Rovinj photodays 2011 by Rovinj Photodays

UVODNICI INTRODUCTIONS . . . . . . . . . . . . . . . . . . . . . . . . . 4 PROGRAM DOGAĐANJA EVENT TIMETABLE . . . . . . . . . . . . . . . . 8 OVOGODIŠNJI OCJENJIVAČKI SUD THIS YEARS JURY . . . . . . . . . 16 C

FINALISTI NATJEČAJA COMPETITION FINALISTS . . . . . . . . . . . . . 24

IZLOŽBE EXHIBITIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

RADIONICE WORKSHOPS . . . . . . . . . . . . . . . . . . . . . . . . . 108

CMY

PREGLED PORTFOLIA PORTFOLIO REVIEW . . . . . . . . . . . . . . 126

TABLE OF CONTENTS

SADRŽAJ

FOTO IZAZOV PHOTO CHALLENGE . . . . . . . . . . . . . . . . . . . 130

O ROVINJU ABOUT ROVINJ . . . . . . . . . . . . . . . . . . . . . . . . 134 GENERALNI POKROVITELJ GENERAL SPONSOR . . . . . . . . . . . . 138 PROGRAMSKI I ORGANIZACIJSKI ODBOR PROGRAM AND ORGANIZATION COMMITTEE . . . . . . . . . . . . . 142

Denis Redić, Photodays - DIREKTOR

Denis Redić, Photodays C.E.O.

Poštovani gosti, dragi prijatelji fotografije,

Dear visitors and friends of photography,

čast mi je i zadovoljstvo zaželjeti Vam dobrodošlicu na četvrtom fotografskom festivalu “Rovinj Photodays 2011“.

it is an honour and a pleasure to welcome you to the fourth festival “Rovinj Photodays 2011”.

Iza nas je još jedan završeni natječaj, a Ocjenjivački je sud i ove godine imao pune ruke posla. Nakon niza od četiri godine možemo reći da smo iznimno zadovoljni interpretacijom redefiniranih kategorija kao i odazivom. Na natječaj se ove godine prijavilo 560 autora s ukupno 7000 radova u deset službenih kategorija.

INTRODUCTIONS

UVODNICI

Treba posebno istaknuti da svi nagrađeni i nominirani radovi odlaze u stalni fundus Muzeja za umjetnost i obrt u Zagrebu dok će se izložba finalista nakon Rovinja održati u Zagrebu (MUO) početkom rujna, nakon čega slijede i drugi hrvatski gradovi, ali i inozemne postave. Nova kategorija Umjetnički koncept, osmišljena u sklopu ovogodišnjeg natječaja, polučila je sjajan uspjeh - izuzetno dobar odaziv, zapažene radove i vrlo zanimljive serije fotografija nominiranih autora. Najuspješnijem autoru u ovoj kategoriji bit će omogućena samostalna izložba u rujnu, u studiju Moderne galerije “Josip Račić“ u Zagrebu.

O posebnim priznanjima za doprinose u fotografiji ove je godine odlučivao Savjetodavni odbor festivala u čijem su radu sudjelovali hrvatski stručnjaci za fotografiju: Dubravka Osrečki Jakelić, Helena Srakočić, Antun Travirka, Ivica Nikolac, Angelo Božac i Maša Štrbac. Priznanja će biti dodijeljena autorima koji su zadužili hrvatsku fotografiju svojim fotografskim i povijesno-umjetničkim radom, a oni su: Nino Vranić, Mladen Tudor i Nada Grčević. Nagrada za životno djelo pripast će Franku Horvatu, eminentnom fotografu hrvatskog podrijetla, s međunarodno uspješnom karijerom. Retrospektivna

Another contest is behind us, and the Jury had their hands full this year, too. After four years, we can say that we are quite satisfied with the interpretation of the redefined categories and with the response we got. This year, 560 authors applied for the contest, with 7000 photographs in ten official categories. It should be especially noted that all award-winning and nominated photographs will become part the permanent exhibition of Zagreb’s Arts and Crafts Museum, while, after Rovinj, the finalist exhibition will also be held in Zagreb (Arts and Crafts Museum) in early September, and after that in other Croatian cities too, as well as in international displays. The new category “Artistic Concept”, which is part of this year’s contest, achieved great success – an exceptionally large number of participants, excellent photographs, and very interesting photograph series of the nominated authors. The best author in this category will win an independent exhibition in Zagreb’s “Josip Račić” Modern Gallery Studio. This year’s jury for special awards awarded for special contributions to photography was the Festival’s Advisory Board, member of which were Croatian photography experts: Dubravka Osrečki Jakelić, Helena Srakočić, Antun Travirka, Ivica Nikolac, Angelo Božac and Maša Štrbac. Awards will be awarded to authors whose photography and artistic work greatly contributed to Croatian photography: Nino Vranić, Mladen Tudor and Nada Grčević. Life-time Achievement Award will be awarded to Frank Horvat, an eminent, internationally renowned

izložba ovog sjajnog autora koji je gotovo čitav svoj radni vijek proveo u Parizu, tijekom održavanja festivala, bit će prikazana u intimnom prostoru Crkve sv. Tome, u Rovinju. U sklopu bogatog službenog programa završnice festivala pripremili smo čak 15 fotografskih izložbi koje uključuju radove svjetskih majstora fotografije, brojna zanimljiva gostovanja domaćih i inozemnih fotografskih stručnjaka, kolekcionara i galerista, tematske susrete, radionice i predavanja.Vrlo je važno naglasiti da i ove godine organiziramo preglede portfolija od strane uglednih predstavnika struke kako bismo još jednom naglasili misiju festivala da pruža nove mogućnosti svim fotografima koji se svojim radovima žele ciljano prezentirati. Osim navedenog, od ove godine uveli smo niz događanja prije i nakon same završnice festivala. Tako će odabrane izložbe nakon lipnja u Rovinju biti prikazane u više istarskih gradova poput Pule, Poreča, Novigrada, Umaga i Labina. Niz je aktivnosti prethodilo samom festivalu. Ukupno sedam fotografskih izazova, u sedam hrvatskih gradova organizirano je s partnerom festivala, Učilištem Algebra. Ustrajat ćemo u odluci da adekvatno promoviramo hrvatsku fotografiju unutar i izvan granica Hrvatske, a u ovim naporima pomaže niz istomišljenika okupljenih oko festivala. Ovi zajednički i organizirani pokušaji sigurno su najbolji način za kreiranje kvalitetne platforme za networking, razmjenu iskustava i znanja, ali i stvaranje cjelovitijeg uvida u suvremenu fotografiju na ovim područjima, kao i isticanje značajnih autora koji su kreirali njezinu povijest. Vjerujemo da smo opravdali sva očekivanja partnera koji su uz nas od samog početka te da smo unatoč recesiji u Hrvatskoj, još jednom pomaknuli granice sadržaja kulturnog turizma. Festival Rovinj Photodays bi i dalje trebao biti internacionalno središte susreta vrsnih fotografskih znalaca, majstora struke i svih zaljubljenika u fotografiju, istovremeno edukativan, suvremen, informativan, atraktivan i zabavan.

photographer of Croatian origin. Part or the festival will be a retrospect of this great author, who spent almost all his career in Paris, shown in the intimate space of St Thomas’ church in Rovinj. The rich official programme of Festival finale will consist of as many as 15 exhibitions, including the works of worldrenowned photographers, numerous interesting visits of Croatian and foreign experts in the field of photography, collectors and gallery owners, as well as thematic meetings, workshops and lectures. Please note that this year too we will organise portfolio reviews by famous photographers and in this way once more point out that the mission of the festival is to provide new opportunities to all photographers who want to present their work before a chosen audience. Moreover, this year’s festival will introduce a series of extensions before and after the finals. After shows in Rovinj in June, chosen exhibitions will be shown in several other Istrian towns, such as Pula, Poreč, Novigrad, Umag and Labin. The festival was introduced by a series of activities. A total of seven photographic challenges were organized in seven Croatian cities by the partner of the Festival, the Algebra School of Informatics. We are intent on adequately promoting Croatian photography in Croatia and abroad. The Festival’s endeavours are supported by a number of Festival supporters. These precious joint and organized attempts are surely the best way to create a quality platform for networking, experience and knowledge exchange, as well as for the creation of an integral insight into modern photography in this area, and are a great way to promote important authors who created its history. We believe to have met all expectations of our partners, who have supported us from the very beginning, and that we again pushed the limits of cultural tourism. The Rovinj Photodays Festival should continue to be the central international meeting place for competent photographers, masters of trade and all lovers of photography, as this is a manifestation that is educational, contemporary, informative, attractive and fun at the same time.

Želim vam puno ugodnih trenutaka za pamćenje. We wish you to experience many pleasant moments in Rovinj.

Tomislav Popović, Maistra - DIREKTOR

Tomislav Popović, Maistra C.E.O.

Pred nama su četvrti 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. 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.

This year will see the fourth 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.

INTRODUCTIONS

UVODNICI

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.

ROMANO DECKER I DEJAN KUTIĆ AUTORI KAMPANJE ROVINJ PHOTODAYS 2011 Novu kampanju za festival i ovogodišnje vizuale potpisuje fotografski dvojac Romano Decker i Dejan Kutić čije su fotografije više puta nagrađivane u sklopu službenih natječaja na ranije održanim festivalima. Ovime nastavljamo praksu angažiranja i promoviranja zamijećenih fotografa u sklopu pojedinih službenih kategorija. Decker i Kutić bave se modnom fotografijom pa je vizualni koncept ove godine osmišljen u tom duhu, a fotografije su zamišljene kao moderne razglednice iz Rovinja. ROMANO DECKER AND DEJAN KUTIĆ - AUTHORS OF THE ROVINJ PHOTODAYS 2011 CAMPAIGN The authors of the new festival campaign and this year’s visuals are the photography duo Romano Decker and Dejan Kutić. Their photos have received several awards in the official contest, and now the organizers of the festival continue with the engagement and promotion of eminent photographers within individual official categories. Decker and Kutić are into fashion photography, so this year’s visual concept will be in the spirit of fashion photography, and the photographs will be designed like modern postcards from Rovinj.

PROGraM ZBIVANJA EVENT TIMETABLE

ČETVRTAK, 9. LIPNJA

THURSDAY, JUNE 9TH

Radionica: Rad na svjetlu Voditelj: Marcus Doyle Napredna radionica, zatvorenog tipa, za 10 sudionika. Mogu pristupiti samo oni sudionici koji su se putem web stranice ranije prijavili na radionicu.

Workshop: Work on light Moderator: Marcus Doyle Advanced closed workshop for 10 participants. Only those who applied for the workshop online can participate.

PETAK, 10. LIPNJA

FRIDAY, JUNE 10TH

12:00 MULTIMEDIJALNI CENTAR: službeno otvorenje festivala i press konferencija

12:00 MULTIMEDIA CENTRE: Official opening of the festival and press conference

13:00 ZAVIČAJNI MUZEJ GRADA ROVINJA OTVARANJE IZLOŽBI:

13:00 ROVINJ HERITAGE MUSEUM: EXHIBITION OPENING

Franco Fontana & Mario Giacomelli: dva majstora talijanske fotografije XX. stoljeća Erwin Blumenfeld: retrospektivna izložba Global Photography: Istinite priče (grupna izložba istaknutih europskih suvremenih fotografa)

Franco Fontana & Mario Giacomelli: two 20th century masters of Italian photography Erwin Blumenfeld: retrospect Global Photography: True Stories (group exhibition of eminent European contemporary photographers)

13:30 MULTIMEDIJALNI CENTAR: radionica “Street Style Fashion radionica / Ulična moda“ Voditeljica: Antonija Butković

EVENT TIMETABLE

PROGraM ZBIVANJA

13:30 - 19:00 UVODNA PREDAVANJA I RADIONICE:

polusatno uvodno predavanje praktični dio (grad) NAPOMENA: Uvodnom predavanju mogu pristupiti svi zainteresirani. Praktičnom dijelu mogu pristupiti samo oni sudionici koji su se putem web stranica ranije prijavili na radionicu. Ukupno: 10 sudionika 13:00 ZGRADA ZAJEDNICE TALIJANA CIRCOLO: “Upotreba bljeskalica za snimanje portreta“ Radionica pod pokroviteljstvom Učilišta Algebra (odjel multimedije) Voditelji: Krešimir Pletikosa i Goran Matošević

13:30 - 19:00 INTRODUCTORY LECTURES AND WORKSHOPS: 13:30 MULTIMEDIA CENTRE: Workshop “StreetStyle Fashion / Ulična moda” Moderator: Antonija Butković 30-minute introductory lecture (starting at 1:30 p.m.) Practical part (in the town) NOTE: The introductory lecture is open for everyone. Only those who applied for the workshop online can participate in the practical part. Total number of participants: 10 13:00 CIRCOLO ITALIAN COMMUNITY BUILDING: “Use of Flash in Portrait Photography” Workshop under the sponsorship of the Algebra School of informatics (Multimedia Department)

polusatno uvodno predavanje praktični dio (na otvorenom) NAPOMENA: Uvodnom predavanju mogu pristupiti svi zainteresirani. Praktičnom dijelu mogu pristupiti samo oni sudionici koji su se putem web stranica ranije prijavili na radionicu. Ukupno: 12 sudionika 14:00 ZGRADA ZAJEDNICE TALIJANA CIRCOLO: radionica pod pokroviteljstvom Carl Ziess Voditelj: Bertram Hoenlinger Uvodna prezentacija i praktični dio. Ukupno: 25 sudionika - nije potrebna prethodna prijava.

Prezentacija tvrtke Zeiss CZ objektivi Edukacija o proizvodima i primjeni Snimanje

14:15 - 15:30 MULTIMEDIJALNI CENTAR: radionica - Foto-klinika uživo! Fotograf Milan Živković i fotografkinja, te glavna urednica časopisa ReFoto, Ivana Tomanović održat će javnu kritiku fotografija svih zainteresiranih po uzoru na istoimenu rubriku u časopisu. Uživo, bez ikakve pripreme, naizmjenično će prokomentirati fotografije sudionika, na jednostavan, razumljiv, kritičko-korisan, ali ponekad i šaljiv način. Potrebno je da sudionici donesu jednu svoju fotografiju na USB-u. NAPOMENA: Nije potrebna prethodna prijava. 15:30 - 16:30 MULTIMEDIJALNI CENTAR: PREDSTAVLJANJE FOTOGRAFA Na projekciji fotografija u trajanju od 30 minuta, Ivana Tomanović - glavni i odgovorni urednik časopisa Refoto, predstavit će radove desetak srpskih fotografa koji sudjeluju na festivalu. Svaki autor bit će predstavljen kratkim uvodom i sa desetak fotografija. Nakon prezentacije slijedi razgovor s autorima u trajanju do 30 minuta. 16:45 - 17:45 MULTIMEDIJALNI CENTAR: predavanje - Yorick Blumenfeld o životu i

Moderators: Krešimir Pletikosa and Goran Matošević 30-minute introductory lecture Practical part (outside) NOTE: The introductory lecture is open for everyone. Only those who applied for the workshop online can participate in the practical part. Total number of participants: 12 13:30 CIRCOLO ITALIAN COMMUNITY BUILDING: Workshop under the sponsorship of Carl Ziess Moderator: Bertram Hoenlinger Introductory presentation and practical part. Total number of participants: 25 participants - no prior application needed.

