar, 27. IV. 1991, 14 - 15. ■■ Ivica Župan, Izuzetan zadarski doprinos, Narodni list, zadar, 21. X. 1994, 14. ■■ Pava Jerolimov, Zadarski vremeplov, Narodni list, Zadar, 25. X. 1996, 16. ■■ Davorka Mezić, Znanost i strast (...), Slobodna Dalmacija (Prilog Nedjeljna Dalmacija), 13. III. 2005, 4 - 5. ■■ Ivica Nevešćanin, Totalitarizmi su Zadru zatrli građansku svijest, Slobodna Dalmacija (Prilog Nedjeljna Dalmacija), Split, 17. IV. 2005, 4 - 5. ■■ Zlatko Gall, Strast iza objektiva, Slobodna Dalmacija, Split, 9. III. 2008, 42. Bibl.: ■■ Tomaso Burato, carski i kraljevski dvorski fotograf, Zadar, Narodni muzej, 1990. ■■ Nema ritrata bez Burata, Dubrovnik, 3, Dubrovnik, 2002, 53 - 105. ■■ Zadar na starim razglednicama, Rijeka, adamić, 2005. ■■ Photographia Iadertina, Zagreb, Kapitol, 2009. Izložbe: ■■ Zadar 1991, Split 2008.

Slavic specialist (Faculty of Humanities and Social Studies in Zadar, 1961), an actor (National Theatre and Puppet Theatre in Zadar, 1955 - 1964) and a journalist (the Slobodna Dalmacija in Split, 1964 - 1993). He was born in Banja Luka. He started dealing with photography in the second half of the 1960s, mostly focusing on newspaper, stage and tourist photography. He published a large number of reviews, presentations and studies from the area of photography. There are more than 400 of his black-and-white negatives and color diapositives, made in the period from 1972 until 1997, kept at the Zadar Puppet Theatre. He was a member of the organizing committee of the triennial The Man and the Sea from 1979 until 1986 and a jury member in 1982. Ref.: ■■ Antun Travirka, Recognizable Photographic Signatures, Narodni list, Zadar, April 27, 1991, 14 - 15 ■■ Ivica Župan, Extraordinary Zadar Contribution, Narodni list, Zadar, October 21, 1994, 14 ■■ Pava Jerolimov, Zadar Timetravel, Narodni list, Zadar, October 25, 1996, 16 ■■ Davorka Mezić, Science and Passion (...), Slobodna Dalmacija (Appendix Nedjeljna Dalmacija), March 13, 2005, 4 - 5 ■■ Ivica Nevešćanin,Totalitarisms Eradicated Public Spirit in Zadar, Slobodna Dalmacija (Appendix Nedjeljna Dalmacija), Split, April 17, 2005, 4 - 5 ■■ Zlatko Gall, Passion Behind the Lens, Slobodna Dalmacija, Split, March 9, 2008, 42. Bibl.: ■■ Tomaso Burato, Imperial and Royal Court Photographer, Zadar, Narodni muzej, 1990 ■■ No Return Without Burato, Dubrovnik, 3, Dubrovnik, 2002, 53 - 105 ■■ Zadar on Old Postcards, Rijeka, Adamić, 2005 ■■ Photographia Iadertina, Zagreb, Kapitol, 2009 Exhibitions: ■■ Zadar 1991, Split 2008

Virgilio GIURICIN MFIAP, HonEFIAP

Virgilio Giuricin, umjetnik – fotograf. Rodio se u Rovinju 1934. godine. Maturirao je u Srednjoj tehničkoj školi, a potom završio Školu primijenjenih umjetnosti (fotografija i dizajn) u Torinu (Italija). Fotografijom se bavi od rane mladosti, a izlaže od 1952. godine. Kao fotografski kroničar više je od tri desetljeća surađivao svojim fotografskim svjedočanstvima, prezentacijama i člancima u riječkom dnevniku na talijanskom jeziku La voce del popolo i časopisu Panorama. Povrh toga, surađivao je i s televizijskom kućom TV Koper (Slovenija). Od 1973. do 1975. bio je glavni i odgovorni urednik rovinjskog mjesečnika Sottolatina. Od 1971. do 1979. radio je kao tajnik i fotograf Zavičajnog muzeja u Rovinju. Profesionalno se bavi fotografijom i industrijskim dizajnom kao samostalni umjetnik u sklopu Hrvatske zajednice samostalnih umjetnika (HZSU, Zagreb). Njegove fotografije objavljene su u

Virgilio Giuricin, artist – photographer. He was born in Rovinj in 1934. He graduated from the Secondary Technical School, and then he completed the School of Applied Arts (photography and design) in Torino (Italy). He has been dealing with photography since the early youth, and he has been exhibiting since 1952. As a photographic chronicler, he cooperated for more than three decades with his photographic testimonies, presentations and articles in Rijeka’s daily paper in Italian language La Voce Del Popolo and the magazine Panorama. Besides that, he also cooperated with the television house TV Koper (Slovenia). From 1973 until 1975 he was the editor-in-chief of the Rovinj monthly magazine Sottolatina. From 1971 until 1979 he worked as a secretary and photographer of the County Museum in Rovinj. He deals professionally with photography and industrial design as a freelance artist in the framework of the Croatian Freelance Artists’ Association (HZSU, Zagreb). His photographs have been published in numerous publications by the Centre for Historical Research (CPI) from Rovinj, in the History of Adriatic Seamanship, Histria Archeologica, as well as in monographs, catalogues, yearbooks and other publications, where he often edited and designed the graphical part. He realized films with over a hundred historical events on 16mm tape. These films constitute a unique and irreplaceable heritage in the context of historical-cultural events of Istria and are deposited in the film archive of the already mentioned Centre for Historical Research. He has participated in many FAO’s environmental research. He has done photographic documentation for the realization of ur-

brojnim publikacijama Centra za povijesna istraživanja (CPI) iz Rovinja, u Povijesti jadranskog pomorstva, Histria Archeologica, te u monografijama, katalozima, godišnjacima i drugim publikacijama, gdje je često uređivao i osmislio grafički dio. Realizirao je filmove s preko stotinu povijesnih događaja, na 16mm filmskoj vrpci. Ovi filmovi sačinjavaju jedinstvenu i nenadoknadivu baštinu u kontekstu povijesno – kulturnih događaja Istre i čuvaju se deponirani u filmskoj arhivi već spomenutog Centra za povijesna istraživanja. Sudjelovao je u više ekoloških istraživanja FAO-a. Radio je fotografsku dokumentaciju za realizaciju urbanističkih planova i zahvata na kulturnim spomenicima Istre. Objavio je preko 140 kataloga međunarodnih izložbi, između ostalih: “Doprinos za Europu, kulture Antičkog Rima i Venecijanske Republike“; 18° Biennale “Alpe Jadran”; “Luigi Caneazzo - Luigi Mioni, 140 godina fotografije u Rovinju i Istri”; “Likovna kolonija” Rovinj; “Lice zemalja“; Putujuća izložba “Coast wise Europe” – ekologija u urbanom prostoru Istre; “13. Biennale prirode FIAP”; nagrada “Maurice Van de Wijer – Odette Bretscher“; 20. izdanja međunarodne manifestacije “Mundial fotofestival”; “Realnost i uprizorenja”; Međunarodna zbirka fotografije; Znanost u svemiru” posvećena astronauta Europske svemirske agencije (ESA). Također je objavio petnaestak fotomonografija, između ostalih : monografiju “Učka – cestovni tunel“, (I. i II. Izdanje); “Prim. dott. Martin Horvat“; “Moj prijatelj“; “Kažuni, kamenje i krajolici srednje i južne Istre“; monografija na talijanskom jeziku “Rovigno d’Istria“ I. i II. svezak; “Godine Neorealizma“. Autor je također i izdavač grafičke mape “Istarski dimnjaci“, te fotografske mape “Aname tavarade“, s pjesmama Giusta Curta na rovinjskom dijalektu. Isto tako je Izdavač i autor “Zalazak jedne epohe“ monografija o rudnicima ugljenokopa Raša; knjige fotografije “Maîtres FIAP Master” (MFIAP); gdje su publicirana fotografska dijela 130 autora međunarodnih Majstora fotografije FIAP-a. Virgilio Giuricin član je Likovne kolonije Rovinj od 1970., a njezin predsjednik (od 1975. do 1978.) godine. Član je strukovno Udruženja likovnih umjetnika primijenjenih umjetnosti Hrvatske (ULUPUH) od 1975. Hrvatska zajednica samostalnih umjetnika (HZSU) od 1979. godine, sa statusom slobodnog umjetnika. Uz spomenuto, član je isto tako i međunarodnih organizacija, kao što su Fédération Internationale de l’Art Photographique (FIAP) i Photographic Society of America (PSA). Od 1973. aktivno radi na promicanju fotografske umjetnosti u suradnji s kulturnim ustanovama. Pritom ostvaruje, postavlja i predstavlja skupne i samostalne izložbe domaćih i stranih foto-

ban plans and interventions on Istrian cultural monuments. He has published more than 140 catalogues of international exhibitions, among which: “Contribution to Europe, Cultures of Ancient Rome and Venetian Republic”; 18th Biennale “Alps Adriatic”; “Luigi Caneazzo - Luigi Mioni, 140 Years of Photography in Rovinj and Istria“;“Art Colony” Rovinj; “Faces of Countries“; Travelling Exhibition “Coast Wise Europe” – Ecology in the Urban Area of Istria“ ; “13th Biennale of Nature FIAP”; the award “Maurice Van de Wijer – Odette Bretscher“; 20th edition of the international manifestation “Mundial Photofestival”; “Reality and Staging”; International Photography Collection “Science in Space” dedicated to the astronauts from the European Space Agency (ESA). He has also published about fifteen photo-monographs, among others: the monograph “Učka – Road Tunnel“, (edition I and II); “Prim. dott. Martin Horvat“; “My Friend“; “Stone Houses, Rocks and Landscapes of Central and Southern Istria“; monograph in Italian language “Rovigno d’Istria“ volume I and II; “Years of Neorealism“. The author has also published a graphics map “Istrian Chimneys”, as well as a photographic map “Aname Tavarade“, with poems by Giusto Curto on Rovinj dialect. He is also the publisher and the author of “The Sunset of an Epoch”- a monograph about the coal mines of the Raša; a book of photographs “Maîtres FIAP Master” (MFIAP), with the photographic works by 130 authors of international Masters of Photography FIAP. Virgilio Giuricin has been a member of the Artist Colony since 1970, and he was its president from 1975 until 1978. He has been a member of the Croatian Association of Artists of Applied Art (ULUPUH) since 1975 and the Croatian Freelance Artists’Association (HZSU) since 1979, having the status of a freelance artist. Besides that, he has also been a member of international organizations, such as the Fédération Internationale de l’Art Photographique (FIAP) and the Photographic Society of America (PSA). Since 1973 he has actively been working on the promotion of photographic art in cooperation with cultural institutions. He has simultaneously realized, set and presented group and independent exhibitions, he has been writing articles and reviews so, among other things, he has published more than 120 studies related to the issues of photographic art in Italian language (translated into Croatian, English and French). His occupation is primarily directed towards applied photography, whereby he uses various interpretative processes, without neglecting the

grafa, piše članke i osvrte, pa je, između ostaloga, objavio više od 120 studija vezani uz problematiku fotografske umjetnosti na talijanskom jeziku (prevedene su i na hrvatski, engleski i francuski jezik). Njegovo zanimanje usmjereno je ponajprije na primijenjenu fotografiju, pri čemu koristi razne interpretativne procese, ne zanemarujući kod toga nikad specifični identitet i autonomiju fotografije i dizajna. Proučava procese vizualne komunikacije, a posebnu pozornost obraća na iskustva umjetničkih avangardi. Virgilio Giuricin, je 1989. godine, u čast 150. obljetnice nastanka fotografije, odabran da predstavlja Hrvaatsku na Međunarodnoj izložbi FOTO – CINE, koja se održavala u Muzeju Moderne Umjetnosti Georges Pompidou u Parizu. Iste godine proglasen je “Fotografom godine“, za zasluge na polju nacionalne i međunarodne izložbene djelatnosti. Kao dosljednom i cijenjenom fotografu, radi njegovog kontinuiranom međunarodnom izložbenom fotografsku djelatnost, Fédération Internationale de l’Art Photographique (FIAP) mu je dodijelio najviša prestižna počasna zvanja i priznanja: ■■

2005. Dobitnik je titula Master FIAP (MFIAP) za meritorna dostignuća u međunarodnoj fotografskoj izložbenoj djelatnosti. ■■ 2008. na 39. Kongres FIAP-a (Žilina, Slovačka), uručeno mu je najviše priznanje HonEFIAP (Honorary Excellence FIAP) za višegodišnji doprinos u promociji, širenju i populariziranu međunarodne fotografske aktivnosti. Giuricin je jedini hrvatski autor fotografije koji je nositelj ta dva najveća međunarodna FIAP-ova priznanja. Virgilio Giuricin, osnivač je Photo Art Gallery “Batana” u Rovinju (1985.) g., koju je vodio do 2009. godine. U tom razdoblju, kao voditelj i galerista, organizirao je i likovno priredio preko 240 samostalnih izložbi afirmiranih domaćih i inozemnih autora fotografije, 21 međunarodni salon fotografske umjetnosti, 28 kolektivnih izložbi, studijske edukativne izložbe učenika zagrebačke Škole za primijenjenu umjetnost i dizajn – Odjel za fotografiju, izložbe studenata Arhitektonskog fakulteta iz Zagreba, kolektivne izložbe članova ULUPUH-a, kao i izložbe raznih foto klubova iz Hrvatske i inozemstva, te 5 stručnih skupova. Zanimljivo je tu, kad se sve pobroj, reći kako je na svim dosadašnjim izložbama koje je organizirao GIURICIN u Galeriji “Batana“ sudjelovalo preko 28.700 selekcioniranih autora iz 93 države sa svih kontinenata svijeta. Ovaj svestrani umjetnik je utemeljitelj i Centra vizualnih umjetnosti „Batana“ u Rovinju (1990. g.) i njegov predsjednik od

specific identity and the autonomy of photography and design. He studies the processes of visual communication, and pays special attention to the experiences of artistic avant-gardes. In 1989, in honour of the 150th anniversary of the discovery of photography, Virgilio Giuricin was selected to represent Croatia at the International Exhibition FOTO – CINE, which was held at the Museum of Modern Art Georges Pompidou in Paris. In the same year he was declared “The Photographer of the Year”, for his merits in the area of national and international exhibition work. As a consistent and esteemed photographer, he was awarded with the highest prestigious honorary titles and awards by the Fédération Internationale de l’Art Photographique (FIAP) for his continuous international exhibition work: ■■ 2005 Winner of the title Master FIAP (MFIAP) for meritorious achievements in international photographic work. ■■ 2008 at the 39th FIAP Congress (Žilina, Slovakia), he was awarded with the highest award HonEFIAP (Honorary Excellence FIAP) for his long-year contribution in the promotion, spreading and popularizing international photographic activity. Giuricin is the only Croatian author of photography who carries both of these two greatest international FIAP awards. Virgilio Giuricin is the founder of Photo Art Gallery “Batana” in Rovinj (1985), which he ran until 2009. During that period, as the head and a gallerist, he organized and set over 240 independent exhibitions by renowned Croatian and foreign photographers, 21 international salons of photographic art, 28 collective exhibitions, study educational exhibitions by the students of the Zagreb School of Applied Arts and Design – Department of Photograhy, the exhibitions by the students of the Faculty of Architecture from Zagreb, collective exhibitions by ULUPUH members, as well as the exhibitions by various photo clubs from Croatia and abroad and 5 professional gatherings. It is interesting to mention, when everything is counted, that all the past exhibitions organized by GIURICIN at the Gallery “Batana”included 28,700 selected authors from 93 countries from all continents in the world. This versatile artist is the founder of the Centre of Visual Arts “Batana” in Rovinj (1990) and has been its president since the foundation. In 1996, he made a project for the restoration of the headquarters of the Centre of Visual Arts“Batana“ and Photo Art Gallery “Batana“, which was realized with great efforts in the period between 2001 and 2004. In 1999 he founded the International Collection of Photographs which consists of over 2,800 registered photographic works. Besides this collection,

osnutka. Godine 1996. izradio je projekt obnove sjedišta CVU “Batana“ i Photo Art Gallery “Batana“, koji je uz veliki napor realiziran u razdoblju od 2001. do 2004. Tu je 1999. godine osnovao Međunarodnu zbirku fotografija i ona se sastoji od preko 2.800 upisanih fotografskih djela. Realizirao je uz ovu zbirku godine 2000. i Fotografsku knjižnicu koja danas broji više od 5.300 svezaka. Nju je osobno obogatio svojom dragocjenom donacijom od gotovo 2.000 stručnih knjiga s područja fotografije. Virgilio Giuricin je u svom dugom umjetničkom djelovanju realizirao 166 samostalne izložbe u 80 grada iz 23 države svijeta: Australija, Austrija, Belgija, Crna Gora, Češka, Italija, Francuska, Hrvatska, Kanada, Jugoslavija, Engleska, California, New York (SAD), Kina, Makedonija, Njemačka, Portugal, Rumunjska, Srbija, Slovačka, Slovenija, Švedska, Švicarska i Velika Britanija. Sudjelovao je na 682 skupne izložbe, od kojih je njih 468 bilo međunarodnog karaktera i održavalo se u 378 gradova iz 76 države svijeta. Pri tome mu je u selekcijskim odabirima bilo primljeno preko 1.250 radova. Od 1975. pozvan je da sudjeluje u 56 međunarodnih ocjenjivačkih odbora u Hrvatskoj i Europi. Virgilio Giuricin je 1998. naveden dužom bilješkom u Hrvatskom biografskom leksikonu (svezak 4, str. 691- 692) u izdanju Leksikografskog zavoda Miroslav Krleža iz Zagreba. Za svoju djelatnost dobio je više od 170 nagrada i priznanja, među njima se posebno ističu : ■■

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1999., nagrada za životno djelo “Promozione” u kategoriji vizualnih umjetnosti na 38. Natječaju za umjetnost i kulturu “Istria Nobilissima“, sa realizacijom samostalna izložba “Promozione“ koja je bila izložena u Firenzi, (Italija), u reprezentativnoj Palači Uffizi u Akademiji “Georgofili“. 2000., dobitnik je Nagrada za životno djelo Grada Rovinja, za iznimne uspjehe postignute u fotografskoj umjetnosti. 2007., povodom 57. obljetnice strukovno Udruženje likovnih umjetnika primijenjenih umjetnosti Hrvatske (ULUPUH) dodijelio mu je Nacionalnu nagradu za Životno djelo ULUPUH-a. 2007. Predsjednik Republike Italije Giorgio Napolitano, dodijelio mu je državno odlikovanje titulom “Cavaliere della Repubblica“ (Vitez Republike Italije) za dugogodišnju umjetničku kulturnu aktivnost i zasluge postignute u promociju talijanske fotografske umjetnosti u Hrvatskoj i inozemstvu.

in 2000 he established the Photographic Library which today consists of more than 5,300 volumes. He personally enriched it with his precious donation of almost 2,000 professional books from the area of photography. During his long artistic operation, Virgilio Giuricin realized 166 independent exhibitions in 80 cities in 23 countries all over the world: Australia, Austria, Belgium, Montenegro, Czech Republic, Italy, France, Croatia, Canada, Yugoslavia, England, California, New York (USA), China, Macedonia, Germany, Portugal, Romania, Serbia, Slovakia, Slovenia, Sweden, Switzerland and Great Britain. He participated in 682 collective exhibitions, 468 of which had international character and were held in 378 cities in 76 countries all over the world. In relation to that, over 1,250 of his works were accepted after the process of selection. Since 1975, he has been invited to participate in 56 international juries in Croatia and Europe. In 1998, Virgilio Giuricin was included in a longer entry in the Croatian Biographic Lexicon (volume 4, pg. 691 - 692) published by the Institute of Lexicography Miroslav Krleža in Zagreb. He got more than 170 awards for his work, the most prominent being: ■■ 1999, life achievement award “Promozione” in the category of visual arts at the 38th Competition for Art and Culture “Istria Nobilissima“, with the realization of the independent exhibition “Promozione“ exhibited in Florence (Italy), at the representative Palace Uffizi at the Accademia dei Georgofili. ■■ 2000, winner of the Life Achievement Award from the City of Rovinj, for extraordinary success in photographic art. ■■ 2007, on the occasion of the 57th anniversary, the professional Association of Artists of Applied Art (ULUPUH) awarded him with the National Life Achievement Award by ULUPUH. ■■ 2007 President of the Republic of Italy Giorgio Napolitano, awarded him with the national medal and title of the “Cavaliere della Repubblica“ (Knight of the Republic of Italy) for the long artistic and cultural activity and merits achieved in the promotion of Italian photographic art in Croatia and abroad.

