Organ Vida 5 Catalog by Marina Paulenka

2013

ZAGREB

16. â&#x20AC;&#x201C; 21.09.2013 5. MeÄ&#x2018;unarodni festival fotografije Organ Vida 2013

5th Annual International Photography festival Organ Vida 2013

Dokumentarna fotografija Prostori Zagreb, Hrvatska

Documentary photography Spaces Zagreb, Croatia

Vaša monografija ne mora biti skupa Otisnite je u samo nekoliko primjeraka Cerovski print boutique

I ova knjiga je otisnuta kod nas, u nakladi od 50 primjeraka.

Content / Sadržaj

Jury Statement / Izjava žirija

Finalists / Finalisti Justin Barton Jeppe Bøje Nielsen Maite Caramés Pons Franky De Schampheleer Venetia Dearden Kai Löffelbein Michele Palazzi Asmita Parelkar Naman Protick Sarker Mario Pućić

7 15 27 37 45 57 65 73 83 95

Special Mention / Posebno priznanje Chloe Bartram Michel Le Belhomme Boštjan Pucelj Dušan Rajić Mario Wezel

103 109 117 125 133

Impressum

142

Sponzors and Partners / Sponzori i partneri

143

Jury Statement

Given the fact that Organ Vida has made a thematic turn in defining the character of the festival and starting this year it is held under the aegis of artistic documentary photography, the propositions of the festival, compared to the ones in the previous years, have been significantly more specific, yet interpretatively very wide within the context. The topic of this year’s festival, Spaces, has thus resulted in a great amount of projects that interpreted spaces in a literal sense and quite similarly, so the wealth of possible interpretations was one of the red threads that the jury had in mind when choosing the projects, all the while staying aware of the projects that stayed in the more traditional, documentaristic approach to the topic, yet showed excellence in narration or performance. Stories told by this year’s finalists accordingly form a wide narrative and visual arc – from intimate spaces of personal suffering (Sarker Protick) and an intersection of collective yearning, hopes and beliefs (Jeppe Nielsen) to spaces where decisions for all mankind are made, which are still unreachable to the common man (Justin Barton), the notation of heterotopia, giving the voice to those in captivity to speak about our weaknesses and paradoxes (Asmita Parelkar) and spaces irrevocably changing their traditional appearance is irrevocably changed by the new economic and political relationships (Michele Pallazi). The artistic documentary photography itself showed as a space inside which it is possible to equally put socially engaged photography (Loeffelbein Kai) as well as documenting one’s own emotional and physical journeys (Venetia Dearden, Mario Pucić). Its formal language of spatial narrative can clearly and wittily make a point (De Schampheleer Franky), but immensely expand the semantic levels (Maite Carames). The final selection for the exhibit and this c atalogue can thus be interpreted as a double reflection – on one hand it reflects unified contemplation and a ffinities of the jury, considerably heterogeneous in terms of theoretical background and experience, which proved

Organ Vida 5th International Photography festival

to be a challenging and fruitful combination because of numerous good applications we received. Second point of reflection is the unanimous intention of the jury to locate neuralgic points of modernity in the context of space, yet at the same time give an insight of today’s artistic documentary photography and accompanying trends in the field of formal and content-related photographic expression. Along the way we faced multiple questions, of which one theoretical question seemed to arise constantly during the evaluation of applications regardless of the flexibility of the term artistic photography. That question regards the limits and intersections between artistic and documentary. Consequently, with ten selected authors, the jury decided to add to this catalogue five additional projects, whose performance and content grabbed some of the jury’s members’ attention both emotionally and aesthetically. Some of these projects lie on the border or intersect the genre borders. Photography is mostly (and wrongly) seen as a m edium that reproduces reality. It would be however more correct to say that it used something that, at first glance, looked like a reproduction of reality and used it to create new worlds. However, how those world will look like, in all photographic genres (including artistic documentary photography), will always depend on the photographer, the camera and the viewer. This year’s festival’s jury hopes that they can provide the audience, the authors, the theorists and colleagues an exciting and inspirational journey through the landscapes of contemporary artistic documentary photography as well as personal and social global spaces in which we reside every day. — Petra Belc

Izjava žirija

S obzirom na činjenicu da je Organ Vida načinio tematski zaokret u definiranju karaktera festivala te se od ove godine održava pod egidom umjetničke dokumentarne fotografije, propozicije ovogodišnjeg natječaja bile su u odnosu na one prethodnih godina znatno određenije, no unutar tog konteksta istovremeno i interpretativno vrlo široke. Tema ovogodišnjeg festivala, Prostori, rezultirala je tako između ostalog, mnoštvom projekata koji su se prostorima bavili u doslovnom smislu i na vrlo sličan način, stoga je upravo bogatstvo mogućih interpretacija bilo jedna od crvenih niti kojima se ovogodišnji žiri vodio pri odabiru projekata, ne ispuštajući međutim pritom iz vida one projekte koji su se unutar tradicionalnijeg dokumentarističkog pristupa temi istakli svojom izvedbenom ili narativnom izvrsnošću. Priče ovogodišnjih finalista u skladu s time opisuju širok narativni i vizualni luk – od intimnih prostora osobnih patnji (Sarker Protick) i presjecišta kolektivnih čežnji, nadanja i vjerovanja (Jeppe Nielsen), do prosječnom čovjeku teško dostupnih lokacija u čijim se prostorima odlučivalo o budućnosti čovječanstva (Justin Barton), heterotopija čije  bilježenje daje glas onima koji u zarobljeništvu s vjedoče o našim slabostima i paradoksima (Asmita Parelkar), i prostora čija se tradicionalna vizura bespovratno mijenja uslijed novih ekonomsko-političkih odnosa (Michele Pallazi). Sama se umjetnička dokumentarna fotografija istovremeno pokazala prostorom unutar kojega je moguće ravnopravno smjestiti društveno angažiranu fotografiju (Loeffelbein Kai) i dokumentiranje vlastitih emocionalnih i fizičkih putovanja (Venetia Dearden, Mario Pucić), dok njen stilizirani formalni jezik prostorne narative može istovremeno jednako jasno i duhovito poentirati (De Schampheleer Franky) koliko i neizmjerno proširiti značenjske razine (Maite Carames). Finalni odabir koji se nalazi na izložbi i u ovom katalogu u tom je smislu moguće čitati kao dvojaku refleksiju – s jedne strane on odražava objedinjeno razmišljanje i afinitete članova žirija čije su polazišne točke bile bitno teorijski i iskustveno heterogene, što se u kontekstu m noštva

Organ Vida 5. Međunarodni festival fotografije

kvalitetnih prijavljenih radova pokazalo kao izazovna i vrlo plodna kombinacija. Druga točka odraza jest namjera žirija, koja je od samog početka bila jednoglasna – kroz odabrane radove nastojali smo locirati neuralgične točke suvremenosti u kontekstu prostora, ali istovremeno i pružiti uvid u današnju umjetničku dokumentarnu fotografiju kao i prateće trendove na polju formalnog i sadržajnog fotografskog izraza. Pitanja koja su se putem otvorila bila su mnogobrojna, a jedno od teorijski najznačajnijih koje je, bez obzira na fleksibilnost pojma umjetničke fotografije, u praksi samog žiriranja neprestano iznova iskakalo, jest ono o granicama i presijecanjima u mjetničkog i dokumentarnog. Uz deset odabranih autora žiri se tako odlučio i za d odatnih pet projekata predstavljenih u ovom katalogu, koji su izvedbom i sadržajem privukli e mocionalnu i estetsku pažnju pojedinih članova žirija, od kojih neki projekti svojom formom i sadržajem postavljene granice žanra dodiruju odnosno prekoračuju.  Fotografija je uglavnom (često i pogrešno) tumačena kao medij koji reproducira stvarnost – bilo bi mnogo ispravnije reći da je onim što se na prvi pogled činilo kao reproduciranje stvarnosti zapravo stvarala nove svjetove. A kakvi će ti svjetovi biti kako u drugim fotografskim žanrovima pa tako i u umjetničkoj dokumentarnoj fotografiji, uvijek će zavisiti podjednako od fotografa, fotoaparata, i gledatelja. Žiri ovogodišnjeg festivala nada se da će publici, autorima, teoretičarima i kolegama fotografima kroz odabrane projekte pružiti uzbudljivo i inspirativno putovanje predjelima kako suvremene umjetničke dokumentarne fotografije tako i osobnih ali i društvenih globalnih prostora u kojima danas prebivamo. — Petra Belc

Justin Barton Atomic War in Details

Justin Barton is based in Shoreditch London in the UK. His work focuses primarily on personal history and heritage. His interests in photography are wide and varied, but his current specializations are architecture, interiors, portraiture and landscapes. He undertakes both commercial and editorial work in all of these disciplines and has been a full time professional photographer for six years before which he assisted a wide range of photographers for a similar period. His images focus on personal history and heritage stories, in particular on tiny elements that are easily missed, but that tell a greater story in reflection. Previous series are; ‘An English Country Seat’ — an exploration of a stately home in disrepair as a study on the circumstances of the English aristocracy. ‘An Intimate Anatomy of a Spaceship’ abstract details from the Soviet Space Shuttle ‘Buran’ with traces of its engineers — a mirror on the pride of a once superpower. This year is he won the Lucie Foundation Emerging Photographer Scholarship 2013 and he also garnered 1st Place in the professional Still Life section at the International Color Awards 2013. In the last few years he has won awards in Interiors and Historical sections and honorable mentions in the Photo Essay and Feature Story and Deeper perspective sections at the International Photography Awards. His series are shot on large format film (both 10x8 and 5x4) so that every detail can be revealed in print. He is also founder and regular contributor to ‘Deepsleep’ the online magazine and collective devoted to contemporary art photography. He is represented commercially by One Photographic.

