Bartselona koncept For Lupo Pujadó Montserrat Thanks to all of the artists for believing in this project, the ones that participated during this past year and also the ones that showed interest. Thanks to all of the sponsors & institutions who participated in this third year, without your support it would not be possible. Thanks to all of the clients who helped us to survive this this third year by buying photos, cameras and postcards. Thanks to everybody who helped at any point during the year, art historians, translators, etc. Thanks to all the visitors for giving sense to our work. Thanks to Jacqueline Stojanović for your priceless voluntary work. Thanks to Marija Zmaya Gray for your work, energy & patience with this third edition book.
Bartselona koncept 3rd Year
Our third year is almost finished. The gallery is standing well on its own feet and has been included in the list of Belgrade’s 10 most visited galleries and museums by “Still in Belgrade” magazine. Great photographers have created a very interesting programme of work. What more can we ask for? To be part of the second edition of Belgrade Photo Month was a real honour and this time with 3 different exhibitions, presenting a very wide range of high quality works and with the intention to continue this into the
third edition. April 2018 is already on our mind and we have new projects almost ready. Unfortunately, while we are celebrating our 3rd birthday, we have also suffered a big loss. The gallery will preserve your memory, you will be always present, in every new step and who knows, maybe even a new location. Here or elsewhere, the borders are just in our mind and you have just passed the highest one. Always together, Mr. Lupo. David Pujadó
Participants
Marjan Andrejević Erol Čolaković Šehić Tamara Šuškić Jordi Plana Pey Verena Andrea Prenner & Offerus Ablinger Sebastian Illing Sanja Pavlović Đorđe Odanović
Narnya Imbrin Silvia Czepl Igor Čoko Odeta Catana Ana Jiménez Felicia Hodoroabă-Simion Francesco Marchetti Ivanka Božović
...and many others who participated in the different group exhibitions
2nd Birthday Gallery Exhibition 4th – 27th August 2016
One more year has passed. A year of working hard and surviving. This second year has been very special; the gallery had the honour to participate in the first edition of Belgrade Photo Month and is also confirmed to be part of the second edition in 2017. So, let’s go on! The goals are the same, to show photography from Serbia, but also to present work from abroad, to connect artists, works & audiences from all around the world. At the same time the aim is to try to improve the quality of works, exhibition by exhibition. Now we work on new challenges, new wishes and develop our plans for the coming season. What else is there to say? David Pujadó sponsored by:
MARJAN ANDREJEVIĆ New Kids on the Block 29th August – 6th September 2015
Series of photographs “New Kids on the block” portrays a new generation of young men. The project investigates the aesthetics and self-presentation of this particular generation. These young men are born after 1990 and are part of so called generation of transition. Globally they are called the digital generation. Extracts from newspapers articles and studies on the subject: – They are your sons. They populate your neighborhoods. Their thumbs spastically banging out two-way conversations composed entirely of over-punctuated and under-constructed sentences. They may even work for you. Eventually, you will work for them.
– Men of this generation appreciate their looks and use body as main accessory. They are so much groomed and nourished that one can hardly recognize them from the girls. While they may seem like self-centered personas now, there is reason to believe that today’s kids will have both the intelligence and sense of social responsibility to contribute in ways that will outlast their ridiculous haircuts. – They want to become rich and famous like their idols young millionaires known as internet celebrities. – They curate different social media personas in order to please each audience and minimize conflict or controversy. They filter out whatever flaws they may have, to create the ideal image.
EROL ČOLAKOVIĆ ŠEHIĆ The Flight Over Romanija Nest, Sokolac-Dayton!? 7th – 17th September 2016
A state of affairs in which, to a smaller or grater extent all states emerging from the Yugoslav wars currently are, and portraits of convicts and beneficiaries of the hospital for persons with mental disorders, are both presented in the same context by photographer, director, professor and multi-media artist, Erol Čolaković Šehić, in his Belgrade exhibition, entitled “The Flight over Romanija Nest, Sokolac-Dayton!?”.
in our ears. Yet, moral, social and economic collapse occurred exactly between 1992 and 1995, and the precipice was cemented with Dayton (Peace Agreement) which brought an ever permanent Office of High Representative, created the state without constitution, or perceived common interest around any issue that is of crucial importance for the existence of any state”, stated Čolaković Šehić succinctly.
