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special release posebno izdanje
NEW TALENTS 2019NOVI TALENTI 2019
This is the 4th edition of our New Talents Contest, supported once again by Nikon Serbia, who have been with us since the 1st edition of the festival. As with previous years, we have endeavoured to select a very eclectic jury team with 4 members: Marina Paulenka – Founder and Artistic Director at Organ Vida – International Photography Festival, Miroslav Karić – Art Historian, Maida Gruden – Visual Arts Programme Editor at Student’s City Cultural Center, Belgrade and Evita Goze – Writer, Curator, Project Manager at ISSP Gallery. They had the very difficult task of selecting the best 3 projects from the 94 proposals that met the conditions to be part of the contest. There was almost an equal amount of women and men submitting proposals, with applications arriving from 40 different countries. The countries with the highest amount of proposals were Serbia (20%), Spain (7%), Brasil, USA and India (5 %). Grain Magazine prepared a special issue featuring the work of the 10 finalists.
Ovo je četvrto izdanje našeg konkursa Novi talenti, ponovo uz podršku Nikon Srbija koji su sa nama od prve godine festivala. Kao i u prethodnim izdanjiima festivala, nastojali smo da sastav našeg četvoročlanog žirija bude što eklektičniji. Ovaj put njega čine: Marina Paulenka - osnivač i umetnički direktor međunarodnog festivala fotografije Organ Vida, Miroslav Karić - istoričar umetnosti, Maida Gruden– urednik likovnog programa u Domu kulture Studentski grad u Beogradu i Evita Goze - pisac, kustos, menadžer u galeriji ISSP. Oni su imali veoma težak zadatak da, od čak 94 pristigle prijave koje su zadovoljavale uslove konkursa, izaberu tri najbolja projekta. Predloge projekata na konkurs je poslao približno isti broj ženskih i muških umetnika, a prijave su stigle iz 40 različitih zemalja. Najviše ih je došlo iz Srbije (20%), Španije (7%) , zatim iz Brazila, SAD i Indije (5%). Grain Magazine pripremio je tradicionalni, treće po redu posebno izdanje u kom je predstavljen rad 10 finalista.
1st prize PRVA NAGRADA
Debbie Schoone
How to Farm a Fish KAKO UZGAJATI RIBU
At this moment, we live with seven billion people on this planet. This number continues to grow, and so does the demand for food. Current agriculture can not meet this demand. Is there an other way in which we can continue to provide the world with food? And can this be done in a sustainable way, so that the Earth will not endure more? Since this year, people have been eating more farmed fish than wild fish. Aquaculture includes the artificial cultivation of fish, shellfish and various species of algae, intended for consumption. This is the most efficient way to disconnect our fish consumption from the fish caught in the wild. The systems on land use little water and energy, but can deliver a high yield. ‘How to Farm a Fish’ should create more nuance on new developments in the food industry and its impact on the sustainability of the world. I was convinced that I lived quite sustainably, but I found out that this was not the case. Research shows that innovation of the food industry can contribute to the sustainability of the world. But for many people, this sounds like science-fiction. My goal is to refute the aversion to the artificial process, because I am convinced that the future lies in fish farming on land.
Debbie Schoone (b. 1994) is an image maker whose work explores the influence of man on our environment and our surroundings. By focusing on smaller stories within this big theme, she tries to address a large audience. Her fascination for innovation takes her to places you normally won’t get access to.
U ovom trenutku, živi oko sedam milijardi ljudi na ovom svetu. Čini se da se ovaj broj povećava, a samim tim i potreba za hranom je veća. Trenutna poljoprivreda ne može da ispuni ove zahteve. Da li postoji drugi način kojim bi mogli da obezbedimo svet hranom? Da li bi to mogli da učinimo na održiv način, kako ne bi dolazilo do oštećenja Zemlje? Od ove godine, ljudi su počeli da jedu više uzgajane nego divlje ribe. Vodoprivreda uključuje veštački uzgoj ribe, školjki i različitih vrsta algi, namenjenih za konzumaciju. Ovo je najefikasniji način da se smanji potrošnja ribe u odnosu na ribe ulovljene u divljini. Sistem na kopnu troši malo vode i energije, ali mogu doprineti visok prinos. „Kako uzgajati ribu?“ treba da stvori više nijansi za nove razvoje prehrambenoj industriji i njen uticaj na održivosti sveta. Bila sam uverena da živim prilično održivo ali sam shvatila da to nije slučaj. Istraživanja pokazuju da inovacije u prehrambenoj industriji mogu doprineti održivosti sveta, ali za većinu ljudi ovo zvuči kao naučna fantastika. Moj cilj je da otklonim averziju prema veštačkim procesima, zato što sam ubeđena da budućnost leži u uzgajanju ribe na kopnu.