United Kingdom / Ujedinjeno Kraljevstvo

Justin Barton trenutno živi u Londonu, Ujedinjeno Kraljevstvo. Njegovo zanimanje za fotografiju je široko i raznovrsno, trenutno je usredotočen na arhitekturu, interijere, portrete i pejzaže. Iskusio je komercijalan i urednički posao u svim n avedenim disciplinama, te zadnjih šest godina radi kao profesionalni fotograf pri čemu je surađivao s raznim fotografima. Njegove slike se usredotočuju na vlastitu povijest i naslijeđe, te posebno na sitne elemente koji se mogu lagano previdjeti, no koji pričaju veću priču. Prethodna izložba ‘An English Country Seat‘ istražuje veličanstvene domove, zapuštene zbog trenutnog stanja engleske aristokracije. ‘An intimate Anatomy of a S paceship‘ prikazuje apstraktne detalje sovjetskog spejs šatla ‘Buran‘ sa tragovima njegovog tehničko-inženjerskog dijela — ogledala ponosa nekadašnje supersile. Ove godine je dobio stipendiju Lucie Foundation E merging Photographer te osvojio prvo mjesto u profesionalnoj klasi na International Color Awards natjecanju. U zadnjih nekoliko godina je osvajao nagrade za interijere i povijesne sekcije, te je dobio priznanje na International Photography Awards za foto eseje. Radove snima na velikom filmskom formatu (10x8 i 5x4) kako bi svaki detalj na slici bio što jasniji. Osnivač je i suradnik ‘Deepsleep‘ časopisa kolektivno posvećenog suvremenoj umjetničkoj fotografiji. Komercijalno ga predstavlja One Photographic.

Atomic War in Details

Atomski rat detaljno

‘Of course we thought about our counterparts in the West... but they did their jobs and we did ours.’

‘Naravno da smo razmišljali o našim ekvivalentima na Zapadu, no oni su radili svoj posao, a mi naš.’

— Wladimir (ex-USSR Strategic Rocket force combat crew member).

The series is an exploration of parallels between S oviet/ CIS and US nuclear weapon launch facilities, past and present, through photographic details. Comparisons of the designs and approaches expose the sides ethnologically and the minutiae are symbolic of greater political meaning. A humanized perspective and palpability reveal our complacency in addressing an ongoing, if psychological, war. This year the famous Doomsday Clock of the Bulletin of the Atomic Scientists is two minutes closer to midnight than the year of the Cuban missile crisis. When they moved the minute hand one closer to Midnight in 2012 they reasoned; ‘The world still has approximately 19,500 nuclear weapons, enough power to destroy the Earth’s inhabitants several times over’. These photographs are an invitation to wonder at the systems of mutual d eterrent and examine the understated reality of the veneer that protects us from an apocalypse. Shot on an 8x10 inch large format camera, the details of the articles pictured expose the decades of use that they have received. The traces of the crews’ work remain as fingerprints of a history that was almost as secretive and unknown to their opposite numbers as to the rest of the world. Nuclear capabilities have grown. The Russian ‘Satan‘ SS-18 and US Minuteman III missiles now have multiple reentry vehicles (MIRVs) able to target numerous cities simultaneously and small steps taken towards disarmament have been undermined by the increase in power and accuracy of the latest generation of ICBMs. Although there is more access than before to information, interest in the global nuclear situation has dwindled and this is potentially very dangerous.

United Kingdom / Ujedinjeno Kraljevstvo

— Wladimir (bivši sovjetski član tima za raketno naoružanje)

Serija je istraživanje paralela između sovjetskog i meričkog postrojenja za lansiranje nuklearnog naoružanja, a u prošlosti i sadašnjosti, kroz fotografske detalje. Usporedba dizajna i pristupa otkriva strane etnološki, a detalji su simboli šireg političkog značenja. Humanizirana perspektiva i opipljivost otkriva nam samozadovoljstvo u riješavanju tijeka rata, bar na psihološkoj razini. Ove je godine poznati Doomsday sat na kojem ponoć označava nuklearni rat, dvije minute bliže ponoći no u vrijeme Kubanske krize. Kada je minuta pomaknuta, dano je objašnjenje ‘Na svijetu je približno 19500 komada nuklearnog oružja, dovoljno da se cijelokupno stanovništvo Zemlje uništi nekoliko puta.’ Fotografije su pozivnice na čuđenje sustavu uzajamnog odvraćanja i ispitivanje prikrivene realnosti, fasade koji nas štiti od apokalipse. Snimljene na 8x10 inčnom formatu, detalji predmeta na slikama otkrivaju desetljeća korištenja. Tragovi rada posade ostaju zabilježeni poput otisaka prstiju u povijesti koja je bila tajna i nepoznata njihovim suparnicima kao i ostatku svijeta. Nuklearni kapaciteti su narasli. Ruski ‘Satan‘ SS-18 i američki ‘Minuteman III‘ projektili sada mogu pogoditi brojne gradove istovremeno, a mali koraci poduzeti ka razoružavanju su potkopani povećanjem snage i preciznosti najnovije generacije interkontinentalnih balističkih projektila. Iako se danas lakše dolazi do informacija nego prije, smanjenje zanimanja za globalnu nuklearnu situaciju može se pokazati kao vrlo opasno.

Justin Barton Atomic War in Details

Jeppe Bøje Nielsen Lourdes

The work of Jeppe Bøje Nielsen (1974) focuses on the individuals relation to power, death, fear and hope. He’s freelance and lives in Copenhagen, Denmark, with his wife and daughter. ‘I work mainly with stories that enable me to approach the depths of human feelings, that are outside of what I would consider the spectrum of normality. Feelings that defy the notion of ‘daily life. ’I look for stories and emotions, that are somehow magnified by events, that are either destructive or constructive in nature: somewhere between the abyss of death, and the highs of falling in love.’ The project Lourdes is perhaps an exception to that statement — it is geographically limited and doesn’t have any main characters. The project is an personal exploration of what I saw in Lourdes, a historical perspective that went far beyond the geographical limitations of the city and the sanctuairies. With the city of Lourdes, comes a century of heated debate in France, the legitimacy of the Catholic Church in light of the worldly resurfacing abuse-scandals, and the sheer fact that at least in France, the religious institutions go to great lengths to provide the poor and homeless with food and shelter. Lourdes is also a work-in-progress, that I will finish in the next 6-7 years. I will take one trip annually, attempting to focus my story on different aspects from time to time.’

Denmark / Danska

Rad fotografa Jeppea Bøje Nielsena (1974) fokusira se na odnos individualca prema moći, smrti, strahu i nadi. Radi kao samostalni fotograf i živi u Kopenhagenu sa ženom i kćeri. ‘Uglavnom radim na pričama koje mi omogućuju uvid u dubine ljudskih osjećaja, koji su izvan takozvanog spektra normalnog. Osjećaja koji se suprotstavljaju ideji ‘svakodnevnog života.’ Tražim priče i emocije, pojačane događajima, koje su ili destruktivne ili konstruktivne: na pola puta između ponora smrti i visina zaljubljivanja.’ Projekt Lourdes je možda iznimka za ovu tvrdnju — geografski je ograničen i nema glavnih likova. Projekt je osobno istraživanje onoga što sam vidio u Lourdesu, povijesnu perspektivu koja je nadišla zemljopisna ograničenja grada i svetišta. Za gradom Lourdesom povlači se s toljeće žučne debate u Francuskoj, legitimnost Katoličke Crkve u vidu svjetski poznatih skandala i činjenice da se, barem u Francuskoj, sve vjerske institucije iznimno trude s iromašnima i beskućnicima osigurati hranu i utočište. Lourdes je projekt u nastajanju kojeg ću završiti u sljedećih 6–7 godina. Putovati ću jednom godišnje, pokušavajući se fokusirati na različite aspekte priče s vremena na vrijeme.