Photographs that will be exhibited in the gallery Бартcелона (Belgrade Design District, Wednesday, 7th September, 20h), were made during a film-making for Television Sarajevo in 1988.
Another important word before this exhibition is Switzerland, since Čolaković’s exhibition will be opened only five days after a yet another screening of his film “DE BLUE DE BLUE”, at CORPS R90B exhibition in Geneva.
The artist has on multiple occasions attempted to point out at problems of people captured on these portraits – and the last time he succeeded in attracting media attention from the entire region with his performance that took place in 2012 in Sarajevo. “A promise that – with the arrival of multi-party system, BiH would turn into Switzerland – is still reverberating
He shows how the art also socializes the societies in which a commitment to work is the basis of existence, and from there he takes a viewer to an unexpected ending (although perfectly normal and expected for the world we live in), where diggers are removing the film’s main protagonist, i.e. a house that represents the meeting point of artists, in order to clear up the space for a new residential block.
“We’ve been told repeatedly that the older age brings ‘maturity, seriousness and common sense”... On the other hand, also the comments such as ‘he’s lost his marbles with the age‘... I am trying to situate myself between these two populist sayings, between two completely opposed projects, just like the two countries in which my photographs will be exhibited”, explains Čolaković. With these projects, the artist is marking a special year in his career, thus maintaining the continuity of “40 years of life and 60 years of work”, following his May exhibition “Photography and Emotions” in Gere Museum of prominent Živko Grozdanić Gera in Vršac, who will also be a special guest at the gallery Bartcelona koncept. Erol Čolaković Šehić was born in Sarajevo in 1956, and completed the Academy of Arts in Zagreb. He left Bosnia and Herzegovina in 1988, since when he has been living in several European capitals, from Barcelona, to London and Geneva.
He had very interesting experience working in Serbian media, in the period between 1990 and 1993 in TV Beograd, and subsequently for the Radio Television of Serbia. The author received multiple awards for his work as a photographer, academic cameraman and director, such as: Gran Prix for the photography in Rome in 1981, and seven years later, in 1988, as a director and cameraman of the documentary “The Window at the End of the World”, he was awarded Internacional Premio Ondas in Spain. He worked for TV Catalunya, as well as for TVE, BBC and WDR. He was a founding father of the European Film Centre in Barcelona, where he also performed multimple roles of a professor, director and executive producer. In the past twenty years, he transversed four countries, and is now living and working in Geneva. The event is supported by: Embajada de España en Sarajevo, Sarajevo Canton and Art of Digital Printing MARGO.
TAMARA ŠUŠKIĆ Portrait
20th – 29th September 2016
For her first solo exhibition of photographic works, Tamara Suskic has produced a new body of images that foregrounds tactility, digital materiality and figural abstraction. After years developing a practice in film and digital photography, as well as rephotographic techniques highlighting virtual surfaces and digital noise, the works in Bartcelona Gallery’s “Portrait” exhibition strike a balance between self-portraiture and materialism. She is steadfast in her (non-)approach to image-making: “I don’t want to defend my photographs, and I don’t want to add value and meaning.” The viewer is left to piece together these fractured views herself.