Debbie Schoone (rođena 1994. godine) je dizajner vizuelnog sadržaja čiji rad istražuje uticaj čoveka na naše okruženje i okolinu. Fokusirajući se na kratke priče važnih tema, ona pokušava da se obrati mnogobrojnoj publici. Njena fascinacija inovacijama je dovodi na mesta gde uglavnom nemamo pristupa.
2nd PRIZE DRUGA NAGRADA
Sebastian Wells
Utopia UtopiJa
13th Century The settlement of Cölln is documented for the first time. Over the next centuries the village transforms into Berlin, the capital city of Germany with a population of 3.5 million. 28th July 2012 Somewhere in the Jordanian desert international agency UNHCR establishes a tent city called Za’atari. Within 6 months it holds 80,000 people. Za’atari is just one out of hunderds of refugee camps, supposedly temporary solutions, are all built to the same design. They are fenced, and strictly regulated, with no way out. These camps exist for decades, constantly evolving and expanding but never becoming an official ‘place’ on a map. The inhabitants become experts at crisis management and being able to adapt to changing conditions. The refugee has become a new category of human being, the refugee camp is the political stage on which he has to play his part. He is my friend. Accompanied by police escorts and public relations officers, I’m allowed to meet him briefly. -Since August 2017, I travelled to 24 refugee camps in seven different countries in Europe, the Near East and Africa (Chad, Kenya, Jordan, Turkey, Greece, Germany and the Netherlands) to work on my on-going project Utopia dealing with camps as eternal temporary makeshift solutions.
Sebastian Wells, born 1996 in Königs Wusterhausen, is a Berlin based photographer working for renowned newspapers, magazines, corporate clients and his own projects all over the world. As a passionate runner, he started his photographic career at the age of 15 by covering local sports events. Only fife years later, in 2017, he won several prices at the “German Sportsphoto of the Year”, one of the most important awards in this field, with his work at the Olympics in Rio de Janeiro. From 2015 to 2018, he joined Ostkreuzschule in Berlin to study photography. He developed an individual documentary style while focussing on global social issues dealing with power, it´s staging and in the end, humanity. “Utopia”, his latest, still on-going project about refugee camps, took him to seven countries in Africa, the Middle East and Europe. In 2019, Sebastian joined OSTKREUZ Photographer´s Agency.
13. vek Naselje Keln je dokumentovano po prvi put. Tokom narednih vekova, ovo selo se pretvara u Berlin, glavni grad Nemačke sa populacijom od 3.5 miliona. 28th July 2012 Negde u Jordanskoj pustinji, internacionalna agencija UNHCR je napravila kamp-grad pod nazivom „Za’atari“. Nakon samo šest meseci, imao je oko 80.000 ljudi. „Za’atari“ je samo jedan od hiljada izbegličkih kampova koji daju privremeno rešenje. Građeni su pod istim dizajnom, ograđeni su i striktno regulisani tako da nema izlaza. Ovi kampovi postoje decenijama, stalno se razvijaju i šire ali nikada nisu postali zvanično mesto na mapi. Stanovnici ovih kampova postaju eksperti u upravljanju krizom i postaju prilagođeni novim promenama. Izbeglica je postala nova kategorija ljudskih bića, a izbleglički kampovi su postali deo političke scene na kojoj treba da odigraju svoju ulogu. On je moj prijatelj. U pratnji policije i radnika za odnose sa javnošću, dozvoljeno mi je da ga na kratko upoznam. Od avgusta 2017. godine, obišao sam 24 izbleglička kampa u sedam različitih država širom Evrope, Bliskog Istoka i Afrike ( Čad, Kenija, Jordan, Turska, Grčka, Nemačka i Holandija) kako bih radio na trenutnom projektu „Utopija“ koji se odnosi na kampove koji predstavljaju privremeno improvizovano rešenje.