Lourdes

In 1858, when Bernadette Soubirous allegedly saw what many believe to have been the Virgin Mary, Lourdes was nothing but a village of little interest to anyone in a remote corner of the French Pyrénées mountains. Since then, Lourdes has become the center of economic growth of the entire region. With more than 250 hotels in a city of 15.000 inhabitants, only Paris can accommodate more visitors on a nightly basis. Today, Lourdes is a town where mass tourism coexists with a church that has seen better times and is fighting for its financial survival. Pierre Abadias, Head of Fundraising at the Grotto says that the church is directly dependent on the number of pilgrims: ‘The church makes no money, but survives on people’s generosity. The fewer pilgrims, the less money, it’s as simple as that,’ he says with reference to last years deficit, which he blames on the global financial crisis. But the international press and the rank and file catholics see it differently. They claim that the crisis is self-inflicted and that it has nothing to do with money. They say that the problems of the church have to be seen in direct relation to the church’s handling of decades of abuse of children and young people. Those who believe that Bernadette saw the Virgin Mary while she was collecting animal bones by the river banks more than 150 years ago, come to Lourdes to find peace and pray for a cure to the illnesses of their loved ones. Others simply despise the Grotto of Lourdes and the religious tourism that it attracts. But few remain indifferent to it. Eric Saint-Germier, 52 years old, who died of cancer in October 2012, lived in Lourdes. By his own perspective, in august of 2012, he only had a few months to live. He knew he was going to die. ‘I respect people’s faith,’ he said. ‘But I cannot stand the commercial aspect of the town.’ During that same month, the church proclaimed the 68th miracle to have taken place at the Grotto. The next day, Eric Saint-Germier died of cancer, October 15th 2012.

Denmark / Danska

Godine 1858. kada je Bernadette Soubirous navodno, po vjerovanju mnogih, v idjela Djevicu Mariju, Lourdes je bio ništa više od običnog sela u udaljenom kutku francuske regije Pirineji. Od tada, Lourdes je postao ekonomski centar napretka cijele regije. S više od 250 hotela u gradu od 15 000 stanovnika, samo Pariz može prihvatiti više posjetitelja po noćenju. Lourdes je danas grad gdje masovni turizam ide ruku pod ruku s crkvom koja je prije bila u boljem položaju i sada se bori za financijski opstanak. Pierre Abadias, voditelj prikupljanja novčanih sredstava u Grottu, kaže da crkva direktno ovisi o broju hodočasnika: ‘Crkva ne zarađuje novac, ali preživljava od ljudske darežljivosti. Manje hodočasnika, manje novaca, jednostavno je.’ objašnjava s naglaskom na prošlogodišnji deficit za koji krivi globalnu financijsku krizu. Međunarodni mediji i vjernici to shvaćaju drugačije. Tvrde da je kriza samostalno nanesena i nije povezana sa novcem. Tvrde da je problem što je crkva povezana s desetljećima zlostavljanja djece i mladih. Oni koji vjeruju da je Bernadette vidjela Djevicu Mariju dok je skupljala životinjske kosti na obali rijeke prije više od 150 godina, dolaze u Lourdes tražeći mir i moleći za izlječenje najbližih. Drugi jednostavno preziru religijski turizam koji Grotto privlači. Malobrojni ostaju ravnodušni. Eric Saint-Germier, koji je umro od raka u listopadu 2012. godine, živio je u Lourdesu. Prema njegovom mišljenju, u kolovozu 2012., mislio je da mu je o stalo par mjeseci života. Znao je da će umrijeti. ‘Poštujem vjeru’ rekao je. ‘Ali ne mogu podnijeti trgovački aspekt grada’. Tog mjeseca, crkva je objavila 68. čudo koje se dogodilo u Grottu. Sljedeći dan, Eric Saint-Germier, umro je od raka, 15.listopada 2012.

Jeppe BĂ¸je Nielsen Lourdes

20 Jeppe BĂ¸je Nielsen Lourdes

Jeppe BĂ¸je Nielsen Lourdes

22 Jeppe BĂ¸je Nielsen Lourdes

23 Jeppe BĂ¸je Nielsen Lourdes

24 Jeppe BĂ¸je Nielsen Lourdes

25 Jeppe BĂ¸je Nielsen Lourdes

26 Jeppe BĂ¸je Nielsen Lourdes

Maite Caramés Pons Spaces of the Memory

Maite Caramés Pons was born in Barcelona in 1972. ‘Photography is a great visual language that contains infinite possibilities of expression. I use the photograph as a narrative, told in the form of stories, series or sequences. My pictures are not the product of intention or a previous scheme, but the start of meetings or moments, findings that suggest and provoke me. Working intuitively, sometimes I’m not aware of whether they come from my obsessions or not. The everyday and banal is always staged to demonstrate the fragile line between reality and unreality. The result are images suspended in time, without references or nominations, spawning questions and inciting to suspect the unexpected. Technically, I work with analog and medium format cameras. Each story has a language and a way of being built. The camera is important for shaping that language. I believe that the mind is an endless source of creative consciousness. The ideas that are very intimate and reflect human: time, death, rebirth, beauty, desire.’

Spain / Španjolska

Maite Caramés Pons rođena je u Barceloni 1972. ‘Vizualni jezik fotografije sadrži beskonačne mogućnosti izražavanja. Fotografije koristim kao sredstvo naracije, te njihov sadržaj prikazujem u obliku priče, serije ili niza. Moje fotografije nisu proizvodi namjere ili prethodnog koncepta, već susreti ili trenuci koji me inspiriraju ili provociraju. Budući da radim intuitivno, ponekad nisam sigurna proizlaze li one iz mojih opsesija. Koristim motive svakodnevnog i banalnog kako bi ukazala na tanku liniju između stvarnog i nestvarnog. Rezultat su slike zaustavljene u vremenu, bez referenci, koje stvaraju niz pitanja i pobuđuju iščekivanje neočekivanog. Koristim analogne fotoaparate srednjeg formata. Svaka priča ima vlastiti jezik i način na koji je postavljena. Aparat je važan alat za oblikovanje tog jezika. Vjerujem da je um beskrajni izvor kreativne svijesti, ideja koje su vrlo intimne i vrlo ljudske: vrijeme, smrt, ponovno rođenje, ljepota, požuda.’

Spaces of the Memory

Prostori sjećanja

This series is a collection of emotional spaces. It works like a memory map. My memory map. This series works as a still life: starting from the everyday, the intimate reality and next, to building an abstract world beyond time. The objects are transformed into allegories, facing what happened or what is to come, building themselves in their absence. Not naming things or events, but remaining suspended in the meantime. This creates an unsettling emptiness that enables us to imagine what happened, to create the story. A story that is always open, a timeless story. The scenes are incomplete, fragmented. The objects isolated, hidden. The c haracters distant, vulnerable. All are traces, remains, memories and space as the only witness. In that fragmentary line, a world of endless fictions is built, a game in which the viewer is actively involved through its interpretation. They are images that function as poetry, leaving their meaning always open and suspended.

Ova serija je kolekcija emocionalnih mjesta i funkcionira kao mapa mojih sjećanja. Serija funkcionira kao niz mrtvih priroda; počinje od svakodnevnice, intimne stvarnosti koja postupno gradi apstraktni svijet izvan vremena. Predmeti su pretvoreni u alegorije, sukladno onom što se dogodilo i što će se tek zbiti, izgrađujući se međusobno u vlastitoj odsutnosti. Ne imenujući stvari i događaje, oni ostaju ‘zamrznuti’ u vremenu, stvarajući zastrašujuću prazninu koja nam omogućuje da pokušamo dokučiti što se dogodilo, da rekonstruiramo priču. Prizori su nepotpuni, fragmentarni. Predmeti izolirani, skriveni. Protagonisti daleki i ranjivi. Sve su to tragovi, ostaci, sjećanja kojima je prostor jedini svjedok. U fragmentiranoj liniji (nizu) izgrađen je svijet beskrajne fikcije, igra u kojoj je gledatelj aktivno uključen vlastitim tumačenjem događaja. Slike su poput poezije, značenje im je otvoreno i obustavljeno.