In the photographs shown, the mobile camera becomes a tool not only of image capture but also of editing, cropping, pixelating and, ultimately, sharing in the social media realm. What might otherwise be simple selfportraits are algorithmically modified to create pixelated, impressionist blobs of purples, greens and yellows, defining shades and tones with approximation. The photos are framed unconventionally, seemingly inviting the viewer to swipe or zoom out of for a wider view. Lines of the body and face lead out of frame and body parts become swooping curves. Precedents can be found in Anne Biermann’s fractured, extreme close-up body and face studies made near the
end of the Weimar Republic-era Germany. The lightstudies Nude (1931) and Nose (1929) are evocative of this fracturing of the body through the photographic frame. Dora Maurer’s Seven Rotations 1-6 (1979) also comprises a series of photographic self-portraits, altered and arranged through process-based actions. While these particular artists and works may not have been conscious influences, we can see that Šuškić, working with digital technology and in a social media environment, still works with similar concerns that artists have been exploring through conceptual photographic works over many decades. Herb Shellenberger, curator
Herb Shellenberger is a curator and writer based in London, who has curated screenings at institutions such as Arnolfini (Bristol), International House Philadelphia, Light Industry (Brooklyn), LUX (London), Molodist International Film Festival (Kiev) and Yerba Buena Center for the Arts (San Francisco). He graduated from the Central Saint Martins/LUX MRes Moving Image program and has previously lectured on artist film and video at the Istanbul Museum of Modern Art and Alternative Film/Video Research Forum (Belgrade). He is Associate Programmer of the Berwick Film and Media Arts Festival (Berwick-upon-Tweed, UK) and will organize a series focused on American experimental animation of the 1970s-1980s at Tate Modern in 2017.
JORDI PLANA PEY Passió - Pasija 5th – 15th October 2016
The mixture of religious themes and everyday life in order to put focus on the physical passion and enjoyment in life. Inspired by the paintings of Jesus’ Suffering, as opposed to real life situations in which nothing should be changed or added. In these photos should not be sought congruence with religious performances, but should be seen them as part of everyday life.
VERENA ANDREA PRENNER & OFFERUS ABLINGER Europe Now
17th October – 2nd November 2016
The fusion of the Viennese artists Verena Andrea Prenner & Offerus Ablinger is focussing on the space of political Europe with the emphasis on dirt, patriarchal usability and poetic expression in a determined context. Measures of populism and satire are taken over to unveil and deconstruct the topics of terms. In the current situation, linked to the Now, clashing Kitsch of dumped massive mountains, monumentally coated and centered concrete. In collaboration with Kulturforum Belgrade. sponsored by:
SEBASTIAN ILLING Sunny Place for Shadowy People 14th – 26th November 2016
How do we want to live? Dealing with that question could open a lot of main doors – leading to a contented (happy) life and dignity. But a little side door is creaking: Light (sun) is often used as a plain symbol of life. Shade, however, has more complex connotations (mainly immoral tendencies): “shady” (dodgy, dubious, doubtful, indecent) or “shadowy” (mysterious, arcane, cryptic)? I think of people who are considered “shady” - often the so-called outsiders or mavericks - but who are talented (and even ingenious) people, individuals that live the Kantian categorial imperative, persons who probably feel contented in their everyday lifes while struggling with or being surrounded by our omnipresent enemy “Social Acceleration” (Rosa 2005). I would call them (lovingly) “shadowy”.
SANJA PAVLOVIĆ Home Wasn’t Built in a Day 28th November – 17th December 2016
The person behind Sailing Along is Sanja Pavlović. She is currently living and working in Belgrade, where she had finished her studies in Scandinavian languages and literature. During her studies, she developed a great interest in children’s literature and illustration, and the influence of Scandinavia and life in the far north is rather present in her illustrations. Except Scandinavia, Sanja finds inspiration, primarily, in music and long forest walks with her dog Timotije.
The exhibition “Home wasn’t built in a day” will be the first exhibition in which she combines her drawings and photographs, and in this way filters reality through her imagination. This exhibition tells about the houses that are more than walls, the forests that are more than trees and about people in search of a home, and, above everything, a reminder that everything truly worth it takes time.