Zeiss Company Presentation CZ Camera Lens Division Product & Application Training Photo shooting

14:15 - 15:30 MULTIMEDIA CENTRE: Photo-clinic live! The photographer Milan Živković and the photographer and main editor of the ReFoto magazine Ivana Tomanović will present a public critique of the photos of all interested persons, just like in the magazine column. Live, without any preparation, they will take turns commenting on the photos of the participants in a simple, understandable, critically useful, and sometimes witty way. Participants must bring one photo on a USB stick. NOTE: no previous application necessary. 15:30 - 16:30 MULTIMEDIA CENTRE: PHOTOGRAPHER PRESENTATION At this 30-minute photography presentation, Ivana Tomanović, main editor of the Refoto magazine, will present the work of a dozen Serbian festival participants. Each of the authors will be represented in a brief introduction and with a dozen photographs. After the presentation follows an interview with the authors in the duration of 30 minutes.

radu svoga oca, poznatog fotografa Erwina Blumenfelda te postavi “The Naked and the Veiled“

EVENT TIMETABLE

PROGraM ZBIVANJA

18:30 GALERIJA ADRIS: svečano otvaranje izložbe “50 godina Rock ‘n’ Rolla: Žene koje su stvarale Rock“

16:45 - 17:45 MULTIMEDIA CENTRE: LECTURE: Yorick Blumenfeld on the life and work of his father, the famous photographer Erwin Blumenfeld and the exhibition “The Naked and the Veiled” 18:30 ADRIS GALLERY: gala opening of the exhibition “50 years of Rock’n’Roll: Women Who Made Rock”

19:00 MULTIMEDIJALNI CENTAR (I GRAD ROVINJ): Snimanje panorama, Radionica pod pokroviteljstvom časopisa ReFoto Voditelj: Milan Živković

19:00 ROVINJ: Shooting Panoramas, Workshop under the sponsorship of the ReFoto magazine Moderator: Milan Živković

polusatno uvodno predavanje, MULTIMEDIJALNI CENTAR (od 19:00) praktični dio - snimanje selektiranje, obrada i spajanje digitalnih snimki (u subotu, 11. lipnja)

30-minute introductory lecture, MULTIMEDIA CENTRE (starting at 7 p.m.) Practical part - shooting Selection, processing and piecing together digital images (Saturday, June 11)

Na pozicijama grada s kojih se pruža panorama grada, Milan Živković pokazat će u praksi kako se snima panorama D-SLR fotoaparatom sa stativa uz upotrebu panoramske glave i ostalih dodataka namenjenih panoramskoj fotografiji. Tijekom sutrašnjeg dana, u razdoblju od 10:00, sudionici radionice će selektirati, obrađivati i spajati digitalne snimke u panoramu. NAPOMENA: Uvodnom predavanju mogu pristupiti svi zainteresirani. Praktičnom dijelu mogu pristupiti samo oni sudionici koji su se putem web stranica ranije prijavili na radionicu. Ukupno: 10 sudionika

On Rovinj locations offering a panoramic view, Milan Živković will demonstrate how to shoot a panoramic photo using a D-SLR camera from a camera stand, using a panoramic head and other accessories for panoramic photography. The next day, at 10 a.m., workshop participants will select, process and piece together digital images into a panorama. NOTE: The introductory lecture is open for everyone. Only those who applied for the workshop online can participate in the practical part. Total number of participants: 10

SUBOTA, 11. LIPNJA 10:00 - 14:00 na ulicama grada Rovinja: Nagradni Hrvatski Fotoizazov - u suradnji s Učilištem Algebra Najveće je natjecateljsko okupljanje fotografskih zaljubljenika u Hrvatskoj uz bogati nagradni fond. 10:00 - 14:00 RADIONICA: Modni editorial - od koncepta do tiska Voditelji: Romano Decker i Dejan Kutić

SATURDAY, JUNE 11TH 10:00 - 14:00 streets of Rovinj: Croatian Photochallenge award - in cooperation with the Algebra School of informatics This is the biggest competition for all lovers of photography in Croatia with rich prizes. 10:00 - 14:00 WORKSHOP: Fashion editorial from concept to press Moderators: Romano Decker and Dejan Kutić

Napredna radionica, zatvorenog tipa. Kratko predavanje sa zajedničkim postavljanjem koncepta editoriala. Praktični dio: produkcija tri beauty ili modne fotografije, rad sa make up i stilističkim timom te modelima. Post produkcija, uređivanje i prijelom mini editoriala

Advanced closed-type workshop. A brief lecture with joint set-up of the editorial concept. Practical part: Tri Beauty or fashion photo production, working with a make-up team, and with stylists and models. Mini editorial post production, editing and layout for the Gloria magazine.

NAPOMENA: Radionici mogu pristupiti samo oni sudionici koji su se putem web stranica ranije prijavili na radionicu. Ukupno: 8 sudionika

NOTE: Only those who applied for the workshop online can participate in the practical part. Total number of participants: 8

13:00 - 14:00 MULTIMEDIJALNI CENTAR: Predavanje: Estetika fotografije Predavač: Ivana Tomanović

13:00 - 14:00 MULTIMEDIA CENTRE: LECTURE: Aesthetics of photography Lecturer: Ivana Tomanović

Teorijsko sagledavanje fotografije kroz njen specifičan “jezik” koji čine osnovni estetski elementi: oblik, uzorak, tekstura, forma, linija, svijetlo...Svaki od tih elemenata zaslužan je za specifično kreativno izražavanje kao i način komuniciranja fotografskog djela s auditorijom. Poznavanje estetskih elemenata može svakom fotografu pomoći da na jasan i precizan način ispolji svoju ideju, kreativnost i, ono najvažnije, da kreira vlastiti vizualni jezik. Predavanje je namjenjeno fotografima svih nivoa jer se bavi osnovnim teorijskim principima slaganja fotografske slike.

Theoretical overview of photography through its specific “language” made of basic aesthetic elements: shape, pattern, texture, form, line, light, etc. Each of those elements is responsible for a specific creative expression, as well as for the way photography communicates with the audience. Knowing aesthetic elements can help any photographer express their idea and creativity in a precise way and, what is most important, to create their own visual language. This lecture is intended for photographers on all levels because its focus will be on the basic theoretical principles of the making of a photographic image.

14:00 - 16:00 MULTIMEDIJALNI CENTAR: Pregled portfolia Pregledu portfolia mogu pristupiti samo oni sudionici koji se putem web stranica ranije prijave.

14:00 - 16:00 MULTIMEDIA CENTRE: Portfolio Review Only those who applied for the workshop online can participate in portfolio review.

16:00 MULTIMEDIJALNI CENTAR: predavanje “50 godina Rock ‘n’ Rolla: Žene koje su stvarale Rock“ Predavači: Gail Buckland

16:00 MULTIMEDIA CENTRE: LECTURE: History of Rock’n’Roll Photography Lecturers: Gail Buckland

17:15 MULTIMEDIJALNI CENTAR: Okrugli stol na temu autorskih prava u fotografiji Moderator: Danijel Berković

17:15 MULTIMEDIA CENTRE: Round table on the topic of copyright in photography Moderator: Danijel Berković

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OVOGODIŠNJI OCJENJIVAČKI SUD THIS YEARS JURY

Sandra Vitaljić predsjednica ŽIRIa

Sandra Vitaljić President of the Jury

Sandra Vitaljić rođena je u Puli 1972. godine. Magistrirala je fotografiju na Akademiji za film i TV (FAMU) u Pragu (1996.), a na istom fakultetu doktorirala je iz područja povijesti i teorije fotografije (2010.).

Sandra Vitaljić was born in Pula in 1972. She obtained her master’s degree in photography at the Film and TV School of the Academy of Performing Arts (FAMU) in Prague (1996) and afterwards, a PhD degree at the same institution in the area of history and theory of photography (2010).

Njeni radovi nalaze se u stalnom postavu Moderne galerije u Zagrebu i zbirci Muzeja moderne i suvremene umjetnosti u Rijeci, te privatnim kolekcijama. Članica je ULUPUH- a i HDLU-a. U sklopu umjetničke rezidencije ArtsLink boravila je u Ansel Adams Center for Photography u San Franciscu (1997.). Dobitnica je stipendije Fulbright (2006-7.) u Rochester Institute of Technology, Rochester, NY.

THIS YEARS JURY

OVOGODIŠNJI OCJENJIVAČKI SUD

Zaposlena je kao izvanredni profesor na Odsjeku snimanja Akademije dramske umjetnosti u Zagrebu. Pročelnica je Katedre za fotografiju.

She works as an associate professor at the Cinematography Department of the Academy of Dramatic Art in Zagreb. She is the head of the Photography Program. Her works have become a part of the permanent display of the Modern Gallery in Zagreb and of the collection of Modern and Contemporary Art in Rijeka, as well as some private collections. She is a member of ULUPUH (Croatian Association of Artists of Applied Arts) and HDLU (Croatian Association of Artists). As part of the artistic residence ArtsLink, she stayed at the Ansel Adams Center for Photography in San Francisco (1997). She is the winner of Fullbright scholarship (2006-7) at the Rochester Institute of Technology, Rochester, NY.

Stefania Rössl Savignano Immagini Festival

Kao član Odbor za znanost SIFEST-a (Savignano Immagini Festival), vodila je nekoliko projekata i radionica o fotografiji krajolika. Na SIFEST-u je vodila nekoliko izložbi (Roger Ballen, Joakim Eskildsen, Simon Roberts, Marco Zanta, Andrew Phelps, Globalna fotografija).

Member of the Scientific Committee of SIFEST (Savignano Immagini Festival)since 2007, she has curated several landscape photographic projects and workshops. At SIFEST she also curated several exhibitions (Roger Ballen, Joakim Eskildsen, Simon Roberts, Marco Zanta, Andrew Phelps, Global Photography).

Diplomirala je arhitekturu 1995. godine pri Sveučilištu u Veneciji (IUAV). Pohađala je poslijediplomski studij DEA (Diplome d’Études Approfondies), Projet architectural et urbain, u Bellevilleu u Parizu. Od 2001. godine radi kao glavni istraživač Arhitektonske i urbane kompozicije te voditelj LAFO-a (Fotografskog laboratorija pri Sveučilištu u Bologni, na Fakultetu za arhitekturu “Aldo Rossi“). Od 2004. godine započela je suradnju s indijskim zakladama i sveučilištima fokusirajući se na urbane transformacije i transformacije krajolika.

Od publikacija izdvojene: “India. Portraits of the city“, 2005.; “Parco del Rubicone: Ipotesi di paesaggio“, 2008.; “Global Photography. looking at/looking for“, 2009.; “Architettura contemporanea. India“, 2009.; “Massimo Sordi. Indian Photographs“, 2010.; “Global Photography. true stories“, 2010.; “Abitare mondi. Living Worlds“, 2010. (1. nagrada na festivalu festivala, Bologna, 2010.)

Graduated in Architecture in 1995 at IUAV. Studied DEA’s courses (Diplome d’Études Approfondies), Projet architectural et urbain, at Paris Belleville. From 2001 she’s a Researcher supervisor in Architectural and Urban Composition and Director of LAFO - Photography Laboratory at University of Bologna, Faculty of Architecture “Aldo Rossi”. Since 2004 she started to collaborate with Foundations and Universities in India focusing urban and landscape transformations.

From the most publications: “India. Portraits of the city”, 2005; “Parco del Rubicone: Ipotesi di paesaggio”, 2008; “Global Photography. looking at/looking for”, 2009; “Architettura contemporanea. India”, 2009; “Massimo Sordi. Indian Photographs”, 2010; “Global Photography. true stories”, 2010; “Abitare mondi. Living Worlds”, 2010 (1st prize at festival of festivals, Bologna, 2010).

Massimo Sordi Savignano Immagini Festival

Kao član Odbora za znanost SIFEST-a (Savignano Immagini Festival), vodio je izložbe i radionice. Godine 2009. i 2010. vodio je sa Stefanijom Rössl projekt o međunarodnoj fotografiji u razvoju Global Photography, koji je tiskan u mnogim katalozima i izložen u mnogim gradovima.

As a member of the scientific committee of SIFEST (Savignano Immagini Festival) he curated exhibitions and workshops. In 2009 and 2010 he curated with Stefania Rössl the project on emerging international photography Global Photography, published in two catalogues and exhibited in many cities.

Od 2001. godine radi kao profesor za Alma Mater Studiorum pri Sveučilištu u Bologni, te drži predavanja o povijesti i tehnici fotografije pri Fakultetu za Arhitekturu Aldo Rossi u Ceseni.

Since 2001, he has worked as a contract professor for the Alma Mater Studiorum of the University of Bologna, and lectures on the history and techniques of photography at the “Aldo Rossi” Faculty of Architecture in Cesena.

Njegove su fotografije izložene u brojnim europskim galerijama, te su tiskane u časopisima i katalozima u Italiji i diljem svijeta. Njegova je prva monografija “Indijske fotografije” tiskana 2010. godine.

THIS YEARS JURY

OVOGODIŠNJI OCJENJIVAČKI SUD

Massimo Sordi Savignano Immagini Festival

Massimo Sordi je diplomirao arhitekturu pri Sveučilištu u Veneciji (IUAV). Njegov rad o pinhole fotografiji mentorirao je prof. Italo Zannier. Krajem 1980tih, započeo je raditi kao fotograf s posebnim interesom za iščitavanje suvremenog krajolika.

His photographs have been exhibited in numerous European galleries and published in magazines and catalogues in Italy and around the world. In 2010 was published his first monograph Indian photographs. Massimo Sordi received his degree in architecture from the University of Venice (IUAV). His thesis on pinhole photography was supervised by prof. Italo Zannier. At the end of the 80s, he began working as a photographer with a special interest in reading the contemporary landscape.

Boris Cvjetanović

Rođen 1953. godine u Zagrebu.

Born in Zagreb, 1953.

Diplomirao je 1976. na Pedagoškoj Akademiji u Zagrebu - odsjek likovne umjetnosti.

Graduated in 1976 at the Academy of Pedagogy in Zagreb - Visual Arts Department.

Od 1976. do 1984. radio je kao restaurator u Hrvatskom restauratorskom zavodu.

Worked as a conservationist at the Croatian Conservation Institute from 1976 to 1984.

1981. godine počeo se profesionalno baviti fotografijom. Iste godine počinje raditi za studentski časopis SL da bi 1987. godine postao urednik fotografije.

Started professionally working with photography in 1981 . Started working for a youth magazine SL on the same year, and in 1987 was named Editor of Photography.

Izlagao je na brojnim samostalnim i skupnim izložbama diljem svijeta (Hrvatska, Europa, SAD, Japan, Australija...). Dobitnik je nekoliko prestižnih nagrada (1st Tokyo International Photo-Biennale ‘95 u Japanu, Grand Prix na izložbi Hrvatska fotografija ’97, nagrada Homo Volans ‘97) 1996. godine izdaje knjigu fotografija Prizori bez značaja. Iste godine njegove fotografije objavljene su knjizi Echoes - Contemporary Art at the Age of Endless Conclusions Francesca Bonamija (The Monacelli Press, New York, 1996). Dio su nekoliko značajnih svjetskih zbirki: Tokyo Metropolitan Museum of Photography; Muzej suvremene umjetnosti, Zagreb; Galerija Dante Marino Cettina, Umag; Muzej moderne i suvremene umjetnosti Rijeka; Galerija umjetnina Split; Narodni muzej Zadar - Galerija umjetnina; Hrvatski povijesni muzej, Zagreb te nekoliko privatnih zbirki.

He published in numerous independent and collective exhibitions throughout the world (Croatia, Europe, USA, Japan, Australia…). He is the winner of several prestigious awards (1st Tokyo International Photo-Biennale ‘95 in Japan, Grand Prix at the Croatian Photography Exhibition in ’97, and the Homo Volans Award in 1997) In 1996 he issued a photography book ‘Scenes without meaning’. On the same year his photos were published in the book ‘Echoes - Contemporary Art at the Age of Endless Conclusions’ by Francesca Bonami (The Monacelli Press, New York, 1996). They are a part of several significant world collections: Tokyo Metropolitan Museum of Photography; Modern Art Museum, Zagreb; Dante Marino Cettina Gallery, Umag; Modern Gallery Rijeka; Art Gallery Split; Croatian Historical Museum, Zagreb, as well as several private collections.

THIS YEARS JURY

OVOGODIŠNJI OCJENJIVAČKI SUD

Ana Opalić

Rođena je 1972. godine u Dubrovniku.

She was born in 1972 in Dubrovnik.

1997. Diplomirala je TV i filmsko snimanje na Akademiji dramskih umjetnosti u Zagrebu. Iste godine nagrađena je kao najbolja mlada fotografkinja na izložbi Hrvatska fotografija ’97. Fotografije samostalno izlaže od 1991. godine

In 1997 she graduated in the area of TV and film at the Academy of Dramatic Art in Zagreb. In the same year, she was awarded as the best young photographer at the exhibition Croatian Photography 1997.

Kao stipendistica UNESCO-Aschbers stipendije gostovala je 1997., 1998. u Centre d’Art i Natura u Kataloniji te u Tyrone Guthrie centru u Irskoj.

She has been exhibiting independently since 1991. As the UNESCO-Aschbers Scholarship winner, in 199798, she visited the Centre d’Art i Natura in Catalonia and the Tyrone Guthrie Center in Ireland.

Od 2000. članica je Hrvatske Zajednice Samostalnih Umjetnika. 2003. (zajedno sa Borisom Cvjetanovićem) predstavljala je Hrvatsku na 50. venecijanskom bijenalu. 2008. dobitnica je II nagrade na natječaju T-HT award @ msu.hr

Since 2000, she has been a member of the Croatian Association of Free Artists. In 2003 (together with Boris Cvjetanović), she represented Croatia at the 50th Venetian Bienalle. In 2008, she won second award at the competition T-HT award @ msu.hr.

Urednica je i osnivačica web portala Suvremena hrvatska fotografija.

She is the editor and founder of the web portal Contemporary Croatian Photography.

Izlagala je na brojnim samostalnim i skupnim izložbama u Hrvatskoj i inozemstvu. Fotografije su joj u kolekciji Muzeja suvremene umjetnosti u Zagrebu, Galerije umjetnina Split, Centra d’Art i Natura-Katalonija, Tyrone Guthrie centra-Irska, Heinz Bossert galerije - Koln, Centro Culturale Teresa Orsola Bussa de Rossi-Italija, te u nekoliko privatnih zbirki.

She has exhibited on many individual and group exhibitions in Croatia and abroad. Her photographs are a part of the collection of the Museum of Contemporary Art in Zagreb, Art Gallery Split, Center d’Art i Natura - Catalonia, Tyrone Guthrie Center - Irlenad, Heinz Bossert Gallery - Koln, Centro Culturale Teresa Orsola Bussa de Rossi - Italy, as well as a few private collections.