Muzej za umjetnost i obrt Muzej za umjetnost i obrt utemeljen je 17. veljače 1880. godine na inicijativu Društva umjetnosti i njegovog tadašnjeg predsjednika Izidora Kršnjavija kao jedna od prvih institucija takve vrste u Europi. Osnovna nit njegova djelovanja bila je upravljena u smjeru očuvanja tradicionalnih vrijednosti narodnog obrta, ali i stvaranja nove estetske kulture građanskog sloja. U tu svrhu, 1882. godine uz Muzej je osnovana i Obrtna škola, današnja Škola primijenjene umjetnosti i dizajna. Danas Muzej ima značaj jedne od temeljnih nacionalnih kulturnih institucija, koja dosljedno dokumentira materijalnu kulturu življenja u plemićkim burgovima, dvorcima i palačama, oslikavajući praktičnu svakodnevnicu hrvatskog plemstva i građanstva tijekom mnogobrojnih stoljeća. Raspolažući s najvećim i najbogatijim fundusom u Hrvatskoj, Muzej za umjetnost i obrt čuva predmete lijepih i primijenjenih umjetnosti u vremenskom rasponu od 14. do 20. stoljeća. Unutar zbirki pokućstva, keramike, stakla, metala, tekstila i modnog pribora, slikarstva, grafike, kiparstva, fotografije i fotografske opreme, satova, glazbenih instrumenata, grafičkog i produkt dizajna, arhitekture, bjelokosti, tiskarstva i knjigoveštva, oslikane i tiskane kože, devocionalija... nalazi se više od 100.000 predmeta o kojima brinu specijalizirane muzejske restauratorske radionice. Dio fundusa javnosti je predstavljen stalnim postavom, koji se prostire na tri kata i na više od 2.000 m² muzejskog prostora te uključuje oko 3.000 eksponata. Uz to što pruža uvid u razvoj umjetničke i obrtničke proizvodnje od gotike do art décoa, u razvoj tehnoloških postupaka te uvid u povijesne smjene stilova u kojima se zrcale šira duhovna i intelektualna kretanja vremena, stalni postav predstavlja i odabrane suvremene autore. Zasebno su izdvojene studijske zbirke sakralne umjetnosti, judaike, slikarstva, satova, bjelokosti, metala, stakla, keramike i tekstila. Muzejska knjižnica je specijalizirana za umjetnost i umjetnički obrt s fondom od oko 65.000 svezaka knjiga, časopisa i priručnika iz povijesti umjetnosti, umjetničkog obrta i srodnih područja. Muzej za umjetnost i obrt svim aspektima svog djelovanja u punom smislu oživotvoruje ideju o “muzeju kao prostoru i obliku življenja”.

IzloĹžbe Exhibitions

05 Između Amerike i Europe BETWEEN AMERICA AND EUROPE PRODAJA SNOVA- SUVREMENA HRVATSKA FOTOGRAFIJA SELLING DREAMS - CONTEMPORARY CROATIAN PHOTOGRAPHY GLOBAL PHOTOGRAPHY, STANOVANJE GLOBAL PHOTOGRAPHY, OCCUPANCY Marcus Doyle: Noćne fotografije NIGHT PHOTOGRAPHS (Rovinj, Pula, Rijeka) MLADEN TUDOR: FOTOGRAFIJA OD 1954. DO 2004. PHOTOGRAPHY FROM 1954 TO 2004 CROPIX PIXSELL REFOTO FOTOGRAD HRVATSKI FOTO IZAZOV THE CROATIAN PHOTO CHALLENGE

IzmeÄ&#x2018;u Amerike i Europe BETWEEN AMERICA AND EUROPE

Autor / Author: Lewis Hines, Looking for Lost Baggage, 1908.

Zavičajni muzej grada Rovinja

Rovinj Heritage Museum

Kustos: Walter Liva

Curator: Walter Liva

Autori: Lewis Hine, André Kertész, Walter Rosenblum, Robert Capa, John Phillips, William Klein

Authors: Lewis Hine, André Kertesz, Walter Rosenblum, Robert Capa, John Phillips, William Klein

Početkom 20. stoljeća nastaje metropola, odnosno „… opći oblik koji nakon racionalizacije proizvodnih odnosa poprima proces racionalizacije društvenih odnosa…“

The arrival of the 20th century saw the birth of the metropolis “...as the general form assumed by the rationalization of relations of production (the increasing prevalence of the commodity system) and the rationalization of the social sphere (human relations) that follows it.”

Uzastopno s industrijom koja se tih godina počinje rađati, a koju Ford neće zastupati samo simbolički, već i razvijanjem montažnih traka, koju će Lewis Hine fotografirati dokumentirajući uvjete iskorištavanja maloljetnika, a Charlie Chaplin interpretirati u svom djelu Moderna vremena, nastaje i fenomen koji se u prethodnim stoljećima još nikada nije pojavio: postupno napuštanje sela u korist urbanizacije. Ono što je, primjerice, predstavljao Pariz, La Ville-Lumière („grad svjetala“), odnosno grad devetnaestog stoljeća načinjen od brojnih predgrađa, pretvara se u uredno planiranu i racionalnu metropolu. U tom pogledu simbolički je primjer New Yorka, gdje će urbana organizacija, protok ideja, automobila, doseljenika i dobara postati konstanta, privlačeći na taj način brojne fotografe, kako one uspješne, tako i one koji se još uvijek nisu probili, a s druge strane, neki će napustiti Ameriku sa željom da dokumentiraju Europu Staroga svijeta. Dvadesetogodišnji André Kertész (Budimpešta, 1894. – New York, 1985.), na vojnom služenju u habsburškoj vojsci između zime 1914. godine i proljeća 1915. godine, ostvario je u Trstu i Gorici nekoliko fotografija iz kojih je jasno opipljiva atmosfera zaključivanja jedne epohe. 1925. godine Kertész dolazi u Pariz, nastanjuje se u Montparnasseu i posjećuje kulturne krugove (Man Ray, Mondrian, Chagall, Ehrenburg, Eisenstein, Brancusi, Calder, Brassaï), fotografira prizore s ulice, caffèe, umjetnike i pariške parkove. Od 1928. do 1936. godine bio je jedan od glavnih suradnika časopisa VU, koji je utjecao na nastanak časopisa Life, te započinje svoje istraživanje iskrivljenja.

Together with the emergence of industry, which was represented by Ford not only symbolically, but also by developing the assembly line, later photographed by Lewis Hine in his work documenting child labour and interpreted by Charlie Chaplin in his Modern Times, the period also saw the emergence of a previously unseen phenomenon: the gradual migration from the countryside into the cities. The concept of cities such as Paris, La Ville-Lumière (“The City of Light”), i.e. the 19th century city consisting of numerous suburbia changed and turned into a neatly planned and rational metropolis. This is symbolically represented by New York where urban organisation, the flow of ideas, cars, immigrants, and goods would become a constant, attracting many photographers, both successful ones and those still struggling to make it, and, on the other hand, some would leave America to document Europe – the Old World. The twenty-year-old André Kertész (Budapest, 1894–New York, 1985), serving in the Habsburg Army between the winter of 1914 and the spring of 1915, took several shots of Trieste and Gorizia which clearly show the atmosphere of the end of an epoch. In 1925, Kertész came to Paris, settled in Montparnasse, where he moved in social circles (Man Ray, Mondrian, Chagall, Ehrenburg, Eisenstein, Brancusi, Calder, Brassaï), photographed street scenes, cafés, artists, and Parisian parks.

Kao da je namjerno htio zaključiti to razdoblje svoga najkreativnijeg stvaranja, 1936. godine putuje u New York te sljedeće godine započinje suradnju s časopisima Harper’s Bazaar, Vogue, Look i ostalim poznatim američkim revijama, sve dok se 1962. godine nije odlučio ponovno vratiti pravoj fotografiji organizirajući velike privatne izložbe u najvećim svjetskim muzejima, koje su mu donijele značajna priznanja, među kojima i Légion d’honneur 1983. godine. 1985. godine, godine njegove smrti, izložba André Kertész, of Paris and New York izložena je u čikaškom institutu Institute of Art i u njujorškom Metropolitan Museumu. Glavni predstavnik američke društvene fotografije bio je Lewis Wickes Hine (Oshkosh, Wisconsin 1874. – New York, 1940.), a njegova je umjetnost znatno utjecala i na europske kulturne struje. 1900. godine upisuje se na Fakultet sociologije Sveučilišta u Chicagu te na njujorško Sveučilište Columbia. 1904. godine počinje fotografirati koristeći se blicom već na samom početku, kao što je to prethodno napravio Jacob Riis, i fotografirajući europske doseljenike koji su pristizali u New York. 1906. godine prvi je put radio za Nacionalni odbor za dječji rad (National Child Labor Committee – NCLC): ta je suradnja potrajala do 1917. godine. Između 1908. i 1918. godine Hine je uspio prikupiti impresivan broj fotografija, često glumeći da je osiguravatelj ili industrijski fotograf, prodavač razglednica ili čak Biblija, kako bi uspio ući u tvornice i rudnike u kojima su radila djeca. Tehnika koju je koristio bila je jednostavna: namještao je djecu da poziraju ispred ogromnih strojeva kako bi što jasnije uspio prikazati njihovu nezrelu dob i bezbrojne rizike kojima su svakoga dana bili izloženi. Naime, nakon objavljivanja njegovih fotografija nastaju prvi zakoni koji uređuju rad maloljetnika. 1908. godine Hine fotografira i život radnika u čeličanama Pittsburgha, a 1918. godine ulazi u Crveni križ te posredstvom organizacije boravi u Francuskoj, Italiji (Rim i S. Donà nel Veneto) i Grčkoj. U tom razdoblju mijenja stil izražavanja i prelazi sa sterilnog dokumentiranja na fotografije bogate subjektivnom interpretacijom stvarnosti.

From 1928 to 1936, he was one of the main contributors of VU, a magazine that inspired the magazine Life, and started his research in the Distortions series. As if wishing intentionally to conclude that period with his most creative work, in 1936 he left for New York and in the following two years started cooperating with Harper’s Bazaar, Vogue, Look and other famous American magazines, until, in 1962, he decided to return to real photography and organised large private exhibitions in the greatest museums of the world, which earned him significant awards, among which was Légion d’honneur in 1983. In 1985, the year of his death, the exhibition “André Kertész: Of Paris and New York” was held at the Chicago Institute of Art and the Metropolitan Museum of New York. The main representative of American social photography was Lewis Wickes Hine (Oshkosh, Wisconsin 1874–New York, 1940), whose art influenced significantly the European cultural currents. In 1900, he enrolled into the School of Sociology at the University of Chicago and the Columbia University in New York. He took his first photographs of European immigrants in New York in 1904, using flashlight from the very beginning, as did Jacob Riis before him. In 1906, he started cooperating with the National Child Labour Committee (NCLC). Their cooperation lasted until 1917. Between 1908 and 1918, Hine collected an astonishing number of photographs, frequently pretending he was an insurance agent or an industrial photographer, postcard salesman, or even a Bible salesman, to get access to the factories and mines which used child labourers. The technique he used was simple: children posed in front of giant machines to clearly show their young age and the giant risks they were exposed to on a daily basis. His photographs were instrumental in adopting the child labor laws in the United States. In 1908 Hine photographed the life of Pittsburgh steel mill labourers. In 1918, he started working for the Red Cross, and the organisation sent him on assignments to France, Italy (Rome and S. Donà nel Veneto) and Greece.

1930. godine zadužen je za dokumentiranje građevinskih radova na Empire State Buildingu. Te su fotografije među najpoznatijim Hineovim fotografijama, koje osobno definira kao interpretaciju industrije. Gradnju njujorškog Empire State Buildinga, čiji službeni fotograf postaje Hine, zapečatila je fotografija graditelja nove zgrade, tada najviše na svijetu, koja je ujedno prikazivala siromaštvo i neizvjesnost svakodnevnog života u New Yorku dvadesetih i tridesetih godina. Nakon posla na Empire State Buildingu Hinea je snašla dramatična oskudica. Međutim, 1938. godine spašavaju ga Berenice Abbott i Elizabeth McCausland dovodeći ga u savez Photo League, u sklopu kojega je posljednje dvije godine života vodio program Men at Work. U tom je razdoblju Walter Rosenblum surađivao s njim kao njegov asistent. Walter Rosenblum (New York, 1919. – 2006.) priključuje se savezu Photo League 1937. godine te upoznaje Lewisa Hinea i Paula Stranda, svoje učitelje od kojih je naučio stvari koje će u njegovoj fotografskoj praksi postati komplementarne: od Hinea je naučio da fotografija može biti demokratski instrument za senzibilizaciju društva, dok mu je Strand probudio zanimanje za eksperimentiranje unutar fotografije. Od 1937. do 1950. godine bio je aktivni član saveza Photo League i napravio je reportažu Pitt Street. Njegove fotografije objavio je Ralph Steiner u dnevnom listu PM. Zatim, 1939. godine, postaje asistent Eliota Elisofona, fotografa časopisa Life. Od 1943. do 1945. godine bio je fotograf i snimatelj filmova tijekom Drugog svjetskog rata te je, uz ostalo, bio prvi fotograf koji je ušao u koncentracijski logor Dachau. Značajno je bilo i njegovo radno iskustvo kao profesora: 1947. godine predavao je fotografiju na Odjelu za umjetnost Sveučilišta Brooklyn, a kada je otišao u mirovinu, još uvijek je bio zaposlen kao redovni profesor. Od 1952. do 1976. godine predavao je u ljetnoj školi Yale Summer School of Music and Art, a od 1956. do 1965. godine na Odsjeku za fotografiju privatnog njujorškog sveučilišta The Cooper Union. Pravo ime Boba Cape (Budimpešta, 1913. – Thai Binh, Vijetnam, 1954.) bilo je André Friedman.

His expression changed in that period and Hine switched from sterile documentary photography to photographs rich in subjective interpretation of reality. In 1930 he was commissioned to document the construction of the Empire State Building and took some of the most famous of his photographs, which he personally defined as interpretation of industry. The epic about the construction of New York’s Empire State Building, the official photographer of which was Hine, was marked by photographs of the people who constructed the new building, the tallest in the world at the time, and linked to the epic on poverty and the insecurity of everyday life in New York in the twenties and the thirties. After his engagement in the construction of the Empire State Building, Hine’s life turned into a struggle for existence. However, in 1938, he was saved by Berenice Abbott and Elizabeth McCausland who had him join the Photo League, where he spent the last two years of his life as the head of the Men at Work project. In this period, Walter Rosenblum was his assistant. Walter Rosenblum (New York, 1919–2006) joined the Photo League in 1937, where he meet Lewis Hine and Paul Strand, from whom he learned what will become the complementary features of his creative work in photography: from Hine he learned that photography can be a democratic instrument for the sensitisation of the society, while Strand awoke his interest in experimentation in photography. From 1937 to 1950, Rosenblum was active in the Photo League and was the author of the Pitt Street series. His photographs were published by Ralph Steiner in the PM daily newspaper. Then, in 1939, he became the assistant of Eliot Elisofon, a photographer in the Life Magazine. From 1943 to 1945, during the Second World War, he worked as a photographer and filmmaker, and was the first photographer to enter the Dachau concentration camp. His teaching career is also notable: from 1947 he taught photography at the Brooklyn College Art Department, and when he retired, he still worked as a full professor. From 1952 to 1976, he taught at the Yale Summer School of Music and Art, and from 1956 to 1965 he taught at the Photography Department of the Cooper Union private New York college.