GROUP EXHIBITION More Than 1... at Least Double 9th – 21st January 2017
A second glance at reality by Jacqueline Stojanović During the early practices of photography when using a wet plate or analogue film camera one would always ensure that the lens cap or shutter of the apparatus only be opened once in order to create a sharp and clear image. This image, though grainy in the medium’s infancy and black and white in its gradient, was the truest representation of reality available for the time being. However one day one photographer broke the one rule in making such a sharp and clear image of their single subject, and instead of opening their shutter just once it was opened a second time exposing the camera’s light sensitive material twice to the outside world. Whether it was the mistake of an amateur or the experiment of a professional, the surreal result of their
double exposed photograph inspired a wave of artistic expression amongst the creators of photography and cinema alike. By the early 20th Century avant-garde photographers were widely experimenting with multiple exposure techniques, while prominent filmmakers such as Georges Méliès, who was considered to be the father of special effects in filmmaking, adopted the aesthetic of multiple exposure imagery to portray ghost like figures in his many silent horror films. The technique has since been adopted widely by those who both personally and commercially practice photography, and now manifests through a plethora of media, perhaps commonly seen by the public in the form of photographic hoaxes circulated via the internet. More than one... at least double celebrates the happy accident of multiple exposure images during the
contemporary era of photography. As photographic technology advances at a rapid pace we’re enjoying somewhat of a renaissance for the medium. Cameras of all sorts grow evermore accessible to the masses and now everyone has the ability to make photographs and produce double exposed images using digital editing tools – to put it plainly, reality has never been more documented or manipulated as it is today. However, within the exhibition space we’re presented only with photographers of the artistic sense, and faced with the question of why we should manipulate images in such a bygone style when the depiction of reality can now be portrayed more accurately than ever, or in turn, altered in infinitely more ways given the advancements of technology? In each image we’re confronted by the blur of time past. As figures overlay one another in a hallucinogenic array, feelings of motion and nostalgia arise, a common thread that binds each photograph together and an emotional motif that harks back to the early experiments of double exposure film. It would appear that we’ve traded a true perception of reality for something less tangible and more difficult to document, our own time, space and memory.
photographs of More than one... at least double remind us of the human element in documenting images, with a desire to depict not what we remember but perhaps a closer representation of how we cognitively remember it – blurry, fuzzy and a little overlayed.
While we’ve been working towards an apparatus that captures a truer perception of life’s surrounds, the
Felice Willat
Participants: Andrić Igor Christopher Paul Brown Dag Røttereng Henna Vähä Anita Kwiecien & Nikola Jelenković Joanna Kischka Hugo Journel Fabio Rossi Tarlis Schneider Snežana Stevanović Krstić Vida Stanisavac Vujčić Veljko Vujčić Lee Jones
Felice Willat
Anita Kwiecien & Nikola Jelenković
Andrić Igor
Christopher Paul Brown
Tarlis Schneider
Lee Jones
Dag Røttereng
Fabio Rossi
Joanna Kischka
Hugo Journel
Veljko Vujčić
Vida Stanisavac Vujčić
Snežana Stevanović Krstić
Henna Vähä
ĐORĐE ODANOVIĆ Stereometric Principles or Depth Adoration 23rd January – 4th February 2017
There is an eternal and insatiable aspiration in photo technology from the earliest days of creative thinking in photography. On the threshold of this media discovery, innovators captivated the world with “stereo camera”, which, together with “stereo glasses”, creates a 3D virtual play or an impression of third dimension in the eye of the beholder. By using stereo camera, I wish to sidestep the romantic experience and sabotage the illustrative stereo effect. Specifically, I’m trying to capture the tension between a chosen place in nature - often uninteresting at first sight - and its double representation in a magnified image. Focusing upon “double view”, the observer is condemned to decode
minimum difference that is certainly observed at the micro level of a photographic image. Therefore, the motive, as an enigmatic scene gains in importance, completely drifts away from the 3D effect characteristic of stereo photography. Displaying “two” same photos, although they are never the same, entails fostering an intentional chaotic image in nature, as the other, “stereo”, view creates from it a juxtaposition of these two working principles. Finding in a natural environment the untouched and forgotten, reminds one of the inevitable alienation and distancing from the idyllic landscape scene, which is becoming ever less scarce.