Sebastijan Vels je rođen 1996. godine u gradu Kenigs Vusterhauzenu. Njegov rad je baziran u Berlinu, i radi za renomirane novine, magazine, korporativne klijente kao i sopstvene projekte širom sveta. Kao strastveni sportista, već sa 15 godina je krenuo da radi za lokalne sportske događaje kao fotograf. Samo nakon 5 godina, u 2017. godini osvojio je nekoliko nagrada, a jedna od najznačajnijih je „German Sportsphoto of the Year“, sa radom koje prikazuju Olimpijske igre u Rio de Ženeru. Od 2015. godine do 2018., krenuo je na Ostkreuzschule studije fotografije u Berlinu. Razvio je individualni dokumentarni stil, fokusirajući se na globalna društvena pitanja koja se bave pitanjima moći, ali i na kraju krajeva pitanjima čovečanstva. “Utopija”, njegov poslednji projekat koji još uvek traje bavi se pitanjima o izbegličkim kampovima, odveo ga je u sedam zemalja Afrike, Bliskog istoka i Evrope. 2019. godine Sebastijan se pridružio „OSTKREUZ“ fotografskoj agenciji..
3Rd PRIZE TREĆA NAGRADA
Nikita Svertilov
Custom Pleasure
Since the USSR times the notion of sex in general and sex toys in particular was and remains off-limits. Nevertheless, people were trying to understand the matter “by experiment”, creating their own adult toys at home. By recreating the artefacts using the instructions found on various forums, I am trying to analyze the sexuality of a modern Russian person. Why do self-made toys still exist: is there a fear of stigma or a desire to have a customized dildo?
Nikita Svertilov is a documentary photographer from Moscow, Russian Federation. He was born on June 27, 1995. Education: 2012-2018 Bauman Moscow State Technical University 2017-2019 School of modern photography “Docdocdoc”
Od vremena SSSR-a, pojam seksa i seks igračaka je generalno zabranjena tema. Ipak, ljudi pokušavaju da razumeju značaj „eksperimenta“, kreirajući svoje igračke za odrasle kod kuće. Ponovo kreirajući artefakte, koristeći se uputstvima koje pronalazim na različitim forumima, pokušavam da analiziram seksualnost moderne ruske osobe. Zašto i dalje postoje igračke koje sami prave: postoji li strah od stigme ili želja za posedovanjem unikatno rađenog dilda?
Nikita Svertilov je dokumentarni fotograf iz Moskve, Rusija. Rođen je 27. juna 1995. godine. Edukacija: 2012-2018 Moskovski državni tehnički univerzitet „Bauman“ 2017-2019 Škola moderne fotografije “Docdocdoc”
FINALISTI FINALISTS
Julian M Johnson Magdalena CzyĹźewska Leticia Zica Annemarija Gulbe Adar NG Amber Brown Aristidis Schnelzer
Julian M Johnson
Stemming from my experience with living with Marfan Syndrome, depression, and anxiety, Chronic is a photography series exploring the intersection of physical and mental health and the invisibility of chronic pain. I am looking to subvert the dehumanizing nature of medical photography and raise awareness about chronic pain warriors navigating the healthcare system. Shot in Austin, TX; Middletown, CT; and Shanghai, China; this is my studio art senior thesis at Wesleyan University.
Born (1996) and raised in Austin, TX, Julian M Johnson is a studio art major at Wesleyan University. He is a three-time recipient of the College of Environment Research Fellowship, and he was an artist-in-residence at Spread Art in Detroit, MI. Past work has been exhibited at Austin City Hall, CICA Museum, and the Milepiani. He hopes to move to the big apple one day.
Magdalena CzyĹźewska
Theory was created as a result of reconstructing mental images, that came from uncontrolled memorising bits of real life. Through staging I am trying to analyze them, find the scheme, I seek for theory thatwould explain this phenomenon. Occurrences taken out of their original context become abstract, unnecessary elements have been removed, pictures present only the most important aspect of the memorized scene. Hudreds of pictures have been recreated, then sorted and grouped by aesthetics or repetetive motive. In the process, collections clarified. Presented works shows the most significant cases.Visual clarity points out typological, analitical approach to the topic. It is also visible in the composition of theworks, which are related either semantically or formally. Teorija je nastala kao rezultat rekonstrukcije mentalnih slika, koje su nastale od nekontrolisanih memorisanih delova stvarnog života. Pokušavam da ih analiziram, postavljam šemu, tražim teoriju koja bi objasnila ovaj fenomen. Pojavljivanja izvučena iz njihovog originalnog konteksta postaju apstraktna, uklonjeni su nepotrebni elementi, slike predstavljaju samo najvažniji aspekt memorisane scene. Slikane slike su ponovo kreirane, zatim sortirane i grupisane po estetici ili repetitivnom motivu. U tom procesu, zbirke su razjašnjene. Prikazani radovi pokazuju najznačajnije slučajeve. Vizuelna jasnoća ukazuje na tipološki, analitički pristup temi. To je vidljivo i u kompoziciji radova, koji se odnose semantički ili formalno.
