Organ Vida 8 — Revelations by Organ Vida

OTKRIVANJA â&#x20AC;¡ REVELATIONS

T E V K E R L A I V A 8th International NJ Photography Festival A

Francuski paviljon / French Pavilion

8. MeÄ&#x2018;unarodni festival fotografije

Organ Vida — Otkrivanja

Organ Vida — Revelations

8. Međunarodni festival fotografije 13–24/09/2016 ‡ Zagreb, Hrvatska

8th International Photography Festival 13–24/09/2016 ‡ Zagreb, Croatia

Impressum Organ Vida — Otkrivanja / Revelations 8. Međunarodni festival fotografije / 8th International Photography Festival Organizator i nakladnik / Organizer and Publisher Fotografska udruga Organ Vida / Organ Vida Photography Association Selska cesta 68, 10000 Zagreb, Croatia +385992455558 www.organvida.com / festival@organvida.com Festivalske lokacije / Festival locations Francuski Paviljon / French Pavilion, Galerije / Galleries: Šira, Kranjčar, Greta, Zvonimir, Pikto; Oris Kuća Arhitekture / Oris House Of Arhitecture, Muzej suvremene umjetnosti / Museum of Contemporary Art, Hrvatski muzej arhitekture HAZU / Croatian Museum of Architecture HAZU, Zagrebački Plesni Centar / Zagreb Dance Center, Dokukino Kic, Art Park, Sherry's Wine & Bites, Pepper, Botaničar Partneri / Partners SC Kultura promjene, Akademija likovnih umjetnosti / Galerija Šira, DEZ Društvo za Evropsko Zavest, Galerija Kranjčar, Zagrebački plesni centar, Galerija Greta, Galerija Zvonimir, Hrvatski muzej arhitekture HAZU, Arhitektonski fakultet, Oris — kuća arhitekture, Dokukino KIC, Muzej suvremene umjetnosti, Hrvatski školski muzej, Galerija Pikto, Art Park Zagreb, Stega tisak, NOOR, Fotoklub Maribor, Fotosavez Srbije, Balkan Photo Festival, Domino Project Umjetnička direktorica festivala / Festival artistic director Marina Paulenka Autorica teksta poziva i kustosica Otkrivanja / Open call text author and Revelations curator Lea Vene Članovi žirija / Jury members Louise Clements, Simon Norfolk, Phillip Toledano, Lea Vene, Gillian Wearing, Donald Weber Koordinatorica natječaja / Open call coordinator Sandra Vitaljić Dizajn i Arhitekonsko rješenje postava Otkrivanja / Design and architectural solutions of the exhibition display of Revelations Nina Bačun i Dubravka Kokanović Koordinatori programa / Program coordinators Marina Paulenka, Iva Jurlina, Renata Filčić, Matija Brlek Koordinatorica izložbi / Exhibition coordinator Iva Jurlina Koordinatorica radionica / Workshop coordinator Renata Filčić Koordinator tjedna otvorenja / Opening week coordinator Matija Brlek

Press služba i odnosi s javnošću / Press & PR Inesa Antić, Petra Ermacora Administracija stranice, društvene mreže / Web and social networks administrator Maja Kostić Izvršna producentica / Executive producer Vanda Volić Koordinatorica projekata / Project manager Lorena Barić Vanjska produkcijska savjetnica / External production advisor Paola Orlić Prijevod / Translation Veronika Rovičanac, Lana Crikveni, Sara Simić, Tihana Bertek Lektorica / Proofreading Ivana Dražić Urednica kataloga / Catalogue editor Marina Paulenka Dizajn i prijelom / Design and layout Alma Šavar Vizualni identitet / Visual identity Alma Šavar, Anta Bučević Ured za goste/ Hospitality Ana Marjanović, Martina Tobolčević Web Master Mario Nikolaus Fotografi i snimatelji / Photography and video Niko Goga, Aneta Mrčela, Dora Baotić, Lili Zaneta, Martina Marić, Ana Šolić, Josip Belamarić, Marko Milas, Paula Skelin, Ana Lovrec, Vedran Janković Hvala svim našim volonterima / Thanks to our volunteers Nives Radman, Lucija Bilčić, Katarina Cizić, Martina Ipša, Sara Simić, Kristina Jakuš, Kristina Burum, Valentina Vrbanc, Daria Granić, Jelena Mandić, Petra Stojanović, Karla Kalata, Petra Bošnjak, Moira Radović, Tessa Faust, Nives Hrgić, Lorna Kunčić, Filip Lukić, Mark Modrić, Domagoj Gerovac, Lana Cirkveni, Zarin Dragičević, Veronika Rovičanac, Ivana Dražić, Andrija Benedik Posebna zahvala / Special thanks to Paola Orlić, Ana Petričić Gojanović, Dubravka Kokanović, Borko Vukosav, Dušan Stupar, Inja Korač, Ivan Mikulandrić, Nina Bačun, Gabrijela i Andrija Benedik, Tena Assodi, Davor Horvat, Boris Koružnjak Tisak / Print Kerschoffset Zagreb Papir / Paper Arctic Volume White Naklada / Copies 400 Međunarodni festival fotografije Organ Vida 2016. realiziran je zahvaljujući volonterskom radu cjelokupne organizacije. / The International Photography Festival Organ Vida 2016 has been realized thanks to the volunteer work of the whole organization. ISBN 978-953-58682-2-4