NARNYA IMBRIN Naked Truth
6th – 18th February 2017
She wakes up. Puts her role on, like an evening dress. Fleeing from herself, she reaches the extreme of cognizance. She is unmasking the ego, and is thus moving closer to her very self. Spiritual, introverted, militant, imprisoned in a saint of mantric eroticism, abstract, denuded, intangible, supple, ready to become cognizant of a sin, and ready to sin despite that knowledge. Her name is Brutality, and her surname Subtlety. It is through a series of self-portraits that Narnija Imbrin is finding the balance within that interplay of emotions. She is probing into her own eroticism, looking at her reflection on the other side of the mirror through antiheroism and (de)mystification of ambiguous messages she is emanating, wrapped into noir aesthetic of the art, expressing – through accentuated shades – a woman who is dominating her being, verging with militant, lasciviously sensual, extravagant, yet also velvety-supple and chaste.
By bringing the expression of eroticism to perfection of that desired personal self-awareness – which this interplay represents – it is both cleverly sacral and thoughtfully vulgar. In her eroticism, Narnija plays with fetishism, flirts with sado-maso illusions, fleeting momentarily into an area that borders with adultery, yet through balanced tones, despite a raucous vibe burning from within. A lucid, intelligent play in which the author is quite clearly at ease with herself and knows very well what she wants, even if she may be confusing with multiplicity of her ideas and associations. Looking at Narnija’s photographs, I feel like listening “Venus in furs” by Velvet Underground; I feel like plunging into psychodelic stupor emanated by her photographs. Rich, intense sensation, after which one should and must look at the author with deep respect, since she boldly – by revealing her fetters – dived and pierced into herself, thus showing herself through that nakedness in the most opulent way. Marina Kovačević
SILVIA CZEPL Movie Box
20th February – 4th March 2017
Silvia Czepl makes art out of found footage, pictures she usually hunts for at flea markets.
You will only be able to understand and absorb the artwork with a sense of humor, irony and immediate interaction.
The series Movie Box is entirely based on black-and-white photographs – snapshots and portraits of unknown persons. Her focus in selecting the photographs is on the pose of the object, an impressive gaze or an indicated gesture. Working with these anonymous images, dating from the first half of the twentieth century, the artist herself is inspired by the action (or inaction) of the pictured person.
Silvia Czepl studied at the University for Art and Design in Linz, Austria.
Her manual interventions are like a play with these pictures; she uses an assortment of objects and homebuilt implements in order to add motion.
Her fascination for old photographs already began during her time at University. Since then she experiments with these photographs in different ways and creates sculptures and two dimensional artwork. Besides creating art by herself she offers art-workshops in her own mobile studio and gets inspired best by doing sports in the beautiful Austrian countryside. In collaboration with Kulturforum Belgrade. sponsored by:
IGOR ČOKO Behind Bars
6th – 25th March 2017
“Behind bars” is a story about daily life of the prisoners at the Belgrade County Jail, located in the Belgrade downtown, Serbia. Photos are made in the restricted cell block where more than one hundred prisoners serving their sentences. Photo story is part of the same titled book made in production of Belgrade County Jail Treatment service, as a regular based activity in the treatment of the prisoners through art...
ODETA CATANA Guilty Pleasures 27th March – 8th April 2017
The exhibition “Guilty Pleasures” presents a wide arsenal of bizare pleasures that people feel guilty about. Photographed in their own environment, in their homes, the subjects participating in the project reveal in front of the camera, sometimes hushed and hesitating, othertimes theatrical and demonstrative, what normally they hide at all costs from the eyes of others: situations, habits, rituals or various objects that constitute their props for their guilty pleasures. The photographer Odeta Catana succeds in capturing these pleasures with naturalness, without creating the sensation of an intrusive interferce in the intimacy of her subjects.