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SAMO U GRUPI PRIVREDNE BANKE ZAGREB

finalisti NATJEÄ&#x152;AJA COMPETITION finalists

COMPETITION finalists

finalisti NATJEČAJA

ODABIR FINALISTA I POBJEDNIKA GODIŠNJEG NATJEČAJA ROVINJ PHOTODAYS

SELECTION OF FINALISTS AND WINNERS OF THE ANNUAL CONTEST ROVINJ PHOTODAYS

piše: Sandra Vitaljić, predsjedica žiria

written by: Sandra Vitaljić, President of the Jury

Prva vijest o osnivanju festivala Photodays prije četiri godine, razveselila me, jer sam već tada u tome naslutila priliku za promociju kvalitetne fotografije u Hrvatskoj, a samim time i njen razvoj. Iako nisam ljubitelj fotografskih natječaja i nikada se na njih nisam prijavljivala, odlučila sam sudjelovati, vođena i respektom prema žiriju kojim je tada predsjedao Tihomir Milovac. Četiri godine kasnije, u toj ulozi našla sam se i sama, kao prva fotografkinja na čelu ocjenjivačkog odbora. Počašćena sam povjerenjem koje su mi ukazali organizatori festivala i trudila sam se taj zahtijevan zadatak obaviti najbolje što mogu. U tome su mi pomogli ostali članovi žirija, ugledni hrvatski fotografi Boris Cvjetanović i Ana Opalić, te Massimo Sordi i Stefani Rössl- dvoje predstavnika festivala suvremene fotografije “SIFEST“ koji se svake godine održava u Savignanu i okuplja neke od najuspješnijih fotografa iz čitave Europe. Svima nam je zajednička ljubav prema fotografiji koja nadilazi samo profesionalnu angažiranost i ogroman entuzijazam koji ulažemo u razvoj i promociju fotografije. Ana Opalić prošle je godine pokrenula internetsku stranicu koja okuplja mnoge autore koji djeluju na području suvremene hrvatske fotografije, a stranica se stalno nadopunjuje novim autorima i sadržajima. Festival Photodays i Anina internetska stranica Croatian-photography.com su projekti koji mogu staviti Hrvatsku na fotografsku mapu svijeta na kojoj u ovom trenutku ne postojimo. Mnogi su razlozi za to, a dio njih je u lanjskom uvodniku pre-

The first news about the start of the Photodays festival four years ago made me very happy, because I had already seen the opportunity to promote good photography in Croatia, and by that, its further development. Although I am not a fan of photography competitions and had never entered any such competitions, I decided to take part, driven by my respect of the jury, at the time headed by Tihomir Milovac. Four years later, I found myself in that same role, as the first female photographer heading a prizeawarding committee. I felt honored by the trust that was bestowed on me by the festival organizers and I tried to perform this demanding task to the best of my ability. In this, I was assisted by the other jury members, distinguished Croatian photographers Boris Cvjetanović and Ana Opalić, as well as Massimo Sordi and Stefani Rössl – two representatives of the festival of contemporary photography “SIFEST”, held every year in Savignano, gathering some of the most successful photographers from all over Europe. We all share a common love of photography, surpassing the mere professional engagement, and a vast enthusiasm we invest into the growth and promotion of photography. Last year, Ana Opalić launched a web site gathering many authors involved in contemporary Croatian photography, and this site is constantly being updated with new authors and their works. The Photodays festival and Ana’s web site www.croatianphotography.com are two projects which can place

cizno detektirala i prošlogodišnja predsjednica žirija, ugledna galeristica Helena Srakočić-Kovač. Neću ih ponavljati, da izbjegnem konstantno žaljenje koje je na ovim prostorima mnogo češće prisutno nego volja i zalaganje da se nešto promijeni. Umjesto toga, s veseljem ću konstatirati da sam iznimno zadovoljna fotografijama finalista ovogodišnjeg natječaja kao i mnogim radovima koji su bili podjednako dobri, no nisu uspjeli izboriti svoje mjesto u finalu. To se, prije svega, odnosi na kategoriju Umjetnički koncept u kojoj je odaziv bio iznad očekivanja, a kvaliteta predloženih projekata dovodila je žiri u tešku, ali zavidnu situaciju, da bira između dobro promišljenih i prezentiranih fotografskih serija. Zanimljivo je da su među prijavljenima, uz bok vrlo uspješnim i već etabliranim fotografima poput Jasenka Rasola ili dvojca Bachrach/ Krištofić, ravnopravno konkurirali i radovi nove generacije mladih fotografa kao što su Jelena Blagović, Borko Vukosav, Petra Mrša, Bojan Mrđenović, Maša Bajc i drugi. Uvođenjem posebne nagrade za mlade autore/ice (do 28 godina), organizatori Festivala Photodays naglasili su važnost poticanja mladih autora u njihovom radu. Nakon festivala 2009. godine, u osvrtu za časopis Refoto, napisala sam da se nadam da organizatori Photodaysa shvaćaju potencijal i odgovornost koje imaju kao pionirski foto-festival na ovim prostorima. Danas mogu reći da sam sigurna da tu odgovornost ozbiljno shvaćaju. Mladi (a i oni stariji) autori obrazuju se posjećujući fotografske radionice i izložbe velikana iz povijesti fotografije kao što su ove godine Erwin Blumenfeld, Frank Horvat, Mario Giacomelli i Franco Fontana. Suradnja s festivalima iz Italije, organizacijama i stručnjacima iz cijele regije, značajna je i zbog mogućnosti da se prezentira rad hrvatskih fotografa putem pregleda portfolia što je novina u Hrvatskoj. Prije ili kasnije, ta će razmjena ideja i izloženost mno-

Croatia on the photographic map of the world, where it is still not so present. There are many reasons for this, some of which were accurately highlighted in the editorial of last year’s president of the jury, the distinguished gallery owner Helena Srakočić-Kovač. I will not repeat them, in order to avoid the constant complaints, which is in these parts present more than the will and efforts to change something. Instead of that, I will conclude with joy that I am extremely satisfied with the photographs of the finalists of this year’s competition, as well as many works which were equally as good, but did not manage to win a place in the finals. This, first of all, refers to the category of Artistic Concept, in which the number of applications was beyond all expectations, while the quality of suggested projects put the jury in a difficult, but enviable position to choose between the well-thought-out and presented photographic series. It is interesting to notice that among the applied works, those made by the newer generations of young photographers, such as Jelena Blagović, Borko Vukosav, Petra Mrša, Bojan Mrđenović, Maša Bajc and others, competed equally side by side with the very successful and already established names, such as Jasenko Rasol and the duo Bachrach/Krištofić. By introducing a special award for young authors (under-28), the organizers of the Photodays festival emphasized the importance of stimulating young authors in their work. After the festival in 2009, in an article for the Refoto magazine, I wrote that I hoped the Photodays organizers realized the potential and the responsibility they have as the pioneering photo-festival in these parts. Nowadays, I may safely say that I am sure they take this responsibility quite seriously. The young authors (as well as the older ones) educate themselves by visiting photography workshops and the exhibitions of the greats from the history of photography,

gim pozitivnim utjecajima, rezultirati još većim napretkom hrvatske fotografije.

Finalistima čestitam, a svima želim dobro svjetlo!

COMPETITION finalists

finalisti NATJEČAJA

I na kraju, da se osvrnem na rad žirija kojim sam predsjedala. Generalni kriterij za odabir radova na ovogodišnjem natječaju bio je promišljeni autorski pristup temi, bez obzira o kojoj se kategoriji radi. Stoga nismo tražili samo fotografsku izvrsnost koju je pokazivala velika količina fotografija, već i propitivanje određene teme jezikom suvremene fotografije. Smatram da je fotografija koja taksativno nabraja ono što smo vidjeli, zamijetili ili doživjeli bez da uključi misaoni proces, stvar prošlosti bez obzira na njen estetski doseg. U vremenu u kojem su do kraja ogoljeni mitovi o istinitosti medija, a iPhone aplikacije u tren kreiraju sliku za kakvu je nekad bilo potrebno veliko fotografsko znanje i sati provedeni u foto-laboratoriju, jedino čime se autor može istaknuti u masi - osobno je promišljanje teme i motiva. No, svi prijavljeni fotografi koji nisu odabrani među ovogodišnje finaliste, nemaju razloga previše se žalostiti. Fotografija nije mjerljiva sportska disciplina ni precizna kao matematička formula. Ukus žirija određuje krajnji izbor, a sljedeće godine u žiriju će sjediti neki drugi ljudi koji će možda biti skloniji drugačijoj estetici. Za utjehu, mogu napomenuti da ni većina mojih fotografija nikada nije ušla u uži krug natječaja, ali ne odustajem.

such as Erwin Blumenfeld, Frank Horvat, Mario Giacomelli and Franco Fontana. The cooperation with festivals from Italy, organizations and experts from the entire region, is significant also owing to the possibility to present the work of Croatian photographers by viewing their portfolios, which is a novelty in Croatia. Eventually, this exchange of ideas and exposure to many positive influences will result in the greater progress of Croatian photography. In the end, I will just refer to the work of the jury I presided. The general criterion for the selection of works on this year’s competition was a well-thought-out authorial approach to the subject matter, regardless of the category. Therefore, we were not searching just for a photographic greatness, presented by a large number of photographs, but also the study of a certain subject with the language of contemporary photography. I believe that a photograph listing the things we have already seen, noticed or experienced without turning our thought process on, is a thing of the past regardless of its esthetic scope. In the time when myths on the truthfulness of the media have been completely demolished, and iPhone applications can make a photograph in a few seconds, a photograph that used to require a large knowledge of photography and hours spent in the photographic laboratory – the only thing that may distinguish the author from the crowd – is one’s personal consideration of the theme and the motifs. However, all the applied photographers who have not been chosen among this year’s finalists, do not have any reason to be sad. A photograph is not a measurable sports discipline nor is it as precise as a mathematic formula. The jury’s sense of taste will determine the ultimate choice, and next year the jury will consist of some other people which may be more inclined to a different kind of estheticism. As a consolation, I can say that most of my photographs have never entered into the second round of the competition, but I do not quit. I congratulate the finalists, and wish everyone a good lighting!

ARHITEKTURA ARCHITECTURE

Darija Cikač - Silosi (serija / series)

ARHITEKTURA ARCHITECTURE

Nikola Zelmanović - Klaonica u Heinzlovoj (serija / series)

ARHITEKTURA ARCHITECTURE

Tomislav Može - Zapruđe (serija / series)

MODA FASHION

Ana Mihalić - Moda (serija / series)

MODAâ&#x20AC;&#x201A; FASHION

Bruna Kazinoti - POP (serija / series)

MODA FASHION

Mladen Šarić - Wood Stone (serija / series)

PEJZAŽ LANDSCAPE

Bojan Mrdenović - Selo Toranj (serija / series)

PEJZAŽ LANDSCAPE

Igor Zirojević - Pejzaž (serija / series)

PEJZAŽ LANDSCAPE

Petra Mrša - Površina (serija / series)

PORTRET PORTRAITS

Davor Konjikušić - Promatrači (serija / series)

PORTRET PORTRAITS

Smiljka Guštak - Linije (serija / series)

PORTRET PORTRAITS

Tjaša Kalkan - Rana, Pejzažni portret i Šah (serija / series)

PRIMIJENJENA FOTOGRAFIJA APPLIED PHOTOGRAPHY

Mladen Šarić - Parfemoskop i zadimljeni mirisi (serija / series)

PRIMIJENJENA FOTOGRAFIJA APPLIED PHOTOGRAPHY

Sanja Bachrach / Mario Krištofić - Staklo (serija / series)

PRIMIJENJENA FOTOGRAFIJA APPLIED PHOTOGRAPHY

Tomislav Može - Tmobile (serija / series)

AKT/TIJELO NUDE

Barbara Šarić - The most beautiful (serija / series)

AKT/TIJELO NUDE

Neven Petrović - Soba (serija / series)

AKT/TIJELOâ&#x20AC;&#x201A; NUDE

Petra Slobodnjak - Lucija (serija / series)

DOKUMENTARNA FOTOGRAFIJA DOCUMENTARY PHOTOGRAPHS

Dinko Cepak - Čistilište / Purgatory Circle (serija / series)

DOKUMENTARNA FOTOGRAFIJA DOCUMENTARY PHOTOGRAPHS

Dragan Matić - Torbica, Kosor i Obama

DOKUMENTARNA FOTOGRAFIJAâ&#x20AC;&#x201A; DOCUMENTARY PHOTOGRAPHS

Vlado Kos - Dalekovod

PUBLIKACIJEâ&#x20AC;&#x201A; PUBLICATIONS

Krunoslav Rac - Velebit

PUBLIKACIJE PUBLICATIONS

Saša Poldan - Sve je u pogledu

PUBLIKACIJE PUBLICATIONS

Toni Hnojčik - To sam radio u ratu, sine

UMJETNIČKI KONCEPT ARTISTIC CONCEPT

Hrvoje Slovenc - Home Theatre

IZJAVA UMJETNIKA

ARTIST’S STATEMENT

U opusu fotografija pod zajedničkim nazivom “Home Theater“, Hrvoje Slovenc istražuje kućne prostore u kojima je jedan dio namijenjen i uređen za S&M aktivnosti. Nastale fotografije rezultat su autorove višegodišnje ambicije prikazivanja svakodnevnog života, posebice onog u intimi doma, poput neke vrste performansa.

In the series Home Theater I am photographing domestic spaces in which sadomasochistic sex acts are taking place. Even though the images are of the actual, lived-in domestic spaces, they appear to be artificial and even hyperreal, as if constructed as sets for a movie or a play.

Sve fotografije iz ovog opusa, iako snimane u pravim domovima, izgledaju poput scena konstruiranih za kazalište ili film – one su u potpunosti oštre, snimane pod umjetnom rasvjetom i uz djelomično iskrivljenu perspektivu što pridodaje dojmu hiperrealnost i artificijelnosti. Nakon sto je Hrvoje pronašao spomenute domove i dobio dozvolu za njihovo fotografiranje, tijekom mnogobrojnih je posjeta sakupljao datoteku negativa snimanih kamerom velikog formata. Potom, u postprodukciji, Hrvoje je rekonstruirao fotografirane domove i podijelio ih u diptihe i triptihe ne bi li odvojio konvencionalni kućni prostor od onoga namijenjenog za S&M aktivnosti, sačuvavši pritom iluziju prostorne cjelovitosti. Koristeći spomenutu tehniku, autor se pita: “Jesu li čak i konvencionalni kućni prostori u neku ruku scene na kojoj mi odigravamo uloge koje su nam dodijeljene društveno propisanim normama?“

In the broader sense I am interested in life as a form of theater, particularly in ways domestic spaces have been acted in and acted upon. I am intrigued by the “scenes” that people construct in their homes with all their semiotic referents not just to their individual pleasures but, more importantly, to the ones that are socially prescribed. What strikes me in the spaces I photograph is the proximity and even overlapping of performative spaces and traditional domestic spaces. By dividing these two spheres into separate photographic panels, I am ultimately questioning the notion of the traditional domestic space as something that is spontaneously, creatively designed-or “authored”-by us as individuals. After the sadomasochistic act is over and the “performers” “step into” the domestic space, the problem remains: Do we assume a different role or identity? Do we cease acting or do we merely exchange scripts? Does the traditional domestic space then become a performative space as well? Finally, do we, as individuals, consciously mediate that shift, or is it determined for us by the larger culture in ways we are unaware of?

UMJETNIČKI KONCEPT ARTISTIC CONCEPT

Jasenko Rasol - Botaničke fotografije (serija / series)

IZJAVA UMJETNIKA

ARTIST’S STATEMENT

Zanimljiva je ljudska potreba za stvaranjem umjetnih oaza mira, dok s druge strane primjećujemo neobičnu dosljednost u uništavanju svakojake raznolikosti. Pod idejom uređenosti uzdižemo uniformnost zelenog travnjaka namjesto raznovrsnosti primjerice obične livade; koja se podsvjesno čita kao mjesto neprimjerenog kaosa, a svjesno kao neuređena točka kojoj je potrebna ljudska ruka ne bi li postala bolje mjesto.

It is interesting how man has a need to create an artificial oasis of peace while on the other hand we notice the unusual consistency in destroying diversity. Behind the idea of order, we elevate the uniformity of a green lawn instead of the diversity of, for instance, a common meadow, which is subconsciously understood as a place of inappropriate chaos, and consciously as an unarranged place which needs the human hand in order to make it a better place.

Nameće se nakaradan kriteriji koji podcrtava čovjekovu želju za dominacijom ili u najmanju ruku, apsurdnom estetizacijoom prirode. Priroda se želi svesti na jednoga označitelja: crvena ruža, bijeli voćnjak, zelena engleska trava; dok se svaka druga različitost ili ne razumije ili smatra nepoželjnom. Na primjeru “botaničkih fotografija“ snimljenih u Zagrebačkom botaničkom vrtu želim naglasiti paradoks ljudskog ponašanja koji kao da kaže: na mjestu botaničkih vrtova dozvoljavamo svaku različitost. Dajemo da o tome brinu stručnjaci, a uživaju entuzijasti. Ovo su mjesta posebne skrbi i mi ovdje kontrolirano i stručno potičemo raznovrsnost do koje nam je načelno jako stalo, no iz nekog razloga, u svakodnevnoj ne-botaničkoj praksi radimo upravo suprotno. Takve idilične točke djeluju kao mjesta umivanja savjesti civilizacije sumnjivih namjera i time postaju paradigmatska mjesta gdje se miješa stvarnost i fingiranje stvarnog pa se dubinski pokazuje nemoć trenutka u kojem živimo. Pritom moram naglasiti da ljudi koji rade na takvim mjestima kao i mjesta sama, nemaju nikakve veze s društvenim erozijama svake vrste i lošim navigacijskim sustavima u cjelini. Botanički vrtovi su relikti neke bolje prošlosti i time osuđeni na polako umiranje jer u sve utilitarnijem društvu više ne trebaju ni deklarativna mjesta za lažno legitimiranje; a mjesta poput Zagrebačkog botaničkog vrta, u degradaciji svih vrijednosti, postat će, samo, još jedna unosna građevinska parcela.