Magdalena Czyżewska – born 19.10.1994 in Łódź, Poland. Works and lives in Łódź. This year graduated from Aacdemy of Fine Arts in Łódź. Mainly using media of photography and narrative video, also objects and installation. Is curious about operating principles of the Universe. Tries hard to get everything in order. Took part in many contests, eg. X International Exhibition of The Best Diplomas from Academies of Fine Arts in Gdańsk, Fotofestiwal Łódź 2018, Punto y Raya Festiwal 2018, and exhibitions, eg. FORT Institute of Photography in Warsaw, Wschodnia Gallery in Łódź, project space Obrońców Stalingradu 17 in Szczecin. Magdalena Czyżewska – rođena je 19.10.1994. u Lođu, Poljska, gde trenutno radi i živi. Ove godine zaršava na Akademiji likovnih umetnosti u Lođu. njen opseg rada obuhvata medije kao i fotografiju ali i narativni video, instalacije i objekte. Zainteresovana je za temu upravljanja samog univerziteta, pokušavajući da dovede sve u red. Učestvovala je na mnogim takmičenjima, kao što su internacionalne izložbe najboljih radova na Akademiji likovnih umestnosti u Gdansku, Fotofestiwal Łódź 2018, Punto y Raya Festiwal 2018, kao i na mnogim izložbama: FORT Institute of Photography u Varšavi, Wschodnia Gallery u Lođu, izložbeni prostor Obrońców Stalingradu 17 u Ščećinu.
Leticia Zica
FEMINIST POSTCARDS FEMINISTIÄŒKE RAZGLEDNICE
The project titled Postcards from a Feminist has as main source of inspiration the relationship of the women of my family, and especially the relationship between myself and my grandmother Catarina. She was born in a small town of 14 thousand inhabitants in the interior of Minas Gerais,Brazil, where she currently lives. The city of Dores do Indaiá is still marked today by the presence of colonialism and patriarchy, where the man works on the farm and the woman takes care of the house and the children. The city is marked by the red earth, that gets to color the houses of wood to the pike. The beaten earth, the smell of dry grass, the sound of the sleeves falling from the trees, the strong sun that burns the scalp, are visual poetry that mixed with the ideology of patriarchy, make the city a little rough for those who belong to feminine gender. For my grandmother, her struggle for independence was arduous. The name Catarina means purity. Pure soul, pure body. For Christians, the pure body is one that has never been touched, the one that refuses the carnal and banal pleasures. My grandmother was born, and by her name was "punished" for the purity of Christianity. At 16, Catarina had a subject at the school called Economia, but unlike what we know about economics today, this subject was exclusively dedicated to women. In continuous classes, she learned how to take care of the house, the children, and, of course, the husband. In our conversations alongside the strong coffee and coconut biscuit she always did to greet me, where the clock does not exist and the hours are determined by sunlight, my curiosity to understand her generation where the woman was oppressed within and out of the house I was awakened by the desire to somehow share what those moments represented in my grandmother's life, and look at our history what was, or better still, is, our main source of strength to continue fighting for a society in relation to gender inequality. This project is only possible because my grandmother's Economy notebook is still in good condition and legible. A 1959 notebook that is divided between the housekeeping, the decor, the household utensils, the clothes, the care of the baby and the husband. All this decorated in perfect harmony, with collages of magazines of the time that exalt the role of woman as housewife, wife and mother. It is interesting to note that in the notebook there is no section where there is advice of beauty or care for the woman herself, the "Economy" was a step-bystep how to be who you are not, and how to be the other woman, wife and perfect mother. And from there my questions: Where does the woman define herself as an individual in a society marked by so many oppressive signs? How could my grandmother be her own without being Catarina? In this work, I