“Guilty Pleasures” was created within an artistic residency for six months for the British magazine and it was first published in Square Magazine, issue 34: www.squaremag.org/501-FR-GB.pdf. The project and various interviews were subsequently published in numerous newspapers and magazines both in Germany (Süddeutsche Zeitung, Stern, Huffington Post) and the United Kingdom, Italy (Repubblica Il Post) and the USA (Cosmopolitan). The entire project can be viewed on the website of the artist: www.odetacatana.com In collaboration with Romanian Cultural Institute and Embassy of Romania in Serbia. sponsored by:
ANA JIMÉNEZ I’m Katsikas 10th – 22nd April 2017
The social problem of the XXI century goes further away of politics borders. It starts to reach moral limits and it tells a lot about the value of people lifes just depending on their politic stability. I`m talking about thousand of people that are leaving their homes, costums and memories to start a long journey of fears, insecurities and briberies only to get to no men’s land, where their hopes crash into an armored wall called Europe. Their final destination turns into a terrible limbo, confined without time or privileges, in places called refugee camps. It all
consists in their transfer to “enabled” areas in where they wait for a “new” future, where they are forced to settle in “welcome” zones (camps or old buildings) in the outskirts of Athenes. To illustrate this problem I have made a series of black and white photomontages from the images of those who are most vulnerable in this precarious situation of humanity, giving them much more importance, placing them in front of a white canvas with brush-strokes of reality, the hard reality that they are now living. sponsored by:
FELICIA HODOROABĂ-SIMION Carpethian
24th April – 6th May 2017
Felicia Simion’s photography installation Carpethian raises concerns about the preservation of tradition in modern society by revealing current ways in which traditional carpets are being utilized in her homeland Romania. The exhibition fosters a personal focus on the carpets owned by Simion’s relatives who live in the rural villages of Oltenia. In engaging with a community not yet swallowed by the full-fledged contemporaneity found in urban environments glimpses of bygone relics and past customs can be found and nurtured amongst a remote village setting. However nothing seems completely out of reach for modernity’s tinkering hand and it is the forms in which these customs have inevitably changed that continues Simion’s ongoing investigation into the evolution of tradition.
insulation for nomadic tribes’ tents, being adopted as a place of worship and prayer, to becoming a status symbol of wealth and prestige, or purely serving as beautiful decorative objects. With its diverse use and purpose the carpet has always been a part of the daily cultural life of communities in many nations. These days the carpet has been reduced to decoration and is a common staple in home décor stores. Made en masse in factories by machines, the personal human touch is void in the production of modern rugs and the craftsmanship and knowledge of their creation becoming a thing of the past. To own a hand-woven carpet has become a fetishised commodity in modern Western civilizations and problematic in that the owners are unaware of the objects rich history and place in culture.
Since the earliest carpets were hand woven in Armenia and Persia they have been attributed with many roles, whether practical or symbolical. From serving as thermal
Specific to Romania, Oltenian carpets commonly bore a floral design and were gifted as a dowry for marriages. These carpets bore symbolic significance and would sponsored by:
represent the social status of a family, with some carpets specifically customised for certain families that would incorporate patterns and motifs that could represent their amount of wealth, field of work, and history within the design. It was a privilege to own such an object and due to the carpets prestige people would display them in specific areas of the house, often on walls to exhibit their abundance, or immortalise their image with the carpets by standing for their portrait in front of them. Taken in the rural villages of Plenița, Ciocănești and Novaci, Simion documents the history of her own relatives’ carpets by appropriating the aforementioned style of photography popular in Romania one century ago. Staging her subjects in front of the carpets they’ve kept in their homes, she creates a visual juxtaposition between their casual modern attire and the old fashioned style of their rugs. Adversely she inverts this contrast in her self-portrait in which she is presented wearing a traditional Oltenian costume yet pictured in front of a carpet bought by her parents only years ago in a modern furniture store. The carpets featured in her families’ portraits were mainly bought to indulge the beginning of something new, from moving into a new apartment, to marking the demise of communism, or a purchase for a persons wedding, perhaps a hangover from the days of marriage dowries. Reasons for possessing such carpets
have shifted into the realm of commodity and the rugs of her family have gradually veered from a traditional Romanian style to that of less precious Turkish and Oriental reproductions. While Simion’s portraits provide an insight into the contemporary homes of rural Romania and their nostalgia with its rich and colourful past, her enquiry poses a much broader question about the place of tradition in the 21st century. In discontinuing the handmade production and purchase of domestic Romanian carpets what could be at stake of being lost for the cultures history? In an age where their value is displayed on the opposing binaries of “the souvenir shop” and “the heritage museum” both catering heavily to tourism, how will traditions like these carpets be remembered by Romanian locals as they continue to warp and shift their meaning into a state of commodification. When confronted with Simion’s photographs, bound up in memory with their beauty and personal integrity, I’m left pondering mostly whether this commodification is a cultures move towards progress or alternately a mistake in abandoning its past. Jacqueline Stojanović In collaboration with Romanian Cultural Institute and Embassy of Romania in Serbia.