28 Spain / Španjolska

29 Maite CaramĂŠs Pons Spaces of the Memory

30 Maite CaramĂŠs Pons Spaces of the Memory

Maite CaramĂŠs Pons Spaces of the Memory

32 Maite CaramĂŠs Pons Spaces of the Memory

33 Maite CaramĂŠs Pons Spaces of the Memory

34 Maite CaramĂŠs Pons Spaces of the Memory

35 Maite CaramĂŠs Pons Spaces of the Memory

36 Maite CaramĂŠs Pons Spaces of the Memory

Franky De Schampheleer Flandronië

Franky De Schampheleer was born Zottegem, Belgium in 1977. He studied photography at the Royal Academy of Fine Arts and Sint-Lucas Academy in Ghent, Belgium, finishing his Photography Master Degree in 2013. He was featured in various expositions in the last three years, including Gallery Jan Colle, ArtWall4 and Artist of the Month September Expo in Ghent, Art Gallery Kermisstraat in Roeselare, Conversations Expo in Ronse.

Belgium / Belgija

Franky De Schampheleer rođen je 1977. u Zottehemu u Belgiji. Studirao je fotografiju na Royal Academy of Fine Arts i Sint-Lucas Academy u Ghentu, završivši diplomski studij fotografije 2013. Izlagao je na nekolicini izložbi u protekle tri godine, uključujući Gallery Jan Colle, ArtWall4 and Artist of the Month September Expo u Ghentu, Art Gallery Kermisstraat u Roeselareu, Conversations Expo u Ronseu.

Flandronië

Flandronija

In a small country like Belgium, unity is hard to find b etween the regions North (Flanders) and South (Wallonia). Political disagreements are a daily truth in the media. With ‘Flandronië’ I crawl into the skin of both Flemish (North) and Walloon (South). In contrast to the increasingly negative coverage on television, press, political debates, etc., I prefer a light delicate angle. With absurdity, humor and a wink in the eye towards both regions, because, after all, we are not as different as you think. ‘Flandronië’ (a pun on Flandre-Wallonië) is the fictional country where disagreement between regions no longer exists. Absurdity in real life scenes without any intervention of the photographer, where surrealism arises.

U maloj zemlji poput Belgije, teško je pronaći zajedništvo sjevernog dijela Flandrije i južnog dijela Valonije. Političke nesuglasice su dnevna istina u medijima. ‘Flandronijom’ se zavlačim pod kožu flandrijskog i valonskog. U suprotnosti s povećanjem negativnih reportaža na televiziji, u medijima, političkim debatama, itd. Preferiram laki i delikatni pogled na situaciju. S apsurdom, humorom i namigivanjem okom objema regijama, zato što, unatoč svemu, i nismo toliko različiti kao što se misli. ‘Flandronija’ (dosjetka Flandrija-Valonija) je fiktivna zemlja gdje neslaganja između dvije regije više ne p ostoje. Apsurdnost u svakodnevnim prizorima bez ikakvog uplitanja fotografa, gdje nadrealizam proizlazi.

38 Belgium / Belgija

39 Frankie de Schampheleer FlandroniĂŤ

40 Frankie de Schampheleer FlandroniĂŤ

Frankie de Schampheleer FlandroniĂŤ

42 Frankie de Schampheleer FlandroniĂŤ

43 Frankie de Schampheleer FlandroniĂŤ

44 Frankie de Schampheleer FlandroniĂŤ

Venetia Dearden On the Road

Venetia is a committed photographer whose close observations of friends and family relations have garnered considerable exposure since the publication of ‘Somerset Stories, Five Penny Dreams’ in 2008. Her photographs often oscillate between the intimacies of friendship and kinship ties on the one hand and the wider landscape on the other, serving to contextualize her subjects and asking the viewer to reflect on the way of life in the places she moves through. Her published books, ‘Somerset Stories, Five P enny Dreams’ (2004–2008), ‘Glastonbury Another Stage’, (2003–2009) and and her subsequent ‘Eight Days’ 2010 project continue to be shown internationally. Venetia’s academic background in Anthropology and Religious Studies combined with a Postgraduate Degree in Photojournalism from the London College of P rinting have lead her seamlessly between the realms of Documentary and Fine Art photography in which her distinct aesthetic has begun to receive international acclaim. Her first solo show in London was held at the National Portrait Gallery (2010) and she was awarded the Vic Oden Award (2011) by the Royal Photographic Society for notable achievements in Photography in the UK. Between producing long-term personal projects she pursues diverse and often challenging assignments globally, her nomadic lifestyle assisted by her fluency in Spanish and French. Venetia is part of the VII Photo Agency for Editorial and Syndication and for Commercial representation Santucci & Co (UK) and DSREPS (US).

45 United Kingdom / Ujedinjeno Kraljevstvo

Venetia je posvećena fotografkinja čija su zapažanja bliskih prijateljskih i obiteljskih odnosa zaradila znatnu izloženost od publikacija ‘Somerset Stories, Five Penny Dreams’ u 2008. godini. Njene fotografije često variraju između intimnosti prijateljstva i obiteljskih veza na jednoj strani i prostranih krajolika na drugoj, kako bi kontekstualizirale njene motive i nagnale gledatelja da promisli o načinu života na mjestima kojima se bavi. Njene objavljene knjige ‘Somerset Stories, Five Penny D reams’ (2004.–2008.) ‘Glastonbury Another Stage’, (2003.–2009.) i ‘Eight Days’ projekt iz 2010. i dalje se prikazuju međunarodno. Akademska pozadina iz antropologije i vjerskih nauka u kombinaciji s diplomom poslijediplomskog studija foto-novinarstva s ‘London College of Printing’ doveli su je neprimjetno na razmeđu dokumentarne i visoko umjetničke fotografije u kojoj je njezina jedinstvena estetika počela primati međunarodna priznanja. Prvo izlaganje u Londonu održala je u Nacionalnoj Galeriji Portreta (2010.), a nagrađena je i sa nagradom Vic Odden (2011.) Kraljevskog Društva Fotografije zbog značajnih dostignuća u fotografiji u Ujedinjenom Kraljevstvu. Između dugotrajnih osobnih projekata, radi i na r aznolikim i često izazovnim zadacima diljem svijeta. Njen nomadski način života potpomaže znanje španjolskog i francuskog jezika. Komercijalno je zastupljena u Velikoj Britaniji preko Santucci & Co; a u SAD-u preko DSREPS-a. Venetia je povezana s VII Agencijom za editorijal i udruženje.

On the Road

Na putu

I felt an urge to take off on a trip, to document a s elf-expression that is increasingly precious in a society where we have perhaps become imprisoned by our own material desires. Our spirits can fly far and beyond these paradigms. This personal journey was shared with friends on a ten-day road trip in A ugust 2010 around California and Nevada. We briefly crossed a threshold into an a lternative reality a world away from ordered existence. As pilgrims we are all magnetically drawn to places of worship, the sacred, the ancient. These places can be the desolate landscape or hubs of social interaction allowing us to stop, feel, create, meet, share, commune. The West Coast of America seemed apparently familiar yet unknown to us — we took off, the seven of us living like cubs for eight days. Stopping when we saw a stream or to stock up, otherwise racing through the landscape unhindered. No one expects to tread any new paths on a road trip. Europeans have hied themselves to America for adventure and discovery since the eighteenth century, and the Wild West has long been conquered. That was never the point. Yet s omehow, every canyon we dropped down into seemed untouched, the light seeping into our bubble as if for the first time. The experience of stepping out of the intimate space of the interior of the vehicle we travelled in, into a landscape that seemed infinite and without boundaries, ancient and transient. Colours and horizon lines changed by the second, our relationships were impacted and altered. Nothing stays the same and we were faced with our own vulnerability in the timelessness of the space around us.

Osjetila sam potrebu za putovanjem i dokumentacijom samoizražavanja koje je sve dragocjenije u društvu u kojem smo postali prezaokupljeni materijalnim željama. Naše duše mogu se vinuti daleko od ove paradigme. Ovo osobno putovanje podijelila sam s prijateljima na desetodnevnom putu po Kaliforniji i Nevadi u kolovozu 2010. godine. Prešli smo prag neke druge stvarnosti, neizmjerno daleke od svakodnevnog postojanja. Poput hodočasnika, sve nas privlače mjesta štovanja, sveta i drevna. To mogu biti pusti krajolici ili središta društvene interakcije koja nam omogućuju zastati, osjećati, stvarati, susresti, podijeliti, zbližiti se. Zapadna obala SAD-a činila nam se očigledno poznatom, a ipak nepoznatom. Pošli smo, nas sedmero, i osam dana živjeli poput mladunčadi. Zastali bi kad bismo ugledali potok ili kad bi obnavljali zalihe, u suprotnome nesputano jureći krajolikom. Nitko ne očekuje utrti novi put na putovanju. Europljani su žurili u Ameriku za avanturom i otkrićem još od 18og stoljeća, te je Divlji zapad već dugo osvojen. To nikad nije bio cilj. Začudo, svaki kanjon u koji bi sišli činio se netaknutim, svijetlost se prelijevala kao da je prvi put. Iskustvo izlaženja iz intimnog interijera vozila u kojem smo putovali u krajolik koji se činio bekrajnim i bezgraničnim, drevnim i transcedentalnim. Boje i linije horizonta mijenjale su se u sekundi, utječući na naše odnose. Ništa ne o staje isto. Ostali smo suočeni s vlastitom ranjivošću u vanvremenskom prostoru oko nas.