1930. godine pritvoren je jer je posjećivao promarksističke krugove te je bio primoran napustiti Mađarsku i odseliti se u Berlin, gdje se upisao na Fakultet političkih znanosti i približio novinarstvu. Od 1932. do 1933. godine radio je za Dephot (Deutscher Photodienst, Njemačku službu za fotografiju) kao asistent tamne komore, gdje je upoznao i bio pod utjecajem Felixa H. Mana, Waltera Bossharda i Haralda Lechenperga, koji, iako su fotografirali za novine, nisu slijedili uobičajeni način rada, već su svoje ideje iznosili u okviru fotografskih studija koje su sami pripremali. 1933. godine preselio se u Pariz, u Montparnasse, gdje nastaje pseudonim Robert Capa pod kojim je nastavio svoju samostalnu aktivnost zajedno s Gerdom Taro, preminulom u Španjolskom građanskom ratu. Capa ostaje odan svojoj misiji ratnog fotografa, najpoznatijeg u 20. stoljeću: fotografirao je i u Kini 1938. godine, u Italiji, Francuskoj, Njemačkoj i Izraelu. 1940. godine, tijekom boravka u Americi, započeo je suradnju s časopisom Life: u razdoblju od 1942. do 1945. godine objavio je za taj američki časopis ratne fotoreportaže iz Italije, napredujući duž Italije sa Saveznicima od Sicilije do Rima, a 1944. godine bio je u Velikoj Britaniji kako bi sudjelovao u iskrcavanju u Normandiji. Usprkos tome što je bio naoružan dvama fotoaparatima Contax, od 106 fotografija snimljenih na glasovitoj plaži Omaha Beach tijekom iskrcavanja, ostalo ih je samo osam, dok su ostale izgorjele zbog neispravnog tiskarskog stroja. 1947. godine Capa osniva agenciju Magnum zajedno s Henrijem Cartierom-Bressonom, Davidom Seymourom i Georgeom Rodgerom. U tom razdoblju bio je na samo dva putovanja: u Rusiji sa Steinbeckom i u Izraelu s Irvinom Shawom, nakon čega objavljuje knjige The Russian Journal i Report on Israel. 1954. godina bila je crna godina za fotografiju. Još jedan veliki fotoreporter, Werner Bischof, preminuo je u prometnoj nesreći na peruanskim Andama. Te je godine i Capa usmrćen protupješačkom minom u Indokini, gdje se nalazio zbog reportaže o petom ratu koji je dokumentirao. Capovo mjesto u agenciji Magnum preuzima David Seymour, koji je nedugo zatim preminuo na Suezu, usmrćen egipatskim mitraljezom.

The real name of Bob Capa (Budapest, 1913–Thai Binh, Vietnam, 1954) was André Friedman. In 1930, he was detained by the police for visiting Marxist circles and was forced to leave Hungary and move to Berlin, where he enrolled into the School of Political Science and got in touch with journalism. From 1932 to 1933, he worked for the Dephot (Deutscher Photodienst, German photo agency) as a dark chamber assistant, where he met Felix H. Man, Walter Bosshard and Harald Lechenperg who had a significant influence on him. Although they were newspaper photographers, they did not follow the usual working methods but exposed their ideas within photo studios they organised. In 1933, Capa moved to Paris, to Montparnasse, where he started using the name Robert Capa, under which he continued his independent photographic work with Gerda Taro, who later died in the Spanish Civil War. Capa remained true to his mission of a war photographer, and was the most famous war photographer of the 20th century: he took photos of China in 1938, as well as of Italy, France, Germany, and Israel. In 1940, when he was in America, he started cooperation with the Life Magazine: in the period from 1942 to 1945, he published war reportages from Italy, joining the Allies in crossing Italy from Sicily to Rome, and in 1944 he went to Great Britain to join the forces landing in Normandy. In spite the fact that he had two Contax cameras, only eight photos of 106 he took on the notorious Omaha Beach remained, while others were burned due to a failure of the printing press. In 1947, Capa and Henry Cartier-Bresson, David Seymour and George Rodger founded the agency Magnum. In that period, he took only two trips: to Russia with Steinbeck and to Israel with Irvin Shaw, after which he published The Russian Journal and Report on Israel. The year 1954 was an unfortunate year for photography. Another great photojournalist, Werner Bischof, died in a traffic accident in the Peruvian Andes. In the same year, Capa was killed by a land mine in Indochina, where he went to do a reportage on the fifth war he documented. Capa’s place at the Magnum agency was taken over by David Seymour, who died at Suez soon after by the hand of an Egyptian machine gunner.

Osnove fotografije naučio je od oca fotoamatera Johna Phillipsa (Alžir, 1914. – New York, 1996.). 1925. godine seli se u Pariz, a 1927. godine postaje asistent gospodina Pansiera, fotografa iz Nice.

He learned the basics of photography from his father John Phillips (Algiers, 1914–New York, 1996), who was an amateur photographer. In 1925 he moved to Paris, and in 1927 he became an assistant to master Pansier, a photographer from Nice.

1934. godine sklapa prijateljstvo s kanadskim kiparom Walterom Allwardom koji mu je dopustio da ga fotografira te je pozirao za fotografa prvi put nakon šesnaest godina.

In 1934, he befriended the Canadian sculptor Walter Allward who allowed him to take his photographs, posing for the first time in sixteen years.

Nakon što je John Phillips poslao fotografiju časopisu Time, rečeno mu je da se poveže s londonskim uredništvom časopisa Life, koji je 1936. godine od njega naručio originalnu reportažu o svečanom otvorenju parlamenta u nazočnosti Edvarda VIII, što je ujedno bio i početak njegove suradnje s tim časopisom.

After John Phillips sent the photo to Time magazine, he was told to contact the London office of Life. In 1936, Life commissioned an original story on the solemn opening of the Parliament attended by Edward VIII, and thus started his cooperation with the magazine.

Zaposlen je za područje Europe. Njegov prvi projekt odnosio se na strastvenu Irkinju Maud Gonne MacBride, koju je Joyce nazvao irskom Ivanom Orleanskom, a 1937. godine fotografira Sveučilište u Etonu i Cecila Beatona, koji je osvojio dva Oscara za kostime u mjuziklima May Fair Lady i Gigi.

He was commissioned to cover the territory of Europe. His first project was the passionate Irishwoman Maud Gonne MacBride, described by Joyce as the Irish Joan of Arc, and in 1937 he was commissioned to take photographs of the Eton College and Cecil Beaton, who won two Academy Awards for best costume in the musicals My Fair Lady and Gigi.

1938. godine vraća se u Pariz te 12. ožujka 1938. godine fotografira ulazak nacističkih trupa u Austriju i Čehoslovačku, a bio je i u Münchenu tijekom sklapanja sporazuma između Chamberlaina i Hitlera. Nadalje, 1943. godine, kao jedini nazočni fotograf, dokumentirao je konferenciju u Teheranu između Roosevelta, Staljina i Churchilla, u svojstvu akreditiranog fotografa Bijele kuće. 1944. godine spustio se padobranom na teritorij Jugoslavije, iza njemačkih bojnih jedinica, kako bi dokumentirao partizanski rat, prilikom čega je upoznao i Tita, kojega je fotografirao u različitim trenutcima, među kojima i tijekom simbolične partije šaha u špiljama otoka Visa. Nakon toga odlazi u Mađarsku. Fotografira posljednji let avijatičara Antoinea de Saint-Euxpéryja s kojim je izgradio bliski prijateljski odnos. Nakon toga otišao je u Italiju kako bi zabilježio kraj rata, a 1948. godine dokumentira nastanak Izraela, prilikom čega je fotografirao i njegove osnivače, počevši od Ben-Guriona do Golde Meir, Moshea Dayana, Rabina itd. S namjerom da unese novi stil koji će se razlikovati od fotonovinarstva, novu estetiku metropole predstavio je mladi i bijesni William Klein (New York, 1928.), koji je u izrazito dinamičkom, gotovo kinematografskom stilu objavio utiske o New Yorku (Life is Good & Good for You in New York: Trance Witness Revels,

He returned to Paris in 1938. He photographed the entry of Nazi troops into Austria and Czechoslovakia on March 12, 1938. He was also present in Munich at the signing of the agreement between Chamberlain and Hitler. Moreover, in 1943, he was the only photographer present at the Teheran conference between Roosevelt, Stalin and Churchill, accredited by the White House. In 1944, he parachuted onto the territory of Yugoslavia, behind the lines of German units, to document the Partisan war. On that occasion, he also met Josip Broz Tito and took his photographs in various situations, including the symbolic game of chess in the caves of the island of Vis. He then departed for Hungary. He documented the last flight of the aviator Antoine de SaintEuxpéry with whom he nurtured a close friendship. Then, in Italy, he documented the end of the war, and in 1948 the declaration of independent Israel, photographing its founders, from Ben-Gurion to Golda Meir, Moshe Dayan, Rabin, etc. The young and angry William Klein (New York, 1928) introduced a new aesthetics of the metropolis, aiming at generating a new style, different from photojournalism. He published his impressions of New York (Life is Good & Good for You in New York: Trance Witness Revels, 1956) and Rome (in 1959, when he was

1956.) i Rimu (1959. godine, kada je radio i kao asistent glasovitog talijanskog režisera Federica Fellinija) te stvorio novi imidž grada, fotografiranog izvan stereotipa vremena, s nestabilnim kadrovima i koristeći pokret.

an assistant of the famous Italian director Federico Fellini) using a very dynamic, almost cinematographic style, and created a new image of the city, removing his photographs from the current stereotypes by using instable frames and movement.

1948. godine Klein boravi u Parizu, gdje studira slikanje, grafiku i crtanje u ateljeu Fernanda Légera te početkom pedesetih godina otkriva fotografiju.

In 1948, Klein went to Paris and studied painting, graphics, and drawing at Fernand Léger’s studio, and discovered photography in the early 1950s.

1954. godine počinje raditi za časopis Vogue, čime započinje karijeru modnog fotografa, u kojem se kontekstu često ironično postavlja i prema samoj modi, ne snimajući uobičajene poze, već stvarajući fotografije koje su razotkrivale tabu teme i klišeje.

In 1954, he was commissioned by the Vogue, starting his career as a fashion photographer. His work often showed his ironic approach to fashion. His photographs are marked by unusual poses and touch on taboos and clichés.

Klein, čije su fotografije definirane kao snaps, radio je za Vogue do 1966. godine, međutim, oduvijek je znao da njegov pravi poziv nije modna fotografija, već opscene reportaže o metropolama kao što su New York, Rim, Moskva i Tokio, koje su mu nakon objavljivanja donijele veliku slavu.

Klein, whose photos have been described as snaps, worked for the Vogue until 1966, but he had always known that his real calling is not fashion photography, but irreverent photo essays of metropolises such as New York, Rome, Moscow, and Tokyo, which made him famous.

Oko 1961. godine udaljava se od fotografije kako bi se približio kinematografiji te tek početkom osamdesetih godina ponovno počinje fotografirati, nakon čega su ponovno otkrivena i pohvaljena njegova ranija djela.

Around 1961, he left photography to engage in cinematography, and in early 1980s went back to photography again, after which his earlier work was rediscovered and acknowledged.

Izložba, koju je uredio Walter Live prema projektu Centra za istraživanje i arhiviranje fotografije (Centro di Ricerca e Archiviazione della Fotografia – CRAF), želi predstaviti publici Photodaysa šest velikih majstora koji su obilježili američku fotografiju 20. stoljeća, a ponajprije društvenu fotografiju, reportažu, fotografiju istraživanja te nove jezike koji se razvijaju s Williamom Kleinom u poslijeratnom razdoblju. piše: Walter Liva

The exhibition, curated by Walter Live according to the Centre for the Research and Archiving Photography programme (Centro di Ricerca e Archiviazione della Fotografia–CRAF) wishes to present Photodays visitors the six masters of 20th century American photography, with an accent on social photography, reportage, research photography, and new expressions that developed with the arrival of William Klein in the post-war period. written by: Walter Liva

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PRODAJA SNOVA - SUVREMENA HRVATSKA FOTOGRAFIJA SELLING DREAMS - CONTEMPORARY CROATIAN PHOTOGRAPHY

Autor / Author: Mladen Šarić (GloriaGLAM)

Adris galerija

Adris Gallery

Kurator: Sandra Vitaljić

Curator: Sandra Vitaljić

Autori: Mladen Šarić, Romano Decker i Dejan Kutić, Bruna Kazinoti, Mare Milin, Ivana Vučić, Marko Grubišić, Sanja Bistričić

Authors: Mladen Šarić, Romano Decker i Dejan Kutić, Bruna Kazinoti, Mare Milin, Ivana Vučić, Marko Grubišić

Fotografska slika ključni je komunikacijski element modne industrije, a primarni zadatak modne fotografije stvaranje je i poticanje želje potrošača. Početkom 20. stoljeća zamijenila je modnu ilustraciju u časopisima zbog svoje sposobnosti da vjerno prikaže odjevni predmet, no brzo je nadišla svoj indeksični status i započela kreativni razvoj oslanjajući se uvijek na utjecaje iz svijeta umjetnosti. Reflektirala je duh vremena i poticala progresivne društvene promjene. Usprkos tome što je često doživljavana kao frivolna i prolazna, uz upitnu ulogu u konstrukciji ženskog identiteta1 (the questionable part it plays in the construction of feminine identity), njezin je utjecaj neprekidno rastao, osvajajući polako svoje mjesto i u respektabilnim svjetskim muzejima i galerijama, osobito od 90-tih godina 20. stoljeća nadalje.

Photographic image is a key communication element for fashion industry, and a primary task of fashion photograph is the create and incite the desire of consumers. In the early 20th century, it replaced fashion illustration in magazines due to its capacity to faithfully present an article of clothing, but it soon surpassed its index status and has began its creative development relying always on influences from the world of art. It reflected the spirit of time and incited progressive social changes. In spite of the fact that it was frequently seen as frivolous and passing, with the questionable part it is playing in the construction of female identity1, its impact continually grew, conquering its place in respectable world museums and galleries, notably in the ‘90s of the 20th century onward.

Odmičući od klišea idealizirane slike koja prodaje proizvod, modna se fotografija odvažila propitati rodne stereotipe i ideale ljepote koje sama promovira. Svojim se jezikom sve više približavala umjetničkoj fotografiji i tako širila područje djelovanja. Modna fotografija danas ima veliki društveni utjecaj i često odražava naše potisnute želje i strasti; istovremeno hrani našu taštinu i potiče nesigurnost u vlastiti izgled. Ona ima komercijalnu namjenu i nepobitno je artificijelni konstrukt, no istovremeno ima sposobnost da nas inspirira i zadivi. Modna fotografija u Hrvatskoj u proteklih deset godina dobiva na važnosti i postaje medijski vidljivija i utjecajnija s pojavom novih manifestacija i magazina posvećenih modi. Autori i autorice zastupljeni na ovoj izložbi - Mare Milin, Ivana Vučić, Marko Grubišić, Mladen Šarić, Bruna Kazinoti i Decker&Kutić - gradili su tu novu hrvatsku modnu scenu, a uz njih je predstavljena i još neafirmirana fotografkinja Sanja Bistričić, koja će, uz druge autore/ice, potencijalno nastaviti njen razvoj. piše: Sandra Vitaljić Shinkle, Eugenie (ur.), Fashion as Photograph, I.B. Taurus, London, 2008., str.1

Departing from the cliché of idealized image which sells a product, fashion photograph has dared to question gender stereotypes and ideals of beauty which it promotes. By its language, it continued to approach to artistic photograph and has thus extended its area of action. Fashion photograph today has a large social impact and often reflects our suppressed desires and passions; at the same time, it feeds our vanity and provokes insecurity in our own appearance. It has a commercial purpose and it is irrefutably an artificial construct, but at the same time it has the capacity to inspire us and thrill us. Fashion photograph in Croatia has gained in its importance during the past ten years and has become visible and more influential in the media with the appearance of new manifestations and magazines dedicated to fashion. Authors represented at this exhibition are - Mare Milin, Ivana Vučić, Marko Grubišić, Mladen Šarić, Bruna Kazinoti and Decker & Kutić – they have built this new Croatian fashion scene, and along with them is a display of photographs by a not yet affirmed photographer Sanja Bistričić, who, along with other authors, shall continue her development potentially. written by: Sandra Vitaljić

Shinkle, Eugenie (ur.), Fashion as Photograph, I.B. Taurus, London, 2008., str.1

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Partner izložbe “Prodaja snova - suvremena hrvatska fotografija”

Marin Bogović | Dubrovčan 110 | 49214 Veliko Trgovišće Tel. 049/556-054 | Mob. 098/665-107

GLOBAL PHOTOGRAPHY, STANOVANJE GLOBAL PHOTOGRAPHY, OCCUPANCY

Skloništa, između gradova i anti-gradova

Shelters, between cities and anti-cities

Zavičajni muzej grada Rovinja

Rovinj Heritage Museum

Kustosi: Stefania Rössl i Massimo Sordi

Curators: Stefania Rössl i Massimo Sordi

Autori: Frank Breuer (D); Frédéric Delangle (F); Alexander Gronsky (RUS); Roderik Henderson (CHILE); Martina Hoogland Ivanow (SVE); Cuny Janssen (NL); Bas Princen (NL); Massimo Sordi (I); Henk Wildschut (NL); Marco Zanta (I)

Authors: Frank Breuer (D); Frédéric Delangle (F); Alexander Gronsky (RUS); Roderik Henderson (CHILE); Martina Hoogland Ivanow (SVE); Cuny Janssen (NL); Bas Princen (NL); Massimo Sordi (I); Henk Wildschut (NL); Marco Zanta (I)

Uzimanje mjesta u posjed radnja je koja je u ljudskoj prirodi od samog nastanka vrste. S druge strane, nagovještaj prostora koji pojedinac prilagođava iz samoga sebe stvara oblike naselja, stanovanja, koji se mjere fizičkom dimenzijom, a ona ponekad pripada vremenu, a ponekad prostoru. Dok sadašnjost objektivno dovodi u vezu razne prikaze i razine u priči koja nam omogućuje uspostavljanje modernih kategorija pripadnosti, naš nas subjektivni doživljaj vodi prema uspostavljanju veza kontinuiteta sa samom pričom, čime se obnavlja naš odnos prema suvremenosti. Stoga je zadaća tijela, koje se shvaća kao subjekt, uspostaviti prvo mjerenje prostora, a time i utvrditi koordinate na kojima će se kasnije ucrtati gradovi ili naseljena područja.