A grotesque standard suggests itself, a standard underlying man’s desire to dominate or, at least, a desire for an absurd aestheticization of nature. Nature is to be boiled down to one denominator: red rose, white orchard, the green English lawn, while every other diversity is either not understood or considered undesirable. With the example of “botanical photography”, made in Zagreb’s Arboretum, I would like to emphasize the paradox of human behavior which seems to be saying: in botanical gardens, diversity is allowed. We let experts take care of it, and the enthusiasts to enjoy it. These are the places of special concern, and here we control and expertly stimulate diversity, which in principle we deeply care for, but for some reason, in everyday non-botanical practice, we do the exact opposite. These idyllic sites act as places for easing the consciousness of civilization with suspicious intentions, thus becoming paradigmatic places where reality and the faking of reality mix, showing a profound incapacity of the moment in which we live. In that, I need to emphasize that people working at such places, as well as the places themselves, do not have any connection with social erosions of any kind and are bad navigational systems in general. Botanical gardens are relics of a better past, and are thus condemned to a slow death, because in an increasingly utilitarian world, there is no more room for declarative places of false legitimizing, and places such as Zagreb’s Arboretum will, in the degradation of all values, become just one more profitable construction site.

UMJETNIČKI KONCEPT ARTISTIC CONCEPT

Silvestar Kolbas - Kino Crvena zvijezda (serija / series)

IZJAVA UMJETNIKA

ARTIST’S STATEMENT

Kako sam po zvanju filmski snimatelj, 1991. godinu sam uglavnom proveo snimajući za potrebe Hrvatske televizije po ratom ugroženim područjima Hrvatske, ponajviše u Vinkovcima u kojima sam odrastao. Kao i svi hrvatski građani koji su bili u doticaju s ratnim zbivanjima, i danas liječim različite traume. No, jedan me se događaj posebno dojmio. Moja je majka svoju mirovinu dočekala radeći u vinkovačkoj knjižnici. Knjižnica se nalazila u samom centru grada, na Korzu, gdje sam kao mladić svake večeri šetao i besposličario. Ondje sam volio dolaziti... U jesen ‘91, 26. rujna, knjižnica je pogođena raketnim projektilom ispaljenim iz Mirkovaca. Izgorjele su tisuće knjiga i sama zgrada. Tome nisam bio prisutan, nemio čin se dogodilo baš nekako između mojih dolazaka. Tih sam dana snimao po Osijeku, Zagrebu i Sisku. No, svejedno sam to osjećao kao osobni gubitak. Sliku plamena koji je gutao knjige doživio sam vrlo bolno. U istom je napadu stradalo i kino, smješteno uz knjižnicu. Prije Drugoga svjetskog rata kino je bilo dijelom Hrvatskog doma, kao i knjižnica, ali ja ga pamtim kao kino Crvena zvijezda, ili “veliko kino“. Trebam li reći kolike i kakve me uspomene vežu za njega? Tamo sam kao mlad sanjao o svojoj filmskoj karijeri, a kasnije sam u stvarnosti snimao njegovo propadanje. (Gradske su vlasti poslije odlučile kino posve srušiti, a ne obnavljati, jer će se na tom mjestu graditi novi velebni Hrvatski dom. No, to se nije dogodilo, i ondje je još uvijek samo neuređeno parkiralište.)

As I am a filmmaker by profession, I spent most of 1991 filming for the needs of Croatian Television across the Croatian territories threatened by war, mostly Vinkovci, where I grew up. As most Croatian citizens who had no contact with the ravages of war, I am still recovering from various traumas. However, there was one event that has particularly stuck in my mind. My mother was spending her last years before retiring working in the library in Vinkovci. The library was situated in the very center of the city, on the main precint, where we used to walk and loaf about when we were young. I used to love going there… In the fall of 1991, on 26th September, the library was hit by a rocket fired from Mirkovci. Thousands of books burnt away, along with the entire building. I was not there at the time.. In those days, I was filming in Osijek, Zagreb and Sisak. But still, I felt it as a personal loss. The image of the flames devouring the books became painfully engrained in my mind. The cinema, situated next to the library, was damaged in the same attack. Before World War II, the cinema was a part of the Croatian House, just like the library, but I remember it as the cinema Crvena Zvijezda (Red Star), or as the excellent cinema. Need I say how many memories connect me with it? As a young man, I used to dream about my film career there, and in reality, I filmed its destruction. (Later on, the city government decided to completely tear down the cinema, instead of restoring it, because a new magnificent Croatian House was to be built on that site. But, instead of that, it is still just a neglected parking lot.)

Godinu – dvije kasnije u neraščišćenim ruševinama kina naletio sam na kutije s ostacima filmske vrpce. Vrpca je bila jako zgužvana, prljava i emulzije oštećene od kiše, ali mjestimice se moglo razabrati o čemu se radi. Ne znajući točno zašto, spremio sam vrpcu u plastičnu vrećicu i ponio sa sobom u Zagreb. Dugo se nisam usudio baviti njenim sadržajem. Tek sam nedavno povećao slike s pronađenih komadića kino-filma. Na jednom komadiću filma je crno-bijela snimka šetnice uz stari most u Mostaru, vjerojatno dio Filmskih novosti koje su se nekad prikazivale kao predigra igranim filmovima. Slike na ostalim vrpcama bile su neprepoznatljive, vremenske nepogode rastočile su kolor sliku u apstraktne mrlje. Povećane, sve te slike izgledaju fantastično. Oštećene snimke Mostara su poput grafika na kojima umjetnik namjerno degradira sliku unoseći elemente vlastitog viđenja vremena destrukcije i vlastitog očaja. Povećani fotogrami u boji iza površinske privlačnosti nasumičnih nakupina boja nose poruku o raspadanju, trošnosti, entropiji. Koliko je to posljedica rata, a koliko prirodnog tijeka stvari? Želim izložiti povećane nizove fotograma s nađenih komadića filmskih vrpci. One u sebi vizualno sažimaju sav rat, i srpsku agresiju na Hrvatsku i Bosnu, i hrvatsko uplitanje u rat u Bosni, i moju nemogućnost da se od svega toga ogradim. Zato i fotografije nastale povećavanjem zaprljanih filmskih fotograma doživljavam kao svoju paradigmu rata, u njima je sadržan sav ratni kovitlac, sva nemogućnost da se iz njega izvučem, i sav osjećaj posvemašnjeg gubitka kojeg mi je rat prouzročio.

A year or two afterwards, among the remaining ruins of the cinema, I came across some boxes which still contained some film. The celluloid was very crumbly and dirty, the emulsion had been damaged by the rain, but it was possible to partially discern what was on it. Without knowing exactly why, I put the film away in a plastic bag and took it to Zagreb with me. For a long time, I did not dare to deal with its contents. It was only recently that I enlarged the pictures from the recovered film. On one piece of the film, there is a black-and-white picture of the promenade along the old bridge in Mostar, probably a part of the Film News that used to be shown as a prologue to films. The pictures on other reels were unrecognizable; weather conditions had dissolved the color into abstract blurs. When enlarged, these images looked fantastic. The damaged footage of Mostar are like images in which the artist had deliberately degraded the picture introducing elements of his own perception of the time of their destruction and his own despair. Beyond their superficial attractive blobs of color, the enlarged color photograms carry a message of decay, disrepair, entropy. To what extent is this the consequence of the war or of the natural order of things? I would like to exhibit the enlarged sequences of the photograms from the recovered pieces of film. Visually they summarize the entire war, the Serbian aggression on Croatia and Bosnia, the interference of Croatia into the war in Bosnia, and my inability to detach myself from it all. Therefore, I see the photographs made by enlarging the degraded film’s photograms as my own paradigm of the war, they contain the entire whirl of war, all my incapability to get out of it, as well as the feeling of a total loss that this war has caused me.

VIDEO SNIMLJEN FOTOAPARATOM VIDEO SHOT BY A PHOTO-CAMERA

Marin Mešter - Future

VIDEO SNIMLJEN FOTOAPARATOM VIDEO SHOT BY A PHOTO-CAMERA

Neven Muretić - Ples

VIDEO SNIMLJEN FOTOAPARATOM VIDEO SHOT BY A PHOTO-CAMERA

Vladimir Kanić - Violence experimentale

POSEBNA NAGRADA ZA MLADE AUTORE (DO 28 GODINA) SPECIAL AWARD FOR YOUNG AUTHORS (UNDER 28)

Borko Vukosav - “P” - Personality / Posession (serija / series)

POSEBNA NAGRADA ZA MLADE AUTORE (DO 28 GODINA) SPECIAL AWARD FOR YOUNG AUTHORS (UNDER 28)

Jelena Blagović - Obiteljsko srebro (serija / series)

POSEBNA NAGRADA ZA MLADE AUTORE (DO 28 GODINA) SPECIAL AWARD FOR YOUNG AUTHORS (UNDER 28)

Petra Mrša - Nova škola (serija / series)

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

50 godina Rock ‘n’ Rolla: Žene koje su stvarale Rock

50 Years of Rock & Roll Through the Eyes of Women Photographers

ADRIS GALLERY

GALERIJA ADRIS

piše: Gail Buckland

written by: Gail Buckland

Rock and roll ima svoju desnu ruku, koja se zove fotografija. Sama glazba ne bi u punom opsegu mogla dočarati bunt, oslobođenje, ekstazu, zabavu i grupnu dinamiku koja tvori rock. Glazbi su bile potrebne slike kako bi mogla prenijeti poruku mira i osobne preobrazbe. Slika ostaje i nakon što glazba prestane, poput strujanja koji jest rock’n roll.

Rock and roll has its own right hand man, and its name is photography. The music alone could not convey the full extent of the rebellion, liberation, ecstasy, fun and group dynamic that is rock. The music needed images to communicate its message of freedom and personal reinvention. The still image remains after the music stops, a conduit for the electricity that is rock ‘n’ roll.

Rock and roll je dvojna revolucija – kako zvuka tako i slike.

exhibitions

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50 godina Rock ‘n’ Rolla: Žene koje su stvarale Rock slavi jedanaest žena – Robertu Bayley, Janette Beckman, Jini Dellaccio, Jill Furmanovsky, Lauru Levine, Janet Macoska, Catherine McGann, Ebet Roberts, Amalie R. Rothschild, Sue Rynski, Kate Simon – koje su fotografirale glazbenike i njihove obožavatelje s puno integriteta i senzibilnosti

Cilj ove izložbe nije ukazati na to da žene vide drugačije od muškaraca. Svaki umjetnik, neovisno o spolu, jedinstveno doživljava život. Zamolila sam svaku umjetnicu da sudjeluje na Rovinj Photodays 2011 zbog toga što su ostavile trag na području glazbene fotografije. Kako kulturna tako i glazbena povijest,

Rock ‘n’ roll is a double barreled revolution – it is sound and image. 50 Years of Rock ‘n’ Roll: Women Who Made Rock celebrates – Roberta Bayley, Janette Beckman, Jini Dellaccio, Jill Furmanovsky, Laura Levine, Janet Macoska, Catherine McGann, Ebet Roberts, Amalie R. Rothschild, Sue Rynski, Kate Simon - who have photographed musicians and their fans with integrity, sensitivity and creativity. This exhibition does not propose that women see differently from men. Each and every artist, regardless of gender, experiences life uniquely. I have asked each artist to participate in Rovinj Photodays 2011 because she has made her mark in the field of music photog-

Sue Rynski: FRANCE DE GRIESSEN

Janet Macoska: Michael Jackson

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bogatija je zbog njihovog doprinosa. Također znam da su se morale boriti u okruženju tradicionalno smatranim “muškim klubom.” Sve ove izuzetne žene naučile su ne samo kako opstati, već i kako uspjeti u ovoj okolini u kojoj dominiraju muškarci. Ne, ne postoji “ženski pogled na svijet, već je svaka umjetnica ostala vjerna svojoj vlastitoj viziji.

raphy. Cultural, as well as musical, history is richer due to their contributions. I also know they had to struggle in what has traditionally been a “men’s club”. All these remarkable women learned how not only to survive, but thrive, in this male dominated environment. No, there is no “female way of seeing,” but each artist has held true to her own vision.

Fotoaparat je isto toliko sredstvo samoizražavanja kao što su to gitara ili ljudski glas. Ove fotografkinje te glazbenici koje su fotografirale su u većini slučajeva njihovi kolege umjetnici ili buntovnici. Između njih postoji međusobno poštovanje i razumijevanje, a u mnogim slučajevima i pravo prijateljstvo.

The camera is as much a tool for self expression as the guitar or drums or the human voice. These photographers and the musicians they photographed are, for the most part, fellow artists and fellow rebels. There is mutual respect and understanding between them, and in many instances, real friendship.

Jedini glazbeni fotografi čija su imena poznata su oni koji su sami postali poznate ličnosti. Revolucija je ipak trebala mnoge fotografe u prvim redovima koji bi izvještavali o nastupajućem kulturnom preobražaju. Nitko ne bi vjerovao u revoluciju- možda čak i najveću socijalnu revoluciju koju je svijet ikada upoznao- bez postojanja slika. Nova “braća po oružju“ regrutirana su samo zbog toga što bili zaljubljeni u imidž rocka kao i u njegov zvuk.

The only music photographers whose names are known are those who themselves have become celebrities. Yet, the revolution known as rock ‘n’ roll needed many photographers on the front lines to report on the cultural transformations taking place. No one would have believed in the revolution – perhaps the greatest social revolution the world has ever known - without the pictures. New comrades-in-arms were recruited simply by falling in love with the image of rock as well as the sound.

Slike su predlošci za osobnu preobrazbu. Fotografije rocka su studijske smjernice za frizure, odjeću i govor tijela. Oni su “šalabahteri“ moderne kulture. Glazba prenosi dušu ali fotografije prenose stil. Obuhvatiti glazbu znači živjeti glazbu. Fotografije rocka su sveobuhvatne, bogate i preobražajne te odražavaju kako vremena tako i glazbu. Glazbena fotografija ima posebno mjesto u srcima ljudi. U danima LP-a (long-play ploča), omoti albuma bili su doista značajni, dovoljno velikog formata da bi se sami mogli smatrati umjetničkim djelima, izloženi na

The pictures are templates for personal reinvention. Rock photos are study guides for hair, clothes, and body language. They are the cheat sheets for modern culture. Music transports the soul but photographs convey style. To embrace the music is to live the music. The photography of rock is broad and rich and transformative, and reflective of the times as well as the music. Music photography has a tender place in people’s hearts. In the days of the LPs album covers were

policama i zidovima. LP-evi bi, čak i kada su samo “ležali okolo“, stvarali vizualni učinak. Važnost vizualnog smanjila se kada su na prvim kasetama i potom i na CD-ima (kompaktnim diskovima) slike postajale manje a često i trivijalizirane. Fotografije eksternaliziraju glazbu, daju ljudima nešto o čemu mogu razmišljati izvan samih sebe i izvan zvuka. iPod generacija, s navučenim slušalicama izgubljena je u svojem vlastitom privatnom svijetu. Sama slika daje više od vizualnog identiteta glazbi, ona dalje ljudima zajednički totem. Danas zvuči kao klišej govoriti o tome kako je glazba “soundtrack“ “naših života” Slike na obožavanim naslovnicama albuma, posteri na zidovima spavaćih soba, knjige o omiljenih sastavima i glazbeni časopisi, glazba i glazbene fotografije skinute s interneta rijetko se spominju kao nešto što je imalo utjecaja na naše živote. Ali glazba je pak jedna od vodećih načina na koji se ljudi međusobno dijele i klasificiraju u subkulture. Milijuni ljudi oblikuju svoj izgled prema fotografijama njihovih glazbenih idola. Kako sama glazba postaje dijelom nečijeg bića, tako i nešto duboko izvire iz samog gledanja slika. “Optičko - nesvjesno”, izraz koji je stvorio Walter Benjamin, snažno se drži slika. One su u tolikoj mjeri dio nas samih kao što je to glazba. One diraju naša srca, proširuju maštu, i imamo osjećaj da su naši stari prijatelji. Slike, kao i glazba su obilježja na putovanju naših života.

substantial objects, big enough in format to serve as works of art, displayed on shelves and walls. Even just lying around LPs had visual impact. The importance of the visuals diminished when first tapes and then CDs miniaturized and then often trivialized the image. Photographs externalize the music, give people something to think about outside themselves and the sound. The iPod generation, earphones embedded, are lost in their own private worlds. The still image gives more than visual identity to the music, it gives people a shared totem. It is a cliché now to speak about the music being the “soundtrack of our lives.” The pictures on adored album covers, the posters on bedroom walls, band books and music magazines, downloaded music photographs from the internet are rarely mentioned as having an impact on our lives. Yet, music is one of the predominant ways in which people divide themselves and classify themselves into subcultures. Millions model their “look” on the photographs of their musical idols. And just as the music becomes part of one’s being, something profound also transpires when looking at pictures. The “optical unconscious,” a term coined by Walter Benjamin, vigorously holds onto images. They are as much part of us as the music. They touch the heart, open up the imagination, feel like old friends. The pictures, as much as the music, are milestones along life’s journey.

Goli i prikriveni

The Naked and the Veiled

Zavičajni muzej grada Rovinja piše: Erwin Blumenfeld Ovaj poseban odabir fotografija mog oca, Erwina Blumenfelda (1897. – 1969.), prvi je puta da se njegove fotografije javno pokazuju na prostoru jugoistočne Europe. Izložba prikazuje njegove poznate aktove, od kojih su mnogi predstavljeni u mojoj knjizi, The Naked and the Veiled (Goli i prikriveni), a također sadrži portrete, dvije poznate montaže Hitlera, te nekoliko modnih fotografija po kojima je postao poznat u SAD-u.