46 United Kingdom / Ujedinjeno Kraljevstvo

Venetia Dearden On the Road

48 Venetia Dearden On the Road

49 Venetia Dearden On the Road

50 Venetia Dearden On the Road

Venetia Dearden On the Road

52 Venetia Dearden On the Road

53 Venetia Dearden On the Road

54 Venetia Dearden On the Road

55 Venetia Dearden On the Road

56 Venetia Dearden On the Road

Kai Löffelbein Hidden Hong Kong

Kai Löffelbein is a freelance photographer, currently r esiding in Hannover and Berlin, Germany. Born in 1981. Studied photography in political science at Philipps-Universität Marburg and Freie Universität Berlin and photojournalism and documentary photography in Hannover. Kai Löffelbein traveled through various countries in South America, Asia and Eastern Europe. In doing so, the art of photography provided him with insights into completely different ways of life and living conditions. Meeting people who have to fight for survival on a daily basis raised his desire to grab his viewers’ attention and make them take action. His images furthermore show the effects of s ocio-political and economic processes on common people. Kai Löffelbein feels committed to Concerned Photography. His work has been exhibited internationally in numerous shows and festivals.

Germany / Njemačka

Kai Loffelbein je samostalni fotograf, živi u Hannoveru i Berlinu. Rođen je 1981. Studirao je fotografiju na P hilipps-Universitat u Marburgu i Freie-Universitat u Berlinu, te fotonovinarstvo i dokumentarnu fotografiju u Hannoveru. Proputovao je brojne zemlje Južne Amerike, Azije i Istočne Europe. Fotografija mu pruža uvid u totalno drugačiji način života i životne uvjete. Susret s ljudima koje se svakodnevno bore za opstanak tjera ga da privuče gledateljevu pozornost i natjera ga da djeluje. Njegove slike pokazuju posljedice socio-političkog i ekonomskog napretka u životima običnih ljudi. Posvećen je angažiranoj fotografiji. Njegovi radovi izlagani su na brojnim međunarodnim festivalima i priredbama.

Hidden Hong Kong

Skriveni Hong Kong

With a population of more than 7 mill., Hong Kong is one of the planet’s most densely packed metropolitan areas, with 25,900 people living in every square kilometre of the territory. Unscrupulous landlords are charging around $200 a month for a cage, which are packed 20 to a room. Other residents live in small wooden cubicles. This is a story about the housing situation in Hong Kong. Hong Kong’s poor people are struggling day in and day out to keep their heads above water. It is most scornful to see economic development bringing social inequality. These deprived people cannot enjoy their economic success. These people have been snubbed and have fallen into oblivion. Standing in the line of dejection are caged lodgers, tenants with financial difficulties and living in a ppalling conditions, aged singletons, street-sleepers, mothers with no one-way permit to live in Hong Kong, families made up of new immigrants and boat dwellers, etc.

S populacijom od 7 milijuna, Hong Kong je jedno od najgušće naseljenih metropolitskih područja, s 25,900 ljudi po četvornom metru. Beskrupulozni stanodavci naplaćuju 200 američkih dolara za kavez, kojih zna biti i po 20 u istoj sobi. Ostali stanovnici žive u malim drvenim kabinama. Ovo je priča o stambenoj situaciji u Hong Kongu. Siromašni stanovnici svakodnevno se bore održati glave iznad vode. Prezrivo je vidjeti kako gospodarski napredak donosi društvenu nejednakost. Ovi zakinuti ljudi ne mogu uživati u ekonomskom uspjehu vlastite države. Ignorirani, padaju u zaborav. Stanari kaveza žive u stanju utučenosti, financijaski nestabilni, u užasnim uvjetima. Među njima su ostarjeli samci, majke bez boravišne dozvole, obitelji imigranata i stanovnici brodova.

58 Germany / Njemačka

59 Kai Lรถffelbein Hidden Hong Kong

60 Kai Lรถffelbein Hidden Hong Kong

Kai Lรถffelbein Hidden Hong Kong

62 Kai Lรถffelbein Hidden Hong Kong

63 Kai Lรถffelbein Hidden Hong Kong

64 Kai Lรถffelbein Hidden Hong Kong

Michele Palazzi Black Gold Hotel

Michele Palazzi was born in Rome in 1984. After gaining a three years master in Photography at the Scuola R omana di Fotografia, he then started working as a d ocumentary photographer. In 2009 he received the Enzo Baldoni prize with p roject 3,32 AM on the earthquake in Abruzzo. Since 2010 to 2011 he’s been working on the project Migrant Workers Journey recipient of the Project Launch Award 2011 at Center Santa Fe, exhibited in New Mexico Museum of Art and screened at the Visa Pour l’Image 2012. In 2013 recived the Enviromental Photographer of the Year First Prize. He lives in Rome.

65 Italy / Italija

Michele Palazzi rođen je 1984.godine u Rimu. Nakon trogodišnjeg magisterija fotografije na ‘Scuola Romana di Fotografia’, započeo je rad na dokumentarnim fotografijama. Godine 2009. dobio je nagradu Enzo Baldoni za projekt 3,32 AM o potresu u regiji Abruzzo. Od 2010. do 2011. radi na projektu Migrant Workers Journey, dobitniku nagrade Project Launch 2011. u Santa Feu, održane u New Mexico Museum of Art. Godine 2013. Dobio je nagradu za najboljeg ekološki osvještenog fotografa. Živi u Rimu.

Black Gold Hotel

In Mongolia economic development is hitting the nomad populations living in the desert, changing millennia-old landscapes and traditions. Gold, coal and copper mines beckon foreign companies that work on the territory without a plan to protect the population, the fauna and the landscape. New roads interrupt wild animals and pastures’ daily transit. Dust lifts as mine-trucks pass through, and covers the surrounding vegetation, making it impossible for the cattle to feed themselves. Nomads can only leave the desert and pitch the tents for the last time on the edge of the cities that continuously accept new workforce, offering minimum wages and a condition of intellectual and social urban poverty. It is an undefined border zone between century-long traditions contaminated by a modernity which is still very far from progress. The culture of the Western mass-model fills this gap by initiating the population to television, video games, alcohol consumption and entertainment. Tuvshinbayar Sugirsuren, one of the last Nomads of Omongov, the largest province of Mongolia, resists in the desert feeling the irreversible transformation that affects the whole family. He breeds camels in a land where there is almost no grass. His wife takes care of the animals, the food, the children. Narangerel and her husband Dorj have abandoned the desert in the hope that the city would grant a better old age, but they discovered there is no space for them. Saikhana, who lives in the district of Tsogttsestiie since he was four years old, experiences the village as progress, as cancellation of centuries of slavery from nature. The world in which Mongolian civilization was born no longer exists, and it all happened in the absence of an internal debate and identity protection. This profound transformation, anything but linear, is unstoppable. …Everything will go on, progress, just as you will eventually recognize, is inevitable, fatal as death. — José Saramago, Cain

66 Italy / Italija

U Mongoliji, ekonomski napredak utječe na nomadsko stanovništvo koje živi u pustinji, mjenjajući tisućljetnu tradiciju i krajolik. Rudnici zlata, ugljena i bakra dozivaju strane tvrtke koje rade na tom području bez ikakvog plana zaštite lokalnog stanovništva, životinja i krajolika. Nove ceste smetaju divljim životinjama i ispaši. Prašina koja se diže nakon prolaska kamiona iz rudnika pokriva okolnu vegetaciju što otežava ispašu. N omadima ne preostaje ništa drugo nego napustiti pustinju i podići šatore na p eriferiji gradova koji naprestano primaju novu radnu snagu, pružajući im minimalnu plaću te stanje intelektualnog i socijalnog urbanog siromaštva. Radi se o nedefiniranoj graničnoj zoni stoljetne tradicije zagađene primjesama modernoga, koja je još uvijek daleko od napretka. Kultura zapadnog masovnog modela popunjava ovu prazninu predstavljajući populaciji televiziju, video igrice, konzumaciju alkohola i zabavu. Tuvshinbayar Sugirsuren, jedan od zadnjih nomada Omongorova, najveće mongolške provincije, prkosi pustinji osjećajući nepovratnu preobrazbu koja je zahvatila cijelu obitelj. Uzgaja deve na zemlji gdje skoro nema trave. Njegova žena brine o životinjama, hrani i djeci. Narangerel i njen suprug Dorj napustili su pustinju u nadi da će im grad pružiti bolji život u starijoj dobi, ali su uočili da za njih tamo nema mjesta. Saikhana, koji živi u području Tsogttsestiie od četvrte godine, selo vidi kao napredak tj. oslobođenje od stoljetnog robovanja prirodi. Svijet u kojem je mongolijska civilizacija nastala više ne postoji, nestao je u odsutnosti unutrašnje rasprave i zaštite identiteta. Ova temeljna preobrazba, koja je sve samo ne linearna, je nezaustavljiva. …Sve će se nastaviti, ići dalje, napredak, kao što ćete uskoro shvatiti, neibježan je, koban poput smrti. — José Saramago, Cain