seek more questions than answers. With this notebook, which now brings us both past and present, not only from my grandmother’s story but from the history of our family’s women, I have been able to develop different ways of questioning those signs that were essential for the stereotyping of women in relation to our society. With the photograph, I try to get the answers that instigate me as a woman and an artist. In that sense, I searched for some sentences written in my grandmother’s notebook and attached them to the series of images that I developed, where they do not necessarily dialogue with each other, in order to create a discomfort between image and text. The phrases are exactly the same ones written by my grandmother in 1959, and the photos taken in 2017 in Paris, France. The use of black and white photography is intended to create timeless images. Self-portraits, now present with my body, now present with my gesture (use of my everyday objects photographed) are the means to represent my relationship with photography, my grandmother’s story, and the history of other women. In this work I use photography as a vector to open the dialogue on the oppressive signs of patriarchy. In the five images produced for the project, where I mix the sentences of my grandmother’s notebook with the images made in Paris, a story is woven, a fiction between dream and reality. I leave open the interpretation: for every Brazilian woman who has received an image at the address of her home, this one writes on her back what the image and the sentence represent for her. In an open manner, each of them writes freely and without judgment. it is important to note that the contact between these women and myself was made via the social network Facebook (in a group of Brazilian women in Paris), without intimate interaction (I did not ask their age, nor their occupations; nor their profession) with the participants, I asked them to say what the picture and the sentence represent for each.Thus the anonymity of each one is preserved, and the relation between the postcards and the answers intermingles in an intimate way, as if by the postcards they could say the things without being judged. It is interesting to note the commitment of these women to the project, they do not know me, and nothing material was offered in exchange, not even the postcard itself, as they should write and send me the same card received. There was also no return period, and to my surprise, of the 40 postcards sent in February 2018, 18 replies were received in 15 days. Through solidarity and unity, the project has begun to gain strength with all these stories now intertwined with mine. I wonder about the burden that patriarchy has caused and provoked in the daily life, individual and collective, of these women, that like me, left their country because they believed in a dream, and now share their experiences, their ambitions and their disappointments. To conclude, it was essential to think of the first inspiration of the artist, who used a notebook of his grandmother to talk about the family and the intimacy of some women who are still marked by the same oppressive signs of patriarchy of old. The notebook, which today becomes a sentimental object and a historical document, has revealed to the artist a new way of discovering and exploring photography as contemporary art. It was interesting to note that with this project, photography can be a vehicle for common reflection, where people who are not in the art world can also share their ideas and share their individual experiences. With this, we can see that even today, when it comes to gender equality, it is still necessary to talk about the subject and explore the many ways to find a more egalitarian, human and sensitive world. the suffering of the other. leticia zica