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Kako gledamo njegove fotografije, vrlo nam brzo postaje očita izravnost njegova pristupa. Nevjerojatna je svježina, odvažnost i sofisticiranost tih radova, nastalih prije šezdeset godina. Imamo osjećaj gotovo djetinje kreativnosti na tim slikama, međutim, njega nije zanimala izravnost mehaničkog slikanja kao što je to moderno danas.

Blumenfeld je bio perfekcionist – sav je posao u tamnoj komori obavljao sam. On je bio jedan od prvih velikih umjetnika koji je cijenio veliki potencijal boje, te je to u potpunosti iskorištavao 1939. za časopis Life Magazine. Da je poživio, bio bi potpuno fasciniran Photoshopom i svim mogućnostima koje je on otvorio. Također, siguran sam da bi bio oduševljen digitalnim tiskanjem koje je omogućilo izložbu kao što je ova.

City of Rovinj County Museum written by: Erwin Blumenfeld This special selection of photographs by my father, Erwin Blumenfeld (1897-1969) is the first time his images have been shown publicly in South East Europe. The show features his world famous nudes, many of which are featured in my book, The Naked and the Veiled, but also includes portraits, two famous montages of Hitler and some of the fashion pictures for which he became famous in the United States. His directness of approach swiftly becomes evident as one looks at these images. The freshness, boldness, as well as the sophistication of these works, all created more than sixty years ago, are remarkable. There is a sense of almost childlike creativity in his images, but he was not interested in the immediacy of the mechanical recording so fashionable today. Blumenfeld was a perfectionist - doing all the darkroom work himself. He was one of the first great artists to appreciate the incredible potential of color and exploited this fully in 1939 for Life Magazine. Had he lived, he would have been entirely absorbed in Photoshop and all the possibilities which this has opened. I know that he would also have admired how digital printing has made an exhibition such as this possible.

Pažljivo je i maštovito uokvirivao svoje slike s neizmjernom strpljivošću i koncentracijom. Na više od 100 njegovih naslovnica za Vogue, Harpers i ostale časopise, njegova su grafička rješenja izrazito dramatična. Njegov izrazit smisao za izgled kadra očit je na slikama odabranima za ovu izložbu. Blumenfeld bi uživao u kontrastiranju i uspoređivanju slika na ovoj izložbi. U svojoj knjizi, My hundred best (Mojih sto najboljih), proveo je više od dvanaest godina spajajući parove i uređujući njihov redoslijed. Neki su kritičari istakli da u knjigu nije uključena većina njegovih kultnih modnih fotografija, ali one mu jednostavno nisu bile drage. Za razliku od nekih fantastičnih fotografa, kao što su Blossfelt, Sander ili Halsman, Blumenfeld se nije želio specijalizirati. I zaista, malo je fotografa danas koje privlači toliki raspon tema, što obuhvaća crkvenu arhitekturu, primitivnu umjetnost, te opsesiju autoportretima, kao što je njega privlačilo.

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U svojoj je autobiografiji napisao: “Želio sam živjeti, zaraziti svijet svojim duhom.“ U tome je fantastično uspio, svojim kolažima, slikama, pjesmama, pisanim radovima, a nadasve svojim fotografijama.

He carefully and imaginatively framed his images with enormous patience and concentration. In his more than 100 cover shots for Vogue, Harpers, and other magazines, his graphic layouts were highly dramatic. His exceptional sense of layout is evident in the images selected for this show. Blumenfeld would have enjoyed juxtaposing and comparing the contrasting pictures in this show. In his book, “My Hundred Best” he spent more than a dozen years matching pairs and ordering their sequence. Some critics have pointed out that the book left out most of his iconic fashion shots, but these were simply not his favorites. Unlike some outstanding photographers, such as Blossfelt, Sander or Halsman, Blumenfeld had no desire to specialize. Indeed few photographers today are tempted by his range of subjects, which encompassed church architecture, primitive art, and the obsession with self-portraits, as he was. In his autobiography, he wrote “I wanted to live, to infect the world with my spirit”. He managed to do this brilliantly in his collages, paintings, his poems, his writings, and above all in his photographs.

Prije dvije godine njemački kustos, Janos Frecot, napisao je: “Danas se povijest fotografskih portreta i modne fotografije ne može zamisliti bez razmatranja rada Erwina Blumenfelda. Uistinu, utjecaj njegovog rada nastavlja se mjeriti na globalnoj razini“.

The German curator, Janos Frecot, wrote two years ago that “The history of photographic portraits as well as fashion photography is unthinkable today without considering the work of Erwin Blumenfeld. “Indeed the impact of his work continues to be evident globally”.

Mnogi vrhunski fotografi, kao što su Nick Night i David Bailey, izravno priznaju Blumenfeldov utjecaj na njihov vlastiti rad. Prema tome, nadamo se da će mnogi mladi posjetitelji ove izložbe u Rovinju biti inspirirani maštom prikazanom na fotografijama te da će nastaviti sa štafetom u sljedeću generaciju.

Many of the top photographers, such as Nick Knight and David Bailey, freely admit to Blumenfeld’s influence on their own work. So it is hoped that many of the young visitors to this show in Rovinj will be inspired by the imagination displayed in these images and will then carry the baton for the next generation.

ROVINJ PHOTODAYS PaRtNER

exhibitions

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Franco Fontana & Mario Giacomelli - Dva majstora talijanske fotografije XX. stoljeća

Franco Fontana & Mario Giacomelli - Two Masters of Italian 20th Century Photography

Zavičajni muzej grada Rovinja

City of Rovinj County Museum

piše: Walter Liva

written by: Walter Liva

“… glupo je tvrditi da će kolor ubiti crno-bijelu fotografiju. Radi se o dva različita medija, čija je i svrha različita. Oni jedno drugome nikako ne mogu biti konkurencija…” (Edward Weston, Modern Photography, 1947)

“…claiming that colour will be the end of black-andwhite photography is stupid. These are two different media, with an entirely different purpose. They cannot compete against one another…” (Edward Weston, Modern Photography, 1974)

Kritičar Christian Gattinoni (“Posljednje stranice modernog krajolika”, Franco Fontana – Mario Giacomelli, Paesaggi–Landscapes, Gribaudo, Savigliano, 2003) podsjetio nas je da “... Giacomelli, svojim ekspresionističkim potezom koji naglašava kontraste, istovremeno je i pjesnik i crtač. Korištenje crno-bijele tehnike ipak približava njegova djela umjetničkom izričaju, ponajviše zbog korištenja srebrnastocrne boje koju postiže suprotstavljanjem različitih jačina svjetlosti...”.

The critic Christian Gattinoni (“Last Pages of a Modern Landscape”, Franco Fontana – Mario Giacomelli, Paesaggi–Landscapes, Gribaudo, Savigliano, 2003) reminded us that”...Giacomelli, with his expressionist strokes emphasizing contrasts, was simultaneously a poet and a sketcher. Still the use of black-and-white technique brings his works closer to artistic expression, mostly due to the use of a silvery-black colour achieved by contrasting different degrees of lighting...”

Zapravo, Mario Giacomelli potpuno je izokrenuo temelje neorealizma uvođenjem posve nove tonalne poezije u fotografije. Upravo stoga, ponekad njegova djela nalikuju snu. Giacemelli je stvorio fotografske priče iz kojih je izuzeo nepotrebne detalje i upravo na taj način priskrbio je sebi titulu najvećeg talijanskog fotografa XX. stoljeća. Umjetnik je to koji je gledao zemlju koja ga okružuje, koji je realnost čitao crno-bijelo: polja, stabla, plaže. Giacomelli je svijet promatrao

Actually, Mario Giacomelli turned the foundations of neorealism upside down by introducing a completely new tonal poetry into his photography. It is precisely because of this, his works seem like a dream. Giacomelli created photographic stories from which he excluded unnecessary details and thus he gained the title of the greatest Italian 20th century photographer. He is an artist who studied the land around him,

Mario Giacomelli

Franco Fontana

očima intelektualca, poruke je slao priklanjajući se fotografskom ekspresionizmu, naglašavajući kontraste i znakove. U njegovim bi krajolicima nebo jednostavno nestajalo kako bi zemlja dobila apsolutnu vizualnu prevagu, a ta je ista zemlja bila “izgrebana” u prenaglašenom kontrastu reprodukcije, u kojem caruje sjeta: “... Ja ne ocrtavam krajolik, već znakove, memoriju postojanja nekog ”mojeg” krajolika. Ne želim da bude odmah prepoznat. Želim radije da se misli na određene znakove, na čovjekove izborane ruke. Naknadno sam opazio da sam na takav način snimao svoju unutrašnjost, a kroz krajolik sam pronalazio svoju dušu...”,

who read the reality in black-and-white: fields, trees and beaches. Giacomelli observed the world with the eyes of an intellectual; he sent messages favouring photographic expressionism, emphasizing contrasts and signs. In the landscapes Giacomelli created throughout his artistic life, the sky would simply vanish, as the earth was getting an absolute visual prevalence, and that same earth got “scratched” in the overemphasized contrast of reproduction, where melancholy is dominant: “...I do not sketch the landscape, but the signs, the memory of existence of certain, “my own”, landscape. I do not want it to be recognized immediately. I

napisao je Enzo Carli u “Mario Giacomelli, ispitivanje duše”, Edizioni Lussografica, 2000. S nekoliko već povijesnih fotografija, Franco Fontana nametnuo se na međunarodnoj razini kao jedan od izumitelja kolor fotografije, odnosno kao jedan od prvih fotografa koji se uspio izraziti jednim potpunim fotografskim jezikom prožetim bojom, crpeći inspiraciju u prirodi i svjetlosti. Njegovi se krajolici mogu smjestiti na granicu između prikaza i apstrakcije, uz veliki kromatski senzibilitet i jednako veliko kompozicijsko umijeće. Prirodni oblici postaju čudnovate obojene pozadine, a pogledi se pretvaraju u vizije, počevši od čuvene serije Obzora, gdje linija mora i krivulje valovitih brjegova popunjavaju kadar vodoravnim trakama boje, bez ikakvih drugih tragova života. Fontana je izmislio stil koji se temelji isključivo na boji.

exhibitions

izložbe

Povjesničar fotografije Italo Zannier (Apstrakcije Franca Fontane, CRAF, 1995) piše da je Fontana “... Fontana je često ekstremizirao svoje čitanje krajolika, ekstrapolirajući isključivo obojene pozadine koje primiče slijedeći osnovne ritmove, tako da nas natjera na usklik: “izgleda kao slika”. Međutim, radi se o čistoj fotografiji; o fotografiji koja kao da samu sebe poriče, ali zato prikazuje obzor znakova i površina koje bi bile nezamislive prije njegova izuma. Fontanina “apstrakcija” promatraču ne prikazuje otrcanu fotografsku vizualizaciju – razglednicu – već spektakularnu atmosferu, scenografiju koja izgleda nemoguće, zvukove nepoznate svjetlosti...”.

Mario Giacomelli (Senigallia, 1925 – 2004) je 1953. godine kupio fotoaparat Bencini Comet i od tog je trenutka započeo svoju fotografsku aktivnost. Već sljedeće godine priključio se grupi Misa koju je osnovao Giuseppe Cavalli. Nakon što je John Szarkowsky, kustos Muzeja moderne umjetnosti u New Yorku, popularnog MoMA, otkupio 1963. zbirku “Scanno” (“Sjedalo”), Giacomelli je stekao veliku popularnost kako u domovini, tako i izvan Italije.

would prefer to think of specific signs, of a man’s lined hands. Later on, I noticed that thus I was portraying my interior, and through landscape I found my soul...” wrote Enzo Carli in “Mario Giacomelli, Questioning of the Soul”, Edizioni Lussografica, 2000. With a few already historic photographs, Franco Fontana presented himself on an international level as one of the inventors of colour photography, or as one of the first photographers who managed to express in a complete photographic language full of colour, deriving his inspiration from nature and light. His landscapes may be classed as something between a presentation and an abstraction, with a great chromatic sensitivity and an equally fantastic art of composition. Natural shapes become strangely coloured backgrounds, and the views become visions, starting from the famous series of the Horizons, where the line of the sea and the curves of the wavy hills fill the image with horizontal stripes of colour, without any other signs of life. Fontana invented a style based exclusively on colour. The historian of photography Italo Zannier (The Abstractions of Franco Fontana, CRAF, 1995) wrote that Fontana “...Fontana was often quite extreme regarding his interpretation of the landscape, extrapolating exclusively the coloured backgrounds bringing them closer by following the basic rhythms, thus making us say: “It looks just like a picture”. However, this is pure photography, a photography which seems like it denies itself, but on the other hand, it shows a horizon of signs and surfaces which would be unimaginable before his invention. To an observer, Fontana’s “abstraction” does not show a corny photographic visualization – a postcard – but a spectacular atmosphere, a scenery which seems impossible, sounds unknown to light...“ Mario Giacomelli (Senigallia, 1925 – 2004) bought a camera, a Bencini Comet, in 1953 and from that moment on he started his photographic activity. Already in the following year he joined the group Misa,

U predgovoru njegove knjige Skiline, Franco Fontana (Modena, 1933) je napisao “Kroz fotografiju tražim dimenziju u prostoru; moje je mišljenje da se sve temelji na ravnoteži života, prema tome i svi umjetnički oblici”, dok su priroda i svjetlost izvori njegove inspiracije, boja njegova izričaja. Povijest talijanske fotografije posljednjih tridesetak godina pod značajnim je utjecajem i njegovih djela. Započeo je zvanje fotografa ranih sedamdesetih i počeo se odmah baviti kolor fotografijom, koja je u ono doba bila još omražena, pogotovo zbog predrasuda vezanih za razinu njene “umjetnosti” u usporedbi s tradicionalnom crno-bijelom fotografijom. Fontana je “izmislio” kolor kao izražajno, a ne isključivo dokumentarno sredstvo, pomoću sasvim novog načina raščlanjivanja, ponekad provokativnog, prirodnog krajolika, ali i onog strukturiranog, u potrazi za novim znakovima, sklopovima, obojenim površinama koje oslikavaju njegovu kreativnu maštu. To mu je omogućilo stvaranje prostora nadahnutog metafizičkom atmosferom, svemirom koji bi inače ostao nepoznat i nepojmljiv. Fontana je počeo fotografirati 1961. a već 1968. postavljena je njegova prva izložba. Objavio je više od 40 knjiga u Italiji i u inozemstvu. Izlagao je po čitavom svijetu, a njegova su djela sačuvana u zbirkama više od 50 prestižnih međunarodnih muzeja. Od ovih dvaju velikih majstora talijanske fotografije, najpoznatijih i najcjenjenijih na svijetu, CRAF je sačuvao prilično opširnu zbirku, a upravo selekcija iz ove zbirke, posebno posvećene krajoliku, predložena je za ovu izložbu.

founded by Giuseppe Cavalli. After John Szarkowsky, the curator of the Museum of Contemporary Art in New York, the popular MoMA, bought the collection “Scanno” (“The Seat”), in 1963, Giacomelli became very popular in his country as well as abroad. In the foreword of his book Skiline, Franco Fontana (Modena, 1933) wrote: “Through photography I am looking for a dimension in space; my opinion is that everything is based on the balance of life, therefore, all artistic forms too“, while nature and light are the sources of his inspiration, the colour of his expression. The history of Italian photography during the last thirty years has been under a significant influence of his works. He started dealing with photography in the early seventies, and he immediately began with colour photography, which was still unpopular at the time, especially because of prejudice related to the level of its “art” compared to the traditional blackand-white photography. Fontana “invented” colour as a means of expression, not exclusively documentary, by means of a completely new way of decomposing the sometimes provocative, natural landscape, but also the structured one, in search for new signs, sets, coloured surfaces illustrating his creative imagination. This enabled him to create a space inspired by a metaphysical atmosphere, and a space which would otherwise stay unknown and incomprehensible. Fontana started photography in 1961, and his first exhibition was set already in 1968. He published more than 40 books in Italy and abroad. He exhibited throughout the world, and his works are kept in collections of more than 50 prestigious international museums. CRAF saved quite a large collection from these two masters of Italian photography, most famous and most appreciated in the world, and precisely a selection from this collection, dedicated to landscape, was suggested for this exhibition.

60% NAŠEG TIJELA JE VODA ZATO JE BITNO KOJA JE

Znamo da oko 60% naše ukupne tjelesne mase čini voda, no bitno je znati i da je njena uloga u našem organizmu apsolutno nezamjenjiva. Iskonski čista i prirodna voda nas osvježava, potiče izmjenu tvari, oslobađa nakupljenih toksina te održava ravnotežu vode u organizmu. Voda koju pijemo postaje dio nas… zato je bitno koja je.

IZVOR ŽIVOTA

exhibitions

izložbe

Globalna fotografija Istinite priče

GLOBAL PHOTOGRAPHY TRUE STORIES

Zavičajni muzej grada Rovinja

City of Rovinj County Museum

Istraživanja iz stvarnog svijeta: Stefania Rössl, Massimo Sordi

Explorations from the real world: Stefania Rössl, Massimo Sordi

“Prva stvar koju je fotograf naučio jest da se fotografija bavi stvarnim, a on ne samo da mora prihvatiti tu činjenicu, već je treba i brižno pamtiti, jer ako to ne učini, fotografija će ga poraziti.“

“The first thing that the photographer learned was that photography dealt with the actual; he had not only to accept this fact, but to treasure it; unless he did, photography would defeat him” .