67 Michele Palazzi Black Gold Hotel

68 Michele Palazzi Black Gold Hotel

69 Michele Palazzi Black Gold Hotel

70 Michele Palazzi Black Gold Hotel

Michele Palazzi Black Gold Hotel

Asmita Parelkar Giraffe Behind the Door

Asmita Parelkar (1983) is a Documentary Photographer and Graphic Designer currently based in India. She completed her BFA in Applied arts from JJ school of Arts, Mumbai in 2006. She worked at a design studio in Mumbai as a Graphic Designer and in 2010 went to study Documentary Photography and Photojournalism at International Center of Photography, New York. She is currently working on stories about the complex relationship between humans and animals.

India / Indija

Asmita Parelkar (1983.), dokumentarni fotograf i grafički dizajner, iz Indije. Diplomirala je primijenjenu umjetnost 2006. u Mumbaiju. Radila je kao grafički dizajner u studiju, do 2010. kada upisuje studij dokumentarne fotografije i fotonovinarstva na Međunarodnom Centru Fotografije u New Yorku. Trenutno proučava složeni odnos ljudi i životinja.

Giraffe Behind the Door

Žirafe iza vrata

God loved the birds and invented trees. Man loved the birds and invented cages.

Bog je volio ptice i izumio je drveće. Čovjek je volio ptice i izumio je kaveze.

— Jacques Deval, Afin de vivre bel et bien

Giraffe Behind the Door is a project about animals in captivity. As human beings evolved so did the environments around us. We built walls, set boundaries, kept the wilderness out. The limitations were soon imposed on the other creatures on this planet; we built zoos with cages, glass boxes, supporting all arrangements for a life in entire solitude. We have always been intrigued by wild animals and have felt the need to tame them. Ironically this fascination for embracing the wild results in captivation, taking that freedom away from them. Wild animals naturally shy away from human beings and hide in their habitats. Zoo exhibits are made in such a way that they are always visible to the public gaze. The stress of this often leads to Zoochosis, abnormal b ehaviors such as pacing and sometimes even self-mutilation. Animal in captivity is nothing but a ghost or a skeleton of its former self. Giraffe behind the door is a journey through the zoos and the psychological spaces of these animals. Through these images I am beginning to question the intricate relationship between humans and the fragile natural world and our impact on it.

India / Indija

— Jacques Deval, Afin je vivre bel at bien.

Žirafe iza vrata je projekt o životinjama u zatočeništvu. Usporedo s ljudskim razvojem, razvijao se i okoliš. Sagradili smo zidove, postavili granice i zadržali divljinu s druge strane. Ograničenja su uskoro primjenjena na drugim bićima; izgradili smo zološke vrtove, terarije, podržavajući sve oblike života u samoći. Oduvijek smo bili zaintrigirani divljim životinjama, osjećajući potrebu da ih pripitomimo. Ironično, ovaj interes za prihvaćanjem divljega rezultirao je zatočenjem i oduzimanjem slobode. Divlje životinje se instinktivno skrivaju od ljudi, daleko u svojim nastambama. Eksponati u zološkom vrtu neprekidno su predmet zurenja publike. Stres uzrokovan zurenjem u životinje dovodi do zoohoze (Zoochosis), bolesti koja se očituje neobičnim ponašanjem, poput hodanja vamo-tamo i samoranjavanjem. Životinja u zatočeništvu, nije ništa do duha ili kostura onoga što je nekad bila. Žirafe iza vrata predstavljaju putovanja kroz zološke vrtove i psihološke prostore životinja. Kroz ove slike propitkujem zamršeni odnos ljudi i krhkog prirodnog svijeta, te našeg utjecaja na isti.

Asmita Parelkar Giraffe Behind the Door

76 Asmita Parelkar Giraffe Behind the Door

Asmita Parelkar Giraffe Behind the Door

78 Asmita Parelkar Giraffe Behind the Door

79 Asmita Parelkar Giraffe Behind the Door

80 Asmita Parelkar Giraffe Behind the Door

Asmita Parelkar Giraffe Behind the Door

82 Asmita Parelkar Giraffe Behind the Door

Naman Protick Sarker What Remains

Sarker Protick is a Documentary photographer based on Dhaka, Bangladesh. He holds a bachelors degree in marketing and is a graduate of Pathshala, the South Asian institute of Photography. He participated in the New Media Journalism at the University of Virginia and Documentary photography at University of Gloucestershire, UK. His work was selected for the Pathshala monograph ‘Under the Banyan Tree’, a 12 years retrospective of P athshala. In 2012, he won the Prix Mark Grosset pour les écoles internationales de photographie and the World Bank Art Program. He also exhibited at Chobi Mela International Photography Festival, Noorderlicht Photo Festival, Dhaka Art Summit and Festival of Promenades Photographiques.

83 Bangladesh / Bangladeš

Sarker Protick je dokumentarni fotograf iz Dhake, B angladeša. Diplomirao je marketing i fotografiju na ‘Pathshala’ South Asian Institute of Photography. Sudjelovao je u New M edia Journalism na Sveučilištu u Virginiji i dokumentarnoj fotografiji na Sveučilištu u Gloucestershireu. Njegov rad je izabran za Pathshala monografiju ‘Under the Banyan Tree’, 12 godina retrospektive na Pathshali. U 2012.godini je osvojio Prix Mark i World Bank Art Program. Izlagao je na Chobi Mela International Photography f estivalu, Noorderlicht foto festivalu, Dhaka Art Summit-u i Festival of Promenades Photographiques.

What Remains

Ono što preostaje

It was in the afternoon, I was sitting on my grandpa’s couch. The door was slightly open and I saw light coming through, washed out between the white door and white walls. All of a sudden, it all started making sense. I could relate what I was seeing with what I felt. John and Prova, my grandparents. They always loved the fact that I take p ictures of them, because then I spend more time with them and they don’t feel lonely anymore. After Prova passed away, I try to visit more so John can talk. He tells me so many things about their early life, and how they met. There are so many stories. Here, life is silent, suspended. Everything is on a wait. A wait for something that I don’t completely understand.

Bilo je poslijepodne, sjedio sam na djedovom kauču. Vrata su bila odškrinuta i vidio sam svjetlost kako se probija, odbijajući se od bijelih vrata i zidova. O djednom je sve počelo imati smisla. Mogao sam povezati što sam vidio sa onim što sam osjetio. John i Prova, moji djed i baka. Uvijek su voljeli kad bi ih slikao, jer bih tada provodio više vremena s njima i nisu bili usamljeni. Otkad je Prova preminula, nastojim što češće posjećivati Johna. Govori mi o njihovoj mladosti i o tome kako su se upoznali. Postoje tolike priče. Život ovdje je tih, obustavljen. Sve je na čekanju. Na čekanju nečega što u potpunosti ne razumijem.

84 Bangladesh / Bangladeš

85 Naman Protick Sarker What Remains

86 Naman Protick Sarker What Remains

87 Naman Protick Sarker What Remains

88 Naman Protick Sarker What Remains

89 Naman Protick Sarker What Remains

90 Naman Protick Sarker What Remains

Naman Protick Sarker What Remains

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94 Naman Protick Sarker What Remains

Mario Pućić No Monuments While Travelling

Mario Pućić (1984) is born in Rijeka, Croatia. He is currently studying Photography and Cinematography at the Academy of Dramatic Arts in Zagreb. Even though he always had a need for visual expression, he started taking photographs in a later stage, at 24 years. Initially he was drawn to the e sthetics of ugliness and conceptual photography, but during time his perspective and photographic attention slowly switched to seemingly simple motifs and r eduction thereof, clean surfaces and simple lines. However, in one aspect his interest has not changed: the interest in the everyday that the average observer may call banal or even ugly.

95 Croatia / Hrvatska

Mario Pućić (1984.) rođen je u Rijeci. Studira fotografiju i kinematografiju na Akademiji Dramske umjetnosti u Zagrebu. Iako je oduvijek osjećao potrebu za vizualnim izražavanjem, počeo je snimati tek s 24 godine. U početku ga je privlačila estetika ružnoće i konceptualna fotografija, ali tijekom vremena njegov se fotografski interes preusmjerio na naizgled jednostavne motive i redukciju istih na ravne površine i jednostavne linije. Međutim, nije izgubio interes za svakodnevno koje bi se prosječnom promatraču moglo učiniti banalnim ili čak ružnim.