Projekat pod nazivom Feminističke razglednice ima kao glavni izvor inspiracije odnos žena u mojoj porodici, a posebno odnos između mene i moje bake Katarine. Rođena je u malom gradu od 14 hiljada stanovnika u unutrašnjosti Minas Gerais u Brazilu, gde trenutno živi. Grad Dores do Indaiá i danas je obeležen prisustvom kolonijalizma i patrijarhata, gde čovek radi na farmi, a žena se brine o kući i deci. Grad je označen crvenom zemljom, a tom bojom, boje se i kuće i štuke. Prokleta zemlja, miris suve trave, zvuk rukava koji padaju s drveća, snažno sunce koje je toliko vruće da greje teme, vizualna su poezija koja se meša s ideologijom patrijarhata i koja čini grad malo grubljim za one koji pripadaju ženskom rodu. Za moju baku, njena borba za nezavisnost je bila teška. Ime Katarina ima značenje pojma čistote. Čista duša, čisto telo. Za hrišćane, čisto telo je ono telo koje nikada nije bilo dotaknuto, ono koje odbija telesne i banalne užitke. Moja baka je rođena i po njenom imenu bila "kažnjena" zbog čistote hršćanstva. Sa 16 godina, Katarina je imala predmet ekonomije u školi, ali za razliku od onoga što danas znamo o ekonomiji, ova tema bila je posvećena isključivo ženama. U nastavi naučila je kako se treba brinuti o kući, deci i, naravno, mužu. U našim razgovorima uz jaku kafu i kokosovo pecivo uvek je cenila, gde sat ne postoji i sati su određeni sunčevom svetlošću, moja interesovanja da shvatim njenu generaciju u kojoj je žena bila ugnjetavana unutar i izvan kuće, probuđene željom da nekako podele ono što su trenutci predstavljeni u životu moje bake, i pogledaju njihovu istoriju, ili još bolje, naš glavni izvor snage za nastavak borbe za društvo u odnosu na neravnopravnost polova. Ovaj projekat je ostvaren samo zato što je sveska iz ekonomije moje bake još uvek u dobrom stanju. Sveska iz 1959. je podeljenja između kućne nege, dekoracije, kućnog pribora, odeće i temama o brizi deteta ali i samog muža. Sve je to uređeno u savršenom skladu, s kolažima časopisa iz vremena koji uzdižu ulogu žene kao domaćice, žene i majke. Zanimljivo je primetiti da u svesci nema dela u kojem postoji savet o lepoti ili brizi za samu ženu, "Gospodarstvo" je korak-po-korak kako biti ono što niste, i kako biti druga žena , supruga i savršena majka. I odatle moja pitanja: Gde se žena nalazi kao pojedinac u društvu obeleženim ugnjetavana znakovima? Kako bi moja baka mogla biti ona sama bez Katarine? U ovom radu tražim više pitanja nego odgovora. S ovom sveskom, koja nam sada donosi i prošlost i sadašnjost, ne samo iz priče moje bake, već i iz istorije naših žena u porodici, razvila sam različite načine propitivanja onih znakova koji su bili bitni za stereotipe o ženama u našem društvu. S fotografijom pokušavam dobiti odgovore koji me dotiču kao ženu i umetnika. U tom smislu, tražila sam neke rečenice napisane u bakinoj svesci a zatim sam ih spojila na niz slika koje sam fotografisala, dakle one ne moraju imati smisla međusobno baš kako bi se stvorila neprijatnost između slike i teksta. Reči su one iste kao one koje je napisala moja baka 1959. godine, a fotografije su fotografisane 2017. u Parizu u Francuskoj. Namena crno-bele fotografije je upravo ta da sa njima stvaram bezvremeni dokument. Autoportreti, sada prisutni s mojim telom, sada prisutni s mojim gestom (upotreba mojih svakodnevnih fotografiranih predmeta) su sredstva da predstavim svoj odnos prema fotografiji, priči moje bake i istoriji drugih žena. U ovom radu koristim fotografiju kao vektor za otvaranje dijaloga o lošim znakovima patrijarhata. U pet slika koje su proizvedene za projekat, gde mešam rečenice iz bakine sveske sa slikama iz Pariza, ispisana je priča, fikcija između sna i jave. Ostavljam otvoreno tumačenje: za svaku Brazilkinju koja je dobila sliku na adresi svog doma, na svakoj od njih na poleđini piše šta ova slika predstavlja za njih. Na otvoren način svaki od njih je napisan slobodno i bez predrasude. Važno je napomenuti da je kontakt između ovih žena i mene napravljen putem društvene mreže Facebook (u grupi brazilskih žena u Parizu), bez intimne interakcije (nisam znala koliko imaju godina, niti njihova zanimanja, niti njihovu profesiju), a prisutne sam zamolila da kažu svoje mišljenje šta svaka slika predstavlja za njih. Tako je sačuvana anonimnost svakog od njih, a odnos između razglednica i odgovora intimno se meša, kao da se na razglednicama mogu izreći stvari bez predrasuda. Zanimljivo je primetiti predanost ovih žena projektu, ne poznaju me, i ništa