Taking possession of a place is an action that has been implicit in human nature from the very origin of the species. On the other hand, foreshadowing the space that an individual adapts from his own self generates modes of settlement, of occupancy, that are measured using a physical dimension that sometimes belongs to time and sometimes to space. Whereas the present relates, in an objective manner, the various portrayals and levels in a story that permits us to establish modern categories of belonging, our subjective experience leads us to establish ties of continuity with the story itself, thus renewing our relationship with contemporaneity. It is therefore the task of the body, understood as subject, to constitute the first measurement of space and hence to establish the coordinates on which towns or inhabited areas will later be delineated.

Iz dana u dan, međutim, nastaju neočekivane veze između čovjeka i njegovog teritorija, jer svaki je predmet u neprekidnom stanju postajanja. Što se tiče ravnoteža koje su povezivale ljudska bića s normalnim prirodnim ciklusima (Gilles Clément, 2008.), predodređujući nas da se držimo pouzdanih prostornih i vremenskih uvjeta, sve je više dokaza da se sada te ravnoteže zamjenjuju uvjetima čistog slučaja, nesigurnosti gonjene ljudskom dominacijom i potrebama koje to zahtijeva. Ako u cijelosti razmotrimo pojam "stanovanje", možemo vidjeti kako se, osobito u posljednjih nekoliko godina, suočavamo s tendencijom ljudskih bića da ostvare neku vrstu posredne vlasti nad okolišem, da se osjećaju kao pandan sustava koji je u svojoj prirodnoj ravnoteži moguće ne samo kontrolirati, već i mijenjati, prilagođavati. Istovremeno, globalni ekonomski interesi imaju moć popraviti fiksna tržišna pravila i uvjetovati kretanja popula-

Day after day, however, unexpected ties arise between man and his territory, for each is a subject in a continuous state of becoming. To the ordinary balances that used to bind human beings to the normal cycles of nature (Gilles Clément, 2008), preordaining us to adhere to consistent spatial and temporal conditions, there is more and more evidence that now these balances are being replaced by conditions of pure chance, uncertainties driven by human dominance and the needs which that entails. If we take on board the term “occupancy” in its entirety, we can see how, especially in recent years, we are facing a tendency on the part of human beings to exercise a sort of implicit dominion over the environment, to feel they are the counterparty of a system that in its natural equilibrium is not

cije, a time i uspostaviti novi hijerarhijski odnos između grada i sela. Iz tih se čimbenika mogu izvesti nove dinamike, s obzirom ne samo na opstanak i dijeljenje, već i na status autsajdera, udaljenost, ravnodušnost, bespomoćnost. Bez obzira na morfološki i ekološki kontekst i na fizičke pretpostavke suvremenog urbanog društva, ono čemu danas svjedočimo je očigledan raskorak između percepcije vlastitog prostora, na koji se gleda kao na pojedinačni fragment, i dimenzije društvenog prostora, koji se smatra kolektivnim djelom. Iako je istina da je, kao reakcija na ovakvo stanje, sve očitija tendencija da se subjektivnost projicira i afirmira izvan vlastitog kruga, zajedno s jačanjem samoga sebe, na duži će rok ova vrsta sklonosti utjecati na sustav odnosa koji nastaju između subjekta i objekta, kao i između subjekta i prostora. Prema tome, čini se da je sam način, na koji se prostor koji određeni pojedinac neposredno nastani prikazuje, pod utjecajem tog pojedinca, u različitim stupnjevima svjesnosti. Pojam "grad" danas se više ne čini adekvatnom oznakom za velegrad ili urbanu raštrkanost jednog amorfnog, izgrađenog područja; isto tako, načela koja se koriste za reguliranje naselja više nisu dovoljna za tako opsežan sustav, sastavljen od mreža mreža, od kojih sve jedna s drugom govore. Prema tome, potrebe podržavaju stare, uobičajene prakse i pravila, a da se između njih ne pravi razlika. Ne samo konsolidirana, stabilna područja, već i nedavno formirani, krhki, promjenjivi krajolici imaju izgled koji se sve više može opisati kao da pripada svijetu supermodernizma. Za razliku od postmoderne, koja je koncipirana kao proizvoljni zbroj slučajnih svojstava, supermodernizam se može definirati s tri vrste viška: viškom vremena, viškom prostora i viškom individualizma (Marc Augé, 2000.). Različite epizode i procesi koji pripadaju različitim mjestima tako se sinkronijski sijeku, mijenjajući svakodnevne navike i dajući im veću gustoću. Dakle, nailazimo na još jaču potragu za samoafirmacijom izvan praga uobičajenog domaćinstva, ne prema kolektivnom izrazu s ciljem socijalne razmjene, već prema revitalizaciji osobnog prostora, onog vezanog za želju za samoopravdanjem. Međutim, ponekad, pogotovo kada su potrebe određene starijim, dužim statusom, čini se da se u pojedincu revitalizira pojačana osjetljivost prema mjestima. Novi načini iskorištavanja nasta-

only controllable but also changeable, modifiable. At the same time, global economic interests have the power to fix market rules and condition population flows, and hence establish a new hierarchical relationship between the city and the countryside. From these factors one can derive new dynamics, with regard not only to survival and sharing, but also to outsider status, distance, indifference, powerlessness. Regardless of the morphological and environmental context and of the physical assumptions of contemporary urban society, what we are witnessing today is an evident disconnect between the perception of one’s own space, seen as an individual fragment, and the dimension of social space, regarded as a collective work. While it is true that, as a reaction to this state of affairs, there is an increasingly evident tendency to project and affirm one’s own subjectivity outside one’s own ambit, together with a strengthening of one’s self, in the long term this sort of propensity will affect the system of relations arising between subject and subject, and between subject and space. Consequently, the very way in which the space directly inhabited by a given individual is depicted seems to be influenced by that individual, to varying degrees of consciousness. The term “city” no longer seems adequate today as a label for a metropolis or the urban sprawl of an amorphous, built-up area; by the same token, the principles that used to regulate settlements are no longer capable of administering such as extensive system, one made up of a mesh of networks, all talking to each other. Consequently, necessities are supported by the old, habitual practices and rules, without any distinction being made between them. Not just consolidated, stable areas but also more recently formed, fragile, mutable landscapes have an appearance that can increasingly be described as belonging to the world of supermodernity. Unlike the post-modern, which was conceived of as the arbitrary sum of chance traits, the supermodern can be defined by three types of excess: excess of time, excess of space, and excess of individualism (Marc Augé, 2000). Distinct episodes and processes that belong to distinct places thus intersect synchronically, altering everyday practices and giving them greater density.

njenih zemljišta i revitaliziranja izvornih prostornih kategorija još jednom postaju poznati i očiti te dovode do novih kategorija percepcije. Ako se, citirajući Augéa, "supermodernizam pojavljuje kada povijest postaje sadašnjost, prostor slika, a individua pogled," fotografija intervenira kao idealno sredstvo za istraživanje i tumačenje materijalnog svemira u kojem se ljudske aktivnosti u sve većoj mjeri čine uvjetovane prekrivanjem fenomena i brzinom njihova protoka. Fotografija uključuje povlašten odnos sa sadašnjosti i njezina se vrijednost može mjeriti u izvanpovijesnoj dimenziji u kojoj kombinira različite epizode stvarnosti, predodređene slike koje su sposobne izgraditi nova narativna putovanja. U tom smislu, radovi se u ovoj publikaciji mogu smatrati ponovnim formiranjem priče kroz slike, ostavljajući čitatelju uvijek dovoljno prostora za preklapanje njegovih značenja. Stanovanje je mjesto oko kojeg ove fotografske meditacije pronalaze način za interakciju otvaranjem vrata paralelnim čitanjima konteksta koji leže između stvarnog i imaginarnog. Ovisno o kreativnim procesima svakog pojedinca, interes za ove slike pronalazi zajedničko podrijetlo u odnosu na fotografiju strukturiranu kroz niz razina. Struktura i oblik mjesta stanovanja opisani su u vrlo raznobojnom smislu: tako vidimo autonomne oblike naselja, kao što je zagušena fragmentarnost dijelova gradova i ponovno otkrivena šturost privremenih skloništa u suprotnosti s artificijelnošću humanizirane prirode i pejzaža memorije koji aludiraju na daleke zemlje koje vode natrag u vlastitu nutrinu. piše: Stefania Rössl

Consequently, we find an even stronger search for self-affirmation beyond the threshold of the usual domestic household, not towards collective expression with the aim of social sharing, but towards the recovery of a personal space, one tied to a desire for self-vindication. However, sometimes, especially when necessity is determined by older, lengthier status, the individual seems to recover a heightened sensitivity to places. New ways of exploiting the lands under occupancy and of recovering the original spatial categories become familiar and obvious once more, and lead in turn to new categories of perception. If, echoing Augé, “supermodernity appears when history becomes the present, space an image and the individual a look,” photography intervenes as the ideal means of investigating and interpreting a material universe in which human activities seem more and more to be conditioned by the superimposition of phenomena and the rapidity of flows. Photography involves a privileged relationship with the present and its value can be measured in an extra-historical dimension in which it combines distinct episodes of reality, preordained images that are capable of constructing new narrative journeys. In this sense, the works in the present publication can be regarded as reconstituting a story through images, while always leaving the reader enough space for his meanings to intersect in. Occupancy is the place around which these photographic meditations find a way to interact by opening the door to parallel readings of contexts lying between the real and the imaginary. Depending on each individual’s creative processes, interest in these images finds a common origin in the reference to a photograph structured down through a succession of levels. The structure and form of the occupied places is described in highly variegated terms: so we see autonomous forms of settlement, such as the congested fragmentariness of parts of cities and the rediscovered spareness of temporary shelters in contrast with the artificiality of humanized nature, and landscapes of memory alluding to distant lands that lead one back to one’s own interiority. written by: Stefania Rössl

Marcus Doyle: NoÄ&#x2021;ne fotografije NIGHT PHOTOGRAPHS Rovinj, Pula, Rijeka

Galerija Batana

Gallery Batana

Izložba u suradnji s Muzejom moderne i suvremene umjetnosti, Rijeka

In collaboration with the Museum of Modern and Contemporary Art, Rijeka

Marcus Doyle, britanski fotograf mlađe generacije, na fotografskoj sceni je prepoznat kao predstavnik pejzažne i noćne fotografije.

Marcus Doyle, the British younger generation photographer, is recognized on the photography scene as the representative of landscape and night photography.

Njegovi urbani pejzaži bave se okolinom koju čovjek mijenja i eksploatira, a fotografije pokazuju ožiljke ljudskog djelovanja, ali bez ljudi. Doyle je u posljednjih deset godina snimio veliki broj pejzaža od arktičkog polarnog kruga do pustinja Afrike. Doyleova noćna fotografija otkriva svijet posebne atmosfere gdje se ono obično pretvara u neobično i nestvarno. To postiže kamerom velikog formata i dugotrajnim i strpljivim čekanjem (katkada satima i danima) na onaj pravi trenutak, pravo svijetlo. Posebna upotreba boja i oko istrenirano za detalje daju Doylovim slikama bezvremensku kvalitetu. Zbog toga njegovi uradci izgledaju nestvarno, ponekad i poput ‘retuširanih’ fotografija. Međutim, ovakve fotografije autor uspijeva postići uz pomoć analogne opreme, fotografskog stativa i dugim, strpljivim čekanjem željenog kadra.Po vlastitom nahođenju Doyle je obilazio obalne dijelove Rijeke, Pule i Rovinja te bilježio motive. Zatečen prekrasnim vidicima na morski pejzaž, industrijskim prizorima u Rijeci, te starim dijelovima gradova, odlučio je napraviti seriju fotografija koje će na gledatelja prenijeti upečatljive utiske koje su tri grada ostavila na njega. Fotografije Rovinja i Pule, nastale su u vrijeme njegovog boravka na festivalu Rovinj Photodays prošle godine.

His urban landscapes deal with the surroundings altered and exploited by the man, while the photographs show the scars of human activities, but without the people. In the last ten years, Doyle has shot a large number of landscapes from the Arctic polar circle to the deserts of Africa. Doyle’s night photography reveals a world of special atmosphere where the ordinary is turned into the unusual and surreal. This is achieved by a highformat camera and long and patient waiting (sometimes for hours, even days) for the right moment, the right lighting. A particular use of colors and the eye trained for details give a timeless quality to Doyle’s photographs. Owing to that, his works seem surreal, sometimes even like retouched photographs. However, the author manages to get such photography with the aid of analogous equipment, photographic stand and long and patient waiting for the desired image.

Marcus Doyle Marcus Doyle posljednjih deset godina fotografira krajolike, od Arktičkoga kruga do afričkih pustinja. Voli snimati fotoaparatom velikog formata(10/8) kada god je to moguće. Marcus je proveo pet godina fotografirajući američke krajolike, izvan Kalifornije, prije nego li se vratio u Veliku Britaniju raditi na svom najnovijem projektu oko škotske granice. Njegov je rad bio izložen u New Yorku, Los Angelesu, Chicagu, Belgiji, Parizu i Londonu te ga prate kolekcionari i privatni kupci. Marcusova je prva knjiga, Night Vision, objavljena 2004. Njegova najnovija knjiga, By Coastal, objavljena je 2011. i četverogodišnji je projekt krajolika koji su snimljeni duž britanske obale. Marcus sada živi u Londonu i, između svojih fotografskih projekata, predaje fotografiju na Sveučilištu Canterbury.

Using his own best judgement, Doyle toured around parts of Rijeka, Pula and Rovinj, and recorded motifs. Surprised by wonderful sights of sea landscape, industrial scenes in Rijeka and old parts of the city, he decided to make a series of photographs which would convey to the spectator the memorable impressions which these three cities left on him. The photographs of Rovinj and Pula were made during his stay at the festival Rovinj Photodays last year. Marcus Doyle Marcus Doyle photographed the last ten years landscapes of the Arctic Circle to the African desert. He loves filming with a camera large format (10 /8), whenever it is possible. Marcus has spent five years photographing the American landscape, outside California, before returning to Britain to work on his latest project around the Scottish border. His work was exhibited in New York, Los Angeles, Chicago, Belgium, Paris and London, where it followed by collectors and private buyers. Marcuse΄s first book, Night Vision, was published in 2004. His latest book, By Coastal, was published in 2011. and it is a four- year project in the area that are recorded along the British coast. Marcus lives now in London, between his photographic projects, teaches he photography at the University of Canterbury.

Nagrada za životno djelo / Lifetime Achievement Award

MLADEN TUDOR: FOTOGRAFIJA OD 1954. DO 2004. MLADEN TUDOR: PHOTOGRAPHY FROM 1954 TO 2004 Crkva sv. Tome

St Thomas Church

Izložba u suradnji s Muzejom za umjetnost i obrt, Zagreb

In collaboration with the Museum of Arts and Crafts, Zagreb

Kustos: Dubravka Osrečki Jakelić Artistički i intelektualno, Mladen Tudor formira se u kulturnom ozračju poticajnih i inovativnih zbivanja pedesetih godina u Hrvatskoj. Godine 1959., kada Frane Barbieri ponovno postaje urednikom Vjesnika u srijedu (VUS) te uvodi bakrotisak, u redakciju uključuje Mladena Tudora. Naznačena fotografsko-urednička koncepcija VUS-a potvrdit će se i razviti kroz nešto više od sto brojeva ilustriranog tjednika Globus, koji Barbieri uređuje od 1959. do 1961. godine. Upravo na stranicama Globusa ostvarit će fotografsko-medijsku afirmaciju generacija fotografa, u kojoj, uz Mladena Tudora, treba spomenuti i Zlatka Šurjaka, Borisa Osima, Valenta Grobenskog te Ivu Eterovića, koji se pojavljuje nešto kasnije. Svojom kamerom, često podređenom novinskom zadatku, Tudor bilježi raznorodne sadržaje življenja, nerazdvojno određene prostorom i vremenom društvene zbilje. U tome nema eksplicitne kritike, tek konstatacija viđenog, s decentnim naznakama premisa za mogući zaključak, ali uz neupitnu dosljednost objektivnom novinskom izvješćivanju. Poput samozatajnog pripovjedača, Tudor neutralizira svaku intervenciju u stvarnost fotografske slike. Milje i likovi u suglasju su s realističkim ozrač-

Curator: Dubravka Osrečki Jakelić Mladen Tudor was formed as an artist and an intellectual in the cultural atmosphere of stimulating and innovative events of the 1950s in Croatia. In 1959, when Frane Barbieri became editor of the Vjesnik u srijedu (VUS) again and introduced gravure printing, he included Mladen Tudor in the editorial. The indicated photo-editorial concept of the VUS would be confirmed and developed through more than one hundred issues of the illustrated weekly newspaper Globus, which Barbieri edited from 1959 to 1961. The pages of Globus will enable photo-media recognition of generations of photographers, in which, along with Mladen Tudor, other photographers, like Zlatko Šurjak, Boris Osim, Valent Grobenski and Ivo Eterović, who appears later, need to be mentioned. With his camera, often subordinate to the journalistic assignment, Tudor captures diverse activities of life, inseparably defined by time and space of social reality. In fact there is no explicit criticism, just a statement of the seen reality, with a decent signals of possible conclusions, but with unquestionable consistency with objective journalistic reporting. Like a self-de-

jem fotografije, a njihov naturalizam potencira dokumentarni pogled na stvarnost. Sugestivnoj snazi i uvjerljivosti Tudorovih fotografija snažno doprinosi geometrijska kompozicija, postavljena s dva ili više motiva, koji korespondiraju na principu kontrasta. Na fotografiji snimljenoj u Dalmatinskoj zagori 1960. godine Tudor snima neko događanje, možda gostovanje putujuće kazališne družine, projekciju filma na otvorenom, očito nešto važno i zanimljivo za lokalno pučanstvo. U središtu fotografije nalazi se mala djevojčica koja, očito umorna i nezainteresirana za događanje, spava u majčinom krilu. Hrapava i radom izrađena ruka majke i nježna ručica djeteta, koja izviruje iz kratkog rukava tijesnog kaputića, svjetlosno su istaknute, čime je naglašen socijalni aspekt pristupa temi. Anđeosko lice djevojčice, fragilno i čisto od svih grubosti života, doima se strano u tom ruralnom okruženju. Postavljanjem djevojčice u prvi plan fotografije, naglašavanjem njene bijele marame i karirane haljinice, Tudor sugerira mogućnost da nju u životnom rasteru čeka svijetlo polje. Djeca su često motiv njegovih fotografija i naratori njegovog inače kontroliranog optimizma, poput djevojčice također snimljene u Dalamatinskoj zagori, 1972. godine. Suviše malena da bi dosegla školsku ploču, poslužila se rasklimanim stolcem na kojem spretno balansira. U mračnu učionicu prodiru široke zrake sunca, ritmički usklađene s osmijehom i pokretima djevojčice. Ova Tudorova fotografija primjer je istančanog percipiranja složenosti života, konstatiranja njegove teške strane, ali i sugestije ozračja obzora. Istom izražajnom snagom zabilježit će slike zemljopisno mu bliske Dalmatinske zagore, budući da je rođen je u Splitu, i zbivanja na zagrebačkim trgovima, tržnicama i u muzejima, na kosovskim sajmovima, ali i ulicama Londona, Pariza ili New Yorka. Tudorov fotografski prostor zemljopisno je određen idejom kozmopolitizma. Njegove fotografije nisu označene vizualno istrošenim vizurama povijesno jedinstvenih katedrala, tornjeva ili nebodera. Tražilo Tudorove kamere pronalazi samo ljudske sudbine. One su istovremeno društveno univerzalne – duboko ukorijenjene u povijesno vrijeme i individualno ekskluzivne – unutar sreće i nesreće jednokratnog života. U fotografskom eseju Povratak gastarbajtera iz 1978. godine, kroz jedanaest fotografija Tudor bilježi povratak u domovinu grupe radnika s privremenog rada u Njemačkoj za Božićne blagda-