No Monuments While Travelling

Putovanja bez spomenika

No monuments while travelling is series of photographs collected at locations that are in any way associated with the traveling, from the very road itself to small rooms of hotel complexes. They form the opposite of typical tourist photos and question the situation when the images from the trip do not offer the information wich we are usually accustomed to, no smiling faces, monuments and clear toponyms, and don’t say anything about our status or ourselves.

Ne spomenicima na putovanju serija je fotografija p rikupljenih na mjestima koja su na neki način povezana sa putovanjem, od cesta do hotelskih soba. Oblikuju suprotnost tipičnim turističkim fotografijama i propituju stanje kada slike s putovanja ne pružaju informacije na koje smo navikli, nema nasmijanih lica, spomenika i jasnih toponima te ne govore o našem statusu ili o nama općenito.

96 Croatia / Hrvatska

97 Mario PuÄ&#x2021;iÄ&#x2021; No Monuments While Travelling

98 Mario PuÄ&#x2021;iÄ&#x2021; No Monuments While Travelling

99 Mario PuÄ&#x2021;iÄ&#x2021; No Monuments While Travelling

100 Mario PuÄ&#x2021;iÄ&#x2021; No Monuments While Travelling

101 Mario PuÄ&#x2021;iÄ&#x2021; No Monuments While Travelling

102 Mario PuÄ&#x2021;iÄ&#x2021; No Monuments While Travelling

Chloe Bartram Mnemonic

Chloe Bartram is currently on the Editorial Board for The Australian Photojournalist,a non-profit publication that gives voice to those who have been segregated or forgotten by society and mainstream media, and is an undergraduate student at the Queensland College of Art studying a Bachelor of Photography, majoring in P hotojournalism. Using the conventions of social documentary and photography, Chloe endeavors to explore the idiosyncratic nature of the human condition and in particular the mind and memory.

103 Australia / Australija

Chloe Bartram, trenutno je u uredništvu časopisa ‘The Australian Photojournalist’, neprofitne publikacije koja daje glas onima koji su segregirani ili zaboravljeni od društva i medija. Redovni je student na Queensland College of Art, gdje studira fotografiju, s naglaskom na fotonovinarstvo. Rabeći konvencije socijalnog i fotografskog, Chloe nastoji istražiti idiosinkrazijsku prirodu ljudskog stanja, posebno um i memoriju.

Mnemonic

Mnemonic is a series that focuses on those quintessential moments, or rites of passages, that are universal t hroughout all societies and can effect our social interactions for the rest of our lives. The initial inspiration for this work was one of Sigmund Freud’s earliest theories that past reminiscences and thoughts directly influence our immediate thoughts as they are not unconscious thoughts but just not conscious at that exact moment. My aspiration for these images is for them to act as a mnemonic device which assists the viewer with not just experiencing my memories but to be transported back to their own.

104 Australia / Australija

Mnemonic je niz koji se usredotočuje na suštinske trenutke, ili na obrede prolaznosti, koja su zajednička svim društvima i koja mogu obilježiti našu socijalnu interakciju do kraja života. Početni poticaj za ovaj rad bila je jedna od teorija Sigmunda Freuda koja kaže da prošlost uspomena direktno utječe na sadašnji trenutak. Moja težnja za ove fotografije je da budu mnemoničko sredstvo koje će pomoći gledatelju ne samo da iskusi moja sjećanja već da bude prebačen u vlastita.

105 Chloe Bartram Mnemonic

106 Chloe Bartram Mnemonic

107 Chloe Bartram Mnemonic

108 Chloe Bartram Mnemonic

Michel Le Belhomme No Exit Zones

Michel Le Belhomme was born in 1973 in France. He studied at Rennes Art School under Tom Drahos (1999). He then went on to study at the University Rennes 2 earning a Diploma supérior of Arts Education.

109 France / Francuska

Michel Le Belhomme rođen je 1973. u Francuskoj. Završio je umjetničku školu u Rennesu u klasi Toma Drahosa (1999.) Nakon toga upisuje studij umjetničke edukacije pri Sveučilištu u Rennesu 2

No Exit Zones

Zone bez izlaza

Photography is a paradoxical means of expression. On one hand, it is accessible to all and on the other it is an artistic practice. Indeed, the world is full of photographic images: from the simple family album to the world of advertising, including the press. Our force-fed eye knows no respite, our sight is constantly carried away by the swell of images, our point of view drowns – it becomes tragically diluted in the visual whirlpools around us. First, we shall slide easily from a place represented to an imaginary place. I mean that these spaces that can, in theory, contain us, become spaces we contain. Those seemingly protective refuges, those precarious shelters, those homes diverted from their role of safety, are nothing more than rickety boxes in our troubled mind – they are mental boxes. Mental worries of the individual constantly torn between the desire to open himself to the world and explore it and the fear of being hurt or destroyed by its contact. Then, we notice great distress in the images of Michel Le Belhomme. We arrive on the scene after a catastrophe has taken place creating a certain traumatism. Everyday spaces have been vandalized by natural or artificial forces, or both. Fascination for these photographs is therefore a result of their strange form as well as their ambiguous discourse. Opposing forces create a dynamic tension that crosses these falsely static places: emptiness and fullness, loss and profusion, outer and private, dream and nightmare, order and chaos, freedom and confinement, etc. This work is indeed pertinent because of its power of suggestion for nothing is said directly – which takes us from the personal anecdote to the existential anguish that is more universal: no one is safe from the swell that can carry us both towards reason and towards delirium. Beware of the inner storm!

Fotografija je paradoksalni način izražavanja. U jednu ruku, dostupna je svima, a spada u umjetnost. Svijet je zaista pun fotografija, počevši od obiteljskog albuma do svijeta oglašavanja, ključujući tisak. Naše oči ne znaju predahnuti, naš vid je konstantno usredotočen na bujicu slika, naše gledište se utapa – postaje tragično razrijeđen vrtlozima oko nas. Najprije trebamo kliziti od predstavljenog mjesta do izmišljenog. Mislim da ova mjesta koja u teoriji mogu nas sadržavati, postanu mjesta koja mi sadržimo. Ta naizgled zaštićena skloništa, ta dragocjena utočišta, ti domovi odvraćeni od uloge sigurnosti nisu ništa osim klimavih kutija u našim uznemirenim umovima. Mentalne brige pojedinca konstantno se cijepaju između želje da se otvori svijetu i istraži strah od povrijeđenja ili uništenja. Primjetili smo veliku nevolju u slikama Michaela Le Belhommea. Došli smo do mjesta događaja nakon što je katastrofa uzrokovala traumu. Svakodnevna mjesta su uništena prirodnim ili umjetnim silama ili objema. Kako naći nadu u ovom neutješnom svijetu. Fascinacija ovih fotografija je posljedica njihovih čudnih oblika kao i dvosmislenih diskursa. Neprijateljske snage stvaraju dinamičnu napetost koja prelazi ta lažna statična mjesta: praznina i punina, gubitak i rasipnost, vanjsko i vlastito, san i moru, red i nered, slobodu i ograničenje. Ovaj rad je uistinu primjeren zbog svoje snage prijedloga, ništa nije rečeno izravno – što nas dovodi od vlastite anegdote do egzistencijalne muke koja je sveopća: nitko nije siguran od otoka koji nas nosi prema razlozima i prema bunilu. Čuvaj se unutarnje oluje!

— Eric Van Essche

110 France / Francuska

— Eric Van Essche

111 Michel Le Belhomme No Exit Zones

112 Michel Le Belhomme No Exit Zones

113 Michel Le Belhomme No Exit Zones

114 Michel Le Belhomme No Exit Zones

115 Michel Le Belhomme No Exit Zones

116 Michel Le Belhomme No Exit Zones

Boštjan Pucelj Babi (Grandma)

Boštjan Pucelj was born in Novo mesto, Slovenia in 1979. He holds a Bachelor’s degree in Geodesy from the Faculty of Civil and Geodetic Engineering in Ljubljana. He held several solo exhibitions over the last eight years including ‘Snack’ at Goga Gallery in Novo mesto, ‘Portrait of a Geodesist’ at KKC Dolenjske Toplice, ‘iMarathon’ at Krojač Teahouse in Novo mesto and many more. He also contributed to various group exhibitions including ‘Domestic’ at Miserachs Biennial in Pallafrugel, Spain and EMZIN 2012 at Cankarjev dom in Ljubljana, amongst others.