FRANCESCO MARCHETTI The Art of Spectating 8th – 20th May 2017
The much-pondered notion of whether life imitates art or art imitates life is manifested in Francesco Marchetti’s photography series The Art of Spectating. Undertaken at the Victoria and Albert Museum in London, it presents the intimate moments of contemplation and at times uncanny physical relationship shared between the spectator and the spectacle within a gallery context. Described by the artist as an extension of street photography each shot is candid and represents the ordinary people, with no interaction made between the artist and his subjects. In the latter’s regard the images differ from traditional street portraits in which communication plays a key role in abstracting a captivating photograph, instead within the historical museum the observer plays a voyeuristic role in voyeurism itself, blurring the line between the audience and the artwork while creating something entirely new in the process.
The photographs reflect the passage of time between the creations of the master’s artwork displayed in the museum to the present day, where we see contemporary art viewers pondering the same subjects centuries later and at times imitating the masterpieces themselves. This mimicking of their bodies presents a visual linkage that continues to propel this project, posing the questions of mere coincidence or perhaps a deeper subconscious psychology that is adopted in the museum context. It makes one wonder again whether art imitates life or life imitates art. In turning to the art viewers as his subjects Francesco subtly shifts a social hierarchy in viewing by bringing those on the sidelines, the viewers, to the forefront. The audience and their interactions within the gallery space become the focal point, and we as his audience are made further self conscious of our own position in viewing the artwork. Jacqueline Stojanović sponsored by:
IVANKA BOŽOVIĆ Messages in a Bottle 29th May – 5th June 2017
Messages in a bottle is the fourth book of poetry by Ivanka Božović that encircles her introspective opus collected in poeziJa (poeMe). poeziJa brings three published books of poetry: Rupa (The Hole) in 2012, Slobodan pad (Free fall) and Pesme da bi se dočekalo leto (While waiting for the summer) in 2015, together with the latest one Poruke u boci (Messages in a bottle).
poetry into physical one, bringing out this time a series of photographs that directly inspired some of her poems.
Ivanka Božović’s poetry is primarily autoreflexive, minimalistic in form, but very often looks outwards broadcasting the subtle criticism of the dehumanized world – as the author perceives it. Curiosity of the book poeziJa is the author’s continuous quest to expand the inner space of
Ivanka Božović is a PhD in physics and a poet. Often inspired by the visual, she collaborates with artists in the field of photography, fine art and design like David Pujadó, Nebojsa Aleksić and Tijana Cvetković.
Differently from the artistic photography per se that already brings a self consistent poetic story, the exhibited photographs are just a visual initiation for an infinity of stories to be told. With her poetry, Ivanka Božović offers only one of the possible outcomes.
She lives and works in Belgrade.
GROUP EXHIBITION Analogue Photography – Digital Print Twice a year, Бартcелона gallery makes an Open Contest for photographers from all over the world to participate in the gallery’s program. The gallery typically proposes a theme and the best proposals are presented at a group exhibition. This time, the theme is Analogue Photography and selected works will be part of the exhibition Analogue Photography – Digital Print.
Participants: Andrey Semenov
Jacqueline Stojanović
Carolina Chacón
Milanka Marunić
Dominika Sosnowska
Neda Spasojević
Edgar Salazar
Paola Arbildua
Fernando Flores Huecas
Vladimir Ilić
Dominika Sosnowska
25th July – 3rd August 2017
Carolina Chacรณn
Fernando Flores Huecas
Vladimir Ilić
Neda Spasojević
Paola Arbildua
Edgar Salazar
Jacqueline Stojanović
Andrey Semenov
Milanka Marunić
Designed by: David Pujadó Prepress: Marija Zmaya Gray Printed in: Štamparija Format Edition: 300 copies Belgrade, 2017