Što podrazumijeva bavljenje suvremenom fotografijom danas? Postoje li bilo koje dodirne točke u ovoj skupini fotografa iz cijelog svijeta, od kojih svaki ima vlastitu osebujnu tehniku i stil, te način na koji su obrađene toliko složene teme poput iščitavanja sadašnjosti?

What does dealing with contemporary photography mean today? Are there any points of agreement in this group of photographers from around the world, each with his or her own distinctive techniques and style, in the way they have handled a theme as complex as reading the present?

Istinite priče naslov je aktualnog drugog izdanja Globalne fotografije. To je jasno pozivanje na fotografski/ kinematografski doživljaj koji dijele William Eggleston i David Byrne krajem osamdesetih godina prošloga stoljeća. Ova je suradnja s jedne strane proizvela korpus slika Demokratska šuma, prirodni nastavak Egglestonovog dotadašnjeg rada, a s druge je strane dovela do stvaranja filma Istinite priče.

True stories is the title given to the current, second edition of Global Photography. It is a clear reference to the photographic/cinematographic experience shared by William Eggleston and David Byrne at the end of the Eightes. A collaboration that produced, on the one hand, The Democratic Forest a corpus of images, a natural extension of Eggleston’s previous work, and which led, on the other hand, to the making of the film True Stories.

Referenca koja se naslućuje u naslovu ovogodišnje izložbe sugerira da su moguća nova tumačenja, čak i u svjetlu onoga što je Luigi Ghirri napisao o tom djelu: “Opravdano, mogli bismo biti nesigurni pri pripisi-

The reference hinted at in the title of this year’s exhibition suggests that new interpretations may be possible, even in the light of what Luigi Ghirri wrote

LYDIA PANAS: TATIANA

vanju karaktera istine njegovim vizijama iako se čini da joj ga naslov dodjeljuje. U ovoj se seriji Eggleston koleba između “stvarnih priča“ i potpuno izmišljene osobne vizije, gdje postoje dva ekstrema.“ Mogli bismo dodati da su se neki američki fotografi koncentrirali na ove odrednice te da one još uvijek pokazuju smjer razmišljanja koji je uvijek otvoren za nove oblike izraza. Osamnaest dijelova koji se predstavljaju ujedinjuju u jednu temu različite kontekste: fizički, geografski, vremenski i prostorni. Najintimniji aspekti svakog pojedinog rada povezani su suptilnom dvosmislenošću. Koliko god se sadržajno razlikovala, ova djela teže izraziti plodove mašte iz stvarnog svijeta. Ulomci jasno opisuju osobne priče, ali ih oblikuju u uvjetne priče iz mašte, izravnu posljedicu čudne egzistencije, kao i epizode iz običnog svakodnevnog života.

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U skladu s neposrednom sadašnjošću, Globalna se fotografija nudi kao opservatorij raznih priča prepričavanih na izrazito različitim jezicima. Ako fotografija subjektu pruža povlasticu istraživanja granica između činjeničnog i zamišljenog, fotografov je zadatak uspostaviti krhkost tog dijela. Što se tiče ove teme, možemo se pozvati na Roberta Franka kada u Iseljenju (Moving Out) navodi da:“Ja uvijek gledam izvana, pokušavajući gledati iznutra. Pokušavajući reći nešto što je istina, ali možda i ništa nije istina. Osim onoga što je izvana. A ono što je izvana uvijek se mijenja.“

U suradnji sa / In collaboration with:

about that particular work: “Justifiably, one could be unsure about attributing to his visions that character of truth that the title seems to assign them. In this series Eggleston wavers between “real stories» and a purely invented, personal vision, and where the two extremes exist.” . We could add that these terms of reference are those which some American photographers concentrated on and which still continue to show a line of thinking which is always open to new forms of expression. The 18 sections being presented unite a variety of different contexts: physical, geographic, time and space within a single theme. The most intimate aspects of each single work are related with subtle ambiguity. As varied as they are as regards content, the works tend to tell figments from the real world. Fragments clearly outline personal stories, but fill them out into suspended tales of the imagination, the direct consequence of strange existences as well as episodes of ordinary daily life. In tune with the immediate present, Global Photography offers itself as an observatory onto a variety of stories retold in distinctly different languages. If photography accords the subject the prerogative of investigating the borderline between the factual and the imagined, the photographer is given the task of establishing the frailness of that division. On this topic, we can refer to Robert Frank when, in Moving Out, he states that: “I’m always looking outside, trying to looking inside. Trying to say something tht’s true, But maybe nothing is really true. Except what’s out there. And what’s out there is always changing” .

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exhibitions

izložbe

Frank Horvat Elegancija u modi i u svakidašnjici

Frank Horvat Elegance in Fashion and Everyday Life

Crkva sv. Tome

St. Thomas church

piše: Cesare Colombo

by: Cesare Colombo

Obitelj Franka Horvata (Opatija, 1928) napustila je 1939. godine Istru i preselila se u švicarski Lugano, a 1944. godine Frank je kupio svoj prvi fotoaparat i vratio se u Italiju kako bi se školovao na Akademiji Brera u Milanu.

The family of Frank Horvat (Opatija, 1928) left Istria in 1939 and moved to Swiss Lugano. In 1944 Frank managed to buy his first camera and then he returned to Italy to attend the Accademia di Brera in Milan.

Godine 1951. realizirao je svoju prvu reportažu o južnoj Italiji koja je objavljena u časopisu Epoca. Iste je godine u Parizu upoznao Roberta Capu i Henrija Cartier-Bressona, velikane fotografije. Potom je 1952. godine otputovao u Indiju, a fotografije s tog putovanja objavili su Paris Match, Picture Post i Life. Edward Steichen je 1955. godine odabrao nekoliko Horvatovih fotografija za legendarnu izložbu The Family of Man. Od 1958, radio je za Elle, Vogue i Les Jardin des Modes, a 1959. godine je primljen u agenciju Magnum za koju je radio samo tri godine.

In 1951, he made his first reportage about southern Italy which was published in the magazine Epoca. In the same year, he met the greats of photography, Robert Capa and Henri Cartier-Bresson in Paris. Then in 1952, he travelled to India, and the photographs from this voyage were published by Paris Match, Picture Post and Life. In 1955, Edward Steichen chose a few of Horvat’s photographs for the legendary exhibition The Family of Man. From 1958 he worked for Elle, Vogue and Les Jardin des Modes, while in 1959 he was accepted at the Magnum agency where he worked for only three years.

Horvat je 1964. počeo surađivati s časopisima Harper’s Bazaar i Twen, usredotočivši se ponajviše na modnu fotografiju. Svestranost je Horvatu omogućila bavljenje raznim kategorijama fotografije, od novinarske reportaže pa do krajolika i mode.

In 1964 he started cooperating with the magazines Harper’s Bazaar and Twen, focusing mostly on fashion photography. Horvat’s versatility enabled him to handle various categories of photography, from photojournalism to landscape and fashion.

S gradom Luganom, u kojem je dugo živio, održao

He maintained a strong connection with the city of

je čvrstu vezu, što se moglo primijetiti i na nedavno organiziranoj izložbi Galleria Photographica Fine Art: izložene fotografije pokrivaju jedno dugačko razdoblje njegovog života, što je naglašeno i u samom naslovu – Frank Horvat. Fotografije od 1950. do danas.

exhibitions

izložbe

Rođen kao fotoreporter, Horvat nije prezirao svijet mode, kojeg opisuje na sasvim drugačiji način od modnih fotografa, puno prirodnije i manje uštogljeno. Horvatov pristup modnoj fotografiji mnogi uzimaju kao primjer, a njega je njegova neumorna želja za istraživanjem odvela u proučavanje novih realnosti. Njegove fotografije detaljno opisuju svakidašnjicu, bilo da se radi o konfrontaciji sa slikarskim djelima prošlosti, kao u seriji Very Similar (1980-86), u kojoj su važne žene u fotografovom životu snimljene kao da se radi o slikama povijesne važnosti, bilo da se zabavlja digitalnom fotografijom, kao u seriji Bestiarium (1993-94), u kojoj je on oslobađao životinje snimljene u kavezima raznih europskih zooloških vrtova, smjestivši ih u njihovo prirodno okruženje.

Svojim je fotografijama Frank Horvat oplemenio neke od najljepših stranica časopisa Elle, Vogue, Harper’s Bazaar, a zajedno sa svojim kolegama, među kojima su Richard Avedon, Bourdin i Newton, maestralno je interpretirao visoku talijansku modu, od Nine Ricci do Ungara, kao i kreacije velikih francuskih couturiera, od Chanela di Givenchyja. Njegova je modna fotografija plod instinkta i prirodnosti kojom je pristupao i putopisima, a temeljna je karakteristika njegovih fotografija vrhunska tehnika postignuta aparatima malog formata – nije bitno radi li se o Leici ili Nikonu – ali bez iznimke 35mm. Njegov istančani fotografski instinkt i senzibilitet pre-

Lugano, where he lived for a long time, which was obvious at the recently organized exhibition Galleria Photographica Fine Art: the exhibited photographs cover a long period of his life, which was emphasized in the title itself – Frank Horvat. Photographs from 1950 to Present. Born as a press photographer, Horvat did not despise the world of fashion, which he described in a completely different way than fashion photographers, as being much more natural and less formal. Horvat’s approach to fashion photography is set as an example by many, while his persevering desire for research guided him into studying new realities. His photographs represent a detailed description of everyday life, whether it was a confrontation with art works from history, as in the series Very Similar (19801986), where important women in his life were photographed as if they were paintings of historical significance, or he was having fun with digital photography, as in the series Bestiarium (1993-1994), where he released the animals shot in cages of various European zoos, by putting them in their natural surroundings. With his photographs, Frank Horvat enriched some of the most beautiful pages of the magazines Elle, Vogue, Harper’s Bazaar, and together with his colleagues, among whom were Richard Avedon, Bourdin and Newton, he masterfully interpreted the Italian haute couture, from Nina Ricci to Ungaro, as well as the creations by the great French couturiers, from Chanel to Givenchy. His fashion photography is the result of instinct and genuineness, just as he approached his travelogues, with the basic characteristic of his photography being an excellent technique achieved with small format cameras – regardless whether it was a Leica or a

ma osobama, uz istovremeni nastup digitalne fotografije, oživotvorili su novu fazu Horvatove fotografije koju bismo mogli nazvati trenutnom fotografijom čiji je cilj istraživanje. I ovu novu fazu obilježava traženje idealnog, “privilegiranog” ali ne i odlučujućeg trenutka, već trenutka koji će probuditi emocije u njemu i u kojem će se svjetlost uskladiti s njegovim raspoloženjem, pod nadzorom harmoničnosti njegove pozitivne vizije iskustva. Frank Horvat je 1999. godine odabrao po jednu fotografiju za svaki dan posljednje godine tisućljeća od kojih je sačinio zanimljivu publikaciju pod nazivom 1999 Journal photographique, koja opisuje i oblikuje njegov umjetnički razvoj; odavde je nastavio potragu za uzbuđenjem koje pružaju trenuci i koji se mogu bilo gdje nalaziti, u pogledu voljene osobe ili u mirisu predmeta i koji daju smisla banalnim prizorima, popu postavljenog stola ili zgužvane plahte. Radi se o onim “privilegiranim trenucima” na kojima se temelje dobre snimke i lijepe fotografije. Izložba koja će biti predstavljena u Rovinju, Udinama, a zatim i u Kopru, želi biti homage jednom od najvećih fotografa 19. Stoljeća, a realizirana je prilikom dodjeljivanja nagrade International Award of Photography 2011 Franku Horvatu.

Nikon – a 35mm camera without exceptions. His refined photographic instinct and sensitivity towards people, with the simultaneous appearance of digital photography, created a new phase in Horvat’s photography, which could be dubbed momentary photography, whose goal is research. This new phase is also characterized by the search for the ideal, the “privileged”, but not a decisive moment, a moment which would rouse the feelings in him and in which light would harmonize with his mood, under the supervision of his positive vision of experience. In 1999, Frank Horvat chose one photograph for each day of the final year of the millennium, which were put into an interesting publication under the title 1999 Journal Photographique, describing and forming his artistic growth; from this point on, he continued his search for excitement offered by moments which can be found anywhere, in the eyes of a loved one or in the scent of things, and which give sense to commonplace scenes, such as a set table or a crumpled sheet. These are the privileged moments which make good shots and great photographs. The exhibition, which will be presented in Rovinj, Udine, and later in Koper, strives to be homage to one of the greatest photographers of the 20th century. It was realized on the occasion of the award giving ceremony of the International Awards of Photography 2011 to Frank Horvat.

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GALERIJA BATANA

BATANA GALLERY

Izložba fotografija pod nazivom ROFOTO potaknuta je idejom da u Galeriji Batana izlažu članovi udruge CVU Batana Rovinj. Tako i ovo predstavljanje rovinjskih autora predstavlja kontinuitet bogatog fotografskog stvaralaštva u Rovinju.

The idea behind the photography exhibition entitled ROFOTO was to show the work of the members of the CVU Batana Rovinj association in the Batana Gallery. This promotion of Rovinj’s authors also represents the continuity of Rovinj’s rich photographic creative scene.

Za čitatelje ove stranice u katalogu treba istaknuti da početak fotografskih zbivanja u Rovinju datira od sredine devetnaestog stoljeća kada pod utjecajem evropskih metropola na ove prostore stiže ideja o fotografiji. Uskoro se razvijaju prvi obrtničko-fotografski ateljei pa se slikoviti Rovinj pojavljuje na razglednicama.

exhibitions

izložbe

Sredinom dvadesetog stoljeća počinje romantičarska priča fotoamatera koji svojom aktivnošću otvaraju brojne klubove širom Hrvatske. U žrvnju kadrovske i financijske problematike neki klubovi se gase, a neki su postižu zavidne uspjehe sve do početka dvadesetprvog stoljeća.

Zahvaljujući brojnim poklonicima fotografije, Rovinj se danas može pohvaliti fotografskom tradicijom dužom od sto i pedeset godina. Izbor radova za izložbu je obavio selektor gosp. Virgilio Giuricin s zvanjima i priznanjima:ULUPUH-a, EFIAPa, Master FIAP-a i HonEFIAP-a. Za postav izložbe odabrano je 26 autora sa 73 fotografije. Sudionici su :

The readers of this page of the Catalogue should know that the first photographic events in Rovinj date from mid-nineteenth century, when information on photography came to these spaces with the influence of European metropolises. At that time photography crafts ateliers started developing, so the face of the picturesque town of Rovinj started appearing on postcards. In mid-twentieth century begins the romantic story of amateur photographers who started opening numerous clubs all over Croatia. Because of the numerous bureaucratic and financial issues, some of the clubs eventually closed their doors, but some came to enviable achievements which lasted all the way until early 21st century. Owing to all the lovers of photography, Rovinj even today continues to celebrate more than one hundred and fifty years of photographic tradition.

Dragan Borčić, Rene Bertoša, Mladen Boljkovac, Vlado Bjelajac, Josip Pogorilić, Vedran Pogorilić, Dušan Grbac, Silena Košara, Barbara Oplanič, Marko Bjelančević, Josip Bilandžić, Dalibor Talajić, Dorijano Orbanić, Kristijan Bančić, Patrik Fariš, Fabio Damuggia, Ermano Bančić, Gordan Ukić, Irene Korenić-Ukić, Toni Sošić, Dominik Cergna, Cristian Devescovi, Ivan Onsrud, Martina Ukić, Lucija Ukić i Jasmin Tanović. Teme su raznolike i variraju od prirode, pejzaža, grada, ljudi, kreacije i fantazije što je jedan kvalitetan uvid u razvoj fotografije u Rovinju. Sa zadovoljstvom smo se uključili u projekt Rovinj Photodotays-a za 2011. godinu, a sudjelujući dajemo i naš doprinos ovoj uglednoj manifestaciji. To je velik trenutak za rovinjsku fotografiju koja je time dobila motiv za stvaralaštvo u budućnosti

The selection of pieces for the exhibition was selected by Mr Virgilio Giuricin who is the holder of the following professions and awards: ULUPUH, EFIAP, Master FIAP and HonEFIAP. He selected 26 authors and 73 photos to be shown at the exhibition. Pieces by the following authors will be shown: Dragan Borčić, Rene Bertoša, Mladen Boljkovac, Vlado Bjelajac, Josip Pogorilić, Vedran Pogorilić, Dušan Grbac, Silena Košara, Barbara Oplanič, Marko Bjelančević, Josip Bilandžić, Dalibor Talajić, Dorijano Orbanić, Kristijan Bančić, Patrik Fariš, Fabio Damuggia, Ermano Bančić, Gordan Ukić, Irene Korenić-Ukić, Toni Sošić, Dominik Cergna, Cristian Devescovi, Ivan Onsrud, Martina Ukić, Lucija Ukić, Jasmin Tanović. Their topics are diverse, varying from nature, through landscapes, the city, people, and creations to fantasy, representing a detailed insight into the development of photography in Rovinj.

exhibitions

izložbe

It is our pleasure to join the project PHOTODAYS in the year 2011. By taking part in the project, we are also supporting this notable event. This is also a great moment for photography in Rovinj and an incentive for further creation.

exhibitions IN THE OPEN

izložbe NA OTVORENOM

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FOTOGRAFSKA UDRUGA FOTOGARD

PHOTOGRAPHERS ASSOCIATION FOTOGARD

Prvu zajedničku izložbu fotografija članova Fotografske udruge Fotogard velik broj posjetitelja već je pogledao u Zagrebu, Zadru, Šibeniku i Sisku. Na izložbi je sudjelovalo 30 članova, a svaki je član predstavljen mini serijom fotografija. U tri do četiri fotografije autori su progovarali o svojima životnim stavovima, pozivima i aktivnostima. Udruga je okupila autore iz nekoliko hrvatskih gradova, od kojih bazu čine članovi iz Zadra 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 te ljude povezala je 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 prikazan je dio radova sa izložbe.