117 Slovenia / Slovenija

Boštjan Pucelj rođen je u Novom mestu u Sloveniji 1979. Završio je Geodetski fakultet u Ljubljani. U proteklih je osam godina održao nekolicinu samostalnih izložbi među kojima su ‘Zakuska’ (Galerija Goga, Novo mesto), ‘Portret Geodeta’ (KKC Dolenjske Toplice), ‘iMarathon’ (Krojač, Novo mesto) i mnoge druge. Također je sudjelovao u brojnim grupnim izložbama uključujući, između ostalih, ‘Domestic’ (Miserachs Biennial, Pallafrugel, Španjolska) i EMZIN 2012 (Cankarjev dom, Ljubljana).

Babi (Grandma)

Baka

Series of photographs of my grandma, my memories on my grandma. All photographs were made soon after her death in 2004.

Ovo je serija fotografija moje bake to jest sjeÄ&#x2021;anja na nju. Sve fotografije snimljene su ubrzo nakon njene smrti 2004.

118 Slovenia / Slovenija

119 Boštjan Pucelj Babi (Grandma)

120 Boštjan Pucelj Babi (Grandma)

121 Boštjan Pucelj Babi (Grandma)

122 Boštjan Pucelj Babi (Grandma)

123 Boštjan Pucelj Babi (Grandma)

124 Boštjan Pucelj Babi (Grandma)

Dušan Rajić Space, Body, Spirit

Dušan Rajić, born in 1983, an artist, a photographer and an architect.

125 Serbia / Srbija

Dušan Rajić, rođen 1983. godine, umjetnik, fotograf i arhitekt.

Space, Body, Spirit

Prostor, tijelo i duh

This series of Photographs reflects reverse impacts of human modification of space on reality of living beings. The sheepishness of space powers different body and spirit reactions; space; body and spirit are caught in infinite whirl of mutual constitution and negation.

Ova serija fotografija odražava povratne utjecaje čovjekove modifikacije prostora na stvarnost živih bića. Ograničenost prostorom pokreće različite reakcije tijela i duha; p rostor, tijelo i duh uhvaćeni su u beskrajnom kolopletu međusobnih konstituiranja i negacija.

126 Serbia / Srbija

127 Dušan Rajić Space, Body, Spirit

128 Dušan Rajić Space, Body, Spirit

129 Dušan Rajić Space, Body, Spirit

130 Dušan Rajić Space, Body, Spirit

131 Dušan Rajić Space, Body, Spirit

132 Dušan Rajić Space, Body, Spirit

Mario Wezel Sin Began With Marlene

Mario Wezel was born in 1988, in a small town in the south of Germany. During his time at school, his interest for photography aroused. Using the camera for documenting his everyday life, friends and family around him, photography became an omnipresent companion. His interest in photojournalism aroused during an internship at a small local newspaper. He started to study photojournalism a year later in 2008, at the university of applied sciences and art in Hannover. After four years at this school and a six months internship, he moved to Denmark where he is currently studying at the international class in my second semester. Using photography as a way of seeing and feeling things he cares about more closely is the thing he love most about it.

133 Germany / Njemačka

Mario Wezel rođen je 1988. godine, u malom gradiću na jugu Njemačke. Tijekom školovanja otkriva svoj interes za fotografiju. Koristeći fotografsku kameru za dokumentiranje svakodnevnog života, prijatelja i obitelji oko njega, fotografija postaje uvijek prisutan pratilac. Interes za fotonovinarstvo otkriva tijekom stažiranja u maloj lokalnoj novinskoj radnji. Godinu dana kasnije (2008) počinje studij fotonovinarstva na sveučilištu primjenjene znanosti i umjetnosti u Hannoveru. Nakon 4 godine provedene na studiju i šestomjesečnog stažiranja, odlazi u Dansku gdje trenutno studira drugi semestar u internacionalnoj klasi. Najdraža stvar kod fotografije za njega je korištenje iste kao način gledanja i osjećanja stvari do kojih mu je najviše stalo.

Sin Began With Marlene

Grijeh je započeo s Marlene

Intensive farming with many acres of monocultures is common practice in Asia, Africa and America. But also in Europe the increase of monotonous fields is a fact. Land is getting rarer and rarer. About one million apples are being produced in Italys nothern-most province South Tyrol every year (sorts like Marlene o r Golden Delicious9 and contribute with this amount to an esteemed twelve percent of Europe‘s production of apples. The apple fields of Alto Adige make for the biggest connected fields of cultivation of fruit in Europe. No space for any other cultivation is left since apple production seems to succeed – most of all in financial terms. Grave results, however, can be witnessed in many other aspects. A decline of biodiversity and serious problems for organic farmers are the result of vanishing habitats for animals and plants and the intensive use of pesticides. Nonetheless, monocultures, already dominating the lower and middle parts of the windy valley, are being established more and more even in the upper part of the Val Venosta. The reason: monetary profit. Apples and cherries are three times more profitable than the cultivation of wheat or rye. But they also promise a much easier living – while being more profitable – in comparison to the humble profits of cow-farmers. So it is a question of commitment and values. This recent development has changed prices of land dramatically. Within a few years, prices went from 30 Euros until up to 70 Euros per square meters. Fertile land seems almost impossible to be bought by local farmers. The problem, witnessed globally with all of its dramatic implementations, will turn into one of the most serious issues of the future. In the case of the Val Venosta one understands that it‘s is happing right in front of us.

Intenzivno poljodjelstvo monokultura na velikom području često je u Aziji, Africi i Americi, a u porastu je i u Europi. Zemlje je sve manje i manje. U talijanskoj se provinciji Južni Tyrol godišnje uzgoji oko milijun jabuka, uglavnom sorti Marlene i zlatni delišes, što čini oko 12 posto e uropske proizvodnje jabuka. Jabučnjaci u Alto Adige čine najveće područje povezanih voćnjaka u Europi. Budući da je uzgoj jabuka financijski vrlo uspješan, nema mjesta za uzgoj ičeg drugog, što sa sobom donosi kobne posljedice. Smanjenje bioraznolikosti i nestajanje životinjskih nastambi rezultat su intenzivne uporabe pesticida te organskim poljoprivrednicima predstavljaju ozbiljni problem. Unatoč tome, monokulture, koje već zauzimaju niže i srednje dijelove ove vjetrovite doline, šire se i na gornji dio Val Venoste. Razlog tome je monetarni profit. Jabuke i trešnje trostruko su profitabilnije od pšenice ili raži. Uz to omogućuju i jednostavniji život, za razliku od života uzgajivača krava. Radi se dakle o pitanju predanosti i poštivanja vrijednosti. Ta su previranja dramatično utjecala na cijene zemljišta. Cijene su, u periodu od nekoliko godina, skočile s 30 na 70 Eura po četvornom metru. Iako je već sad osjetljivo na globalnoj razini, ovo bi moglo prerasti u jedan od najobiljnijih problema u budućnosti. U slučaju Val Venoste možemo to vidjeti vlastitim očima

134 Germany / Njemačka

135 Mario Wezel Sin Began With Marlene

136 Mario Wezel Sin Began With Marlene

137 Mario Wezel Sin Began With Marlene

138 Mario Wezel Sin Began With Marlene

139 Mario Wezel Sin Began With Marlene

140 Mario Wezel Sin Began With Marlene

141 Mario Wezel Sin Began With Marlene

Impressum

organizer / organizator Photography Association Organ Vida / Fotografska udruga Organ Vida Šestinski Dol 99a, 10 000 Zagreb, Hrvatska director / direktorica festivala Marina Paulenka producer / producentica Maja Subotić koordinator programa Krešimir Zadravec festival jury / žiri festivala Munem Wasif (bangladesh), Matjaž Brulc (slo), Ivana Tomanović (srb), Petra Belc (cro/hr), Boris Cvjetanović (cro/hr) head of press and public relations / voditeljica press službe i odnosa s javnošću Karla Andrić photography exhibition curator / kustos fotografskog postava Karla Pudar design and layout / dizajn i prijelom Alma Šavar i Anta Bučević translation / prijevod Ivan Zvonimir Bošković, Alma Šavar i Anta Bučević photographer / fotograf festivala Barbara Šarić i Matija Pekić special thanks to our guests / posebna zahvala našim gostima Maša Bajc, Petra Belc, kolektiv Belgrade Raw, Matjaž Brulc, Boris Cvjetanović, Dario Dević, Marko Ercegović, Luka Knežević-Strika, Saša Kralj, Isidora Nikolić, Gareth Philliphs, Iva Prosoli, Ivana Tomanović, Sandra Vitaljić, Munem Wasif

142

Sponzors and Partners / Sponzori i Partneri

realization of the international photography festival was supported by / u realizaciji međunarodnog festivala fotografije organ vida sudjelovali su General Sponsor