materijalno nije ponuđeno u zamenu, čak ni sama razglednica, jer je trebalo da je potpišu i ponovo pošalju odnosno vrate. Takođe krajnji rok za samo potpisivanje nije postojao, i na moje iznenađenje, od 40 razglednica koje su poslate u februaru 2018., 18 odgovora je primljeno u roku od 15 dana. Kroz solidarnost i jedinstvo, projekat je počeo dobijati na snazi sa svim tim pričama koje su sada isprepletene sa mojim. Pitam se koji je teret patrijarhata izazvao ovo u svakodnevnom životu, individualnom i kolektivnom, tih žena, koje su poput mene napustile svoju zemlju jer su verovale u san, a sada dele svoja iskustva, ambicije i razočaranja. Da zaključimo, bilo je neophodno misliti na prvu inspiraciju umetnika, koji je pomoću svoje bake govorio o porodici i intimi nekih žena koje su još uvek obeležene istim lošim, starim znakovima patrijarhata. Sveska, koja danas postaje sentimentalni objekat i istorijski dokument, umetniku je otkrila novi način otkrivanja i istraživanja fotografije kao savremene umetnosti. Zanimljivo je primetiti da ovim projektom fotografija može biti sredstvo zajedničkog razmišljanja, gde ljudi koji nisu u svetu umetnosti mogu podeliti svoje ideje i podeliti svoja individualna iskustva. Time možemo videti da je i danas, kada je reč o ravnopravnosti polova, još uvek potrebno govoriti o toj temi i istraživati mnoge načine za pronalaženje egalitarnijeg, ljudskog i osetljivijeg svijeta i patnje drugih. leticia zica . Paris . 2019
Annemarija Gulbe
I’m searching for an answer to why is it that I’m not searching for it – [I do it] by observing others search. Perhaps my incomprehension is evolving into a fearful urge to find out more. Not directly. Still by watching. Love and romance are becoming more and more relevant among people around me. Everyone aims for the same things. Even my 14 year-old cousin has grown up and is experiencing his first love and idealization. It seems that some things are supposedly for more adult people than me, and I feel distant from them. I realized that I have never looked for love or even thought about it, although this usually happens in early teenage years. Eye contact seems to have an immediate effect? I’m neutral.
Annemarija Gulbe (b.25.02.1997.) is latvian visual artist & documental photographer, based in Riga, Latvia. Currently, she is studying Visual Communication at the Art Academy of Latvia and analogue photography at Andrejs Grants masterclass, graduated from the ISSP School and Riga School of Design and Art, also participated in the ISSP Summer School and Erik Kessels (NL) masterclass “Fabulous Failures”(2018). Winner of the FK Prize 2018 and finalist of the FK Prize 2017. Participated in Riga Photo month 2018. Also finalist of the Riga photography Biennial and ISSP Gallery’s Award “Seeking the Latest in Photography”. Her works have been published in the FK Magazine, VETO Magazine, JEZGA magazine and ISSP planners.
Adar NG Pharos 2017
Variable Dimensions. Photography Installation (Images of lights in ancestral frames with LED bulbs) The night comes and tames even the busiest streets. In it’s silence - pockets of lights illuminates the lonely street, hinting and guiding. It serves as a reminder that we are not alone. This dependence on light is a subconscious one, a support that we often overlook. Pharos is a tribute to the lights that made us felt less alone. A thank you and good night to the companionship the light gave us, recognising them as something ancient and divine that we seek unknowingly. (This project was conceptualised and conceived in Hanoi, Vietnam.) Instalacija fotografije s promenjivim dimenzijama (slike svetala u okvirima predaka s LED sijalicama). Noć dolazi i ukrašava čak i najprometnije ulice. U tišini - džepovi svetla osvjetljavaju usamljenu ulicu, nagovještavajući i vodeći. Ona služi kao podsetnik da nismo sami. Ova zavisnost od svetlosti je podsvesna, potpora koju često previdimo. Pharos je počast svetlima zbog kojih smo se osećali manje sami. Hvala i laku noć druženju koje nam je svetlo dalo, prepoznajući ih kao nešto drevno i božansko koje tražimo nesvesno. (Ovaj projekat je zamišljen i koncipiran u Hanoi, Vijetnam.)
Adar Ng (b. 1994) is a recent graduate from the school of Art, Design & Media, Nanyang Technological University. Felt akin to the quote from Sigmund Freud “the unconscious is the true psychical reality; in its innermost nature it is as much unknown to us as the reality of the external world”, she sought to connect and confront the unconscious in her works, validating the psychical in the world of physical reality. Having experienced loss early in her life, her works are always a chase of the absence and presence in other entities. This alternating absence and presence often manifest itself through temporal means like long exposure photography and moving images. Her works does not serve to explain but to be encountered and experienced. She attended the NOISE Singapore Art Mentorship in 2016 and her works, “The Spirit Within” and “The Lights Went Out” recently bagged prizes at the NTU International Photography Award 2017. “The Lights Went Out” went on to be featured at different film programmes throughout 2017. Adar Ng (rođen 1994.) nedavno je diplomirala na umetničkoj školi, Design & Media, Tehnološkom fakultetu Nanyang. Oseća se slično citatu Sigmunda Freuda “nesvesno je istinska psihička stvarnost; u svojoj najintimnijoj prirodi ona nam je toliko nepoznata kao stvarnost fizičkog sveta”. Nastoji da se poveže i suoči s nesvesnim u svojim delima, potvrđujući psihički u svetu fizičke stvarnosti. Nakon što je doživela gubitak u ranom životu, njena dela su postala potraga za odsutnošću i prisutnošću u drugim entitetima. Ta promenljiva odsutnost i prisutnost često se manifetuju kroz vremenske načine kao što su dugotrajna fotografija i pokretne slike. Njena dela ne služe za objašnjavanje nego za susret i iskustvo. Učestvovala je na umetničkom mentorstvu u NOISE Singapor u 2016. godini, a njeni radovi, "The Spirit Within" i "The Lights Went Out" nedavno su dobili nagrade na NTU International Photography Award 2017. "The Lights Went Out" predstavljen je u različitim filmovima tokom 2017. godine.
Amber Brown
My current work-in-progress ‘Earthworks’ creates a photographic study of the Northumbrian allotment through multiple processes; repurposing the energy used by its owners and the rituals that take place in cultivating soil for future use, the ‘earthworks’. It concerns my relationships with local committees in Northumberland, the conversation taking place, locality, social positivity and the celebrating of working-class backgrounds which I believe is well due its time in the art world, and our current society. By combining large format photography with printmaking, I am repurposing energy and recreating the ritual of the allotment holder through transitioning from the 5x4 negative to the non-etch photopolymer print – baring similarities to copper plate etching – which is a long, laborious, manual process with many steps that will directly affect the success of the final work. Whilst the work is about process and the meditative quality which is beneficial practice to myself, alongside this lengthy force to slow down, it is also about history, politics and locality.
Amber Brown (28/11/1997) is a photographer based between Northumberland & Edinburgh. Currently she is in her third year working towards her Photography BA degree at Edinburgh College of Art, with aspirations of enrolling onto a Masters in Art Museum & Gallery Studies back in the North East of England. Amber’s work discusses her relationship with home through a personal, social, political and cultural narrative. This sometimes takes on an ethnographic form. Her work is predominantly analogue-based and tends to use traditional processes; often shot on the large format 5x4 camera or a medium format Hasselblad. From the negatives, the artist also enjoys experimenting further with printmaking techniques. Whilst progressing with her own work, Amber has taken a strong interest in the curation and events organisation of exhibitions throughout her time at ECA so far, this has led to co-creating an all-female photography group ‘Collective F8’ with other artists on her course. In the summer of 2017 she undertook a position as Gallery Intern at The Bakehouse Gallery, Alnwick and recently completed a Volunteer Information Assistant at the Talbot Rice Gallery, Edinburgh. Amber has now more recently been volunteering at the Side Gallery, Newcastle since the summer of 2018 and is working on the panels of Bookmarks and CANVAS Journal.
Aristidis Schnelzer
In this series I document the continuously progressing decay of the Ihmecenter (europes biggest connected housingcomplex), with which the local residents are confronted every day. The pictures were made on the usual passageways of the monumentous complex, not in some gloomy abandoned corners. Hereby I photographed the destruction in detail and used the flash for every picture. I concentrated on abstract forms and concrete objects in which just that decay manifests itself. The dove, which can be found everywhere in the Ihmecenter, here works as the leitmotif.
Born in Munich. Studied social sciences at Ludwig-Maximilians-Universität München (Bachelor Degree). 01.04.2018 – 01.08.2018 Internship at picture agency IMAGO, 01.10.2018 – now Studies of Fotojournalism and Documentaryphotography at Hochschule Hanover.
IMPRESSUM: Digital Grain, digital magazine showcasing street and documentary photography. Special release, March 2019. Editor: Igor ÄŒoko Publisher: GRAIN, Husinskih rudara 3/11 11060 Belgrade, SERBIA www.grain.rs www.issuu.com/digitalgrain https://www.facebook.com/grainphotomagazine/ Instagram: @grain_magazine E mail: magazin.grain@gmail.com Photo credits: Belgrade photo month Copyright: Using photographs from Grain magazine is not allowed without autors permission. Photographs are protected and alowed to use just for Grain magazine purpose.