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nying narrator, Tudor neutralizes any intervention in the reality of the photographic image. The milieu and the characters are consistent with the realistic atmosphere of the photographs, and their naturalism emphasizes a documentary view of reality. Suggestive power and persuasiveness of Tudor’s photos is strongly supported by the geometric composition set with two or more motifs that correspond following the principle of contrast. In the photo taken in the Dalmatian Zagora in 1960, Tudor captures an event, maybe a visit of a traveling theater troupe, an open-air film projection, obviously something important and interesting for the local population. In the center of the picture there is a little girl, obviously tired and indifferent, asleep in her mother’s lap. Mother’s hand, rough from work, and the gentle hand of the child, which pokes out of the short-sleeved tight coat, are highlighted, which emphasizes the social aspect of the approach to the subject. The girl’s angel-like face, fragile and pure from all harshness of life, looks strange in this rural setting. By placing the girl in the foreground of the image, emphasizing her white scarf and plaid dress, Tudor suggests the possibility that there is a light field waiting for her in the grid of life. Children are often the motive of his photographs and narrators of his otherwise controlled optimism, like the girl also recorded in Dalmatian Zagora in 1972. Too small to reach the blackboard, she used the rattling chair on which she deftly balances. Broad rays of the sun penetrate the dark classroom, rhythmically coordinated with the girl’s movements and smile. This image is an example of Tudor’s exquisite perception of the complexity of life, stating its difficult side, as well as a suggestion of the atmosphere of the horizon. Same expressive power is also present in his images of the geographically close Dalmatian Zagora, as he was born in Split, but also in his images that record events in Zagreb squares, markets and museums, the fairs of Kosovo, as well as the streets of London, Paris or New York. Tudor’s photographic space is geographically defined by the idea of cosmopolitanism. His photographs are not marked by visually worn out historically unique views of cathedrals, towers or skyscrapers. Tudor’s camera finds only human destinies. They are both socially universal - deeply rooted in historical time and individually exclusive - within the happiness and unhappiness of a life-time.

ne. Reportaža započinje na peronu jednog od željezničkih kolodvora. Tudor već na prvoj fotografiji određuje i glavnog aktera – kofer, u svim njegovim pojavnim inačicama, od najlonske vrećice i kutije povezane konopčićem, do putnih i poslovnih torbi. U njima su pohranjene sve one misli i zebnje određene nužnošću odlaska i upitnošću povratka. Koferi se javljaju u središtu kompozicija i svojom zapreminom pokrivaju lica povratnika. Uredno složeni ispred vagona, nalik su svojim vlasnicima stiješnjenim u kupeima vlaka. Na jednom od odredišta, u čekaonici drugog razreda, uz skromno okićenu jelku, kofer postaje pisaći stol za bilješku, možda o vremenu ponovnog odlaska. Tudor ponovno samo objektivno bilježi stvarnost; kroz jedan predmet, izdvojen i naglašen, dokumentira složenost ukupnosti života. Nakon stanke od preko dvadeset godina, početkom 2000. Tudor nastavlja svoje fotografsko bilježenje. Nastale fotografije žanrovski možemo označiti mrtvom prirodom, no umrtvljena priroda čini se primjerenijim tematskim određenjem. Sklonost prema jednostavnim naslovima fotografija, svedenim na podatke o mjestu i godini zabilježenog događaja, Tudor će ovdje pokazati reducirajući naslove tek na broj. Sada, za njega je fotografija samostalni dokument koji govori snagom vlastitog izraza, a ne posredstvom verbalnog, posredstvom naslova. Fotografije su bez imena, bez mjesta nastanka - sine nomine, sine loco. I u ovoj seriji fotografija Tudor je jasno potvrdio neupitnu sposobnost opažanja i konciznog iskazivanja slojevitosti života, brzih mijena te potrebe potvrđivanja identiteta, toliko prisutne u našem vremenu. Fotografski opus Mladena Tudora dosljedno je kodiran senzibilitetom umjetnika i moralom intelektualca visoko etičnih stavova. Upravo stoga, nezaobilazna je odrednica hrvatske povijesti fotografije. piše: Dubravka Osrečki Jakelić

In the photographic essay under the title Return of ‘Gastarbeiters’ from 1978, through eleven photographs, Tudor records the Christmas holidays homecoming of a group of workers who temporarily work in Germany. Reporting begins on the railway station platform. The first picture already determines the main protagonist - the suitcase in all its forms – from a nylon bag and a box linked together with string, to travel and business bags. All those thoughts and anxieties determined by the necessity of departure and doubtfulness of return are stored in them. They occur in the middle of the composition and their volume covers the faces of the returnees. Neatly stacked in front of the cars, they resemble their owners, cramped in the train compartments. In one of the destinations, in the second-class waiting room, next to a modestly decorated Christmas tree, the suitcase becomes a desk for a memo, perhaps about the next departure time. Again, Tudor re-recorded reality in an objective way; through an object, isolated and stressed, documenting the complexity of the totality of life. After a pause of more than twenty years, in early 2000 Tudor continues his photographic recording. The resulting images can generically be described as still life, though deadened nature seems a more appropriate thematic definition. Here, Tudor demonstrates his preference for simple photo captions, reduced only to the information about the place and year of recorded events, by reducing the captions to mere numbers. And now, for him, the image is a standalone file that communicates through its own strength of expression, rather than through the verbal, the caption. Photos are without names and places of origin - sine nomine, sine loco. In this series of photos Tudor clearly confirmed his unquestionable ability of observation and concise expression of the complexity of life, rapid changes and the need for identity verification, which pervade our time. Mladen Tudor’s photographic oeuvre is consistently coded by the sensibility of an artist and the morality of an intellectual with a high ethical mind-set. He is therefore an indispensable determinant in the history of Croatian photography. written by: Dubravka Osrečki Jakelić

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PRIJATELJI MORA: MEDITERANSKI ESEJI FRIENDS OF THE SEA: THE MEDITERRANEAN ESSAYS Udruga LivingStone i Astoria posebni projekti d.o.o. u suradnji s Ministarstvom turizma RH te uz potporu Hrvatske turističke zajednice organiziraju veliku nacionalnu kulturološku kampanju pod nazivom “Prijatelji mora”. Izložbama fotografija velikog formata na otvorenom u šesnaest hrvatskih gradova svake godine od početka lipnja do kraja rujna projekt ima za cilj hrvatskoj javnosti i svim hrvatskim gostima skrenuti pozornost na društvenu odgovornost i stalnu vrijednost promicanja ekologije te očuvanja mora. Prijatelji mora su svi gradovi i tvrtke partneri u Hrvatskoj koji dijele istu društvenu odgovornost prema moru kao našem najvećem nacionalnom blagu. “Mediteranski eseji” naziv je ovog atraktivnog postava fotografija koji nudi niz prizora iz svakidašnjeg života i običaja ljudi hrvatskoga Jadrana . Obuhvaća 64 autorska djela odabranih hrvatskih fotografa. Izlažu: Ivo Pervan, Petar Trinajstić, Mario Romulić, Dražen Stojčić, , Dalibor Talajić, Renco Kosinožić, Rino Gropuzzo, Božidar Prezelj, Goran Novotny, Radivoj Pastorčić, Aleksandar Tomulić

The LivingStone association and Astoria posebni projekti d.o.o. in cooperation with the Croatian Ministry of Tourism and with the support of the Croatian National Tourist Board have organized a big national cultural campaign under the name “Friends of the Sea”. With outdoor exhibitions of large format photos in sixteen Croatian cities every year from early June to late September, the project aims at drawing attention of the Croatian public and all Croatian guests to social responsibility and constant value of promoting ecology and preserving the sea. “Friends of the Sea” are all cities and partner companies in Croatia that share the same social responsibility towards the sea as our greatest national treasure. The Mediterranean Essays” is the name of this attractive exhibition that offers a series of photographs of scenes from everyday life and customs of the people from the Croatian Adriatic. It covers 64 copyrighted works of the selected Croatian photographers. Exhibitors: Ivo Pervan, Petar Trinajstić, Mario Romulić, Dražen Stojčić, , Dalibor Talajić, Renco Kosinožić, Rino Gropuzzo, Božidar Prezelj, Goran Novotny, Radivoj Pastorčić, Aleksandar Tomulić

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CROPIX Fotoagencija CROPIX najveća je fotoagencija u Hrvatskoj koja radi za veći broj dnevnih novina (samo neki listovi: Jutarnji list, Slobodna Dalmacija, Sportske novosti, Business.hr...), za više od 20 najvećih magazina te za 30 najznačajnijih web portala. Cropixove fotografije u prošloj godini objavilo je preko 300 svjetskih novina i magazina. Mlad i dinamičan tim pokriva sve dijelove Hrvatske doslovno 24 sata na dan, 365 dana u godini. Uz redovito i brzo izvješćivanje s najznačajnijih događaja, naši autori, fotoreporteri u fotografiju unose i osobni likovni stav. I to je ono što njegujemo u svakoj vijesti, reportaži, od sporta do svakodnevnih scena s ulice; fotografije koje će u vremenu objektivno zabilježiti život na našim prostorima i ostati trajna slika našim čitateljima.

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The CROPIX photo agency is the largest photo agency in Croatia, working for a large number of daily newspapers (Jutarnji list, Slobodna dalmacija, Sportske novosti, Business.hr, to name but a few), for more than 20 major magazines and over 30 of the most significant web portals. Our young and dynamic team covers all parts of Croatia, literally 24 hours a day, 365 days a year. In addition to regularly and expeditiously reporting on the most important events, our photo reporters also insert their own artistic input into their photographs. And this is what we strive for in each and every news report, from sporting images to scenes of everyday life in the streets; photographs that objectively record life in Croatia and that will, despite the passing of time, remain a permanent image to our readers.

07. 10. 2011., Grčka, Pirej - Nikica Jelavić u borbi za loptu s Avraamom Papadopoulosom na kvalifikacijskoj utakmici za Euro 2012. Snimio: Sanjin Strukić/PIXSELL Every day the agency PIXSELL distributes more four thousand Agencija PIXSELL svakodnevno distribuira više od četiri tisuće

PIXSELL

novih fotografija, od čega više od tisuću fotografija iz vlastite produkcija. Fotografije značajnih svjetskih političkih i drušvenih događaja, kao fotografije sa sportskih, estradnih i drugih manifestacija iz Hrvatske i cijelog svijeta dotstupne su klijentima u najkraćem mogućem roku.

new photographs, more than a thousand of which are their own production. The photographs of significant political and social events, as well as the photographs from sports, entertainment or other manifestations from Croatia and the entire world are available to clients as soon as possible.

09. 10. 2010., Izrael, Tel Aviv - Niko Kranjčar i Eduardo da Silva slave nakon pogotka na kvalifikacijskoj utakmici protiv Izraela za Euro 2012. Snimio: Slavko Midžor/PIXSELL

07. 10. 2011., Grčka, Pir kvalifikacijskoj utakmici p Snimio: Sanjin Strukić/

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REFOTO

Autor / Author: Slavko Radman

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Časopis ReFoto u svojoj je desetogodišnjoj povijesti pokrenuo i organizirao veliki broj foto-tečajeva za svoje čitatelje. Godinu 2011. obilježio je najmasovniji tečaj do sada s temom “Monokromatski svijet”. Tečaj je trajao godinu dana, a na adresu redakcije stiglo je više od 5.000 fotografija iz Srbije, ali i svih zemalja bivše Jugoslavije, a manji broj radova stigao je s raznih strana svijeta. Tema “Monokromatski svijet” omogućila je fotografima da se vrate pomalo zaboravljenoj, crno-bijeloj fotografiji koja je nakon velike ekspanzije digitalne tehnologije ponovno postala veoma popularna. Uz crnobijele, čitatelji su slali i monokromatske fotografije u boji na kojima je atmosfera često bila dominantnija od same boje. Bezbroj tema našlo se pod okriljem ove glavne, primjerice Portret, Pejzaž, Urbani prizori, Mrtva priroda, Aranžirana fotografija, Svijet biljaka i životinja, Apstrakcija kao i mnoge druge. Tijekom godine časopis ReFoto objavljivao je izbor od dvadesetak najboljih fotografija pristiglih svakog mjeseca, a izbor najboljih stotinak fotografija, kao i nagrađeni radovi, bit će prikazani u galeriji Artget od 10. do 25. siječnja 2012. godine. U veljači će izdanje časopisa ReFoto krasiti veliki portfelj s nagrađenim fotografijama, kao i izborom najboljih, još neobjavljenih fotografija.

In its ten-year history, the ReFoto magazine initiated and organized a number of photo courses for its readers. 2011 was marked by the biggest course so far with the theme “Monochrome world.” The course lasted for a year, and the editorial received more than 5,000 photographs from Serbia, but also all the countries of former Yugoslavia, and a small number of works came from all over the world. The topic “Monochrome world” enabled photographers to go back to a bit forgotten, black and white photograph that has, after digital technology major expansion, become very popular again. In addition to black and white, readers sent monochrome color photographs in which color is often dominated by atmosphere. Countless topics came under the auspices of this major topic, for example Portrait, Landscape, Urban Scenes, Still Life, Arranged Photography, World of Plants and Animals, Abstractions, and many others. Throughout the year the ReFoto magazine published a selection of twenty of the best photos submitted every month. In addition, a selection of the best hundred photographs, as well as award-winning works, will be shown at the Artget gallery from 10 to 25 January 2012. The February issue of the ReFoto magazine will be adorned with a large portfolio of award-winning photographs, as well as the choice of the best, unpublished photos.

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FOTOGARD

Autor / Author: Neda RaÄ?ki

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Članovi Fotografske udruge Fotogard redovito izlažu svoje radove sa zajedničkim izložbama. Ove godine organizirane su već tri izložbe pod imenima FotogardFace, FotogardFashion i FotogardStreet koje su, ili će biti prikazane, u Zagrebu, Splitu i Zadru. Na tim izložbama do sada je sudjelovalo pedesetak članova. Na svojim fotografijama autori su progovarali o svojima životnim stavovima, pozivima i aktivnostima veznim za teme pojedinih izložbi. Udruga je okupila autore iz nekoliko hrvatskih gradova, od kojih bazu čine članovi iz Zadra, Splita i Zagreba. Članovi udruge su ljudi različite životne dobi i različitih fotografskih interesa. Među njima se nalaze fotoamateri, ali i nekoliko profesionalnih fotografa koji žive od fotografskog rada. Sve ih je povezala ideja autorske fotografije i usavršavanje vlastitog fotografskog izričaja. U takvim međusobnim druženjima i izlaganjima koristi imaju svi. Fotoamateri uz profesionalne fotografe brže uče, dok profesionalnim fotografima takvo okruženje daje slobodu i odmak od agencijske fotografije koja često guši kreativnost. Na izložbi u Rovinju za vrijeme trajanja Photodaysa bit će prikazan dio radova sa dosadašnjih izložbi. Fotografska udruga Fotogard osnovana je u cilju promicanja, razvitka i unapređenja fotografske kulture u Republici Hrvatskoj i u međunarodnim okvirima te radi zastupanja interesa njenih članova.

The members of the Photographic Association Fotogard regularly exhibit their work at joint exhibitions. This year there have already been three exhibitions named FotogardFace, FotogardFashion and FotogardStreet which have been or are going to be displayed in Zagreb, Split and Zadar. So far about 50 members have participated in these exhibitions. In their works, the authors expressed their life attitudes, invitations and activities related to the topic of certain exhibitions. The association has gathered authors from a few Croatian cities, the basis consisting of members from Zadar, Split and Zagreb. The members of the association are people of different age and various photographic interests. Among them, there are photo-amateurs, but also a few professional photographers who make a living with their photographic work. All these people were connected by the idea of authorial photography and of perfecting their own photographic expression. Everyone benefits from such mutual socializing and lectures. Photo-amateurs learn faster with professional photographers, while professional photographers gain freedom and detachment from agency photography which often stifles creativity. A part of the works from past exhibitions was displayed at the exhibition in Rovinj, during Photodays. Photographic Association Fotogard was founded with the goal of promoting, developing and improving photographic culture in the Republic of Croatia and on the international scene, and also to represent the interests of its members.