The first joint exhibition of photographs of the members of the Photographers Association Fotogard was already seen by a large number of visitors in Zagreb, Zadar, Šibenik and Sisak. The exhibition showed the works of 30 members, and each member was represented by a mini series of photographs. In three to four photographs, the authors talked about their life attitudes, callings and activities. The association gathered authors from several Croatian cities, the base of which are members from Zadar and Zagreb. The members of the Association are people of different age and photographic interests. Among them are photographic amateurs, but also several professional photographers who live off their work. All these people are connected by the idea of author photography and perfection of own photographic expression. Everyone benefits from such gatherings and presentations. Photographic amateurs learn quicker if they communicate with professional photographers, and professional photographers often find such surroundings liberating and find it to provide a distance from agency photography which often hinders creativity. Part of the photographs from the exhibition was shown at the Rovinj exhibition during Photodays.

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. Sama udruga sa svojim djelovanjem počela je prije 8 mjeseci i ova izložba je prvi javni projekt kojim se želi promovirati rad svojih članova. Uz druženja i obavezne razgovore o fotografiji, za svoje članove organiziramo i predavanja poznatih hrvatskih fotografa čije ćete predstavljanje imati prilike vidjeti na www.fotogard.com. Osim predavanja, članovi će biti u prilici upoznati se i s radom profesionalnih fotografa kroz praktične primjere i radionice, a sve kako bi stekli konkretna znanja i tehnike snimanja i izrade fotografija.

The Photographers Association Fotogard was founded with the goal to promote, develop and foster photography culture in the Republic of Croatia and internationally, as well as to represent the interests of its members. The association itself started its activities 8 months ago. This exhibition is the first public project aiming at promoting the work of their members. Apart from gatherings and mandatory conversation on photography, we also organize lectures of famous Croatian photographers for our members. They will be represented on www.fotogard.com. Apart from participating in lectures, our members will have the opportunity to be introduced to the work of professional photographers through examples from practice and workshops, all this in order to acquire specific knowledge and learn about the techniques of taking and making photographs.

KreĹĄimir Pletikosa

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PIXSELL

Agencija PIXSELL sinonim je za novu dimenziju visoko profesionalnog stvaranja, distribuciju i prodaju foto i video sadržaja u jugoistočnoj Europi. U ponudi imamo fotografije s događanja u Hrvatskoj, regiji i inozemstvu - dnevno oko četiri tisuće fotografija i video isječaka, od toga oko tisuću fotografija vlastite produkcije. Našu ponudu čini više od dva milijuna fotografija i video isječaka dostupno online na www. pixsell.hr i 30 milijuna fotografija i video isječaka u arhivama. Također, na www.pixsell.hr dostupan je veliki izbor povijesnih fotografija iz

The PIXSELL Agency represents a new dimension of highly professional creation, distribution and sale of photographic and video contents in Southeast Europe. We offer photographs of events in Croatia, the region and abroad – approximately four thousand photographs and video clips per day, of which a thousand produced by us. Our offer comprises more than two million photographs and video clips which you can see online at www.pixsell.hr and 30 million photographs and video clips in archives. www.pixsell.hr also provides a wide choice of historical photographs from Croatia and the world, as well as unique tourist content of the Adriatic Photo service.

exhibitions IN THE OPEN

izložbe NA OTVORENOM

Hrvatske i svijeta, kao i jedinstven turistički sadržaj Adriatic Photo servisa.

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PIXSELL-ov produkcijski tim čini više od 50 fotoreportera širom Hrvatske te više od 150 suradnika u regiji kroz vlastitu freelance agenciju HaloPix. Snažan fotodesk sa stručnim vodstvom i urednicima te vrhunskom tehnologijom omogućuje nam brzu distribuciju fotografija klijentima u Hrvatskoj i inozemstvu.Zastupnik smo i distributer jakih svjetskih foto agencija na teritoriju Hrvatske, Slovenije, Bosne i Hercegovine, Srbije, Crne Gore, Kosova i Makedonije. Sadržaj koji distribuiramo seže od značajnijih svjetskih političkih i društvenih događanja do sportskih, estradnih, ekonomskih, te raznih drugih zanimljivosti i neobičnosti. Kroz vlastiti online butik fotografija www.printpix.hr prodajemo uramljene umjetničke fotografija poznatih domaćih i stranih pjevača, glumaca i sportaša, ljepota Hrvatske, prekrasnih panorama, životinja, i drugih oku zanimljivih tema.

The PIXSELL production team is made of more than 50 photojournalists from Croatia and more than 150 partners in the region through own freelance agency HaloPix. A strong photodesk with professional guidance and editors, as well as cutting-edge technology enables us quick distribution of photographs to clients both in Croatia and abroad. We are the representatives and distributors for famous photo agencies in the territory of Croatia, Slovenia, Bosnia and Herzegovina, Serbia, Montenegro, Kosovo and Macedonia. The contents we distribute includes the most significant worlds’ political and social events, as well as points of interest in the area of sports, entertainment, economy, and many other interesting and unusual contents. In own photo boutique, www.printpix.hr sells framed artistic photographs of renowned Croatian and foreign singers, actors and professional athletes, natural beauties of Croatia, fantastic panoramas, animals, and other attractive topics.

ANTONIO BRONIÄ&#x2020;

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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.

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.

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.

exhibitions IN THE OPEN

izložbe NA OTVORENOM

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.

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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.

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exhibitions IN THE OPEN

izložbe NA OTVORENOM

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PTIČICA

Pejzaž

Landscape

Kroz fotografski postav od 20 fotografija, članovi Ptičice se predstavljaju s najboljim fotografijama pejzaža odabranim temeljem natječaja raspisanog za izložbu na Rovinj Photodaysima. Članovima Ptičice, pretežito fotografskim amaterima, ova je izložba još jedna u nizu uspješnih predstavljanja koje su već imali na poznatim festivalima poput Motovun Film Festivala i Zagreb Film Festivala. Pejzaž je jedna od najpopularnijih tema kod članova Ptičice stoga će ova izložba dati uvid u najbolje fotografije ove tematike.

Through a 20-photo layout, the members of Ptičica present themselves with the best landscape photographs chosen from a competition for the Photodays exhibition. For the members of Ptičica this exhibition is another one in a series of successful presentations that they have had at the Motovun Film Festival and Zagreb Film Festival. Landscape is one of the most popular themes with the Ptičica members so this exhibition will provide an insight in the best high quality photos with this theme. The editors of the Ptičica portal and Mato Glavić, AFIAP, were in the jury of experts.

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REFOTO

I ove će se godine Refoto, časopis za kulturu fotografije, predstaviti izložbom na obali. Na četiri će panela biti prikazane najbolje fotografije s prošlogodišnjih natjecanja pod nazivom “Igra svjetlosti“ i “Praksa na djelu“, nagrađene fotografije iz rubrike “U fokusu“, kao i izbor hrvatskih autora s ovogodišnjeg natjecanja “Monohromatski svet” koje još traje. Izbor od četrdesetak fotografija predstavlja samo mali dio ogromnog fotografskog arhiva ovog renomiranog foto-časopisa koji već dvije godine ima karakter regionalnog časopisa jer se prodaje u Srbiji, Hrvatskoj, Bosni i Hercegovini, Makedoniji, Crnoj Gori, a ima čitatelje i u Sloveniji.

This year, the magazine for the culture of photography, Refoto, will feature an exhibition on the coast. The best images from last year’s contests called “Play of Light” and “Practice in Action” will be shown on four panels, as well as award-winning photographs from the column “In Focus” and a selection of Croatian authors in this year’s competition “Monochrome World”, which is still in progress. A selection of forty photographs represents only a small part of the vast photographic archives of this renowned photo-magazine. It has maintained the character of a regional magazine for two years now, since it is being sold in Serbia, Croatia, Bosnia and Herzegovina, Macedonia, Montenegro and it has its readers in Slovenia, as well.

Njegova je velika popularnost u ovoj međunarodnoj regiji svakako doprinijela sve boljoj kvaliteti fotografija i tekstova, kao i kvaliteti završnih izložbi koje časopis organizira svake godine.

exhibitions IN THE OPEN

izložbe NA OTVORENOM

REFOTO

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Treba napomenuti da časopis ove godine slavi 10 godina postojanja pod imenom Refoto i 15 godina od osnivanja časopisa.

Its great popularity in this international region certainly contributed to increasing the quality of photos and texts and the quality of the final exhibition of the magazine, which is organized every year. It should be noted that, this year, the magazine celebrates 10 years of existence under the name Refoto and 15 years since the founding of the magazine.

Kristina Oberling

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RADIONICE WORKSHOPS

WORKSHOPS

RADIONICE

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Rad na svjetlu

Work on light

Tip radionice: osnovna Kapacitet: 10 sudionika

Workshop type: basic Capacity: 10 participants

Preduvijeti za sudjelovanje: Sudionici trebaju imati osnovno poznavanje fotografije i svoj fotoaparat (film ili digitalni) te ga u potpunosti znati koristiti. Također trebaju stativ i kabel za aktiviranje (cabel release) i naravno bilježnicu.

Conditions for participation: Participants should have basic knowledge of photography and own camera (film or digital) and it fully able to use. They also need a tripod and a cable release, and of course the notebook.

Opis:

Description:

1. faza (u 18:30)

1. Phase

Početak tijekm kasnog poslijepodneva kada je sunce nisko na nebu. Marcus će postaviti kadar i uputiti sudionike u kompoziciju, način na koji svjetlo može promijeniti kadar, ekspoziciju i druge tehničke stvari te im omogućiti da dobiju najbolje iz svojih fotografija.

Beginning in the late afternoon when the sun is low. Marcus will be able to set up and instruct participants in the composition, the way how light can change the frame, exposure and other technical stuff and allow them to get the best out of their photos.

Doyle koristi fotoaparat velikog formata pa sudionici lako mogu vidjeti što radi.

Doyle will use the camera for large format, so can participants easily see what he does.

2. faza

2. Phase

Nakon zalaska sunca priprema sve za noćnu fotografiju i uz tumačenja osnova noćne fotografije, kao te obrazloženje razloga zbog kojih još uvijek koristi film. Sudionici će fotografirati uz Doyleov nadzor i svajetovanje o tehnici i sličnom.

After sunset, preparing for night photography and the interpretation of the basis for night photography, as well an explanation of the reasons why he still uses film.

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o voditelju

on the moderator

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 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 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.

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.

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.

His work was exhibited in New York, Los Angeles, Chicago, Belgium, Paris and London, where it followed by collectors and private buyers.

WORKSHOPS

RADIONICE

Marcus sada živi u Londonu i, između svojih fotografskih projekata, predaje fotografiju na Sveučilištu Canterbury.

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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.

Modni editorial od koncepta do tiska

Fashion editorial – from concept to press

Tip radionice: Napredna. Kapacitet: Makismalno 8 polaznika. Tema radionice: Kreativna modna i beauty radionica u glossy magazinima: pretprodukcija, produkcija, postprodukcija, prijelom editoriala

Workshop type: Advanced. Capacity: Maximum number of participants - 8. Topic of the workshop: Creative fashion and beauty workshop in glossy magazines: pre-production, postproduction, editorial layout

Preduvjeti za sudjelovanje: Interes za modnu fotografiju. Poznavanje digitalne fotografije i fotografske rasvjete. Napredno vladanje Photoshop alatom.

Conditions for participation: Interest in fashion photography. Knowledge of digital photography and photographic lighting. Advanced use of Photoshop.

Radionica se sastoji od tri dijela:

The workshop will consist of three parts:

WORKSHOPS

RADIONICE

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Kratko predavanje s pitanjima i odgovorima te zajedničko postavljanje koncepta editoriala. Praktični dio: Produkcija tri beauty ili modne fotografije, rad sa meka up i stilističkim timom te modelima. Post produkcija, uređivanje i prijelom mini editoriala za Gloria magazin.

Cilj radionice je navesti polaznike da modnu fotografiju sagledaju kao platformu za fotografski ekperiment. Iako je modna fotografija proizvod timskog rada cilj je polaznike radionice osvijestiti da kao modni fotografi mogu i moraju biti alfa i omega snimanja- vizionari, kreativni direktori, koji će inspirirati i motivirati tim, a nikako samo dokumentirati ponuđeno. Voditelji radionice će u polaznicima nastojati pobuditi interes da aktivno sudjeluju u pripremama snimanja te na ne budu samo okidači.

Brief lecture with a Q&A section and joint editorial concept setup. Practical part: Tri Beauty or fashion photography production, working with a make-up team, and with stylists and models. Mini editorial post production, editing and layout for the Gloria magazine.

The goal of the workshop is making the participants look at fashion photography as a platform for photographic experiment. Although fashion photography is the product of team work, the aim is for workshop participants to become aware of the fact that they, as fashion photographers, must be the alpha and omega of a photo shoot – visionaries, creative directors who will inspire and motivate the team, and not only document what is offered. Workshop moderator will awaken the interest of the participants to actively take part in preparations for the shooting, instead of only being triggers.

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Polaznici će biti podjeljeni u dvije grupe, svaka s jednim modelom, s ponuđenim make upom, frizurom i stylingom.

Participants will be divided into two groups, and each group will have one model and offered make-up, hairdo and styling.

Cilj je ponuđeni materijal staviti u kontekst priče i lokacije s idejom da fotograi sami mijenjaju i dorađuju (uz pomoć šminkera, frizera i stilista) make up, kosu i styling te maksimalno iskoriste mogućnost jedne lokacije.

The goal is to situate the offered material in a context of a story and location with the idea that photographers change and process (with the help of make-up artists, hair stylists and stylists) make up, hair and styling themselves and use the potential of one location to the maximum.

Za lokaciju će biti iskorišten jedan od hotela tvrtke Maistra, unutar ili oko kojih će svaki od polaznika odabrati set za vlastiti editorial. Svaki od fotografa imat će na raspolaganju sat vremena iz kojih će nastojati izvući tri dobre fotografije. Polaznici će raditi s dnevnim svjetlom i/ili do 2 reflektora. Nakon završenog snimanja zajednički, s voditeljima radionice odabrat će fotografije. Sljedeći dan slijedi postprodukcija fotografija, konzulatcija i finalni prijelom mini editoriala. Editorial će biti objavljen u posebnom “Photodays look book“ izdanju, uz časopis Gloria.

One of the locations will be the Maistra hotel, within which or around which each of the participants will chose a set for their own editorial. Each of the photographers will have at their disposal one hour, in which time they will try to shoot three good photos. The participants will use daylight and/or up to 2 reflectors. Having finished the shooting, they will choose photographs with workshop moderators. On the next day, they will proceed to photo post-production, consultation and final mini editorial layout. The editorial will be published in the special edition “Photodays Look Book”, an insert with the Gloria magazine.

Romano Decker i Dejan Kutić WORKSHOPS

RADIONICE

o voditeljima

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Romano Decker i Dejan Kutić autorski su dvojac koji se uspješno nadopunjuje već 4 godine. Prije nego su se obojica počela ozbiljno baviti fotografijom, njihove karijere su se kretale u različitim smjerovima. Romano Decker je nakon završene fotografije, te studija dizajna u Londonu dobio priliku za rad u prestižnoj modnoj kući Prada, a nakon godina provedenih u modnoj I reklamnoj industriji, te glossy magazinima kao kon-

on the moderators

Romano Decker and Dejan Kutić Romano Decker and Dejan Kutić are the author duo which has been successfully cooperating for 4 years. Before they both started seriously dealing with photography, their careers went into different directions. Having finished a university course in photography and design in London, Romano Decker was offered an opportunity with the prestigious fashion label

zultant, dizajner i stilist, danas je jedan od najkompetentnijih i svakako hvaljenijih modnih urednika u Hrvatskoj. Dejan Kutić se fotografijom počeo baviti nakon višegodišnjeg rada u dizajnerskim studijima i reklamnim agencijama, a kao zapažen i uspješan dizajner elektronskih medija i art director. Spojili su ih rad na produkciji modnih i reklamnih fotografija, te potreba da se bave raznim kreativnim procesima, od dizajna do kostimografije, a sinergija afiniteta rezultirala je zajedničkom biznisom s naglaskom na fotografiji. Decker+Kutic’ Studio danas je ured rad kojega su prepoznali mnogobrojni urednici domaćih modnih časopisa poput magazina Elle, Story, Story Book, Cosmopolitan, Livingstone, te klijenti kao što su BBDO, Digitel, Nova TV, Fashion.hr, ZagrebDox… Dva su puta bili laureati Photodaysa, te izlagali na World Photography Organisation izložbi u Londonu i nekoliko skupnih izložbi u Hrvatskoj.