Voditeljica volontera / Volunteer coordinator Iva Livaić

Kazalo

Table of contents

007 Osvrt organizatora — Organ Vida promatra

007 The organizer’s review — Organ Vida is observing

009 Učiniti vidljivim

009 Making it visible

011 Osvrt žirija

011 Jury Review

012 Poziv na natječaj —Otkrivanja

012 Open call — Revelations

013 Biografije žirija

013 Jury biographies

019 Andrea and Magda — Sinajski park

019 Andrea and Magda — Sinai Park

041 Mario Brand — Pripovjedačica

041 Mario Brand — Storyteller

055 M. Scott Brauer — Ovo je najgora zabava na kojoj sam ikada bio.

055 M. Scott Brauer — This is the worst party I’ve ever been to.

077 Kirill Golovchenko — Gorka zelena dinja

077 Kirill Golovchenko — Bitter Honeydew

099 Pierre Liebaert — Napokon slobodni

099 Pierre Liebaert — Free now

119 Gidon Levin — 21 22 23

139 Anne Müchler & Nico Schmitz — Susret

139 Anne Müchler & Nico Schmitz — Encounter

161 Michał Siarek — Aleksandar

161 Michał Siarek — Alexander

183 Maria Sturm & Cemre Yeşil — Za ptice

183 Maria Sturm & Cemre Yeşil — For Birds’ Sake

203 Qian Zhao — neobično, na rubu

203 Qian Zhao — offcut, the edge

222 Sponzori

222 Sponsors

The organizer’s review Organ Vida is observing

Osmo izdanje Međunarodnog festivala fotografije Organ Vida donosi raznolik i svjež program unutar dvotjednog održavanja i duhu ovogodišnje teme Otkrivanja. Otkrivamo nove mogućnosti, želje i načine pričanja priča, otkrivamo nove ljude i njihove svjetove. Ono što je najvažnije za Organ Vida jest činjenica da povezuje toliki broj ljudi, kolektiva, udruga, organizacija te institucija, i to ne samo u Hrvatskoj nego u preko 60 zemalja svijeta. Na festivalski međunaro dni poziv ove je godine odgovorilo preko 400 autora sa svih 6 kontinenata. Na to smo izuzetno ponosni, kao i na članove našeg fantastičnog žirija koji su zajedničkim naporima odabrali 20 izvrsnih umjetnika. U rujnu se konačno okupljamo svi. Festivalski program ove godine čini 10 fotografskih izložbi, mnoštvo razgovora o fotografiji, predstavljanja umjetnika i njihovih knjiga, predavanja, panela i naravno Open Show Zagreb diskusije umjetnika s publikom. U programu su i dva sjajna filma od kojih posebno ističemo Mapplethorpeov dokumentarac koji će, uvjereni smo, pri bližiti život ovog sjajnog fotografa mnoštvu ljubitelja filma. Novitet Festivala su noćne projekcije filmova i fotografskih projekata na javnim površinama prilikom kojih se Festival želi još više približiti svojim sugrađanima, i dalje s velikim poštovanjem prema fotografiji koju izlaže od gale rija i muzeja do neformalnih mjesta u gradu. Organ Vida oduvijek i educira, stoga je i ove godine doveo neke od najvažnijih svjetskih edukatora, Donalda Webera, Alixandru Fazzinu iz agencije Noor te mnoge druge uvažene stručnjake. Sa sedam radionica vjerujemo da ćemo ispuniti očekivanja polaznika i fotografa različitih iskustvenih pozadina i područja. U festivalskom tjednu otvorenja, koje ove godine traje samo pet dana, potrudili smo se integrirati sav program iznimne kvalitete i bez puno preklapanja. Važno nam je povezivati se što više s lokalnom zajednicom te održavati program na više lokacija kako bismo obuhvatili široku publiku i kako bi naši gosti mogli bolje upoznati grad, ljude, hranu i različitosti. U dosadašnjih osam godina izgradili smo sjajne odnose s mnogim ljudima, organizacijama, institucijama i ugostiteljima u gradu i imamo njihovu veliku potporu. Na tome smo im jako zahvalni i vjerujemo u da će taj odnos biti čvršći iz godine u godinu. Posebno bismo voljeli da naša intencija širenja prema lokalnoj zajednici i suradnje ne samo s predstavnicima fotografske i umjetničke scene nego i one iz šireg društvenog života zapravo potakne pozi tivnu i zdravu razdiobu našeg budućeg suživota. Ovogodišnji program održava se na čak 17 lokacija u gradu Zagrebu, od kojih smo posebno ponosni na čuveni Francuski paviljon u sklopu Studentskog centra, zahtje van i zaštićen biser grada koji daje nove perspektive i

The 8th edition of the two-week International Photography Festival Organ Vida offers a varied and up-to-date program in the spirit of this year’s festival theme Revelations. We are discovering new revelations in the form of new possibilities, desires, and ways of storytelling; we are discovering new people and their worlds. What is the most important for Organ Vida is the fact that the festival interconnects a considerable number of people, collectives, associations, organizations, and institutions, not only in Croatia, but also in over 60 countries of the world. Over 400 authors from all 6 continents responded to this year’s festival’s international open call. Of this we are immensely proud, as well as of the members of our fantastic jury who joined heads in the common endeavor of selecting the final 20 extraordinary artists. September is when we all finally come together. This year’s festival’s program is comprised of 10 pho tography exhibitions, a multitude of photography talks, presentations of artists and their books, lectures, panels, and, of course, the Open Show Zagreb discussions between the artists and their audience. The program also contains two wonderful films, one of which deserves special praise: the documentary feature about Mapplethorpe, which, we believe, will provide many cinephiles with a closer insight into the life of this magnificent photographer. A novelty of this year’s festival are the night screenings of films and photography projects on public city surfaces, with which the festival aims to get closer to the citizens of Zagreb, while at the same time still maintaining great respect for the photography works exhibited at galleries, museums, and other more informal locations of the city. Organ Vida has also always been a place of education. This year it brings some of the most important photography educators in the world; for example, Donald Weber, Alixandra Fazzina from the Noor agency, and many other renowned experts. By offering seven different workshops, we believe we will fulfill the expectations of workshop participants and of photographers of different backgrounds of experience and fields of work. During the opening week of the festival, which this year lasts only five days, we tried to fit into the program all events of exceptional quality by making a schedule with little overlaps. We consider important the act of connecting with the local community and of holding the events on various locations in order to reach a wide audience, and so that our guests could get well acquainted with the city, the people, the food, and the diversities. During the last eight years we have built great relationships with many people, organizations, institutions, as well as with city catering esta blishments, and we enjoy their ultimate support.

007 ‡ Organ Vida — International Photography Festival ‡ Revelations

Osvrt organizatora Organ Vida promatra

008 ‡ Organ Vida — Međunarodni festival fotografije ‡ Otkrivanja

mogućnosti izlaganja i prezentacije radova. Za glavnu fes tivalsku izložbu Otkrivanja potrudili smo se okupiti fantas tičan tim kustosica, dizajnerica i arhitektica koje su zajedno s nama donijele inteligentno rješenje u kojemu će radovi naših finalista sljedeća dva tjedna otkrivati posjetiteljima svoje jedinstvene priče. Neki od njih posebno su izazovni za našu sredinu u kojoj se sve više sputava sloboda govora i vizualnog prikaza. Izložbom se predstavljaju odabrani projekti nadolazećih i etabliranih fotografa koji su na zadanu temu još jednom pokazali moć i mogućnost fotografije da potakne promjene i prepozna umjetničke, osobne, socijalno-političke i kulturno-povijesne izazove. Otkivanja kao široka tema koju smo zadali ove godine izazvat će vjerojatno mnogo diskusija i pristupa razumije vanju pojma u najširem smislu te riječi. Organ Vida želi komunicirati s publikom i posjetiteljima, artikulirati i educirati o fotografiji. To je uvelike potrebno našoj sredini u kojoj manjka specijaliziranih galerija za fotografiju, kao i adekvatne institucije koja fotografiju istražuje, promovira i koja educira, stoga je veliki cilj i putem ovog izdanja utrti put osnivanju institucije za fotografiju koja će svojim radom i zalaganjem doprinijeti razvoju i boljitku mnogo budućih generacija fotografa, povjesničara umjetnosti, umjetnika, stručnjaka iz komplementarnih područja i mnogih drugih zainteresiranih u području vizualne kulture. Entuzijazam i rad na ovom projektu rezultat je snažne volje, ljubavi i vjere članova fotografske udruge Organ Vida u suverenu poziciju fotografije na ovim područjima koju dalje žele promovirati i istraživati te ostvarivati svoje ciljeve i planove u bližoj budućnosti neovisno o danim izazovima s kojima se na tom putu susrećemo. Organ Vida promatra, spaja, osvježava. Organ Vida živi je organizam koji se mijenja i istražuje, osluškuje i donosi nove načine sagledavanja postojećih pojmova koji mogu pobuditi nove načine razmišljanja. Organ Vida zahvaljuje svim svojim brojnim volonterima, ovogodišnjim gostima, partnerima, pokroviteljima, sponzo rima, prijateljima i medijskim partnerima bez čije pomoći i dobre volje ne bi bilo u potpunosti moguće izvesti ovo izdanje. — Marina Paulenka, direktorica Festivala

We are very thankful for it, and believe that our relationshi ps will grow stronger as years go by. We would be especially pleased if our intention of engaging the wide local community and of collaborating not only with the representatives of photography and artistic scenes, but also with people belonging to different social spheres, were to stimulate a positive and healthy distribution of our future coexistence. This year’s program takes place on as many as 17 locations across the city of Zagreb. We are especially proud of including the famous French Pavilion situated in the complex of the Student Center, the protected pearl of the city which offers new perspectives and possibilities of exhibiting and presenting artistic works. The organization of the main festival exhibition Revelations was led by a marvelous team of curators, designers and architects who collaborated with us in creating an intelligent exhibition space in which the works of our finalists will reveal their unique stories to our visitors during the next two weeks. Some of those works are especially challenging for our social environment in which freedoms of speech and visual representation are freque ntly obstructed. The exhibition presents the selected pro jects of young and established authors which used the assigned theme to once again express the power and the ability of photography to motivate changes and serve as a means of recognizing artistic, personal, sociopolitical and cultural-historical challenges. This year’s festival theme Revelations covers a broad scope of subject matters, and will undoubtedly provoke numerous discussions and approaches to the understan ding of the term in its broadest sense. Organ Vida wants to communicate with the audience and visitors, articulate ideas and educate about photography. This is indispensa ble for our social environment in which there is a lack of specialized photography galleries, as well as of adequate institutions which would investigate, promote and educate. Therefore, the aim of this edition is to pave the way for the foundation of an official photography institution which would contribute its work and effort to the development and well-being of many future generations of photographers, art historians, artists, experts from related fields, and all those interested in the field of visual culture. The enthusiastic work on this project is the product of strong will, love, and the belief of the members of the photography association Organ Vida in the rightful position of photography in the region, as the art they want to keep investigating and promoting, while at the same time reali zing their own future goals and plans, no matter what cha llenges we face on that road. Organ Vida is observing, connecting, refreshing. Organ Vida is a live organism which is evolving and investigating, listening, and bringing about new ways of understanding the existing concepts which might evoke new ways of thinking. Organ Vida would like to thank all its numerous volunteers, this year’s guests, partners, patrons, sponsors, friends, and media partners, without the help and good will of which we would not be able to realize this edition. — Marina Paulenka, artistic director of the festival

Making it visible

Izložba deset finalista odgovor je na ovogodišnju temu Otkrivanja kojom smo željeli potaknuti autore da kroz vlas titu fotografsku praksu progovore o nepoznatim, nezabilje ženim i neizrečenim transformativnim i svakodnevnim iskustvima, osobnim i tuđim sudbinama, društvenim i intimnim borbama ili životnim spoznajama, ali jednako tako i o nevidljivom, isključenom ili onom potisnutom u slici. Odabrani fotografski projekti nadilaze deskriptivnu i usko dokumentarnu dimenziju, nisu primarno podložni medijaciji pojedinih tema, nego su usmjereni na vizualnu produkciju iskustava koja su autori proživjeli kroz vlastiti terenski rad. Otkrivanja s jedne strane zadiru u lokalne prostorne politike, zanemarenu materijalnu kulturu, nevid ljive zajednice na margini ili nadnaravne priče, a s druge progovaraju o odnosu fotografa i fotografiranih, proširenom mediju fotografije i o autorskoj refleksiji na zabilježene teme. Projekt Sinajski park Andree i Magde otkriva apsurdne transformacije okoliša uslijed naglog turističkog razvoja sinajskog poluotoka. Artificijelno urbaniziran prostor djelu je kao kulisa lišena ljudske prisutnosti. Autori prepoznaju vizualne simptome sraza između realnih životnih prilika na poluotoku i reprodukcije poželjne turističke stvarnosti. Projekt Alexandar Michala Siareka također je orijentiran na lokalnu priču smještenu u Skopje gdje autor bilježi kako se u prostoru grada simbolički oživljava i fizički materijalizira lik Aleksandra Velikog. Autora zanima kontekst u koji se ikonički ugrađuje njegov lik te širi okvir nacionalne industrije koja (re)konstruira, implementira i legitimira takav čin. Aktualne američke predsjedničke izbore prati M. Scott Brauer fokusirajući se na backstage za vrijeme predizbora u New Hampshireu. U naglašenom fotoreporterskom pristupu autor otkriva pozadinu reprezentacijske izvedbe koju svaki od kandidata pomno priprema. Umjesto kreiranja i prenošenje željene medijske slike, fotografijama skreće pažnju na nezgrapne, neukusne, neprimjerene detalje kao neizostavne elemente javnog nastupa kandidata. Mariji Sturm i Cemre Yeşil u Istanbulu pažnju zaokuplja lokalna avikultura kojoj su posebno posvećeni muškarci. Autorice izbjegavaju reprezentirati ptice, već prate njihove vlasnike te pomno izrađene individualizirane kućice u kojima čuvaju svoje ptice. Osvještavaju odnos prostora, tijela i ptica te njihovu prisustnost u svakodnevici portretiranih muškaraca. Kirill Golovchenko bilježi naizgled nevidljivu i marginali ziranu zajednicu ilegalnih prodavača voća i povrća uz ukrajinske lokalne ceste u projektu Gorka zelena dinja. Pogled iznutra proizlazi iz bliskog odnosa koji autor gradi sa zajednicom čiju svakodnevicu zahvaća kroz vrlo direktni snapshot. Provodeći vrijeme s njima, autor postaje sudionik njihovih dnevnih rituala, ima uvid u njihovu intimu te prenosi vlastito iskustvo uronjavanja u život te zajednice. U projektu Napokon slobodni Pierre Liebaert također naglašava vlastiti odnos s fotografiranima kroz komunikaciju koju ostvaruje na nekoliko razina (tekst, zvuk, slika). Njegovi modeli anonimno i samovoljno oslobađaju tijelo

The exhibition of the works of the ten finalists was created in response to this year’s theme Revelations, which was meant to motivate the authors to use their own photogra phy practice as a means of illustrating the unknown, unrecorded and unspoken transformational and everyday experiences, their own destinies and destinies of other people, social and personal fights, but also to portray in their projects the invisible, the excluded, the repressed. The selected photography projects surpass the descriptive and exclusively documentary dimension; their primary aim is not to serve as a medium for portraying different subject matters, but to visually represent the experiences the authors lived through in their own field work. On the one hand, the exhibition Revelations delves into the heart of the politics of local space, of the neglected material culture, the invisible communities on the margins of the society, the supernatural stories; and on the other hand, it talks about the relationship of the photographer and the photographed, about the expansive medium of photography, and about the authors’ reflections on particular subject matters. The project Sinai Park by Andrea and Magda reveals absurd transformations of the environment of the Sinai Peninsula caused by fast tourist development. The artifici ally urbanized space resembles a theater set devoid of human presence. The authors recognize the visual symptoms of the gap between real life circumstances on the peninsula and the reproduction of a desirable tourist-attracting reality. The project Alexander by Michal Siarek also focuses on a local story: it is set in Skopje, where the author records the symbolic revival and materialization of Alexander the Great. The author is interested in the context into which the figure of the famous ruler is iconically installed, as well as in the working of the national industry which (re)constructs, implements and legitimizes such venture. M. Scott Brauer follows the current American presiden tial elections by focusing on the happenings in the backstage at the New Hampshire presidential primary. Approaching the subject matter in a powerful photojournalistic style, the author reveals what lies beneath the presentation performance carefully prepared by every candidate. Instead of creating and transmitting the image of the primary as desired by the candidates, M. Scott Brauer uses photography to direct the viewers’ attention to the bulky, tacky, and inappropriate details that form the core of the candidates’ public appearances. In Istanbul, Maria Sturm and Cemre Yeşil are intrigued by the local aviculture, to which the men of Istanbul are especially devoted. The authors choose not to portray the actual birds, but instead focus on their owners and on carefully crafted bird cages. They depict the relationship between space, bodies, and birds and their presence in everyday lives of the photographed men. In his project Bitter Honeydew, Kirill Golovchenko portrays the seemingly invisible and marginalized community of illegal fruit and vegetable vendors who set

009 ‡ Organ Vida — International Photography Festival ‡ Revelations

Učiniti vidljivim

010 ‡ Organ Vida — Međunarodni festival fotografije ‡ Otkrivanja

pred kamerom egzibicionistički pozirajući u iznajmljenim hotelskim sobama. Projekt otkriva nekoliko razina odnosa koje autor razvija u procesu koji potom kulminira pozira njem i okidanjem fotografije. Gidon Levin reflektira vlastito iskustvo vojne službe retrogradno se vraćajući u prošlost, na mjesta gdje je proveo službu. Zaobilazi dokumentarni pristup u ilustra ciji fragmenata sjećanja pa su fotografije ispunjene simboličkim značenjem koje gradi na temelju nekoliko ključnih elemenata: pijesak, uniforma i pustinja. Iskustvo se doslovno manifestira u slici koja sada reprezentira autorove osobne mitologije. Qian Zhao u seriji fotografija neobično, na rubu bilježi subjektivno iskustvo tranzicije, prelaska iz jedne kulture u drugu, preseljenje iz Šangaja u San Francisco. Novi kontinent i novi grad otvaraju novi prostor fikcije koji se vizualno oblikuje kroz svježi pogled na tu sredinu. Vizualne senzacije i začudne konstelacije intrigiraju oko koje znatiželjno otkriva drugu kulturu. Nit vodilja projekta Pripovjedačica Maria Branda jest zabilježiti rad koji ostavlja trag. On fotografira niz ploča koje su godinama prenosile 35 mm film na projektor. Ploče na sebi imaju doslovno otisak vremena upisan u ogrebotine i tragove vidljive na njima. Autor ih prepoznaje i tretira kao materijalnu kulturu koja živo predstavlja životni vijek predmeta. Anne Müchler i Nico Schmitz kroz fotografije pod nazi vom Susret hvataju se u koštac s mogućnostima koje slika nudi pri dokazivanju i reprezentiranju mita. Autori pokušavaju izvući na vidjelo nadnaravne moći upisane u okoliš sela Bugarach u Francuskoj. Kako se konstruira nadrealno i nadnaravno, a kako se može vizualno prenijeti? Kroz medij fotografije vizualno se dekonstruira mitski krajolik i neodvojivo nadnaravno iskustvo. Svi odabrani finalisti daju individualizirane interpreta cije inicijalno raspisanog natječaja te proširuju tematski okvir samog natječaja, razotkrivaju sakrivena i često nevid ljiva mikro iskustva iz svakodnevnog života, osvještavaju odnose koje razvijaju sa svojim subjektima te otvaraju nove poglede i perspektive na realnost koja nas okružuje. — Lea Vene, kustosica

up their stands along the Ukrainian freeways. The author offers an inside view, based on his close relationship with the community of street vendors, whose everyday life is captured by a very direct snapshot. By spending time with the community, the author gets to participate in their daily rituals and receives an insight into their intimacy. This ena bles him to communicate his own experience of submerging into the life of the community through photography. In his project Free now, Pierre Liebaert also accentuates his own relationship communicating on several levels (via texts, sounds, and images) with the audience. Anonymously and on their own free will, his models liberate their bodies in front of the camera by posing in a voyeuristic fashion in rented hotel rooms. The project reveals several layers of the relationship the author forms with his models in the process which culminates in posing for a photo shoot. Gidon Levin portrays his own experience of military service by traveling back to the past, to the sites of the service. In the illustration of the memory fragments, Levin avoids using documentary style. As a result, the photographs are full of symbolic meaning constructed on the basis of several key elements: sand, uniform and desert. His experience of military service is literally manifested through the images, which represent the author’s personal mythologies. In the series of photographs offcut, the edge, Qian Zhao portrays a subjective experience of a transition, of moving from one culture to another, from Shanghai to San Francisco. A new continent and a new town form a new fictional space which is shaped by a newcomer’s outlook on the yet unexplored social environment. Visual sensations and surprising constellations are intriguing to the curious eye discovering a new, different culture. The aim of the project Storyteller by Mario Brand is to portray a kind of work that leaves a trace. His photographs represent a series of film plates which were used for years to transport the analogue 35mm film by rotation to film projectors. The plates literally bear the mark of time, engra ved in the scratches and traces visible on their surface. The author recognizes their importance and treats them as items of material culture, a culture which truly represents the life span of objects. In the series of photographs Encounter, Anne Müchler and Nico Schmitz come to grips with the possibilities offered by photography in the process of proving and representing a myth. The authors try to bring to light the alleged supernatural powers of the French village Bugarach and its surroundings. How to construct the surreal and the supernatural, and how to represent them visually? The medium of photography is used to deconstruct the mythical landscape and the supernatural experience it evokes. All the selected finalists offer individual interpretations of this year’s festival theme and extend the thematic framework of the open call itself. They disclose the hidden and often invisible micro experiences of everyday life, portray the relationships they develop with their subjects, and open the path for new viewpoints and perspectives of the reality that surrounds us. — Lea Vene, curator

Jury Review

Bilo mi je zadovoljstvo biti član žirija ovogodišnjeg Organa vida; svi prijavljeni projekti bili su iznimno kvalitetni i uspješno su poticali na promišljanje o suvremenoj ekologiji fotografske prakse. Projekti su nam predstavili bezbroj gledišta i jedinstvenih vizija. Fotografije su se međusobno iznimno razlikovale u formatu, od serija fotografija detaljnog prikaza, preko fotografija ulice i portreta, pa sve do inventivnih kolaža, pejsaža i mnogih drugih. Stotine ideja realizirane su u inteligentno izrađenim i provokativnim fotografijama pristiglima iz cijelog svijeta, koje se mogu protumačiti na mnoge međusobno oprečne i zabavne načine. Prijavljeni projekti sadrže toliko vrijednih misli i izraza da je izabrati finaliste bila ozbiljna odgovornost i težak izazov. Osobno sam najviše zastala nad onim fotografijama koje nas potiču da malo bolje promislimo, duže ih pogledamo i dublje ih interpretiramo; nad onima koje kod nas pobuđuju dublje misli. Zaista me zanimaju fotografije koje se usude biti drugačije i koje se trude ispričati nepoznate priče, bile one pojedinačne fotografije ili serije fotografija, kao i one koje se igraju s našim očekivanjima ili imaju sposobnost da nas iznenade. Upravo takve fotografije otvaraju naš um novim mogućnostima. Osim fotografija takvog tipa, među stotinama prijavljenih isticali su se i brojni drugi projekti, čiji nadareni autori također idu u dobrom smjeru i treba ih poticati. U izboru finalista vodili smo se osobnim dojmom i izabrali najbolje projekte između brojnih djela koja su nam privukla pažnju svojom originalnošću i zavidnom razinom vizualne komunikacije i produkcije. Tema Otkrivanja bila je dalekosežna, no istodobno i zahtjevna, a autori su joj pristupili na mnoge značajne načine, što možemo vidjeti u izabranim djelima. Prijavljeni projekti razlikuju se u pristupima temi te su jedinstveni i posjeduju neuhvatljivo svojstvo koje se može artikulirati jedino fotografijom. Prikazuju bit onoga što je fotografija danas. Iako su međusobno različiti, svi projekti na inteligentan način bilježe ili stvaraju te maštovito istražuju važne aspekte našeg postojanja i okoline koju nastanjujemo. Izložba Otkrivanja istražuje tanku liniju između implicitne istine u fotografiji i reinterpretacije te istine u fikcionalnom i narativnom obliku te ispituje samu prirodu dokumentarnog pristupa i reprezentacije stvarnosti putem tragova, znakova, simbola i klasifikacija. Zajedno s kolegama članovima žirija željela bih zahvaliti svim prijavljenima. Ponosni smo što smo ove godine imali priliku izabrati projekte za program Festivala, u kojem se predstavljaju sjajne, provokativne i inovativne fotografije iz cijelog svijeta.

Being part of the Organ Vida Jury this year has been a pleasure; the submissions were of a diverse and high standard throughout, and offered fantastic points of reflection on the current ecology of photographic practice. The works shared countless points of view and unique visions, the images varied hugely in terms of approach, from in-depth series, street views and portraiture to imaginative collage, landscape and more. The hundreds of ideas presented a range of smart and engaging photography from around the world, interpreted in many contrasting and fun ways, with so many valuable thoughts and expressions submitted it was a serious responsibility and challenge to select the finalists. For me, the most arresting images are the ones that make us think harder, look longer, read more deeply, and are those that provoke new thoughts beyond the surface. I’m genuinely interested in photography that dares to be different and that works hard to tell unfamiliar stories, aesthetically as individual images or in a series, as well as pictures that disrupt expectation or surprise us. These images are the kind that open your mind to new possibilities. There were many projects that stood out amongst the hundreds of entries, alongside these, because there were many talents who are also moving in the right direction and should not be discouraged. Inevitably, for the final selections and exhibitions we have made very personal choices from the works, all of which resonated with us and demonstrated strength of originality together with a considerable level of visual communication and production. Revelations was a wide- reaching, yet challenging theme, which has been referenced in diverse meaningful ways, as we can see in the works selected. The images offered a wonderful range of approaches; all of the proposals selected are unique and possess an elusive quality that is only possible to articulate through photography. They encapsulate what photography is about today. Although very different from each other, they all intelligently record or create and imaginatively examine important aspects of our existence and the environments that we inhabit. Revelations explores the thin line between photography’s implicit truth and its reinterpretation into the world of fiction and narrative, questioning the whole nature of documental value and the representation of actuality through collections of clues, signs, marks and classifications. Together with my fellow jury members we would like to thank everyone who submitted and we are proud to have been part of selecting for the programme this year, which presents some brilliant, engaging and innovative photography from around the world.

— Louise Clements, umjetnička direktorica centra za umjetnost QUAD i festivala fotografije FORMAT, Ujedinjeno Kraljevsto

— Louise Clements, Artistic Director QUAD/FORMAT, UK

011 ‡ Organ Vida — International Photography Festival ‡ Revelations

Osvrt žirija

012 ‡ Organ Vida — Međunarodni festival fotografije ‡ Otkrivanja

Poziv na natječaj —Otkrivanja

Open call — Revelations

U okviru ovogodišnje teme Otkrivanja obraćamo se autorima koji u svojim fotografskim istraživanjima raskrinkavaju vlastite načine gledanja, propituju iskustvo i reprezentaciju autentičnosti i konstrukciju vizualne istine. Temom Otkrivanja zadiremo direktno u politike pogleda te otvaramo pitanja o discipliniranju subjekata, ali i gledatelja u čiji se pogled upisuju očekivanja i reakcije. S kakvim namjerama i kojim jezikom im pristupamo? Polazeći od pretpostavke da se gledatelji imaju pravo informirati o temama od javnog interesa, zanima nas kako ih kroz medij fotografije suočavamo s nepoznatim, nezabilježenim i neizrečenim transformativnim i svakodnevnim iskustvima, osobnim i tuđim sudbinama, društvenim i intimnim borbama ili životnim spoznajama. Sam čin razotkrivanja neodvojivo je isprepleten i s praksama izdvajanja, potiskivanja, zasljepljivanja, ignoriranja, sakrivanja. Učiniti vidljivim znači otvoriti prostor unutar fotografije koji nam dozvoljava vizualiziranje otkrića, ali istovremeno i komentiranje vlastite sposobnosti gledanja i bilježenja istog. Takva zadaća podrazumijeva preuzimanje kontrole, ali i odgovornosti nad produkcijom prepoznatljive slike pojedinaca ili grupe te za sobom povlači diskusiju o legitimnosti vlastitog autoriteta. Kada i na koji način napuštamo sigurnu poziciju promatrača kako bismo poljuljali prividno uspostavljeni autoritet? Umjesto težnje da se slikom uhvate i sačuvaju istinite reprezentacije naizgled autentičnog življenog i/ili zabilježenog iskustva, čin otkrivanja predstavlja priliku za izmicanje fiksiranim značenjima u slikama i ulogama koje preuzimamo. Jednako tako mikro iskustva samokritike, samoevaluacije i ogoljavanja omogućavaju nam da progovorimo o nevidljivom, isključenom ili potisnutom u slici. Bilo da je odabrani fotografski jezik blizak formi izvještaja, ispovijedi ili manifesta, zanimaju nas mnogostruki pogledi na istraživanu temu, otvoreni narativi i pluralizmi reprezentacije. Pozivamo stoga zainteresirane autore da nam usmjere pažnju na osobne interpretacije procesa otkrivanja te kako ga prepoznaju, osvještavaju i dokumentiraju kroz vlastitu fotografsku praksu.

As part of this year’s theme, we turn to the authors who dismantle their own ways of seeing in their photographic research, who question the experience and representation of authenticity as well as the construction of visual truth. With the theme Revelations we delve directly into the politics of the gaze and raise the question of disciplining the subject but also the viewer, whose gaze is inscribed with specific expectations and reactions. What intentions and what language do we use to approach them? Starting from the assumption that viewers have the right to be informed about matters of public interest, we are interested in how the medium of photography can be used to confront them with the unknown, unmarked and unspoken transformative and everyday experiences, personal fates or those of others, social and intimate battles or insights. The very act of disclosure is also inextricably intertwined with practices of separation, suppression, blinding, ignoring, hiding. Making visible means opening up space within photography that enables us to visualize revelation and at the same time to comment on our ability to look and record this look. Such a task involves taking control and responsibility over the production of an identifiable image of an individual or a group, and initiates the debate about the legitimacy of our own authority. When and how do we relinquish the safe position of the observer in order to challenge a seemingly well-established authority? Unlike the urge to capture and preserve truthful representations of seemingly authentic lived and/or recorded experiences, the act of revelation represents an opportunity for escaping fixed meanings in images and roles that we assume. Equally so, the micro experiences of self-criticism, self-evaluation and laying bare allows us to speak about what is invisible, excluded or repressed in the image. Whether the selected photographic language is in the form of a report, confession or manifesto, we are interested in multiple perspectives on the researched topic, open narratives and representational plurality. We invite interested authors to focus our attention on personal interpretations of the process of revelation and how they recognize it, raise awareness on it, and document it through their own photographic practice.

— Lea Vene

Jury biographies

Umjetnička ravnateljica centra QUAD i festivala FORMAT International Photography Festival Louise Clements živi i radi u Ujedinjenom Kraljevstvu i diljem svijeta. Od 2001. godine umjetnička je ravnateljica u QUAD-u, centru za suvremenu umjetnost, film i nove tehnologije u Derbyju. Od 2004. godine umjetnička je ravnateljica festivala FORMAT International Photography Festival. Od 1998. godine radi kao neovisna kustosica i inicira naručivanje djela, objavljivanje, projekte masovne suradnje te izložbe umjetnosti, filma i fotografije. Sudjeluje u radu raznih žirija, pregledava portfelje, vodi radionice, drži govore i nominira kandidate za nagrade diljem Europe, Amerike i Azije. Bila je gostujuća kustosica na sljedećim događanjima: Habitat Centre i Haus Khas BlowUp (Delhi, Indija, 2012.); Dong Gang Photography Festival (Južna Koreja, 2013.); Dali Photography Festival (Kina, 2013.); Noorderlicht 20/20 (Groningen, Nizozemska, 2013.), Photoquai Biennale (Paris, 2015.); Christophe Guye 2020vision (Švicarska, 2015.); Les Rencontres Arles, Discoveries (Francuska, 2015.); Hamburg Photo Triennial (Container City, Njemačka, 2015.); Obscura Festival Projections (Malezija, 2015.); Venice Bienale, EM15 (2015.); Slideluck Rome (Italija, 2015.). Piše za brojne knjige i časopise i gostujuća je urednica časopisa OjodePez (Italija), Hijacked III (Australija), PhotoCinema (UK) i South Korean Photography Magazine. Urednica je časopisa 1000 Words. Savjetnica je za WYNG Master Awards u Hong Kongu i za Artists Pension Trust

Louise Clements, Artistic Director of QUAD and FORMAT International Photography Festival Louise Clements lives and works in the UK/Internationally. She has been the Artistic Director of QUAD, a centre for contemporary art, film and new technologies in Derby UK, since 2001, and Artistic Director of FORMAT International Photography Festival since 2004. As an independent curator since 1998, she has initiated commissions, publications, mass participation, art, film and photography exhibitions. She is a juror, portfolio reviewer, workshop leader, speaker and award nominator throughout Europe, America and Asia. She was a guest curator at: Habitat Centre and Haus Khas BlowUp (Delhi, India, 2012); Dong Gang Photography Festival (South Korea, 2013); Dali Photography Festival (China, 2013); Noorderlicht 20/20 (Groningen, Netherlands, 2013); Photoquai Biennale (Paris, 2015); Christophe Guye 20/20vision (Switzerland, 2015); Les Rencontres Arles, Discoveries (France, 2015); Hamburg Photo Triennial (Container City, Germany, 2015); Obscura Festival Projections (Malaysia, 2015); Venice Biennale, EM15 (2015); Slideluck Rome (Italy, 2015). She writes for books and magazines and is a guest Editor for OjodePez (Italy), Hijacked III (Australia), PhotoCinema (UK) and South Korean Photography Magazine. She is the Editor at Large for 1000 Words. She is an Advisor to WYNG Master Awards Hong Kong and the Artists Pension Trust.

Simon Norfolk pejzažni je fotograf koji se proteklih deset godina u svojim radovima bavi ispitivanjem i širenjem značenja pojma ‘bojno polje’ u svim njegovim oblicima. U sklopu svog rada fotografirao je neke od najgorih ratnih zona na svijetu, kao i područja zahvaćena izbjegličkim krizama. Također, fotografirao je i superračunala korištena za dizajniranje vojnih sustava i probna lansiranja nuklearnih projektila. Za svoj rad stekao je mnoga priznanja: osvojio je nagradu Le Prix Dialogue na festivalu Les Rencontres d’Arles (2005.), nagradu Infinity Prize centra International Center of Photography (2004.), nagradu Foreign Press Club of America Award (2003.), kao i nagradu European Publishing Award (2002.). Godine 2003. bio je nominiran za nagradu Citibank Prize, danas poznatu kao Deutsche Böurse Prize. Objavio je četiri monografije svojih radova: Afghanistan: chronotopia (2002.), koja je obavljena na pet jezika; For Most Of It I Have No Words (1998.), koja tematizira poprišta genocida; i Bleed (2005.), koja se bavi ratom u Bosni. Njegova najnovija monografija je Burke+Norfolk; Photographs from the War in Afghanistan (2011.).

Simon Norfolk is a landscape photographer whose work over the last ten years has been themed around probing and stretching of the meaning of the word ‘battlefield’ in all its forms. As such, he has photographed in some of the world’s worst war-zones and refugee crises, but is equally at home photographing supercomputers used to design military systems or test launches of nuclear missiles. His work has been widely recognised: he has won Le Prix Dialogue at Les Rencontres d’Arles in 2005; the Infinity Prize from the International Center of Photography in 2004; the Foreign Press Club of America Award in 2003 and he was the winner of the European Publishing Award in 2002. In 2003, he was shortlisted for the Citibank Prize now known as the Deutsche Böurse Prize. He has produced four monographs of his work, including Afghanistan: chronotopia (2002), which was published in five languages, For Most Of It I Have No Words (1998), about the landscapes of genocide, and Bleed (2005), about the war in Bosnia. The most recent is Burke+Norfolk; Photographs from the War in Afghanistan (2011).

013 ‡ Organ Vida — International Photography Festival ‡ Revelations

Biografije žirija

014 ‡ Organ Vida — Međunarodni festival fotografije ‡ Otkrivanja

Njegovi su radovi izloženi u galerijama kao što su The Museum of Fine Arts u Houstonu, The Getty u Los Angelesu i Tate Modern. Jedan je kritičar za njega rekao da je vodeći dokumentarni fotograf našeg vremena: ‘Strastven, inteligentan i političan; nitko u fotografiji nema viziju i jasnoću poput njegove.’.

He has works held in major collections such as The Museum of Fine Arts in Houston, The Getty in Los Angeles and the collection of Tate Modern. He has been described by one critic as ‘the leading documentary photographer of our time. Passionate, intelligent and political; there is no one working in photography that has his vision or his clarity’.

Phillip Toledano britanski je fotograf rođen 1968. u Londonu, a živi i radi u New Yorku. Nakon desetljeća rada u oglašivačkoj industriji, gdje je radio kao umjetnički direktor i copywriter, vratio se svojoj istinskoj strasti — fotografiji. Završio je preddiplomski studij engleske književnosti, a svoje umjetničko obrazovanje dobio je od oca koji je bio slikar i kipar. Smatra se konceptualnim umjetnikom: prema njegovim riječima, sve počinje s idejom, a ideja određuje izvedbu. Toledano smatra da fotografije trebaju biti kao nedovršene rečenice: uvijek ostaviti prostora za pitanja. Toledanov je rad duboko intiman, u mediju varira od fotografije i instalacija do skulpture i slikarstva. U knjizi Days With My Father, koju je objavio 2010., dokumentirao je odnos s ocem koji je patio od demencije posljednje tri godine svoga života. Uglavnom se bavi društveno-političkim temama, što je vidljivo u njegovim radovima o nasilju u američkoj zabavnoj industriji, nasljedstvu predsjedništva Georgea W. Busha, te u knjizi A New Kind of Beauty u kojoj je prikazao ljude s plastičnim operacijama u stilu renesansnih portreta. Izdao je još nekoliko knjiga: Bankrupt (2005.), Phonesex (2008.), The Reluctant Father (2013.), When I Was Six (2015.) i Maybe (2015.). Njegove samostalne izložbe održane su u Poljskoj, Irskoj, Nizozemskoj i Australiji, a izlagao je i na brojnim festivalima, uključujući Unseen Photo Fair, Paris Photo i Singapore Fringe Festival. Toledano je surađivao i s publikacijama kao što su Aperture, Eyemazing, IdeaFixa, Ojodepez i The British Journal of Photography, a njegovi radovi objavljivani su i u Vanity Fairu, The New York Timesu, The New Yorkeru, Harpersu, Esquireu, GQ-u, Sunday Timesu, Le Mondeu itd.

Phillip Toledano is a British photographer born in 1968 in London. He lives and works in New York. After a decade of working as an art director in advertising and a copywriter, he returned to his true passion — photography. He has a BA in English literature. His art education came from his father, who was a painter and a sculptor. He considers himself to be a conceptual artist. According to him, everything starts with an idea, and the idea determines the execution. He believes that photographs should be like unfinished sentences; there should always be space for questions. His work is deeply intimate and varies in medium; from photography to installation, sculpture and painting. His book Days With My Father, published in 2010, is a record of his relationship with his father who suffered from dementia for the last three years of his life. His work often takes a socio-political bent, as in his studies of violence in American entertainment industry and the legacy of the presidency of George W. Bush, or his book A New Kind of Beauty, in which he photographed people with extensive plastic surgery in the style of Renaissance portraiture. His other books include: Bankrupt (2005), Phonesex (2008), The Reluctant Father (2013), When I Was Six (2015) and Maybe (2015). His solo exhibitions were held in Poland, Ireland, the Netherlands and Australia. He has also exhibited his work in numerous festivals, including Unseen Photo Fair, Paris Photo and Singapore Fringe Festival. Toledano has worked with publications like Aperture, Eyemazing, IdeaFixa, Ojodepez and The British Journal of Photography. His work has appeared in Vanity Fair, The New York Times, The New Yorker, Harpers, Esquire, GQ, The Sunday Times, Le Monde, etc.

Lea Vene je povjesničarka umjetnosti, kulturalna antropologinja i teoretičarka mode. Magistrirala je povijest umjetnosti, etnologiju i kulturnu antropologiju te teoriju mode. Završila je obrazovni program Centra za ženske studije. Trenutno radi kao kustosica u Galeriji Miroslav Kraljević te kao asistentica (vanjska suradnica) na Tekstilnotehnološkom fakultetu. Sudjeluje u organizaciji festivala etnografskog filma ETNOFILm, a aktivno je uključena i u rad Centra za istraživanje mode i odijevanja.

Lea Vene is an art historian, cultural anthropologist and fashion theorist. She earned master’s degrees in art history, ethnology and cultural anthropology, and fashion theory. She also completed the educational programme of the Centre for Women’s Studies. She currently works as a curator in the Gallery Miroslav Kraljević and an assistant (external associate) at the Faculty of Textile Technology. She participates in the organization of ethnographic film festival ETNOFILm. She is also actively involved in the work of the Center for Research of Fashion and Clothing.

Prije početka bavljenja fotografijom Donald Weber školovao se za arhitekta te je radio s Remom Koolhaasom u Rotterdamu u Nizozemskoj. Autor je triju knjiga o fotografiji. Njegovu knjigu Interrogations, koja se bavi temom postsovjetske vlasti u Ukrajini i Rusiji, priznala je kritika te je uključena u poznatu knjigu fotografije The Photobook: A History, Volume III autora Martina Parra i Gerryja Badgera. Osvojio je brojne nagrade i priznanja, uključujući Guggenheim Fellowship, Lange-Taylor Prize, The Duke and Duchess of York Prize, dvije nagrade World Press Photo Awards, a bio je nominiran i za prestižnu nagradu Scotiabank Photography Prize. Njegovi raznovrsni fotografski projekti izlagani su u obliku instalacija, izložbi i projekcija na festivalima i u galerijama diljem svijeta. Weber trenutačno radi na novom projektu War Sand koji tematizira povijesne žrtve i značenje rata u modernom svijetu. Predstavlja ga galerija Circuit Gallery u Torontu.

Gillian Wearing, English photographer and video artist born in 1963. Wearing has described her working method as ‘editing life’. By using photography and video to record the confessions of ordinary people, her work explores the disparities between public and private life, between individual and collective experience. Wearing has cited the influence of English fly-on-the-wall documentaries, such as Michael Apted’s 7-up and the 1970s documentary The Family. Signs that Say What You Want Them to Say and Not Signs that Say What Someone Else Wants You to Say (1992–3), made shortly after her graduation from Goldsmiths College in 1990, was produced by approaching people on London streets, asking them to write something on a card and then photographing them as they displayed it. Private lives were given a sudden and revealingly painful exposure: a policeman holds a card reading ‘Help!’. With the introduction of video and more in-depth interviewing of her subjects, Wearing began to use adult actors lip-synching the recorded confessions of children, and subjects, solicited from advertisements placed in newspapers, making confessions while wearing masks. The introduction of actors signalled an increasingly dramatic element in her work and a shift away from the use of documentary techniques. The 1999 video I Love You used actors to explore the theme of strong private emotion spilling out into a semi-public domain. The scene of a drunken woman repeatedly screaming ‘I love you’ is played out a number of times, the reaction of her three friends differing each time. Wearing won the Turner Prize in 1997. Prior to photography, Donald Weber originally trained as an architect and worked with Rem Koolhaas in Rotterdam, The Netherlands. Weber is the author of three photography books. His book Interrogations, about post-Soviet authority in Ukraine and Russia, has received much acclaim; it was selected to be included in Martin Parr and Gerry Badger’s seminal The Photobook: A History, Volume III. He is the recipient of numerous awards and fellowships, including the Guggenheim Fellowship, the Lange-Taylor Prize, the Duke and Duchess of York Prize, two World Press Photo Awards, and was shortlisted for the prestigious Scotiabank Photography Prize. His diverse photography projects have been exhibited as installations, exhibitions and screenings at festivals and galleries worldwide. Currently Don is working on his next project War Sand, about historic sacrifice and the meaning of war in our modern world. He is represented by Circuit Gallery in Toronto.

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Gillian Wearing engleska je fotografkinja i video umjetnica rođena 1963. Wearing opisuje svoju radnu metodu kao ‘editiranje života’. Koristeći fotografije i video za bilježenje ispovijesti običnih ljudi, njezin rad istražuje nejednakosti između javnog i privatnog života, između individualnog i kolektivnog iskustva. Wearing navodi utjecaj engleskih fly-on-the-wall dokumentaraca, poput Michael Aptedovog 7-up i dokumentarac The Family iz 1970-ih. Signs that Say What You Want Them to Say and Not Signs that Say What Someone Else Wants You to Say (1992–3.) napravljen je nedugo nakon njezinog zavšetka studija na Goldsmiths Collegeu 1990. godine. Dokumentarac je napravljen tako da se pristupalo ljudima na londonskim ulicama, tražeći od njih da napišu nešto na papir, a zatim ih se fotografiralo dok drže taj papir. Privatni životi dobili su naglo i bolno razotkrivanje: policajac ima papir s natpisom ‘Upomoć!’. Uvođenjem videa i intmnijih razgovora sa svojim subjektima, Wearing je počela koristiti odrasle glumce koji su samo radili lip-synch na snimljene ispovijesti djece i subjekata, na što su je potaknule reklame iz novina u kojima su subjekti s maskama iznosili ispovijesti. Uvođenje glumaca signalizirao je dolazak dramatičnijeg elementa u njezinu radu i odmak od korištenja dokumentarnih tehnika. Video I Love You iz 1999. koristi glumce za istraživanje teme o jako privatnoj emociji koja se pretače u polujavnu domenu. Prizor pijane žene koja u više navrata vrišti ‘Volim te’ puštan je nekoliko puta, a reakcija njezinih triju prijateljica različita je svaki put. Wearing je osvojila Turner Prize 1997. godine.

F I N A IN A Gidon Levin ISR

Anne Müchler & Nico Schmitz DEU

Michał Siarek POL Maria Sturm & Cemre Yeşil DEU / TUR Qian Zhao CHN

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LISTI Andrea and Magda ITA / FRA Mario Brand DEU M. Scott Brauer USA

LI ST S

Kirill Golovchenko UKR Pierre Liebaert BEL

SINAJSKI PARK / SINAI PARK

Andrea and I TA / F R A Magda

Andrea and Magda — Sinajski park

Andrea and Magda — Sinai Park

Serija fotografija Sinajski park istražuje posljedice masovnog turizma na Sinajskom poluotoku u Egiptu, regiji koja se oslanja isključivo na tu industriju, iako je masovni turizam ozbiljno pogođen Arapskim proljećem i političkim tenzija ma. Obala Sinajskog poluotoka, prekrivena napuštenim odmaralištima, zapušten je teritorij. Beduini trpe posljedice stroge politike vojne kontrole te su uglavnom isključeni iz turizma, industrije koja zauzima 86% teritorija Poluotoka. Sinajski poluotok, strateška točka između Afrike i Azije, regija je koju je potpuno preobrazila turistička industrija koju su financirali investitori iz Kaira i Perzijskog zaljeva: glomazne konstrukcije, artificijelna i naivna arhitektura. Danas je regija Sinajskog poluotoka, čiji krajolik kao iz Tisuću i jedne noći ispunjava očekivanja turista, postala ogromno ‘ne-mjesto’. Kako bi to rekao francuski antropolog Marc Augé, Sinajski je poluotok postao svijet odsječen od lokalne stvarnosti, svijet koji se pokorio predodžbi o tome kakav treba biti prema folkloru, svijet koji odaje lažan dojam sigurnosti.

Sinai Park explores the consequences of mass tourism in the region of Sinai in Egypt, that relies exclusively on this industry, although mass tourism has been seriously affected by the Arab Spring and the political tensions in the region. The Sinai coast, covered with ghost resorts, is a desolate territory. The Bedouins suffer from a strict policy of military control, and remain mostly excluded from the tourist business, that represents 86% of the estate of the peninsula. On this piece of land, a strategic point between Africa and Asia, the development of the tourist industry led by investors from Cairo and the Golf area has completely transformed the region, with oversized constructions, and artificial and naive architecture. Today the Sinai region, with its scenery of One Thousand and One Nights, which fulfills tourists’ expectations, has become a giant ‘non-place’, following the expression of the ethnologist Marc Augé: a world disconne cted with the local reality, conforming to the imagery from the folklore, giving a false sense of security.

Andrea i Magda fotografski su dvojac iz Francuske i Italije, rođeni 1976. i 1986. Od 2008. žive i rade na Bliskom Istoku. Njihovi se radovi bave posljedicama globalizacije za druš tvo, ekonomiju i teritorij Bliskog Istoka. Njihov prvi projekt, Palestinski san, prikazuje transformaciju Palestine pod utjecajem modernih ideala i iluzija o ekonomskom razvoju pod okupacijom. U seriji fotografija Sinai Park istražuju posljedice masovnog turizma na teritoriju poluotoka Sinaja u Egiptu. Njihovi su radovi obljavljeni u brojnim me đunarodnim časopisima, kao što su Newsweek Japan, Courrier International, Sunday Times Spectrum Magazine, Internazionale, Vrij Nederland, Mare, i drugi.

Andrea and Magda are a duo of photographers from France and Italy, born in 1976 and 1986, respectively. They live and work in the Middle East since 2008. Their work focuses on the effects of globalization on the society, economy and territory of the Middle East. Their first project, Palestinian Dream, pictures the transformations of Palestine modeled by an ideal of modernity, and the illusions of economic development under occupation. In Sinai Park, they explore the consequences of mass tourism on the territory of Sinai, Egypt. Their work has been published in magazines inter nationally (Newsweek Japan, Courrier International, Sunday Times Spectrum Magazine, Internazionale, Vrij Nederland, Mare…)

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Finalisti ‡ Andrea and Magda — Sinajski park

021 ‡ Organ Vida — International Photography Festival ‡ Revelations