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HRVATSKI FOTO IZAZOV THE CROATIAN PHOTO CHALLENGE

Autor / Author: Saša Čuka

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“Hrvatski foto izazov”, najveće foto natjecanje u Hrvatskoj, održano po prvi put prošle godine, odvijalo se u sedam gradova u razdoblju od ožujka do lipnja, a zamiišljeno je kao jedno u nizu događanja koja prethode festivalu fotografije u Rovinju. “Hrvatski foto izazov” održava se u organizaciji Učilista Algebra uz podršku organizatora festivala Rovinj Photodays, a najuspjelije fotografije iz prethodne godine bit će izložene u sklopu ovogodišnjeg sluzbenog programa festivala. Koncept natjecanja zamišljen je kao fotografska ruta koja se održava u Splitu, Zadru, Rijeci, Puli, Osijeku, Zagrebu, s finalom u Rovinju, tijekom samog festivala. Odluku o najboljima donosi strucni žiri, u svakoj od osam službenih kategorija i za svaki grad. Projekt se nastavlja i ove godine, s ciljem i namjerom da okuplja što više ljubitelja fotografije na organiziranim druženjima, pružajući im mogućnost dobre zabave, osvajajnja nagrada te dodatne edukacije.

“The Croatian Photo Challenge”, the largest photo competition in Croatia, organized for the first time last year, was held in seven cities in the period from March until June, and was envisaged as one of the series of events preceding the festival of photography in Rovinj. “The Croatian Photo Challenge” is held in the organization by the Training Centre Algebra with the support by the organizer of the Rovinj Photodays festival, while the most successful last year’s photographs will be exhibited in the framework of this year’s official festival program. The concept of the competition is conceived as a photographic route held during the festival itself in Split, Zadar, Rijeka, Pula, Osijek, Zagreb, with the finals held in Rovinj. The decision on the best photographers is made by the expert jury in each of the eight categories and for each city separately. The project is continued this year with the goal and purpose of gathering as many photography fans as possible at organized gatherings, offering the possibility of live entertainment, winning prizes and additional education.

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RADIONICE WORKSHOPS

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06 KOMUNIKACIJA S MODELOM KAO PREDUVJET USPJEŠNE FOTOGRAFIJE COMMUNICATION WITH THE MODEL AS A PREREQUISITE OF A SUCCESSFUL PHOTOGRAPH Douglas Friedman: Masterclass KRITIČKA SELEKCIJA FOTOGRAFIJA I PISANJE UMJETNIČKE IZJAVE CRITICAL SELECTION OF PHOTOGRAPHS AND WRITING AN ARTIST’S STATEMENT Radionica makro fotografije MACRO PHOTOGRAPHY WORKSHOPS ŽIVOT ULICE STREET PHOTOGRAPHY Scanderbeg Sauer: Masterclass

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Scanderbeg Sauer: Masterclass

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Alexander Sauer vodit će masterclass radionicu na rovinjskom festivalu Photodays. S polaznicima će razviti virtualni zadatak ili fiktivni projekt na kojem će raditi za vrijeme majstorske radionice. Nakon teoretskog dijela polaznici će imati priliku fotografirati zajedno s voditeljima radionice. Teme će biti: krajolici/ urbani pejzaži, portreti/ karakterni portreti. Uz fotografiranje, radionica će uključivati i proces odabira slika, sastavljanja priče, kao i post-produkciju. Osim toga, sudionici će dobiti informacije o tome kako se razviti u određenom fotografskom smjeru, sastaviti portfelj i preživjeti na današnjem fotografskom tržištu (samo-promocija, društveni mediji, web stranice itd.), kao i o važnosti uloge osobnih projekata. Sudionici će imati priliku pronaći odgovore na svoja pitanja uz pomoć Scanderbeg Sauer Photography tijekom cijele radionice.

PRVI DAN ■■ ■■

ujutro: uvod, uvodno predavanje i razvoj virtualnog zadatka ili fiktivnog projekta poslijepodne: “izviđanje” ljudi na lokaciji, stvaranje savršenog procesa

DRUGI DAN ■■ ■■ ■■

ujutro: snimanje lokacija poslijepodne: snimanje portreta navečer: snimanje na dostupnom svjetlu

TREĆI DAN ■■ ■■

ujutro: odabir slika, sastavljanje priče, post-produkcija poslijepodne/ kasno poslijepodne: samo-promocija, društveni mediji, web stranica, itd. i konačne prezentacije radova sudionika, povratna informacija/ kritika fotografija

At the Rovinj Photodays Alexander Sauer will conduct a Masterclass Workshop. Together with the participants he will develop a virtual assignment or a fictive project to work on during the Masterclass Workshop. Following to a theoretical part the participants will have the chance to realize pictures together with SCANDERBEG SAUER. The themes will be: landscapes / urban Landscapes, portraits / character portraits. Besides the photography the process of selecting pictures, compiling a story as well as post-production will be covered. Additionally, participants will be given some information on how to develop in a certain photographic direction, built a portfolio and survive in today’s photographic market (self marketing, social media, website, etc.) as well as the important role of personal projects. The participants will have the chance to clear open questions with SCANDERBEG SAUER PHOTOGRAPHY during the whole Workshop.

DAY ONE ■■ ■■

morning: introduction, warm-up lecture and development of a virtual assignment or a fictive project afternoon: location-/people “scouting”, scheduling a perfect process

DAY TWO ■■ ■■ ■■

morning: shooting locations afternoon: shooting portraits evening: available light shooting

DAY THREE ■■ ■■

morning: selecting pictures, compiling a story, post production afternoon/late afternoon: self marketing, social media, website, etc. and final presentations of the participants works, feedback/image critique

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O voditelju

On the moderator

Alexander Sauer/ Scanderbeg Sauer Photography Alexander Sauer (rođen 1971. u Frankfurtu u Njemačkoj) ima više od petnaest godina iskustva kao profesionalni fotograf te je izgradio uspješnu međunarodnu karijeru. Samozaposlen od 2002., radi diljem svijeta u području oglašavanja, godišnjih izvješća, korporativnog komuniciranja, uredništva, industrije i ljudi. Kaže da je njegova suradnja s Andreanom Scanderbeg (rođena 1969. u Los Angelesu u SAD-u) najbolje što mu se moglo dogoditi. Njihova je suradnja započela početkom 2005. Užitak u zajedničkom radu, ali i postizanje održivog uspjeha, doveli su do osnivanja Scanderbeg Sauer Photography 2006. godine.

Alexander Sauer / SCANDERBEG SAUER PHOTOGRAPHY Alexander Sauer (*1971 Frankfurt, Germany) has over fifteen years of experience as a working professional photographer and has built a successful international career. Self-employed since 2002 he has been working all over the globe in the field of advertising, annual reports, corporate communication, editorial, industry and people. He says that his collaboration with Andreana Scanderbeg (*1969 Los Angeles, USA) is the best thing that could’ve happened to him. They began their association in early 2005. Not only the pleasure in our work but also the achievement of sustained success lead to the founding of SCANDERBEG SAUER PHOTOGRAPHY in 2006.

Njihovi su radovi osvojili brojne nagrade, na primjer “Hong Kong - Hamburg - Memphis” na ewz.selection, a projekt “Decommissioned” odabran je za pobjednika natjecanja PDN Photo Annual, kao i za finalista natjecanja Hasselblad Masters.

Their works received numerous awards - for example “Hong Kong - Hamburg - Memphis” at the ewz.selection. With their “Decommissioned” project SCANDERBEG SAUER were selected as a PDN Photo Annual winner as well as Hasselblad Master Finalist.

OPG Andrej Schifflin Brečevići 8, 52 444 Tinjan tel.: 052 626 131 / mob.: 098 421 415 e-mail: andrej.schifflin@pu.t-com.hr www.vino-schifflin.com

Douglas Friedman: Masterclass

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Radionica je namjenjena fotografima s iskustvom snimanja modnih fotografija, priloga ili editorijala, koji žele proširiti svoje znanje i profesionalni portfolio te razmjeniti iskustva i znanja, te snimati u suradnji s fotografom koji radi za časopise poput Harper's Bazaar, InStyle, Vanity Fair. Radionica će se održati u subotu, 2. lipnja u hotelu Lone, a podjeljena je na dva dijela: praktični dio- snimanje i teoretski dio- prezentacija. Praktični dio odnosi se na snimanje modne fotografije. Za kompletnu produkciju pobrinut će se tim inače zadužen za izradu editorijala u časopisu Glorija pod kreativnim vodstvom Viktora Drage. Fotografi će, prema uputama i uz konzulatcije s voditeljem radionice; Douglasom Friedmanom, odrediti lokacije za snimanje i pripremiti modele. Svaki od polaznika imat će dovoljno vremena da samostalno s modelom ili više njih odradi snimanje. Drugi dio radionice odnosi se na prezentaciju koju će voditelj radionice pripremiti za polaznike. Prezentacijom će obuhvatiti svoj dosadašnji rad, istaknuti sve važne aspekte promocije vlastitog portfolija i rada te korištenje društenih zajednica u tu svrhu. Predavanje je interaktivnog tipa.

O voditelju Douglas Friedman je rođen i odrastao u New Yorku 1972. Studirao je antropologiju i dokumentarni film na Occidental College u Los Angelesu. Nakon mature, nekoliko godina radio je na izradi filmova u filmskoj industriji. Nakon rada na Se7en, The Game, i Klubu boraca kao pomoćnik redatelja Davida Finchera, Douglas ostavila Hollywood sa svojom kamerom, koferom i jednosmjernom kartom do

The workshop is intended for photographers experienced in shooting fashion photographs, features and editorials who wish to expand their knowledge and their professional portfolios, as well as to exchange their knowledge and experiences and take photographs in collaboration with a photographer that works for magazines such as Harper’s Bazaar, InStyle and Vanity Fair. The workshop will be held on Saturday, 2nd of June at the Hotel Lone and will consist of two parts: the practical part- a photo shoot and the theoretical part- a presentation. The practical part will cover a fashion photo shoot. The photo shoot will be produced by the team in charge of fashion editorials for Gloria magazine, under the creative management of Viktor Drago. Photographers will, in line with the instructions and consultations provided by trainer Douglas Friedman, determine the locations for photo shoots and will prepare the models. Each of the participants will have enough time to do a photo shoot independently with one or several models. The second part of the workshop will consist of a presentation held by Douglas Friedman. The presentation will cover Friedman’s work so far and will focus on all important aspects of promoting own portfolios and work, as well as on using social communities for these purposes. The presentation will be interactive.

On the moderator Douglas Friedman was born and raised in New York City in 1972. He studied Anthropology and Documentary Film Making at Occidental College in Los Angeles. Post graduation, Douglas worked for a few years making movies in

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Indonezije. Iduću godinu i pol proveo je putujući svijetom i fotografirao sve na što je naišao. Vratio se u New York u kasnim 90-ima i počeo ozbiljno proučavati fotografsku tehniku i teoriju. Njegova fascinacija arhitekturom i dizajnom pronašla je put i u njegovom radu. Ubrzo Douglas počinje sa snimanjem reportaža za časopise Domino i Elle Decor. Tijekom sljedećih nekoliko godina, počeo je istraživati svoj interes za modu i portrete i etablirao se u snimanju vrlo stiliziranih portreta za izdanja poput Harper’s Bazaar, InStyle, Vanity Fair i sl. Douglas je do sad imao i dvije izložbe svoje fine art fotografije. Prva, zbirka grafičkih slika vezanih uz arhitekturu i krajolike ruralnog Srednjeg zapada i urbanog Dalekog Istoka bila je sponzorirana od strane Missonija. Druga, šareni niz apstraktnih portreta ženskih plesačica burleske u New Yorku podržana je od strane dizajnerskog modnog dvojc Ruffian. Trenutno radi na svom sljedećem konceptu koji istražuje portretiranje. Dobro je poznat ne samo po fotografiji. Miljenik je mlade međunarodne društvene scene koja gravitira između svijeta mode i umjetnosti. Trenutno svoje vrijeme provodi između Los Angelesa i New Yorka.

the film industry. After working on SE7EN, The Game, and Fight Club as assistant to director David Fincher; Douglas left Hollywood with his camera, a suitcase and a one way ticket to Indonesia. The next year and a half was spent traveling the world and photographing everything he came across; from sherpas at the foot of Mt. Everest to sharks 100 feet below the Sulawesi Sea; and the architectural vernacular of each port of call along the way. He returned to NYC in the late 90’s to begin a serious study of photographic technique and theory. His fascination with architecture and design found its way into his work and shortly thereafter, Douglas was shooting stories for Wallpaper, Domino and Elle Décor magazines. Over the next few years, Douglas began exploring his interest in fashion and portraiture and established himself shooting highly stylized environmental portraits for publications like Harper’s Bazaar, InStyle, and Vanity Fair among others. Douglas has had two exhibits of his fine art photography. The first, a collection of boldly graphic images featuring the architecture and landscapes of the rural Midwest and the urban Far East was sponsored by Missoni. The second, a colorful series of abstract portraits of burlesque dancers in New York City was underwritten by fashion design duo Ruffian. Douglas is currently working on his next show which explores portraiture. Douglas is a bold-faced name for more than just his photography. As a darling of the young international social set who gravitate towards the worlds of fashion and art. Douglas currently divides his time between Los Angeles and New York.

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KRITIČKA SELEKCIJA FOTOGRAFIJA I PISANJE UMJETNIČKE IZJAVE CRITICAL SELECTION OF PHOTOGRAPHS AND WRITING AN ARTIST’S STATEMENT

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Za sudjelovanje se mogu prijaviti fotografi koji imaju gotovu seriju fotografija koja se bavi određenom temom ili umjetnički projekt, a željeli bi od snimljenih fotografija izabrati najbolje koje bi činile finalni odabir npr. pri izlaganju na izložbi, za objavljivanje portfolia, prijavljivanje na natječaje i sl.

The workshop is available to photographers who have a completed a series of photographs dealing with a certain topic or an artistic project, and would like to select the best among the photographs which would represent the final selection, for instance for an exhibition, portfolio publishing, applying for competitions, etc.

Radionica se sastoji od dva dijela.

The workshop consists of two parts.

U prvom će se dijelu razgovarati o kritičkom promišljanju fotografija i načinu na koji se bira konačna selekcija za određenu seriju fotografija (neovisno o temi) te će se sudionicima (na primjeru njihovih fotografija) uz zajednički razgovor napraviti odabir.

The first part will include a discussion about the critical analysis of the photographs and the way one makes the final selection for a certain series of photographs (regardless of the topic), so the participants would have the selection made (from the example of their own photographs) through a joint discussion.

U drugom dijelu radionice održat će se kratko predavanje o pisanju umjetničke izjave („artist statement“), nakon čega će svaki sudionik napisati vlastitu izjavu za fotografije odabrane u prvom dijelu radionice. Napisane umjetničke izjave će se zatim prezentirati uz odabrane fotografije i na njima će se (u slučaju potrebe) dodatno raditi.

O voditelju Jelena Blagović rođena je 1983. godine u Zagrebu. Završila je dvogodišnji studij fotografije pri “Istituto Superiore di Fotografia e Arti Visive” u Padovi, Italija. Školovanje nastavlja u Engleskoj gdje 2007. godine završava dodiplomski i diplomski studij umjetničke fotografije na University of Westminster u Londonu i stječe diplomu magistra fotografije. Nagrađena je stipendijom David Faddy Scholarship za akademsku izvrsnost. Od 2008. je zaposlena na Akademiji dramske umjetnosti u Zagrebu kao umjetnička asistentica pri Odsjeku snimanja, Katedra za fotografiju. Trenutno studira na Poslijediplomskom doktorskom studiju povijesti umjetnosti pri Filozofskom fakultetu u Zagrebu.

The second part of the workshop will encompass a short lecture about writing an artist’s statement, after which each participant would write their own statement for the photographs selected in the first part of the workshop. The artists’ written statements will then be presented along with selected photographs and if necessary, further adjustments could be made to them.

On the moderator Jelena Blagović Born in Zagreb, Republic of Croatia, 1983. Gained diploma in photography at Istituto Superiore di Fotografia e Arti Visive in Padua, Italy. Her education continued in United Kingdom where she completed the undergraduate (BA) study of Photographic Arts, and graduate (MA) study of Photographic studies at University of Westminster in London in 2007. She won the David Faddy Scholarship for academic excellence. From 2008. works as an assistant lecturer at the Academy of Dramatic Arts in Zagreb, Department of Cinematography, Chair of Photography. She is currently Ph.D. candidate at the Faculty of Humanities and Social Sciences in Zagreb, History of Art department.

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Radionica makro fotografije MACRO PHOTOGRAPHY WORKSHOPS

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Upoznavanje polaznika s područjem koje se naziva makro-fotografija Etika fotografa prirode Mogućnosti pojedinih tipova fotoaparata u fotografiranju minijaturnih objekata Alternativna oprema Profesionalna oprema Sustavi kombiniranja opreme u skladu s potrebama Sustavi rasvjete Stativi i ostale “support” tehnike Obrada digitalnih fotografija u skladu s pravilima fotografiranja prirode Radionica je namijenjena svima koje zanima makro fotografija.

O voditelju Milan Živković: Rođen je 29. veljače 1960. godine u Bavaništu, Banat. Godine 1984. započinje s radom u Prirodnjačkom muzeju u Beogradu kao preparator Zoološkog odjela, da bi sljedeće godine počeo raditi kao fotograf i dizajner. Od 2002. do 2005. godine radi kao urednik foto galerije Centra za kulturu Kovin. Usporedo s radom u Muzeju i galeriji, od 2000. do 2005. radi kao dizajner u tvrtci Informatika, a najviše za grupaciju Direct Link. Od 2005. radi kao izvršni, a od 2012. kao glavni urednik časopisa ReFoto. Tijekom 18-godišnjeg rada u muzeju fotoaparatom je dokumentirao i ilustrirao veliki broj događanja, izložbi i publikacija vezanih uz prirodu u zemlji i inozemstvu. Budući da je ta vrsta posla izuzetno raznovrsna, fotografirao je mnogo različitih objekata - od mikroskopski sitnih do morskog psa dugog nekoliko metara. Neprekidno popularizira fotografiranje prirode i posebno makro-fotografiju. Insistira na isključivom snimanju živih i slobodnih životinja pa je na taj način postao jedan od vodećih fotografa na tom području u Srbiji. Broj objavljenih fotografija za vrijeme rada u Prirodnjačkom muzeju veći je od 1.000 i njima su ilustrirani razni stručni i znanstveni radovi, od Muzejskog glasnika do Brehmovih knjiga.

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familiarizing the attendees with the field of macrophotography the ethics of nature photographers the possibilities of certain types of cameras in photographing miniature objects alternative equipment professional equipment the systems of combining equipment in accordance with the needs lighting equipment tripods and other supporting techniques the treatment of digital photographs in accordance with the rules of photographing nature The workshop is intended for all those who are interested in macro-photography.

On the moderator Milan Živković: He was born on 29th February 1960 in Bavanište, in Banat. In 1984, he started working in the Museum of Natural History in Belgrade as the preparator of the Zoological Department, and the following year he began working as a photographer and designer. From 2002 until 2005, he worked as the editor of Cultural Center Photo Gallery in Kovin. Parallelly with the work in the Museum and the Gallery, from 2000 until 2005 he worked as a designer for the company Informatika, and mostly for the group Direct Link. From 2005 he worked as the executive editor, and since 2012 as the managing editor of the magazine Refoto. During his 18 years of work in the museum, he documented with his camera and illustrated a large number of events, exhibitions and publications relating to nature in the country and abroad. As this kind of work is extremely diverse, he photographed a multitude of different objects – from the microscopically minute to a several meter long shark. He constantly promotes the photographing of nature, especially macro-photography. He insists on shooting ex-

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Radio je i na 11 fotografskih projekata vezanih uz prirodu, koji su imali više od 100 izložbi u više od 20 gradova u Srbiji i inozemstvu, ne računajući zemlje bivše Jugoslavije (Portugal, Francuska i Bugarska). Izložbe su se održavale u prostorima od Srpske akademije nauka do malih, seoskih galerija. U gradu Šumenu u Bugarskoj začetnik je umjetničke zbirke, jer je tom gradu, u kojem je više puta izlagao, poklonio kompletnu izložbu. Pored klasičnih izložbi, tijekom godina održao je i više od 100 projekcija dijapozitiva i predavanja vezanih uz Muzej, Speleološki odsjek Beograda (čiji je član) ili rad s djecom. Održao je veliki broj škola fotografije, dvadesetak ekoloških škola gdje su osnovno nastavno sredstvo bile fotografije i dijapozitivi, kao i desetak predavanja i tribina o digitalnoj fotografiji: snimanju, obradi i ispisu. Jedna mala zanimljivost vezana uz prezentacije jest da je u Parizu na dodjeli nagrade za životno djelo kapetanu Cousteau prikazana jedna od tih multimedijalnih prezentacija realizirana u suradnji s još dvojicom kolega.

clusively live and free animals, thus he has become one of the leading photographers in that area in our parts. He has published more than a thousand photographs during his work in the Museum of Natural History, which were used for the illustration of various expert and scientific works: from the Museum Herald to Brehm’s books. He has realized 11 photographic projects relating to nature, which were exhibited more than 100 times in over 20 cities in the country and abroad, excluding ex-Yugoslav countries (Portugal, France and Bulgaria). He has exhibited his works in various spaces, from the rooms of the Serbian Academy of Sciences to small village galleries. In the city of Shumen in Bulgaria, he created an artistic collection, because he donated an entire exhibition to that city in which he had exhibited many times. Besides classic exhibitions, during the years he has held more than 100 slide projections and lectures relating to the Museum, the Speleological Department of Belgrade (of which he is a member) and he has worked with children as well. He has held a large number of photographic schools, about twenty ecological schools where the basic teaching materials were photographs and slides, as well as a dozen lectures and public discussions about digital photography: shooting, treatment and print. It is interesting that in Paris at an award giving ceremony for a life achievement award, one of the presentations, realized in cooperation with other two colleagues, was shown to Captain Custeau.

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Å½IVOT ULICE STREET PHOTOGRAPHY

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Cilj predavanja i radionice je upoznati publiku s aktualnom, dinamičnom scenom ulične fotografije u regiji i svijetu; koji su izazovi s kojima se suočavaju fotografi kada izađu na ulicu, koje su tendencije itd. Posebna će se pažnja posvetiti estetici ulične fotografije kroz prikaz različitih autora iz regije i svijeta. Drugi dio je radionica, a fotografi će se pozvati da izađu na ulice i bilježe život Rovinja i okoline.

1. Predavanje i. Razvoj ulične fotografije i razgovor o tome što je danas ulična fotografija. ii. Kroz prikaz novije generacije uličnih fotografa razgovarat će se o novim tendencijama u uličnoj fotografiji – dominacija fotografije u boji, pojava “mobilnih fotografa” (diskusija o terminu “ajfonograf”), povratak analognih aparata itd. iii. Prikaz portfelja uličnih fotografa i kolektiva iz regije i svijeta.

2. Radionica i. Nakon predavanja, polaznici će fotografirati po centru i izvan centra Rovinja. ii. Sljedećeg dana, poslijepodne: okupljanje fotografa, gledanje fotografija i diskusija. Namijenjeno svim zaljubljenicima u život ulice.

O voditelju Darko Stanimirović 2008. Diplomirao na Fakultetu primenjenih umetnosti u Beogradu 2009. Suradnik u časopisu ReFoto 2009. Osnivač kolektiva uličnih fotografa, Belgrade Raw 2010. Specijalno priznanje žirija Press photo Srbija za seriju portreta Roma 2011. Izlaže na Sardiniji, u okviru festivala Monotrentuno III 2011. Zajedno sa kolektivom Belgrade Raw izlaže u Regensburgu, Njemačka, u okviru predstavljanja suvremene umjetnosti Srbije 2012. Izvršni urednik u časopisu ReFoto blog.darkostanimirovic.com

The goal of the lecture and workshop is to familiarize the audience with the current, dynamic scenery of street photography of the region and the entire world. It will speak about the challenges a photographer faces when he goes out into the street, the tendencies, etc. Particular attention will be paid to the aesthetics of street photography, by presenting different authors from the region and the world. The second part will be organized as a workshop, and the photographers will be asked to go out into the streets and record life in Rovinj and its surroundings.

1. Lecture i. Development of street photography and the discussion about what street photography is today ii. Discussion about new tendencies in street photography through the presentation of a new generation of street photographers – the domination of color photographs, the appearance of “mobile photographers” (discussion about the term “iPhonographer”), the return of analog cameras, etc. iii. Presentation of portfolios by street photographers and collectives from the region and the world.

2. Workshop i. After the lecture, the participants will be sent to photograph the center of Rovinj and its surroundings. ii. In the afternoon of the following day: a gathering of photographers, viewing the photographs and discussion.

On the moderator Darko Stanimirović 2008 Graduated at the Faculty of Applied Arts in Belgrade 2009 Associate in the magazine ReFoto 2009 Founder of the street photographers’ collective, Belgrade Raw 2010 Special award by the Press Photo Serbia jury, for a series of portraits of Gypsies 2011 Exhibited on Sardinia, within the framework of the festival Monotrentuno III 2011 Together with the collective Belgrade Raw, exhibited in Regensburg, Germany, within the framework of presenting contemporary Serbian art 2012 Executive editor at the magazine ReFoto blog.darkostanimirovic.com

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KOMUNIKACIJA S MODELOM KAO PREDUVJET USPJEÅ NE FOTOGRAFIJE COMMUNICATION WITH THE MODEL AS A PREREQUISITE OF A SUCCESSFUL PHOTOGRAPH

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Kvaliteta portretne fotografije većim dijelom ovisi o komunikaciji između fotografa i modela. Cilj je ove radionice naučiti kako fotografiranjem portreta potaknuti modele na izražavanje emocija i osobnosti kroz komunikaciju i gestikulaciju. Predstavit ćemo najčešće probleme i rješenja kod portretiranja kroz komunikaciju fotografa s modelom i improvizaciju, te naučiti kako nedostatke pretvoriti u prednosti, kako odnosom i atmosferom stvoriti opušteni ambijent i animirati modele. Navedena tema je segment Algebrine nastave ‘’Specijalist za digitalnu fotografiju i obradu“. Predavanje se sastoji od uvodnog predavanja (30 min) i praktične nastave (90 min) gdje će polaznici imati priliku animirati modele i isprobati studijsku rasvjetu. Predavanje je za 10 polaznika.

O voditelju Vedran Marjanović Wekster rođen je 1981. u Osijeku. Fotografijom se počeo baviti 2006. godine, a 2007.godine izdao je svoju prvu knjigu fotografija pod nazivom ‘’Book of Weirdness’’.2008. godine sudjelovao je u humanitarnom projektu ‘’100lica stolica’’ gdje je za potrebe opremanja knjige i snimanja kratkog filma iskorišteno oko 7.000 fotografija. Krajem 2008. godine postaje glavni fotograf ‘’MIT dizajn studija’’ u Osijeku, gdje je i dalje zaposlen, a početkom 2011. godine postaje predavač programa obrazovanja za digitalnu fotografiju i video u ‘’Algebra visokom učilištu’’.Službeni je fotograf natjecanja u ekstremnim sportovima ‘’Pannonian challenge’’. Izlagao je na brojnim skupnim izložbama te je organizator nekoliko humanitarnih izložbi u Osijeku.Također se aktivno bavi režijom, snimanjem i montažom.

The good quality of portrait photography depends mostly on the communication between the photographer and the model. The goal of this workshop is to learn how to stimulate models to express their emotions and personalities through communication and gesticulation during photographing portraits. We will present the most frequent issues and solutions when portraying by means of communication between the photographer and the model, improvisation, learning how to turn defects into advantages, how to create a relaxed ambience and put the models into a good mood through relationship and atmosphere. The mentioned topic represents one part of Algebra’s class “Specialist for Digital Photography and Treatment”. The lecture consists of an introductory lesson (30 mins) and a practical lesson (90 mins), during which the attendees will have the chance to put models in a good mood and try out the studio lighting. The lecture is intended for 10 attendees.

On the moderator Vedran Marjanović Wekster, was born in 1981 in Osijek. He started dealing with photography in 2006, and in 2007, he issued his first book of photographs under the title “Book of Weirdness”.In 2008, he participated in a humanitarian project “100lica stolica”, in which 7,000 photographs were used for the purpose of book design and the shooting of a short film. At the end of 2008, he became the main photographer for “MIT Design Studio” in Osijek, where he still works, and at the beginning of 2011, he became a lecturer of the program of education for digital photography and video at “Algebra” the institution of higher education.He is the official photograph of the extreme sports competition “Pannonian Challenge”. He has exhibited at numerous group exhibitions and has organized a few humanitarian exhibitions in Osijek.He has also been actively involved in the directing, shooting and editing films.

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PREDAVANJA / PREZENTACIJE lectures / presentations

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07 JEZIK NOVE FOTOGRAFIJE - VIZUALIZACIJA KONCEPTA U FOTOGRAFIJI S KRAJA 20. I POČETKA 21. STOLJEĆA THE LANGUAGE OF NEW PHOTOGRAPHY - VISUALIZING THE CONCEPT IN PHOTAOGRAPHY AT THE END OF THE 20TH AND BEGINNING OF THE 21ST CENTURY HSM INFORMATIKA: ADOBE PHOTOSHOP CS6 - NOVI ALATI ZA DIGITALNE FOTOGRAFE ADOBE PHOTOSHOP CS6 - NEW TOOLS FOR DIGITAL PHOTOGRAPHERS CANON REVOLUCIONARNI PROFESIONALNI FOTOGRAFSKI I VIDEO PROIZVODI I CANON CPS PROFESIONALNA PODRŠKA U HRVATSKOJ CANON’S GROUNDBREAKING PROFESSIONAL PHOTO AND VIDEO PRODUCTS AND CANON CPSPROFESSIONAL SUPPORT IN CROATIA

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JEZIK NOVE FOTOGRAFIJE - VIZUALIZACIJA KONCEPTA U FOTOGRAFIJI S KRAJA 20. I POČETKA 21. STOLJEĆA

THE LANGUAGE OF NEW PHOTOGRAPHY VISUALIZING THE CONCEPT IN PHOTAOGRAPHY AT THE END OF THE 20TH AND BEGINNING OF THE 21ST CENTURY

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Predavanje uz video-prezentaciju o teoriji vizualnog izražavanja u fotografiji s osvrtom na fotografsku tradiciju i naglaskom na suvremeni pristup u fotografiji modernog doba i općevladajućeg koncepta. Ukazujući na klasične pristupe u kadriranju, korištenju svjetla, simbola, kodova i estetike, kroz svojevrstan foto-vremeplov bit će razmatrana nova estetika fotografije koja se često definira kao antiestetika, stavljajući u prvi plan koncept, a ne vizualni doživljaj. Ipak, ima li i ta antiestetika svoja pravila, zakone i uloge? Predavanje je namijenjeno studentima fotografije, naprednim amaterima i svima koji ne odvajaju teoriju slaganja slike od njezinog praktičnog izvođenja.

O voditelju Ivana Tomanović rođena je 1971. godine u Novom Sadu. Studirala je fotografiju na Fakultetu za film i televiziju (FAMU) u Pragu, Češka Republika, gdje je i magistrirala 1999. godine. Uglavnom se bavi pejzažem, portretom i subjektivnim dokumentom. Realizirala je pet samostalnih izložbi i sudjelovala na grupnim izložbama u zemlji i inozemstvu. Od 2001. godine započinje s radom za časopis za kulturu fotografije - ReFoto, najprije kao zamjenik glavnog urednika, a od 2003. do kraja 2011. na mjestu glavnog i odgovornog urednika. Danas radi kao njihov suradnik, prije svega na uređivanju portfolia. Od 2009. godine docent je na Akademiji umjetnosti Univerziteta u Novom Sadu - Katedra za fotografiju. Autor je tekstova za kataloge fotografskih izložbi, održala je brojna predavanja o teoriji fotografije na raznim festivalima, radionicama i fotografskim susretima u zemlji i regiiji. Bila je selektor i organizator nekoliko fotografskih izložbi. Urednik je fotomonografije “Dragoljub Tošić - Fotografije”, a bila je suradnik i konzultant na izradi dvije fotografske knjige. Danas je njezin rad posvećen edukaciji mladih u području fotografije.

The lecture is accompanied by a video presentation about the theory of visual expression in photography with reference to photographic tradition and an emphasis on a contemporary approach in the photography of the modern age and a universal concept. By pointing to classical approaches to framing, using light, symbols, codes and aesthetics, through a phototime machine of sorts, we will consider the new aesthetics of photography which is often defined as anti-aesthetics, placing the concept into the limelight, and not the visual impression. Still, does this anti-aesthetics have its rules, laws and roles? The lecture is intended for photography students, advanced amateurs and all those who do not separate the theory of arranging an image from its practical realization.

On the moderator Ivana Tomanović was born in 1971 in Novi Sad. She studied photography at the Prague Film and Television School, in the Czech Republic – FAMU, where she also took her master’s degree in 1999. She has been dealing mostly with landscapes, portraits and subjective documents. She has realized five independent exhibitions and has participated in group exhibitions at home, as well as abroad. In 2001, she started working for the magazine for the culture of photography - Refoto, first as assistant editor-inchief, and from 2003 until 2011 as the managing editorin-chief. Today she works as their associate, first of all, on portfolio arrangement. Since 2009, she has been a senior lecturer at the University of Novi Sad’s Academy of Art – photography program. She is the author of texts for catalogs of photography exhibitions, she has held numerous lectures about the theory of photography at various festivals, workshops and photography gatherings in the country and the region. She has been a selector and organizer of a few photographic exhibitions. She edited the photography-monograph “Dragoljub Tošić – Photographs”, and she was an associate and consultant on the production of two books of photography. Her current work is dedicated to the education of the young in the area of photography.

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HSM INFORMATIKA: ADOBE PHOTOSHOP CS6 NOVI ALATI ZA DIGITALNE FOTOGRAFE ADOBE PHOTOSHOP CS6 - NEW TOOLS FOR DIGITAL PHOTOGRAPHERS Upoznajte mogućnosti i alate novog Photoshopa CS6 i saznajte kako brže i bolje obrađivati, retuširati i korigirati vaše fotografije. Novi Photoshop CS6 donosi mnoštvo potpuno novih alata koji će ubrzati uređivanje vaših fotografija, poput novih Content-Aware alata, novih kreativnih Blur filtara i novog alata za korigiranje fotografija snimljenih širokokutnim ili Fisheye objektivima, Adaptive Wide Angle. Upoznajte potpuno novi Crop alat, novo odabiranje na temelju boje kože i konverter Camera Raw 7 za Raw datoteke. S Photoshopom CS6 upoznat će vas Danijel Berković, vrsni fotograf i napredni korisnik Photoshopa te predavač u Algebri.

Get familiar with the capacity and tools of the new Photoshop CS6 and learn how to process, retouch and correct your images better and faster. New Photoshop CS6 brings many entirely new tools that will speed up your photo editing, such as new Content-Aware tools, new creative Blur filters and a new Adaptive Wide Angle tool for correcting photos taken with wide angle or fisheye lens. Try the new Crop tool, a new selection on the basis of skin color and Camera Raw converter 7 for Raw files. Daniel Berković, an excellent photographer and an advanced user of Photoshop and a lecturer at Algebra will introduce you with Photoshop CS6.

O voditelju

On the moderator

Danijel Berković rođen je 1978. godine u Zagrebu. Kao fotograf surađivao je s mnogim hrvatskim i stranim časopisima i agencijama. Uređivao je hrvatska izdanja magazina Digitalfoto i T3 . Napredni je korisnik Adobe Photoshopa. Predaje fotografiju i obradu fotografije početnicima i naprednim korisnicima. Trenutno radi u foto agenciji Pixsell kao voditelj posebnih projekata i kao predavač u Algebri.

Daniel Berković was born in 1978 in Zagreb. As a photographer he collaborated with many Croatian and foreign magazines and agencies. He was editor of the Croatian Digitalfoto and T3 magazines. He is an advanced user of Adobe Photoshop. He teaches photography and image processing for beginners and advanced users. He currently works as a manager of special projects in the Pixsell photo agency and as a lecturer at Algebra.

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CANON REVOLUCIONARNI PROFESIONALNI FOTOGRAFSKI I VIDEO PROIZVODI I CANON CPS PROFESIONALNA PODRŠKA U HRVATSKOJ CANON’S GROUNDBREAKING PROFESSIONAL PHOTO AND VIDEO PRODUCTS AND CANON CPSPROFESSIONAL SUPPORT IN CROATIA Canon će na posebnom predavanju namijenjenom profesionalnim i amaterskim fotografima kao i video snimateljima predstaviti najnovije digitalne fotoaparate EOS 1Dx i EOS 5D MARKIII koji predstavljaju revolucionarni skok za profesionalne korisnike. Vrhunska profesionalna filmska kamera EOS C300 spaja dokazanu video tehnologiju tvrtke Canon i dugogodišnje iskustvo izrade objektiva s EOS kreativnošću biti će također dio prezentacije. Uz veliki izbor novih značajki koje sadrže novi fotoaparati i video kamera, a koje ćete imati prilike provjeriti na predavanju, dodatan osvrt biti će posvećen najnovijem fotografskom priboru poput Speedlite 600EX-RT, prvoj Canonovoj radijski upravljanoj bljeskalici, kao i ostalom novom priboru i najnovijim Canon EF objektivima. Uz predstavljanje novih proizvoda, posebno ćemo predstaviti prednosti i značajke članstva u Canon profesionalnoj mreži (CPS), kojega je Hrvatska odnedavna punopravni član. Postanite član CPS mreže i iskoristite niz pogodnosti dostupnih samo profesionalnim korisnicima – od izravnog kontakta s vašim Canon predstavnikom, do povlaštenog tretmana kod servisa u slučaju nepredviđenog događaja. Više od Canon CPSu saznajte na ovom zanimljivom predavanju.

O voditelju Ferenc Torok je stručnjak za proizvode Canon (Canon Product Intelligence Professional) s petnaest godina iskustva u Canonovom foto odjelu. Jedan je od članova odabrane skupine Canonovih stručnjaka koji putuju svijetom te promoviraju nove digitalne SLR fotoaparate, objektive i dodatnu opremu. Također redovito vodi obuku za prodajno i servisno osoblje Canona. Pokrivajući svjetske događaje, Ferenc također redovito osigurava potpunu podršku za profesionalne fotografe. Neki od njegovih posljednjih zadataka uključuju Formulu 1, Svjetski kup, UEFA Ligu prvaka i Olimpijske igre.

At a special lecture Canon will present the latest digital cameras EOS 1Dx and EOS 5D MARKIII to professional and amateur photographers, as well as video cameramen. They are a revolutionary leap for professional users. With a wide selection of new features that new cameras include, which you will have a chance to check out at the lecture, an additional review will be devoted to the latest photographic accessories, such as the Speedlite 600EX-RT, Canon’s first radio-managed flash, as well as other new accessories and the latest Canon EF lenses. With the launch of new products, we will present the advantages and features of membership in the Canon Professional Network (CPS), which Croatia has recently joined. Become a member of the CPS Network and take advantage of many benefits available only to professional users - from direct contact with your Canon representative to privileged treatment in services in the event of unforeseen events. Find out more about Canon CPS at this interesting lecture.

On the moderator Ferenc Torok is a Canon Product Intelligence Professional with fifteen years’ experience with Canon’s photo division. Ferenc is one of a select group of Canon professionals who travel the world launching new DSLRs, lenses and accessories. He also holds regular training sessions for Canon sales and service personnel. Ferenc is also regularly dispatched to ensure total support for professional photographers covering world events. Some of his recent assignments include Formula 1, World Cup, UEFA Championship League and the Olympics.

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PREGLED PORTFOLIA PORTFOLIO REVIEW

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08 Marina Viculin Andreana Scanderbeg Iva Prosoli Massimo Sordi Stefania Rössl Marcus Doyle Milan Živković

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Marina Viculin, ravnateljica Klovićevih dvora Director of the Klovićevi dvori Gallery

Andreana Scanderbeg, agentica i potpredsjednica udruge švicarskih profesionalnih fotografa i fotodizajnera (SBF) Co-President of the Swiss professional photographers and photo designers association

Iva Prosoli, kustosica i voditeljica Zbirke zagrebačkih fotoreportera u Muzeju grada Zagreba; asistentica na Akademiji dramske umjetnosti Sveučilišta u Zagrebu curator at the Zagreb City Museum, an assistant at the Academy Dramatic Arts in Zagreb

Stefania Rössl, predstavnica festivala suvremene fotografija Savignano Immagini Festival of contemporary photography Savignano Immagini

Milan Živković, glavni urednik časopisa Refoto Editor in chief of Refoto magazine

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Massimo Sordi, predstavnik festivala suvremene fotografija Savignano Immagini Festival of contemporary photographySavignano Immagini

Marcus Doyle, fotograf photographer

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09 FOTOIZAZOV PHOTO CHALLENGE

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FOTOIZAZOV PHOTO CHALLENGE

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Fotoizazov je zamišljen kao najveće natjecateljsko okupljanje zaljubljenika u fotografiju u Hrvatskoj, a organiziran je u suradnji s vodećim hrvatskim i regionalnim informatičkim učilištem Algebra. Fotografsko natjecanje je održano u čak šest hrvatskih gradova u razdoblju od ožujka do lipnja, sa završnicom u Rovinju, tijekom festivala Rovinj Photodays.

Photo Challenge is supposed to be the biggest competitive gathering of lovers of photography in Croatia, organized in cooperation with the leading Croatian and regional school of informatics, Algebra. The competition has been held in as many as six Croatian cities from March to June, with the grand finale in Rovinj, during the Rovinj Photodays Festival.

Najuspjelije fotografije, nastale tijekom ove velike fotografske akcije, bit će izložene u sklopu grupne izložbe fotografija na otvorenom, na sljedećem Photodays okupljanju.

The best photos taken during this big action will be shown in a group photograph exhibition in the open, in the next Photodays.

Koncept natjecanja zamišljen je kao fotografska ruta koja se održava u Splitu, Zadru, Rijeci, Puli, Osijeku, Zagrebu i Rovinju. Namjera i želja organizatora je da i na ovaj način potaknu mnoge ljubitelje fotografije na sudjelovanje i daljnje usavršavanje.

The competition was conceived as a photography route held in Split, Zadar, Rijeka, Pula, Osijek, Zagreb and Rovinj. It is the organizers’ intent and wish for this to be another way to encourage many lovers of photography for participation and further advancement.

Stručni žiri sastavljen je od hrvatskih fotografa s dugogodišnjim iskustvom: Stanko Abadžić i Danijel Berković.

The jury is composed of Croatian photographers with many years of experience: Stanko Abadžić and Danijel Berković.

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PHOTO BY: RENCO KOSINOŽIĆ

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O rovinju ABOUT ROVINJ Rovinj drže jednom od najatraktivnijih turističkih destinacija u Hrvatskoj, gradom izvanrednih prirodnih, ekoloških, arhitektonskih i povijesnih vrijednosti i naslijeđa. Jedan je od vodećih turističkih odredišta u Hrvatskoj; po broju ostvarenih dolazaka i noćenja na samom je vrhu Istre i Hrvatske. Višegodišnji je dobitnik brojnih turističkih nagrada, a u 2008. godini proglašen je i turističkim prvakom Hrvatske. Strateški cilj nositelja turističke ponude je podizanje destinacije Rovinj na razinu kvalitete 4 i 5 zvjezdica, stvaranje prepoznatljivosti na međunarodnom tržištu, kreiranje proizvoda koji će omogućiti produženje turističke sezone te povećanje turističkih noćenja i pripadajuće zarade. Važnu ulogu u promidžbi grada ima njegova Turistička zajednica čije su osnovne zadaće poboljšanje općih uvjeta za razvoj turizma u destinaciji, stvaranje prepoznatljivog i atraktivnog turističkog ambijenta, povezivanje raznolikih elemenata i oblikovanje turističke ponude destinacije. Osim toga, zadaća Turističke zajednice je i usklađivanje općih i posebnih interesa u razvoju turističke ponude, promicanju svijesti kulture građana o gospodarskom, kulturnom i društvenom značaju turizma, kao i naglašavanje važnosti zaštite okoliša. Kod osmišljavanja i provođenja manifestacija i događanja TZ Rovinja nastoji gostima i građanima pružiti autentični doživljaj destinacije Rovinja i Istre, naglašavajući pritom njegovu tradiciju, kulturu i običaje te se povodeći za sloganom koji najbolje oslikava Rovinj kao romantičnu destinaciju - “Romantični mediteran”. Manifestacija Photodays na najbolji mogući način odražava zacrtane postavke promidžbe destinacijske vrijednosti spajajući tradicionalno s modernim.

Rovinj is considered to be one of the most attractive tourist destinations in Croatia, a city of exceptional natural, ecological, architectural, historical assets and heritage. It is one of the leading tourist destinations in Croatia that according to the number of realised arrivals and overnights is at the top in Istria and Croatia. It has been the winner of numerous tourism awards for several years and in 2008 it was pronounced the tourism champion of Croatia. The strategic goal of the tourist offer is raising the quality of Rovinj as a destination of 4 and 5*, creating recognisability on the international market, creating a product that will enable a prolongation of the tourist season and increasing the number of tourist overnights and the pertaining profit. The Tourist Board of every city plays a significant role in its promotion and its basic tasks are to improve the general conditions for the development of tourism in the destination, to create a recognisable and attractive tourist ambiance, to connect diverse elements and create the tourist offer in the destination, to coordinate the general and special interests in the development of the tourist offer in promoting the awareness of citizens of the economic, cultural and social significance of tourism and the importance of environmental protection. When organising and carrying out manifestations and events, the Tourist Board of Rovinj tries to offer its guests an authentic experience of Rovinj and Istria, accentuating its tradition, culture, customs, following the slogan that best describes Rovinj as a romantic destination - the “Romantic Mediterranean”. Manifestation Photodays, in the best possible manner, reflects the set provisions of promoting the assets of a destination by combining traditional with the modern.

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GENERALNI POKROVITELJ GENERAL SPONSOR Maistra d.d. vodeća je hotelijerska kompanija u Hrvatskoj i dio je koncerna Adris Grupe. Turistički objekti Maistre d.d. smješteni su na prestižnim lokacijama u Rovinju i Vrsaru, dva prekrasna istarska turistička središta iznimnih prirodnih i kulturno-povijesnih vrijednosti.

Maistra d.d. is the leading hotel management company in Croatia and is a part of the Adris Group. The tourist establishments of Maistra d.d. are situated in prestigious locations in Rovinj and Vrsar, two lovely Istrian centres of exceptional natural and cultural-historical assets.

Maistra d.d. nastala je u ožujku 2005. godine naslijedivši 50 godina iskustva u turističkom poslovanju koje u kombinaciji s primjenom novih tehnologija, kroz implementaciju međunarodnih standarda turističke industrije, kroz puno poštovanje svih normi održivog razvoja i poseban senzibilitet prema očuvanju okoliša kao najvažnijeg resursa, predstavlja temelj budućeg razvoja tvrtke.

Maistra d.d. was founded in March 2005, inheriting 50 years of experience in tourist business that, in combination with the use of new technologies, implementation of international standards in the tourist industry, adherence to all norms of sustainable development and a special sensibility towards environmental protection as the most significant resource, presents the basis of a future progress of the company.

Pred sebe je postavila ambiciozne planove razvoja turističkog portfelja te kreiranja i izgradnje vlastitih brandova turističkog proizvoda najviše razine kvalitete sadržaja i usluga. U skladu s postavljenim planovima, pozicionirala se kao predvodnik nacionalnog turističkog razvoja.

Maistra d.d. put before itself ambitious developmental plans of tourist portfolios and the creation and development of its own brands of tourist products of the highest quality, both in content and services.

Misija Maistre je postati prvoklasnom i prepoznatljivom turističkom kompanijom te destinacijom na jadranskoj obali koja će uz snažno oslanjanje na destinacijske brandove i pružanje autentične istarske, hrvatske i mediteranske atmosfere, visoko personalizirane i gostoljubive usluge te razvijanje modernih i konkurentnih sadržaja omogućiti stvaranje istinskih doživljaja radi zadovoljenja potreba i najzahtjevnijih gostiju te radi pozicioniranja među najboljim turističkim tvrtkama na Mediteranu.

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The mission of Maistra is to become a first-class and recognisable tourist company and a destination on the Adriatic coast that will, besides strongly relying on destination brands and offering authentic Istrian, Croatian and Mediterranean atmospheres, highly personalised and welcoming service, develop modern and competitive offers and enable the creation of true experiences with a goal to satisfy the needs of the most demanding guests and of positioning itself amongst the best tourist companies on the Mediterranean.

Uprava druĹĄtva Company Management Board

Marketing i prodaja Marketing and sales

Ured za rezervacije Booking Office

MAISTRA d.d. 52210 Rovinj, V. Nazora 6 Tel. +385 52 800 300 Fax: +385 52 811 540 maistra@maistra.hr

52210 Rovinj, V. Nazora 6 Tel. +385 52 800 329, Fax: +385 52 800 244 marketing@maistra.hr info@maistra.hr

MAISTRA - CRS 52210 Rovinj, V. Nazora 6 Tel. +385 52 800 250, Fax: +385 52 800 215 info@maistra.hr

MONTE MULINI - Rovinj

LONE - Rovinj

EDEN - Rovinj

tel. +385 52 636 000 fax: +385 52 636 001 montemulini@maistra.hr

tel. +385 52 fax: +385 52 lone@maistra.hr

tel. +385 52 800 400 fax: +385 52 811 349 eden@maistra.hr

PARK - Rovinj

ADRIATIC - Rovinj

KATARINA - Rovinj

tel. +385 52 808 000 fax: +385 52 808 550 park@maistra.hr

tel. +385 52 803 510 fax: +385 52 803 520 adriatic@maistra.hr

fax: +385 52 804 111

HOTELI

HOTELS

ISTRA - Rovinj tel. +385 52 802 500 fax: +385 52 813 484 istra@maistra.hr

VALDALISO - Rovinj

PINETA - Vrsar

tel. +385 52 805 500 fax: +385 52 811 541 valdaliso@maistra.hr

tel. +385 52 637 500 fax: +385 52 637 550 pineta@maistra.hr

tel. +385 52 804 100 katarina@maistra.hr

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PROGRAMSKI I ORGANIZACIJSKI ODBOR PROGRAM AND ORGANIZATION COMMITTEE Direktor C.e.o.

Organizator Organizer

Tonči Denis Redić info@photodays-rovinj.com

Astoria d.o.o. & Udruga LivingStone Zanonova 1 51 000 Rijeka info@astoria.hr Direktor/CEO: Denis Redić

Voditeljica ureda za odnose s javnošću I protokol Public relations and protocol Jelena Petković press@photodays-rovinj.com

Igor Makiš administrator@photodays-rovinj.com

Maistra d.d. V.Nazora 6 52 210 Rovinj maistra@maistra.hr Direktor / C.E.O.: Tomislav Popović

Saša Buršić sasa@photodays-rovinj.com

Supokrovitelj Co-sponsor

Vedrana Legović vedrana@astoria.hr

Turistička zajednica grada Rovinja The Town of Rovinj Tourist Association Pina Budicina 12 52210 Rovinj Tel.: ++385/52/811-566, 813-469 Fax: ++385/52/816-007 www.tzgrovinj.com e-mail: tzgrovinj@tzgrovinj.hr Direktorica / C.E.O.: Odete Sapač

Suradnici Associates

Maja Lenac maja@photodays-rovinj.com Martina Rojnić martina@photodays-rovinj.com

Vizualni identitet VISUAL IDENTITY Astoria dizajn studio Vibor Visković Igor Jurišić dizajn.astoria.hr

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Generalni pokrovitelj General sponsor

Impressum Izdavač PUBLISHER

Organizacijski i programski odbor Programme and Organization Board Savjetodavni odbor: Counselling Board: Miroslav Gašparović (Muzej za umjetnost i obrt), Dubravka Osrećki Jakelić (Muzej za umjetnost i obrt), Nataša Ivančević (Muzej suvremene umjetnosti), Iva Prosoli (Muzej grada Zagreba), Marina Viculin (Klovićevi dvori), Želimir Košćević (Galerija Lang), Helena Srakočić Kovač (Focus Consultancy), Tomislav Marić (ULUPUH), Sabina Salamon (MMSU Rijeka), Ivica Nikolac (Hrvatski fotosavez), Zvonimir Baričević (Središnji fotolaboratorij Hrvatskog državnog arhiva), Sandra Vitaljić (Akademija dramske umjetnosti- odsjek snimanja), Gorka Ostojić Cvajner (Muzej suvremene umjetnosti Istre), Walter Liva (CRAF, Italija), Massimo Sordi i Stefania Rössl (Savignano immagini, Italija), Dejan Sluga (Photon)

Organizacijski odbor: Organization Board: Denis Redić (Photodays), Jelena Petković (Photodays), Giovani Sponza (grad Rovinj), Marino Budičin (grad Rovinj), Virgilio Giuricin (Batana), Odete Sapač (Turistička zajednica grada Rovinja), Dubravka Svetličić (POU Rovinj), Marija Smolica (Zavičajni muzej Grada Rovinja), Cinzia Ivančić (Zajednica talijana Rovinj), Ninoslav Vidović (Maistra), Ivica Vrkić (Maistra), Meri Vidulin (Maistra), Drago Havranek (CROPIX), Danijel Berković (Pixsell), Krešimir Mehičić(Fuji Film), Walter Liva (CRAF), Stefanija Rössl (SIFEST), Massimo Sordi (SIFEST), Alen Živadinović (Gloria), Maja Tomljenović (EPH), Janko Belaj (Fotozine), Krešimir Pletikosa (Algebra/Fotogard), Goran Matošević (Algebra/Fotogard)

Astoria d.o.o.Zanonova 1 51 000 Rijeka info@astoria.hr

Za izdavača FOR THE PUBLISHER Jelena Petković Vedrana Legović

Lektura (hrvatski) LANGUAGE EDITOR (CROATIAN) Martina Piškor Zorana Jagodić

Prijevod TRANSLATION Jana Kegalj Martina Hudoletnjak Linguasoft d.o.o.

Lektura (engleski) LANGUAGE EDITOR (ENGLISH) Martin Mayhew

Oblikovanje DESIGN Astoria dizajn studio: Vibor Visković Igor Jurišić web: dizajn.astoria.hr

Tisak PRINT Radin Repro i Roto d.o.o.

NAKLADA EDITION 1.000 kom / pcs

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www.lay-z.net

Pokrovitelj nagrade / Prize sponsor:

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Partneri / Partners:

CMY

C.V.U. Batana, Rovinj

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