Prada. Having spent years working in the fashion and advertising industries and for glossy magazines, as consultant, designer and stylist, he has become one of the most competent and most praised fashion editors in Croatia. Dejan Kutić started dealing with photography after spending years in designer studios and advertising agencies, and working as a noted and successful electronic media designer and art director. They were connected by their work in the production of fashion and advertising photos, and the need to work on various creative processes, from design to costume design. The synergy of their affinities resulted in establishing a business with focus on photography. The work of Decker+Kutic’ Studio has been recognized by many editors of Croatian fashion magazines such as Elle, Story, Story Book, Cosmopolitan, Livingstone, as well as clients such as BBDO, Digitel, Nova TV, Fashion.hr, ZagrebDox, etc. They were Photodays winners twice; they also showed their work on London’s World Photography Organisation exhibition, as well as on several joint exhibitions in Croatia.

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WORKSHOPS

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Panoramska fotografija

Panoramic Photography

Tip radionice: osnovna Kapacitet: 10 ljudi Preduvjeti: Radionica je prvenstveno namijenjena početnicima.

Type of workshop: basic Number of participants: 10 Conditions: this workshop is primarily intended for beginners.

Opis, kronologija radionice:

Workshop description and schedule:

Kratak prikaz povijestu panoramske fotografije. Tipovi panoramskih fotoaparata i njihove mogućnosti. Netipične panorame, upotreba pinhole i specijalnih fotoaparata. Primena panoramskih fotografija. Digitalna fotografija i panoramski snimci. Utjecaj objektiva različitih žižnih daljina na izgled gotove panorame. Korištenje dodatne opreme posebno namenjene snimanju panorama: panoramski adapter i dodaci namenjeni tačnom pozicioniranju fotoaparata. Obrada digitalnih fotografija i njihovo spajanje u jedinstvenu panoramu pomoću programa Photoshop.

Brief historical overview of panoramic photography. Types of panorama photography and the possibilities they offer. Non-typical panoramas, the use of pinhole cameras and special cameras. Application of panoramic photographs. Digital photography and panoramic shooting. Influence of different focal lengths on the appearance of a finished panorama. The use of accessories specially intended for panoramic shooting: panoramic adapter and accessories intended for precise camera positioning. Digital photo processing and their piecing together i into a unique panorama with the help of Photoshop.

o voditelju

on the moderator

Milan Živković

Majstor fotografije, radio je u Prirodnjačkom muzeju u Beogradu kao fotograf i dizajner, bio je urednik foto-galerije Centra za kulturu Kovin. Trenutno radi u časopisu za kulturu fotografije - Refoto kao izvršni urednik. Član je Umetničkih saveta Foto-saveza Srbije i Foto-saveza Vojvodine. Do sada je održao velik broj samostalnih izložbi, projekcija dijapozitiva i digitalnih prezentacija. Član je Foto-saveza Srbije, ULUPUDS-a i organizacije UPI (United Photographers International).

A master of photography who used to work in the Natural History Museum in Belgrade as a photographer and designer. He was the editor of the Kovin Culture Centre photo gallery. He is currently the executive editor of the Refoto magazine for photography culture. He is member of the Artistic Councils of Serbian Photographic Associations and the Vojvodina Photographic Association. Mr Živković has had a number of independent exhibitions, slide projections and digital presentations. He is member of the Serbian Photographic Association, the ULUPUDS Association and UPI (United Photographers International).

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Ulična moda

Street Style Fashion

Tip radionice: osnovna Kapacitet: 12 ljudi Preduvjeti: interes za modu, blogove i uličnu fotografiju; polaznik mora imati vlastiti fotoaparat.

Type of workshop: basic Number of people: 12 Conditions: interest for fashion, blogs and street photography; the participants must own their own camera.

opis, kronologija radionice i cilj: description, schedule and aim of the workshop: 1. dio: 2. dio: 3. dio:

upoznavanje, predavanje o uličnoj modi i fotografiji; definiranje, povijest, manifesta cija kroz blogove, vlastita iskustva… izlazak na teren: fotografiranje (cca. 3 sata) povratak u učionicu, pregled i komentira nje fotografija, odabir najboljih

cilj radionice: upoznati polaznike s pojmom street style fotografije te im pružiti priliku da se uz korisne savjete i preneseno znanje i sami u njoj okušaju O voditelju

WORKSHOPS

RADIONICE

Antonija Butković

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Diplomirala na Tekstilno-tehnološkom fakultetu u Zagrebu. Vlasnica prvog street style bloga u Hrvatskoj Croator.net. Otkako je započela blog prije godinu i pol dana uspjela je pozicionirati Zagreb na svjetsku kartu ulične mode. Britanski Vogue.com uvrstio je Antoniju na listu najboljih street style fotografa nove generacije, a radila je i za njujorški Elle.com. U Jutarnjem listu ima redovitu rubriku o uličnoj modi “Street report”. Surađivala s najposjećenijim hrvatskim modnim portalima te fotografirala za “Time Out”- turističke vodiče iz Londona.

Part 1: introduction, lecture on street fashion and photography; definition, history, manifestation through blogs, own experiences, etc. Part 2: field work: photographing (approx. 3 hours) Part 3: return to classroom, review of photos with comment, choosing best photos Aim of workshop: introducing the participants with the notion of street style photography and giving them a chance to give it a shot themselves, with the help of constructive advice and gained knowledge About the moderator

Antonija Butković Graduated from the Faculty of Textile Technology in Zagreb. Created the first street style blog in Croatia – Croator.net. Since she created the blog a year and a half ago, she managed to put Zagreb on the world map of street fashion. Britain’s Vogue.com listed her as one of the best street style photographers of the new generation, and she also worked for New York’s Elle. com. She writes a column on street fashion – “Street report” – in Jutarnji list. She has also cooperated with the most visited Croatian fashion portals and made photographs for London’s “Time Out” travel guides.

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Upotreba bljeskalica za snimanje portreta

use of flash in portrait photography

Tip radionice: osnovna Kapacitet: 12 ljudi Preduvjeti: Interes za portretnu fotografiju. Polaznik mora imati vlastiti fotoaparat i barem jednu eksternu bljeskalicu.

Type of workshop: basic Number of people: 12 Conditions: Interest in portrait photography. The participants must own their own camera and at least one external flash.

Opis, kronologija radionice i cilj:

Description, schedule and aim of the workshop:

1. dio: upoznavanje, predavanje o portretnoj foto grafiji; definiranje, stilovi, upoznavanje sa ambijentalnom rasvjetom, upoznavanje sa bljeskalicom… 2. dio: izlazak na teren: fotografiranje (cca. 3 sata) - osvjetljavanje portreta bljeskalicom uz am bijentalnu rasvjetu

Part 1: introduction, lecture on portrait photog raphy; definition, styles, introduction to am bience lighting, introduction to the flash, etc. Part 2: ield work: photographing (approx. 3 hours) – portrait lighting with flash, with ambence lighting

Cilj radionice: Naučiti polaznike koristiti bljeskalice prilikom snimanja portreta u različitim ambijentalnim uvjetima.

Aim of workshop: teaching the participants to use flash when taking portraits in different ambience conditions.

O voditeljima

About the moderators

Goran Matošević i Krešimir Pletikosa

Goran Matošević & Krešimir Pletikosa

Goran Matošević je rođen u Zadru 1975. Fotografijom se profesionalno bavi od 1999. Školovao se na Università dell’immagine u Milanu kod poznatog talijanskog fotografa Fabrizia Ferria. Za vrijeme studija radio je bookove za modele kod milanskih modnih agencija Paolo Tomei i Joy Uomo.... Po povratku u Hrvatsku surađivao je sa redakcijama Zadarskog Lista, National Geographica (Hrvatska), Geo (Hrvatska), Meridijani, Globus i Vjesnik. Urednik je i autor 4 knjige o fotografiranju portreta, pejzaža i arhitekture, putova-

Goran Matošević was born in Zagreb, in 1975 and has been a professional photographer since 1999. He attended Milan’s Università dell’immagine in the class of the famous Italian photographer Fabrizio Ferri. In the course of his studies, he made model books with Milan model agencies Paolo Tomei and Joy Uomo. Having returned to Croatia, he cooperated with the magazines Zadarski list, National Geographic Croatia, Geo (Croatia), Meridijan, Globus and Vjesnik. He is the editor and author of 4 books on portrait, landscape

nja te sporta i vjenčanja. Trenutno predaje fotografiju u Informatičkom učilištu Algebra i radi kao slobodni fotograf.

and architecture, travel, as well as sports and wedding photography. He currently teaches photography in the Algebra school of informatics and freelances.

Krešimir Pletikosa rođen je u Zagrebu 1972. Mentor je programa obrazovanja Specijalist za digitalnu fotografiju i obradu koji se provodi u Informatičkom učilištu Algebra. S Goranom Matoševićem osnivač je Fotografske udruge Fotogard i urednik portala Fotogard.com. Autor je 4 knjige o fotografiranju portreta, pejzaža i arhitekture, putovanja te sporta i vjenčanja. Na posljednjim Photodaysima u kategoriji Slobodna tema ušao u finale, a njegov rad pohvaljen je i u kategoriji Priroda.

Krešimir Pletikosa was born in Zagreb in 1972. He is a mentor in the educational programme Specialist For Digital Photography and Processing at the Algebra school of informatics. Together with Goran Matošević, he is the founder of the Fotogard Photographers Association and is the editor of the Fotogard.com portal. He is also the author of 4 books on portrait, landscape and architecture, travel, as well as sports and wedding photography. He entered last Photodays finale in the Free Topic category. His work was comended in the Nature category, too.

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RADIONICE

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Carl Zeiss

Tip radionice: osnovna Broj osoba: 25 Preduvjeti: Interes za leće s ručnim fokusom za fotografiranje i snimanje filma.

Type of workshop: basic Number of people: 25 Conditions: Interest in manual focus lenses for photography and film-making.

Opis, kronologija radionice i cilj:

Description, schedule and aim of the workshop:

1. dio: 2. dio: 3. dio: 4. dio:

Part 1: Part 2: Part 3: Part 4:

kratki uvod tvrtke (20 min.) predstavljanje portfelja objektiva sa USP- om i aplikacijama (1.5 h) praktični dio, proba i konzultacije (1 h) povratak u učionicu, pregled fotografija s komentarima, odabir najboljih fotografija

short company introduction (20 mins.) presentation of camera lens portfolio with USP`s and applications (1,5 h) hands-on, try and consultation (1 h) return to classroom, review of photos with comment, choosing best photos

Cilj radionice: Upoznavanje sudionika s pojmom fotografije uličnog stila i pružanje prilike da se sami u njoj okušaju uz pomoć konstruktivnih savjeta i stečenog znanja.

Aim of workshop: introducing the participants with the notion of street style photography and giving them a chance to give it a shot themselves, with the help of constructive advice and gained knowledge.

Carl Zeiss upravo započinje posao s objektivima u ovoj regiji.

Carl Zeiss is just setting up the Camera Lens business in this region.

Rovinjski Photodays savršena je prilika da zajedno s distributerom Optinova predstavimo asortiman proizvoda u fotografiji, kao i u HDSLR, profesionalcima i ambicioznim fotografima amaterima i filmašima. Uz uvod i predstavljanje proizvoda želimo objasniti prednosti objektiva s ručnim fokusom i objasniti moguća područja primjene, kao i upoznati sudionike s našim proizvodima, dajući im mogućnost da ih sami sve isprobaju. Bertram Hoenlinger, koji je fotograf i diplomirani inženjer fotografije, bit na raspolaganju za polaznike kao konzultant tijekom radionice, te će odgovoriti na sva pitanja.

The Rovinj Photodays is the perfect opportunity to present together with distributor Optinova the product range in both photograpy and HDSLR to proffessional and ambitious amateur photographers and film makers. Besides of the company introduction and product presentation we would like explain the advantages of a manual focus lens and explain possible application fields as well as to make the attendees familiair with our products by giving them the possibility to try all the products by themselves. Bertram Hoenlinger, who is photographer and graduated photo engineer, will be available as a consultant for the attendees during the workshop and will answer all related questions.

o voditelju

about the moderator

Bertram Hoenlinger

Bertram Hoenlinger je strastveni profesionalni fotograf. Nakon što je diplomirao kao inženjer tehnologije slike i medija, radio je kao honorarac za razne tvrtke kao što su Konica Minolta, Olympus i Nikon. Sada radi u korisničkoj podršci za tehničke zahtjeve i foto aplikacije u Carl Zeissu u odjelu za objektive od 2006.

Bertram Hoenlinger is passionate and professional photographer. After he graduated as an Engineer of Imaging and Media Technology he worked as a freelancer for various companies such as Konica Minolta, Olympus and Nikon. Now he is working in the customer support for technical requests and photo applications at Carl Zeiss Camera Lens Division since 2006.

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pregled portfolia portfolio review

Helena Srakočić Kovač Agentica te bivša galeristica, koja je svoj čitav profesionalni vijek provela u Londonu i posvetila ga fotografiji. Agent and ex-gallerist, who spent all of her business career in London dedicated to photography.

Ivana Tomanović Glavna urednica časopisa REFOTO. Editor in chief of REFOTO magazine.

Dubravka Osrečki Jakelić Predsjednica je Hrvatskog muzejskog društva i muzejska savjetnica u Muzeju za umjetnost i obrt.

GAIL BUCKLAND Povjesničarka umjetnosti, publicistkinja i kuratorica.

portfolio review

pregled portfolia

Director of the Croatian Museum Society and the museum advisor in the Museum of Arts and Crafts.

Art historian, journalist and curator.

Miran Tomičić Senior art direktor i član uprave reklamne agencije Bruketa & Žinić OM. Senior art director and board member of the advertising agency Bruketa & ŽinićOM.

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Drago Havranek Direktor hrvatske fotografske agencije Cropix. Director of Croatian photo agency Cropix.

Robert Belošević Direktor hrvatske fotografske agencije Pixsell. Director of Croatian photo agency Pixsell.

Massimo Sordi Predstavnik festivala suvremene fotografije - Savignano Immagini Festival. A representative of the festival of contemporary photography Savignano Immagini Festival.

Stefania Rössl Predstavnica festivala suvremene fotografije - Savignano Immagini Festival. A representative of the festival of contemporary photography Savignano Immagini Festival.

Walter Liva Organizator mnogobrojnih međunarodnih fotografskih izložbi, manifestacija, publicist, koordinator talijanskog “Centra za istraživanje i arhiviranje fotografije”. Organizer of numerous international photo exhibitions, manifestations, publicist, coordinator of the Italian “Center for Photo Research and Archiving”.

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FOTO IZAZOV PHOTO CHALLENGE

Foto Izazov

Photo Challenge

Foto Izazov 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.

Croatian 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.

PHOTO CHALLENGE

FOTO IZAZOV

Stručni žiri sastavljen je od hrvatskih fotografa s dugogodišnjim iskustvom: Stanko Abadžić, Mario Romulić i Dražen Stojčić, Drago Havranek i Danijel Berković.

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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. The jury is composed of Croatian photographers with many years of experience: Stanko Abadžić, Mario Romulić and Dražen Stojčić. Drago Havranek and Danijel Berković.

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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.

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.

ABOUT ROVINJ

O rovinju

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.

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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.

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.

PHOTO BY: RENCO KOSINOŽIĆ

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PHOTO BY: MARIO ROMULIĆ I DRAŽEN STOJČIĆ

general sponsor

generalni pokrovitelj

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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 culturalhistorical 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.

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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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

SAVJETODAVNI ODBOR consulting board

program and organization committee

programski i organizacijski odbor

Jelena Petković press@photodays-rovinj.com

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Dubravka Osrečki Jakelić Helena Srakočić Antun Travirka Ivica Nikolac Angelo Božac

Suradnici Associates Igor Makiš administrator@photodays-rovinj.com Saša Buršić sasa@photodays-rovinj.com Vedrana Legović vedrana@astoria.hr Davor Margetić info@astoria.hr Nina Krivošija nina@photodays-rovinj.com Martina Rojnić martina@photodays-rovinj.com

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

Supokrovitelj Co-sponsor 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

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

Programski i organizacijski

Lektura (hrvatski)

odbor

LANGUAGE EDITOR (CROATIAN)

Program and Organization Committee: Denis Redić (Photodays) Ninoslav Vidović (Maistra) Jelena Petković (Photodays) Walter Liva (CRAF) Ivica Vrkić (Maistra) Odete Sapač (TZ Rovinj) Zlatko Radić (TZ Rovinj) Helena Srakočić Kovač Dubravka Osrećki Jakelić (MUO) Vesna Jurić Bulatović (MUO) Meri Vidulin (Maistra) Marija Smolica (Zavičajni muzej grada Rovinja / Rovinj Heritage Museum) Dubravka Svetličić (Multimedijalni centar grada Rovinja / Multimedia Center MMC Rovinj) Alen Živadinović (Gloria) Photo Art Gallery “Batana” Krešimir Pletikosa (Algebra) Biserka Rauter Plančić (Moderna galerija)

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

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 Anita Bilan web: dizajn.astoria.hr

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

NAKLADA EDITION 1.000 kom / pcs

Za izdavača FOR THE PUBLISHER Jelena Petković Vedrana Legović

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Generalni pokrovitelj / General Sponsor:

Pokrovitelj / Sponsor:

Supokrovitelj / Co-Sponsor:

Ekskluzivni medijski pokrovitelji: Exclusive Media Sponsors

Partneri / Partners:

CMY

partners

partneri

Medijski pokrovitelji / Media Sponsors:

Ä&#x152; A S O P I S Z A K U LT U R U F OTO G R A F I J E

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WWW.GANT.COM/CROATIA

Generalni pokrovitelj / General Sponsor:

W W W. P H O T O D AY S- R OVI NJ . COM

Supokrovitelj / Co-Sponsor: