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OPIPLJIVA SVETLOST / BEOGRAD


MATERIAL LIGHT – BEOGRAD | BELGRADE 30/07 – 22/08/2015 KULTURNI CENTAR BEOGRADA | CULTURAL CENTRE OF BELGRADE GALERIJA | GALLERY PODROOM TRG REPUBLIKE 5/-1, BEOGRAD | REPUBLIC SQUARE 5/-1, BELGRADE WWW.KCB.ORG.RS KUSTOSI | CURATED BY ALLAN FORRESTER PARKER & CONSTANZA ISAZA MARTINEZ KOORDINACIJA KCB | COORDINATED BY CCB ZORANA ĐAKOVIĆ MINNITI PREVOD (SRPSKI) | TRANSLATED (SERBIAN) SVEBOR MIDŽIĆ DIZAJN | LAYOUT BRUKA NOTES ŠTAMPA | PRINTED BY GRAFOLIK TIRAŽ | PRINT RUN 200 REALIZACIJU IZLOŽBE PODRŽALO JE ODELJENJE ZA FOTOGRAFIJU UNIVERZITETA VESTMINSTER | THE EXHIBITION IS SUPPORTED BY PHOTOGRAPHY DEPARTMENT AT THE UNIVERSITY OF WESTMINSTER ZAHVALJUJEMO SE ARHIVU VESTMINSTER UNIVERZITETA NA POZAJMICI RADOVA DŽULIJE MARGARET KAMERON I HENRI PIČ ROBINSONA THANKS TO THE WESTMINSTER UNIVERSITY ARCHIVE FOR THE LOAN OF WORKS BY JULIA MARGARET CAMERON AND HENRY PEACH ROBINSON HVALA | THANKS TO DOM KULTURE STUDENTSKI GRAD & MUZEJ SAVREMENE UMETNOSTI BEOGRAD (MOCAB) U NOVEMBRU 2013. IZLOŽBA JE PRVI PUT PRIKAZANA NA UNIVERZITETU VESTMINSTER | THE EXHIBITION WAS FIRST SHOWN AT THE UNIVERSITY OF WESTMINSTER IN NOVEMBER 2013 NASLOVNA STRANA | COVER IMAGE BY SLOBODAN STOŠIĆ


MATERIAL LIGHT – BEOGRAD l BELGRADE KUSTOSKI ISKAZ | CURATORIAL STATEMENT – ALLAN F PARKER UVOD | INTRODUCTION – DR NEIL MATHESON 10 HOLLY BIRTLES 12 DAVID BLACKMORE 14 ALIKI BRAINE 18 RACHEL CUNNINGHAM 24 JACK HIRONS 26 ARMENOUI KASPARIAN SARAIDARI 28 MELANIE KING 30 CONSTANZA ISAZA MARTINEZ 32 PETER MOSELEY 34 ALLAN F.PARKER 36 DEBORAH PARKIN 38 IVAN PETROVIĆ 40 ANDRE PINKOWSKI 42 NATASHA RANGANATH & NANDINI BHOTIKA 44 SOPHY RICKETT 46 SLOBODAN STOŠIĆ 48 MIHAILO VASILJEVIĆ 50 BINDI VORA 52 BYOUNG JOON YOON 54 ALIA ZAPPAROVA & MIA ĆUK 56 TEREZA ZELENKOVA 58 JULIA MARGARET CAMERON 62 HENRY PEACH ROBINSON

Više informacija na sajtu | For more information please visit www.materiallight.net


OPIPLJIVA SVETLOST Namesto da prouzrokuje smrt analogne fotografije, prevlast digitalnih medija je nedavno među stvaraocima povećala interesovanje za analogne i tradicionalne postupke stvaranja slika. Izložba pod nazivom OPIPLJIVA SVETLOST istražuje posledice sudara analognog i digitalnog sveta kroz radove umetnika kojima je fotografska slika polazna tačka u radu. Čuvena je Hegelova opaska da su slikarstvo i muzika umetnosti koje su posvećene „osetilnom predstavljanju ideja“ što nas navodi na to da važne istine mogu da budu posredovane pomoću čula i emocija. Iako naglasak na čulnosti nije preduslov niti za bavljenje fotografijom niti za savremenu umetnost, ova izložba predstavlja radove savremnih i klasničnih umetnika, za koje ona jeste ili je bila veoma važna. Naporedo sa porastom popularnosti digitalne fotografije poslednjih godina takođe je došlo i do ponovnog interesovanja za klasične i analogne tehnike, što je uticalo na nastajanje radova koji nam skreću pažnju na jedinstvenost i potencijal koju ti procesi nose s sobom. iii

Stalna evolucija fotografske slike dovela je i do kombinovanja digitalnih i klasičnih postupaka pa ćemo na ovoj izložbi videti i primere korišćenja digitalnih negativa u klasičnom postupku razvijanja ali i eksperimentisanje sa digitalnim tehnologijama kroz analogne tehnike. Na izložbi su predstavljeni i savremeni radovi koji koriste istorijske predmete kako bi oživeli prošlost i naglasili vezu između fotografije i istorije, sećanja i uloge koje oni imaju u očuvanju i ponovnom stvaranju prošlosti. Dostupnost kako analognih tako i digitalnih postupaka omogućavaju umetnicima da se koriste njihovim prednostima i likovnim osobenostima kada je reč o različitim vizualnim i konceptualnim mogućnostima, bilo u sadejstvu ili ne, sa digitalnim svetom.

ALLAN F. PARKER


MATERIAL LIGHT Rather than causing the death of analogue photography, the dominance of digital media has recently increased interest in analogue and historical processes amongst image makers and artists. MATERIAL LIGHT explores the fallout from the collision of these two worlds through the work of artists for whom the photographic image is the main point of departure. Hegel famously described painting and music as genres dedicated to “the sensuous presentation of ideas,� suggesting that important truths could be transmitted using emotive, sensory materials. Although an emphasis on sensory materials is not a requirement for photography or for contemporary art, this exhibition highlights the work of contemporary and historical practitioners for whom it is, or was, a central concern. In parallel to the increasing popularity of digital photography in recent years, there has been a revival of interest in analogue and historical techniques, giving rise to the creation of works that explore the uniqueness and abstract potential of these processes. The continual evolution of the photographic image has also seen the combination of digital and historical processes; in this exhibition we see the use of digital negatives in historical printing processes as well the interrogation of digital technologies through analogue techniques. Also included are contemporary works which employ historical artefacts to evoke the past and signify the relationship of the photograph to history, memory and its role in the recreation and preservation of the past. The availability of both analogue and digital processes allow artists to capitalize on their respective benefits and visual characteristics in pursuit of a range of visual and conceptual possibilities, either in concert or in conflict with the digital world.

ALLAN F. PARKER


Svetlošću dodirnuti: Povratak fotografije materiji

Tako svetlost, tamo gde je ima, može da utiče, i pod određenim okolnostima i utiče, dovoljno da prouzrokuje promene u materijalnim telima.1 Foks Talbot

Tehnike, postupci i tehnologije koje se u fotografiji koriste poslednjih godina sve više se oslanjaju na ranije periode iz istorije fotografije. Bilo da je reč o uskrsnuću dagerotipije, kalotipije, cijanotipije i mokre kolodijske ploče ili je u pitanju povratak prevaziđenim emulzijama kao što su film i polaroid, jedno je vidno, a to je da se fotografija vratila svojoj prošlosti. S jedne strane, ovo bi se moglo objasniti kao reakcija na trijumf digitalnog, virtualne slike i sveprisutne kamere na mobilnim telefonima, u kojoj je najpostojanija bila Tasita Din, umetnica koja je film i fotografiju vratila na analogne forme, i to u trenutku kada im je pretilo izumiranje zatvaranjem fabrika kao što su Kodak i Polaroid. Međutim, ovo je samo jedno od objašnjenja šireg povratka kulturne zajednice analognim, odbačenim i zastarelim tehnologijama, pisaćim mašinama, audio kasetama i vinil pločama, u kojima su umetnici i muzičari pronašli nove mogućnosti za svoje stvaralaštvo. Ono što prepoznajemo u ovoj oživljenoj brizi o materijalnosti, jeste potreba umetnika da rukuju fizičkim materijalom, da eksperimentišu sa slučajnim posledicama ili greškama. Možda je baš naša utopljenost u svet virtuelnog ekrana obnovila želju da iskusimo fizičko i osetilno – da osetimo materijalnost papira i drugih fizičkih nosača i da osetimo umetnost performansa i žive muzike. Ali bilo bi isuviše nepromišljeno da ovakakv razvoj događaja pripišemo nekoj vrsti „nostalgije“ za nestajućim formama usled tehnološkog razvoja s obzirom da mnogi umetnici kombinuju digitalne i analogne forme kako bi stvorili nove metode i nove hibridne medije. Nagli razvoj fotografije tokom prvih dekada njene istorije doveo je do brzog napuštanja nekih od fotografskih postupaka pre nego što su u potpunsti i bili istraženi, a u nekim slučajevima pre nego što su se i ostvarili kao umetničke forme. Povratak prevaziđenim tehnologijama, poput spektakularnog


povratka Valeda Beštija cijanotipiji ili Seli Manovog povratka kolodijskoj ploči i drugih primera, možemo objasniti željom da se u potpunosti istraže umetničke mogućnosti određenog formata i pokažu vizualni i taktilni potencijali koje ovi formati nose u sebi. Umesto da sliku doživljavamo kao „prozor kroz koji posmatramo svet“, pažnju nam privlači njena materijalnosti – haptički pogled, koji nije ograničen na optičko već vizuelno „opipava“ ljuspajuću površinu kolodijske ploče ili nudi neki drugi osetilni doživljaj. Pogled koji nam je neizbežno izmenjen sveprisutnošću različitih ekrana svakako dovodi i do uticaja koji naše digitalno iskustvo i uronjenost u virtuelni svet imaju na ovo drugo rođenje tehnologija. Materijalnost fotografije je na neki način proglašena još 1840. godine kada je u lažnoj oproštajnoj poruci na poleđini Autoportreta davljenika, Ipolita Bajarda, pisalo da je slika toliko stvarna da se može osetiti smrad mesa koje truli. Volter Benjamin, pišući o ranom razvoju umetničke fotografije u pionirskim radovima fotografa kao što su Džulija Margaret Kameron, Hil i Adamson i Nadar piše da ‘gledalac oseća neizdrživu želju da traži u takvoj slici slučajnosti, ovde i sada, kojoj je stvarnost, takoreći, osmudila temu“ 2 I Men Rej, kada piše o svojim solarnim fotografijama u eseju Doba svetlosti, poredi ih sa ‘netaknutim pepelom izgorelog predmeta’.3 Podsetimo se i entuzijazma Foksa Talbota koji o fotografiji kaže „izgleda mi kao da postaje čudesna“– reč koja će postati jedan od ključnih koncepata nadrealizma – dodajući da je slika ‘okovana činima naše prirodne magije“.4 U ovome prepoznajemo fotografiju kao dalekog rođaka alhemije, koja prolazi kroz proces u kojem se dešava misteriozna transmutacija srebra usled dejstva svetlosti. Neverovatan raspon postupaka i tehnika koje koriste umetnici čiji su radovi predstavljeni na ovoj izložbi govori o raznovrsnosti fotografije i sposobnosti ovog medija da se i dalje iznova otkriva. Ponovno oživljene postupke i tehnike danas sa znanjem istorije umetnosti i nekih pravaca kao što su apstrakcija i konceptualna umetnost, drugačije razumemo. Opipljiva svetlost nam predstavlja medij koji se nalazi u procesu ponovnog otkrivanja sopstvenog identiteta i potencijala.


Touched by Light: Photography’s Return to Matter

Now Light, where it exists, can exert an action, and, in certain circumstances, does exert one sufficient to cause changes in material bodies. 1 Fox Talbot

Photography has experienced in recent years a remarkable revival of techniques, processes and technologies more associated with earlier periods of its history. Whether in the form of the resurrection of the daguerrotype, calotype, cyanotype or the collodion wet plate, or as with the return to more recently superceded emulsions such as roll film and Polaroid, the photograph has seen a marked return to its own past. In part this has been posed as a reaction against the triumph of the digital – against the virtual image and the ubiquitous cameraphone – where, led by artists such as Tacita Dean, we have seen a strong return in photography and film to analogue forms, particularly to analogue film emulsions threatened with extinction as companies such as Kodak and Polaroid closed down their factories. This, though, has been only one aspect of a broader cultural return to analogue technologies, whether in the form of the typewriter, audio tape, solid state amplifier, or vinyl record, as artists and musicians have turned away from the computer screen to seek out new possibilities for creativity in defunct and outmoded technologies. What we see in this is a revived concern with materiality – with the need of artists to manipulate physical materials, to experiment with chance effects and exploit mistakes. Our immersion within the virtual screen world has perhaps revived our desire for the experience of the physical and tactile – for the materiality of paper and other such physical supports, for the experience of performance art and live music. It would be too easy to dismiss these developments in terms of a‘nostalgia’ for disappearing forms left aside by technological advance –many artists in fact combine analogue and digital forms to create new ways of working and new hybrid media. Photography’s rapid technological advance in the early decades


of its history saw a number of processes quickly abandoned before their full implications could be explored – in some cases before the medium had even realized its potential as an art form. The return to outmoded technologies, as with Walead Beshty’s spectacular return to the cyanotype, or the return to collodion of Sally Mann and others, can be seen as a desire to more fully investigate the artistic potential of such formats and to better realise the particular visual and tactile experiences that they promise. Instead of experiencing the image as a transparent ‘window on the world’, our gaze is instead made insistently aware of the material support of the image – a haptic gaze not confined to the purely optical, but which visually ‘feels’ the peeling skin of collodion, or the many other tactile experiences offered here. And a gaze inevitably transformed by the ubiquity of the screen, such that the second birth of these technologies is inevitably also inflected through our experience of the digital and our immersion in the virtual world. The insistent materiality of the photograph was declared right at the inception of the medium, in the fake suicide note on the back of Hippolyte Bayard’s Self portrait as a Drowned Man (1840), making the extraordinary claim that the image was so real that the viewer might smell the rotting flesh. Walter Benjamin, writing of the early flowering of art photography in the pioneering work of photographers such as Julia Margaret Cameron, Hill and Adamson, and Nadar, writes that ‘the beholder feels an irresistible urge to search such a picture for the tiny spark of contingency, of the here and now, with which reality has (so to speak) seared the subject’.2 And Man Ray, writing of his own solarised photographs in his essay ‘The Age of Light’, likens them to ‘the undisturbed ashes of an object consumed by flames’.3 We should also recall that Fox Talbot enthused that photography ‘appears to me to partake of the character of the marvellous’ – a term that would become a key concept for surrealism – adding that the image is ‘fettered by the spells of our natural magic’.4 And in this we can see photography – a process that involves the mysterious transmutation of silver through the action of light – as a distant relative of alchemy. The extraordinary range of processes and techniques deployed by artists in this exhibition makes clear the multiplicity of photography and the medium’s


continued capacity for reinvention. And processes and techniques that are understood differently when revived, because read now through the subsequent history of art – particularly the one of abstraction and conceptual art, both of which figures prominently here. Material Light, then, reveals to us a medium in the process of rediscovering its own identity – and a medium still exploring a potential that is yet to be fully realized.


Dr Nil Metison je istoričar umetnosti i profesor Teorije i kritike fotografije na Univerzitetu Vestminster u Londonu. U svom istraživačkom radu posebno se bavi nadrealizmom, dadom, modernom i savremenom umetnošću. Autor je sledećih knjiga: The Sources of Surrealism u izdanju Lund Humphries, (2006), The Machine and the Ghost:Technology and Spiritualism in C19th-C21st Art u izdanju manchester University Press (2013.) i Gothic Surrealism u izdanju Ashgate (2013).

Dr Neil Matheson is a Senior Lecturer in Theory and Criticism of Photography at the University of Westminster. He is an art historian with a particular interest in surrealism and dada, modernist and contemporary art. His books include The Sources of Surrealism Lund Humphries, (2006), The Machine and the Ghost:Technology and Spiritualism in C19th-C21st Art MUP (2013), Gothic Surrealism Ashgate (2013).

1) William Henry Fox Talbot, A Brief Historical Sketch of the Invention of the Art, in Allan Trachtenberg (ed), Classic Essays on Photography, New Haven, Conn.: Leete’s Island Books, 1980, p.29. 2) Walter Benjamin, Little History of Photography (1931), in Benjamin, Selected Writings, Vol.2, Cambridge, MA and London: The Belknap Press of Harvard University Press, 1999, p.510. 3) Man Ray, The Age of Light (1934), in Christopher Phillips (ed), Photography in the Modern Era, New York: MOMA/Aperture, 1989, p.53. 4) Henry Fox Talbot, Some Account of the Art of Photogenic Drawing (1839), in Beaumont Newhall (ed), Photography: Essays and Images, New York: Museum of Modern Art, 1980, p.25.


HOLLY BIRTLES

Želela bih da znam kako je to biti slobodan, 2013

U ovim dramatičnim printovima često velikog formata prepliću se fotografija i gestualnost obeležavanja. Istražujući svoj odnos sa fotografijom, Birtlsova svoj rad lišava određene opipljivosti. Ona uništava i manipuliše fotografskom slikom koristeći različite medije i kombinujući tamnu sobu i digitalni postupak. Perceptivna čulnost je istrebljena u aktu „peglanja“ fotografije. To je komplikovana perpetualna procedura koja se ironijski i dosledno izdaje za foto-print – homogenizovan, fokusiran i „ispeglan“. Holi Birtls je 2008. godine diplomirala na Univerzitetu Vestminster u Londonu, a potom 2011. završila i umetničku školu The Slade.

I wish I knew how it would feel to be free, 2013

Photography and gestural mark-making collide in these dramatic, often large scale photographic prints. Exploring a tenuous relationship with the photographic image, Birtle’s work is devoid of a particular physicality. She defaces and manipulates the photographic image using a wide range of media and a complex mix of darkroom and digital processes. A vital sensory perception has been eradicated from the photograph in the act of ‘flattening’. An elaborate perpetual procedure ironically and faithfully presented as a photographic print - homogenised, focused and flattened. Holly Birtles graduated from The University of Westminster (2008) and The Slade School of Art (2011).

hollybirtles.com


DAVID BLACKMORE

Ekrani od tečnog kristala 1-3, 5x4 slajdovi, lajtboks, 2013. Ekrani od tečnog kristala predstavljaju fotografije pokvarenih ekrana od tečnog kristala uređaja poput laptopa, telefona i kamera, tehnoloških naprava koje čine važan deo našeg svakodnevnog života. Kada je reč o fotografiji, ovi digitalni formati su gotovo po pravilu u potpunosti zamenili analogne. Koristeći isključivo klasičnu fotografsku opremu, umetnik katalogizuje i propituje mesto zastarelih tehnologija u umetnosti i savremenom životu. Rođen u Dablinu, Dejvid Blekmor je diplomirao na Univerzitetu u Vestminsteru 2005. godine. Trenutno je na master studijama na umetničkoj školi The Slade.

Liquid Crystal Displays 1-3, 5x4 transparencies, lightbox, 2013 In Liquid Crystal Displays Blackmore has photographed broken Liquid Crystal Display Screens from digital devices such as laptops, phones and cameras; technologies that play a large part in our modern daily routines. These digital forms have almost completely replaced analogue technology in industry and are fast replacing analogue forms in photographic art. Produced using solely traditional photographic equipment, Blackmore’s work catalogues and questions the place of obsolete technology in art and contemporary life. Originally from Dublin, David Blackmore graduated from The University of Westminster in 2005. Currently he is studying for a Masters at the Slade School of Art. davidblackmore.co.uk


ALIKI BRAINE

Lov, drugi deo, lambda print načinjen od probušenog negativa, 2008. Lov, treći deo, lambda print načinjen od probušenog negativa, 2008. 15 ružnih mrlja, (po Đorđoneu), srebrni želatin print, 2012. 10 ružnih mrlja, (po Đentileskiju) srebrni želatin print, 2012. 14 ružnih mrlja, (po Karačiju) srebrni želatin print, 2012.

Glavna namera umetnice je da istraži kako fotografija može da se transformiše u predmet. Često sekući, crtajući perom i tušem, bušeći rupe ili prelepljujući stikerima negative ona narušava netaknutu površinu fotografije tako primoravajući posmatrača da obrati pažnju na teksturu foto papira i razume postupak nastanka fotografije. Međutim, ostaje pitanje da li je reč o pejzažu ili fotografiji? Serija Lov je inspirisana slikom Paula Učela Lov u šumi. Aliki Brejn je umetnica i fotografkinja, koja predaje istoriju umetnosti u Nacionalnoj galeriji u Londonu. Njen rad je predstavljen u knjizi pod nazivom Post-photography, a zastupa je organizacija Troika Editions.

Hunting, part 2, Lambda print from hole punched negative, 2008 Hunting, part 3, Lambda print from hole punched negative, 2008 15 Ugly Spots, (after Giorgione), Silver Gelatin Print, 2012 10 Ugly Spots, (after Gentileschi) Silver Gelatin Print, 2012 14 Ugly Spots, (after Carracci) Silver Gelatin Print, 2012 Braine’s primary impulse is in exploring how a photograph can be transformed into an object. Often cutting, drawing with ink, punching holes or overlaying the negatives with adhesive labels, she violates the pristine surface of the photograph forcing the viewer to looktowards the texture of the photographic paper and opens up a new understanding of the photographic process and image making. But we are left to ask; is this a landscape? ls this a photograph? The series The Hunt looks back at Paolo Uccello’s The Hunt in the Forest. Aliki Braine is a photographic artist and a lecturer in History of Art at the National Gallery in London. She is featured in the book Post-photography and is represented by Troika Editions. alikibraine.com


RACHEL CUNNINGHAM

Fantazmagorija 1, arhivski pigment print, 2010. Fantazmagorija 2, arhivski pigment print, 2010.

Fantazmagorija ispituje anksioznost koju izaziva protok vremena naročito u pogledu onih stvari koje nestaju razvojem ideologije i tehnologije. Baš kao što aveti i đavoli koje prikazuju osamnaestovekovne fantazmagorije ili „čarobne svetiljke“ nestaju jednom kada se ugasi plamen, ova serija predstava pokušava da promisli ideju gašenja, nestanka i redundantnosti. Fotografisano je kamerom velikog formata, potom slika digitalizovana i zatim odštampana na mat papiru štampača čime je naglašen prelazak sa osnovne prirode fotografske emulzije ka površini nastaloj digitalnim postupkom. Rejčel Kaningham je umetnica i fotografkinja iz Londona. Studirala je umetnost na Midlseks univerzitetu. Njen rad je prikazan na brojnim izložbama i deo je privatnih kolekcija kako u Velikoj Britaniji tako i u drugde.

Phantasmagoria 1, archival pigment print, 2010 Phantasmagoria 2, archival pigment print, 2010

Phantasmagoria explores a state of anxiety caused by the passage of time, specifically in relation to things that disappear through the development of both ideology and technology. Just as the ghosts and demons projected by the 18th century Phantasmagoria or Magic Lantern disappear as the flame of projection is extinguished, this series of images attempt to reflect upon notions of being extinguished, of disappearance and redundancy. The image is captured on a large format camera, digitized and then printed onto the surface of matt inkjet paper to highlight a move away from the indexical nature of photographic emulsion to the surface of digital production. Rachel Cunningham is a London based photographic artist. She studied fine art at Middlesex University. Her work has been selected for a number of exhibitions and is held in private collections both in the UK and abroad. rachelcunningham.net


JACK HIRONS

Srebrna petlja – 16mm crno beli film

Srebrna petlja je instalacija koja koristi 16 milimetarski film uz pomoć kojeg prikazuje bogatstvo stvaranja analognih slika. Kroz dvadeseti vek srebro je bilo važno za razumevanje sveta oko nas i to pre svega zbog svoje sposobnosti da u kombinaciji sa drugim hemikalijama pokaže osetljivost na svetlost i time omogući nastanak mehaničkih slika. Film govori o tome kako hiljadu unci srebra biva procesuirano u foto film i nakon toga kako se srebro ponovo izvlači iz foto-filma i biva pretvoreno u polugu od hiljadu unci. Džek Hiron zivi i radi u Londonu.

Silver Loop – B&W 16mm Film

Silver Loop is a 16mm film installation that highlights the material wealth of analog image making. Throughout the 20th century silver has been instrumental to the understanding of our world because of its quality to be sensitive to light when combined with other chemicals, thus allowing a mechanical depiction to be produced. The film presents the closed narrative of a 1000 troy-ounce silver bar being processed into photographic film, to silver being recovered from photographic film and returned to a 1000 troy-ounce bar. Jack Hirons lives and works in London. jackhirons.com


ARMENOUI KASPARIAN SARAIDARI

Prateći tragove unazad 01, – arhivski pigment print, 2012. Prateći tragove unazad 03 – arhivski pigment print, 2012.

Rad prati predstavnike jermenske dijaspore dvadesetih godina prošlog veka tokom njihovog naseljavanja u Grčkoj. Koristeći fotografije iz porodične arhive, umetnica interveniše na njima smeštajući ih na specifične lokacije povezane sa naseljavanjem jermenskih izbeglica. Na uvećanim crno belim fotografijama štampanim na poluprozirnom papiru, sučeljavaju se prošlost i sadašnjost. Ističe se važnost materijalnosti slike-objekta. Foto arhiva ovde igra dvojaku ulogu: s jedne strane ona je dokument i deo istorije, s druge, svaka slika služi svrsi kao deo veće slike. Jermeni Kasparijan Saraidari trenutno pohađa doktorske studije na Univerzitetu Central Saint Martins, podržana od strane Saveta za istraživanje umetnosti i društvenih nauka (Arts and Humanities Research Council). Trenutno je AHRC savetnik pri Kongresnoj biblioteci u Vašingtonu.

Tracing Back 01, – archival pigment print, 2012 Tracing Back 03 – archival pigment print, 2012

The project traces back the history of the Armenian Diaspora while settling in Greece in the 1920’s. The fundamental referent of the project is the artist’s family archive. In her practice Armenoui Kasparian Saraidari recreates images taken from her family’s collection and places them in specific locations related to the settlement period of the Armenian refugees. The black and white photographs that appear enlarged and printed on semi transparent paper contrast the present with the past. Tracing Back highlights the importance of the materiality of the picture object. The photographic archive here serves a double role; firstly it offers a perspective to knowledge and history, but at the same time each image serves its own role as a component in the picture. Armenoui Kasparian Saraidari is studying for a Research Degree (PhD) at Central Saint Martins funded by Arts and Humanities Research Council. She is currently an AHRC Fellow at the library of Congress in Washington. armenouiks.com


MELANIE KING

Homo Bulla – dagerotipija, 2013.

Mnogi su i začudni univerzumi koji plutaju poput mehura u peni reke vremena - Artur Klark U svom magistarskom radu Melani King upoređuje holandsko vanitas slikarstvo XVII veka, koje je koristilo mehure sapunice kao vizuelnu metaforu za prolaznost života sa teorijom multiverzuma i širenja kosmosa, špekulišući sa tezom da li je univerzum samo kvantno pulsiranje ništavila. Tvrdi se da je naš univerzum samo jedan u mnoštvu mehura-univerzuma. U radu Homo Bulla, Melanie koristi tehniku dagerotipije zbog njenog jedinstvenog kvaliteta refleksije ali i asocijacije na viktorijansku kulturu sećanja u kojoj je ova tehnika često korišćena kako bi potreti bližnjih koji su preminuli uvek bili blizu nas. Melani King je nedavno magistrirala iz oblasti umetnosti i nauke na Univerzitetu Central Saint Martins.

Homo Bulla – Daguerreotype, 2013

Many and strange are the universes that drift like bubbles in the foam upon the River of Time - Arthur C. Clarke Melanie’s MA thesis compared 17th Century Dutch Vanitas paintings which used the soap bubble as a visual metaphor for the brevity of life, and compared these to multiverse and inflation theory, considering whether the universe is just a quantum fluctuation from nothing. It is said we are one amongst a sea of bubble universes. In Homo Bulla, Melanie was keen to use the daguerreotype due to its unique reflective properties. Additionally, the use of the daguerreotype refers to Victorian memorial culture, as daguerreotypes were often used to keep portraits of passed loved ones close at hand. Melanie King is a recent graduate from the MA Art and Science course at Central Saint Martins. melaniek.co.uk


CONSTANZA ISAZA MARTINEZ

Evolucija X, fotogravura, 2014.

Rad pripada seriji fotografija koje prikazuju zbirku morskih školjki u poodmaklom stadijumu raspadanja i kalcifikacije. Svetlo, tekstura i minucioznost podsećaju na slike mrtvih priroda severnoevropske rane moderne umetnosti. Odštampana fotogravura od crnog tuša na bazi kosti (ovaj pigment se dobija spaljivanjem kostiju) čini fotografiji ono što je i proces kalcifikacije učinio samim školjkama – stvorio stalnu, nepromenljivu, crnu sliku. Konstanca Isaza Martinez živi i radi u Londonu i suvlasnica je prostora posvećenog izučavanju istorijskih fotografskih postupaka Lux Darkroom. Diplomirala je na Univerzitetu Vestminster u Londonu i na Institutu za umetnost Kortold.

Evolution X, Photogravure, 2014

The series from which this image is taken depicts a collection of seashells in an advanced state of decay and calcification. The images recall the conventions of Early Modern Northern European still life painting through their emphasis on lighting, texture and minute detail. The photogravure print, made from oil-based bone black ink (the pigment is made of burnt bone) does to photography what calcification has done to the shells themselves – it creates a permanent, stable, carbon-based image. Constanza Isaza lives and works in London, where she co-owns Lux Darkroom, a space dedicated to teaching and researching analogue and historical photographic processes. She is a graduate of The University of Westminster, and the Courtauld Institute of Art. constanzaisaza.com luxdarkroom.co.uk


PETER MOSELEY

Piter, iz serije Vreme mog života, karbonski print, 2015.

Kroz seriju portreta umetnik ispituje mogućnosti koje su pružali raniji postupci štampanja fotografija kada je reč o teksturi i tonalitetima. Površine i tekstura više odgovaraju zrelijim i starijim subjektima. Koža, lica i telo obiluju bogatom tekturom i pružaju priliku za naglašenijim afektivnim i estetskim izrazima. Piter Mouzli koristi fotografske postupke kasnog devetnaestog i ranog dvadesetog veka, istražujući aspekte površinske tekstuaralnosti i tonalnosti ranog fotomehaničkog procesa štampe. Njegovi radovi su izlagani u Kraljevskoj akademiji zapadne Engleske 2012. i Kraljevskom društvu štampara i slikara 2012.

Peter, from the series The Time of my Life, Carbon Print, 2015

This portraiture series, The Time of My Life, examines the textural and tonal characteristics of early photographic printmaking processes. In these examples, print surface and tactility complements the choice of mature and older subjects. The sitters’ skin, faces and bodies offer a generosity of texture and provide and opportunity for affectively and aesthetically nuanced printmaking. Peter Moseley practices the photographic process of the late nineteenth and early twentieth century, investigating aspects of the surface texturality and tonality of early photomechanical printing processes. His works have been shown at the Royal West of England Academy (2012), the Royal Society of Printmakers and Painters (2012). londonprintstudio.org.uk/artist/peter-moseley/


ALLAN F. PARKER

Srebrngrad, tečna emulzija na listićima farbe, 2014 - 2015.

Rad je inspirisan jednim delom istočnog Londona koji je doživeo dramatične pormene u poslednjih trista godina. Naime, tokom industrijske revolucije ovaj deo Londona bio je jedan od najvećih industrijskih centara na svetu, a onda je za vreme Drugog svetskog rata pretrpeo razarajuće bombardovanje. Kasnije je postao jedna od lokacija na kojoj je snimljen veliki broj poznatih filmova. Umetnik se bavi fotografijom kao mestom istorije, fantazije, uništenja i obnove. Fotografije su štampane na ljuspama farbe, koje su pronađene na obalama Temze koja protiče pored pomenutog lokaliteta. Alan Parker se bavi proučavanjem veza između teksta i slike. Diplomirao je na Univerzitetu Reading i predaje fotografiju na master i diplomskim studijama na Univerzitetu Vestminster.

Silvertown, liquid emulsion on paint flakes, 2014 - 2015

Silvertown reflects on an area of East London which has undergone continuous and radical tranformation over the last 300 years. During the industrial revolution it was one of the biggest industrial sites in the world and during the second world war it was heavilly bombed. Later it became a film location for a number of high profile films. This work examines the photographic image as a site of history, fantasy, destruction and renewal. The images are printed on flakes of paint found on the foreshore of the river Thames which flows past the site. Allan Parker works primarily with texts and images. He is a graduate of Reading University (Fine Art ) and teaches in the Photography Dept. at the University of Westminster. allanforresterparker.co.uk


DEBORAH PARKIN

Sanjajući sirenu, iz serije Mirnoća u vremenu, ferotipija, 2010.

Debora Parkin u seriji Mirnoća u vremenu fotografiše decu koristeći tehniku mokrih kolodijskih ploča. Ovaj spori i slojevit proces je antiteza frenetičnom svetu u kojem ta deca žive. Radeći ili u zamračenom šatoru, dvorištu, studiju ili na poljani, Parkerova poliva kolodij na metal (ferotip) ili staklo (ambrotip), senzitivira ih u kupci nitrata srebra i tako skvašenu ploču stavlja ispred aparata za ekspoziciju. Nakon ekspozicije, slika se razvija, namešta, a zatim premazuje. Poput Džulije Margaret Kameron, Parkinova koristi nesavršenosti postupka kao svoju prednost, čineći od svake slike unikat pokretom ruke, koji se upisuje na površini svake ploče tokom svake faze nastanka slike. Debora Parkin je fotografkinja iz ruralnog dela Nortamberlanda u Velikoj Britaniji. Doktorirala je sa temom Ženskog pisma u ratu a magistrirala na temu Holokausta.

Dreaming of Mermaid, from the series Stillness in Time, tintype, 2010

ln her series Stillness in Time, Parkin photographs children using the wet plate collodion process – a slow and careful process that is the antithesis to the frantic, sometimes pressurized world these children live in. Working in a dark tent, in a garden, studio or field, Parkin pours the collodion on to a metal (tintype) or glass (ambrotype) plate, sensitizes it in a bath of silver nitrate, and places the wet plate in the camera for exposure. Once the image is exposed, it is developed and fixed in the dark tent and then varnished. Like Julia Margaret Cameron, Parkin uses the imperfections of the process to her advantage, making each image unique|y`ners, with the trace of her hand imprinted in the surface of each plate during every phase of the image-making process Deborah Parkin is a photographer based in rural Northumberland, UK. She holds a Ph.D in Women’s War Writing and an MA in Holocaust Studies. deborahparkin.com


IVAN PETROVIĆ

Otkrivanje pogleda – prvi deo, kvadrat iz video rada Otkrivanje pogleda – drugi deo

Rad se sastoji iz dva dela. Prvi deo Otkrivanja pogleda predstavlja video snimak 3D skeniranja u foto studiju umetnika u trajanju od 6 minuta i 51 sekundu uz pomoć džepne kamere. Sam proces je sniman dok se umetnikova figura oblikovala u 3D printu. Integralni deo ove video instalacije je Koncert za klavir 21 Andante V.A. Mocarta. Ivan Petrović je studirao na Fakultetu likovnih umetnosti Braća Karić u Beogradu u Srbiji. Izlagao je u Evropi i Americi i ko-osnivač je, sa umetnikom Mihajlom Vasiljevićem, Centra za fotografiju, nezavisne i neprofitne organizacije za istraživanje, izučavanje i promociju fotografije.

Revealing the View – part I, video still Revealing the View – part II

The work consists of two parts. Revealing the View – part one is a 6’51’’ video recording of my undergoing the process of 3D scanning in a photo-studio. Using a personal pocket camera. I recorded the process from within the photo studio whilst my figure was being generated in an additive 3D print. An integral part of this video installation is The Piano Concerto No. 21 Andante, by W. A. Mozart. Ivan Petrovic studied at the Academy of Fine Art (Braca Karic), in Belgrade, Serbia. He has exhibited widely in Europe and America and is the co-Founder of the Centre for Photography, (with artist Mihailo Vasiljevic), an independent non-profit organization established in Belgrade in for research, study and promotion of photography. ivanpetrovic.wordpress.com/works-2/revealing-of-the-view/


ANDRE PINKOWSKI

Vejn i Kolin Runi zaljubljeni u bazenu na odmoru, Las Vegas - foto print, 2009.

Izvorne fotografije koje su korišćene za rad pod nazivom Rekonstrukcija kodova inicijalno su bile proizvedene za tržište masovnih medija. Naime, sve fotografije su prikupljene u toku jednog dana i to od vodeće agencije za distribuciju slika poznatih, a odabrane iz odeljka koji sadrži „najnovije slike“ među kojima su bile i fotografije poznatih poput Opre Vinfrej ili Paris Hilton. Potom su fotografije podvrgnute digitalnoj analizi uz pomoć algoritma specijalno izrađenog za tu priliku. Ovaj softver, koji je napravila Dr.Sofi Triantafilidu sa Univerziteta Vestminster, fotografije selektuje prema postojećim vrednostima boja. Svako prepoznavanje ili rekonstrukcija za posledicu ima novu sliku, koja briše bilo koje prethodno značenje. Apstraktne slike koje nastaju zadržavaju svoje originalne natpise, koji postaju očigledni nosioci zančenja. Samo čitajući nazive posmatrač je u mogućnosti da „vidi“ originalne fotografije. Andre Pinkovski je profesor fotografije na Univerzitetu Vestminster. Osnivač je Onimage, agencije za prava na reprodukciju savremenih fotografija. Član je Savetodavnog odbora Londonskog festivala fotografije.

Wayne and Colleen Rooney looking all loved up in the pool on holiday, Las Vegas Continuous tone photographic print, 2009

The source images for A Reconstruction of Codes were initially produced for the mass media market. All images were acquired in one day from a leading celebrity picture agency, selected from their ‘most recent images’ section and featuring celebrities such as Oprah Winfrey and Paris Hilton. The photographs have been digitally analysed using a specially commissioned algorithm. This software, written by Dr. Sophie Triantaphillidou at the University of Westminster, reorganises each image based on the existing colour values. Each reconstruction results in a new image eradicating any previously intended meaning. The uncompromisingly abstracted images keep their original captions which in turn become the obvious carrier of meaning. Only by reading the captions is the viewer able to attempt to visualise the original images.. Andre Pinkowski is a Senior Lecturer in Photography at the University of Westminster. He is founder of ONIMAGE, a picture agency for reproduction rights of contemporary photography. He sits on the board of advisers of the London Festival of Photography. pinkowski.co.uk


NATASHA RANGANATH & NANDINI BHOTIKA

Relikvije Kiškinde, crteži i fotografije koje su prenesene na medaljone načinjene od otpadaka metala koristeći digitalne negative i tečnu fotografsku emulziju, 2014.

Relikvije Kiškinde kombinuju crteže i fotografije koje potiču sa dva lokaliteta na jugu Indije – jedan je Hampi, arheološki lokalitet koji je deo svetske baštine, a drugi Vidžajanagar čeličana. Osim što je bio centar carstva Vidžajanagar od XIV do XVII veka, Hampi je takođe navodno i poprište mnogih događaja iz Ramajane. Samim tim duhovi mitoloških likova se na ovom veličanstvenom mestu prepliću sa onim istorijskim. Vidžajanagar čeličana (JSW), odakle potiču i metalni diskovi, je jedna od najvećih u Indiji, koja podržava i obnovu delova Hampi lokaliteta, profitirajući od priča koje svi vole. Ovaj rad skreće našu pažnju na mučan odnos koji postoji između umetnosti, vrednosti nasleđa i biznisa. Nataša Ranganat i Nandini Botika trenutno studiraju u Bangloru.

Relics of Kishkinda, Drawings and photographs transferred to scrap metal medallions using digital negatives and liquid photographic emulsion, 2014

Relics of Kishkinda combines drawings and photographs originating from two sites in South India – Hampi, a world heritage archaeological site and the Vijayanagar steelworks. Apart from being the centre of the Vijayanagar empire, Hampi is also the supposed location of many of the events of The Ramayana and consequently the ghosts of mythological characters rub shoulders with those of historical ones at this spectacular location. The Vijayanagar Steelworks (JSW), from where the metal discs originate, is also one of the biggest in India and also supports the restoration of parts of the Hampi site, benefitting from the reflected glow of these much loved tales. This work directs our attention to the uneasy relationship between art, the currency of heritage and big business. . Natasha Ranganath and Nandini Bhotika are currently studying in Bangalore


SOPHY RICKETT

Onaj svet (Drobljenje sočiva za Kapelu Kraljevskog koledža), DVD, 14min, 2012/2013. Posmatranje 123, bromidni print, 1997/2013..

U periodu od 1985. do 1989. Dr. Roderik Vilstrop, sada penzionisani astronom sa Instituta za astronomiju pri univerzitetu Kembridž (IOA) sakupio je znatan broj foto negativa različitih delova noćnog neba. Od 1991. godine njegov teleskop je modifikovan tako da može da snima digitalno, iako je Vilstrop 1997. godine vratio stari filmski karusel kako bi mogao da načini analogne, rađe nego digitalne, fotografije novootkrivene Hejl-Bop komete. Taj negativ je bio 123 koji je napravio s tim teleskopom. Kasnije te godine 3MT finansiranje projekta je ukinuto i to je dovelo do toga da je teleskop rashodovan. Teleskop 3MT Dr. Vilstropa je napravio set od 125 filmskih negativa, od kojih mnogi nikada nisu bili razvijeni sve do sada. Sofi Riket je završila Kraljevsku umetničku školu 2003. Godine. Njene radove predstavlja galerija Brancolini Grimaldi.

Afterword (Grinding a Lens for King’s College Chapel), DVD, 14min, 2012/2013 Observation 123, bromide print, 1997/2013

Between 1985 and 1989, Dr Roderick Willstrop, a now retired astronomer at Cambridge University’s Institute of Astronomy (IOA) built up a substantial number of photographic negatives of different regions of the night sky. In 1991 the telescope was modified to capture images digitally, although in 1997, Willstrop refitted the original film carousel so that he could make an analogue image of Hale-Bop, a newly discovered comet, rather than a digital one. The Hale-Bop negative was the 123rd that he made with the telescope. Later that year, the 3MT’s funding was withdrawn which ultimately lead to it being decommissioned. In total, Dr Willstrop’s 3MT produced a set of 125 film negatives, many of which had not been printed until now. Sophy Rickett graduated from the Royal College of Art in 2003 and is represented by Brancolini Grimaldi. grimaldigavin.com/section/artists/sophy-rickett/images


SLOBODAN STOŠIĆ

Ekonomija traga, trag printa na kartonu, 2014.

Tamo, u toj kancelariji, skinuo sam fotografiju sa zida, odvojio je od kartona za koji je bila zalepljena, i uočio kako je svetlost probila fotografiju i upisala konture fotografisanog, Josipa Broza Tita, kao posledica dugogodišnjeg delovanja sunca. Senka je nadživela oblik. Obris lica koji ostaje iza fotografije, kao proteza ideologije, izvučen u vremenu istorijskog revizionizma, ostaje kao trag cikličnog ponavljanja moći i ubrzavanja istorije u novom poretku sećanja. Pozitiv fotografije postaje negativ papira, duplo dno, između odnosa moći i privatnosti. Iluzije se ne daju pokopati. Slobodan Stošić živi i radi u Beogradu.

Economy of the trace, trace of the photograph on a cardboard, 2014

There, in that office, I have taken the photograph off the wall, separated it from the cardboard background to which it was glued, and suddenly I have realized that the light had pierced the photograph engraving the contours of the photographed, Josip Broz Tito as a consequence of the many decades long operation of the sun. The shadow has outlived its form. The outline of the face which is left behind the photograph as a prothesis of an ideology, drawn out in the epoch of the historical revisionism, remains as a trace of the cyclic repetition of power and acceleration of history in the new order of memory. The positive of the photograph is transformed into the negative of the paper, a false bottom, between the relation of power and privacy. Illusions refuse to be buried. Slobodan Stosic is based in Belgrade. slobodanstosic.tumblr.com


MIHAILO VASILJEVIĆ

R.V. zna najbolje Mihailo Vasiljević, Jablanica, Serbija, 1988, 2012, c-type štampa, 42x63cm Mihailo Vasiljević, Kragujevac, Serbja, c. 1937, 2012, lambda štampa, 80x120cm R.V. zna najbolje složeni rad koji se sastoji od dva projekta: R-fotografije [2005– 2012] i Otac zna najbolje [2009–2012]. Oba projekta su rezultat umetnikovog istraživanja sopstvenog neobično bogatog fotografskog nasleđa i proizilaze iz određene apropriacionističke prakse. Ove fotografije su jedni trag koji je ostao o ovom običnom heroju – čoveku koji je tokom Drugog svetskog rata spasavao živote i čije ubistvo je i dalje misterija. U projektu Otac zna najbolje umetnik koristi fotografije koje je njegov otac, Radomir Vasiljević (1948–), koji niti je fotograf pa čak ni ambiciozni amater, načinio tokom poslednjih pedeset godina. Mihailo Vasiljević je ko-osnivač Centra za fotografiju, (uz umetnika Ivana Petrovića), nezavisne i neprofitne organizacije za istraživanje, izučavanje i promociju fotografije.

R.V. knows best Mihailo Vasiljevic, Jablanica, Serbia, 1988, 2012, c-type print, 42x63cm Mihailo Vasiljevic, Kragujevac, Serbia, c. 1937, 2012, lambda print, 80x120cm R. V. Knows Best is a composite work consisting of two projects: R-photographs [2005–2012] and Father Knows Best [2009–2012]. Both projects are derived from research into my own unusually rich photographic heritage and are the product of a specific practice of appropriation. The images are the sole viable clue left behind this everyday hero – a man who saved lives during the Second World War and whose murder remains a mystery. In the project Father Knows Best, I am using photographs which my father, Radomir Vasiljevic (1948–), neither a photographer nor an ambitious amateur photographer, took during the last fifty years. (see full text on www.materiallight.net) Mihailo Vasiljevic is the co-Founder of the Centre for Photography, (with artist Mihailo Vasiljevic), an independent non-profit organization established in Belgrade in for research, study and promotion of photography. mihailovasiljevic.com/r-v-knows-best/


BINDI VORA

Sjaj 1-4, arhivski pigmentni printovi, 2013.

Sjaj je serija od dvadeset fotografija koje istražuju površinu papira u boji. Ovaj rad propituje naš odnos prema fotografiji kao objektu. Gužvajući i savijajući papir sve dok se ne pojave trajni tragovi na njemu, umetnica od ravne površine papira pravi reljefnu skulpturu. Usled nedostatka slike, tragovi nastali manipulisanjem papira su jedini smisleni znaci. Ponovo fotografisan, papir se vraća svojoj osnovnoj dvodimenzionalnoj formi. Njegova naglašena praznina samo pojačava ambivalentnost fotografskog prostora, igrajući se sa našom percepcijom iluzije i realnosti. Bindi Vora je diplomirala fotografiju na Univerzitetu Vesminster 2013. Njenu knjigu In the blue light we failed je nedavno otkupila Biblioteka ženske umetnosti univerziteta Goldsmit u Londonu. Živi i radi u Londonu.

Lustre 1-4, archival pigment prints, 2013

Lustre is a series of twenty photographs exploring the surface of a single sheet of processed chromogenic colour paper. The work explores our engagement with the photograph as an object. By creasing and bending the paper support until an irreversible mark appears, the flat plane of paper becomes a sculpture. In the absence of an image, the traces left by handling are the only meaningful signs. Re-photographed, the paper is returned to its original two-dimensional form. Its emphatic blankness heightens the ambiguity of photographic space, playing with our perception of illusion and reality. Bindi Vora recently graduated from University of Westminster with a BA in Photographic Arts in 2013. Her book In the blue light we failed. has recently been acquired by The Women’s Art Library at Goldsmith’s University, London. She lives and works in London. bindivora.co.uk


BYOUNG JOON YOON

Učinak svetlosti, diptih, digitalni print u boji, 2013.

Svaki diptih iz ove serije sastoji se od fotografije i fotograma, koji su nastali istovremenim izlaganjem svetlosti u mračnoj komori i predstavlja jednu vrstu fotografskog istraživanja pojmova „bitka“ i „ništavila“. Boja se uvek pripisuje materijalnom ali mu ustvari ne pripada. Ona nije ključna osobina niti pripada vremenu, već varijabl koji se ne može odrediti. Autentičnost i reproduktivnost, osnovne i izvedene boje pa čak i stvari i seni međusobno se prožimaju zahvaljujući posredovanju svetlosti. Bjong Džun Jun je umetnik i fotograf poreklom iz Južne Koreje. Studirao je umetničku fotografiju na Univerzitetu Vestminster u Londonu. Bavi se materijalnošću fotografije kao medija i njenom vezom sa reprezentacijom u fotografiji. Trenutno živi i radi u Seulu, Južna Koreja.

Agency of Light, diptych, C-type prints, 2013

Each diptych in this series, consists of a photograph and a photogram of a colour composition created with a simultaneous exposure in the colour darkroom, is a photographic exploration on ‘being’ and ‘nothingness’. Colour is always affiliated to ‘things’, but does not belong to them. It is not a substantial quality, but a variable, unfixable or temporal property. Authenticity and reproducibility, primary colours and complementary colours, and eventually ‘things’ and shadows, are all intermingled with each other, by virtue of the agency of light. Byoung Joon Yoon, a photographic artist from South Korea, studied BA Photographic Arts in the University of Westminster. His major interest is the materiality of photographic media and its relationship with the representational nature of photography. He currently lives and works in Seoul, South Korea.


ALIA ZAPPAROVA & MIA ĆUK

Da li možete da zamislite stvorenje tužnije od glasnika koji nema šta da prenese? - Mark Kazns Bez naziva, arhivski pigment printovi, 2013.

Satklene foto ploče negativa iz ove serije pronađene su slučajno, potom fotografisane pri dnevnom svetlu sa idejom da se na taj način što više približe sadašnjem trenutku. Nisu nam poznati poreklo scena i figura koje su utisnute na staklu kao ni njihovo značenje. Naizgled sadržaj se pretvorio u mrtvu materijalnost. Vremenom su od slika postali napušteni objekti, ali u kontaktu sa svetlošću sunca oni ponovo postaju slike. Alia Zaparov je umetnica iz Londona, a Mia Ćuk iz Beograda. Sarađuju na istraživanju delova gradova koji nisu na mapama i na arhiviranju beznačajnih, izgubljenih, detalja iz njihove svakodnevice.

Can you imagine a being more crazed with sadness than a messenger who can deliver nothing? - Mark Cousins Untitled - archival pigment prints, 2013

The glass negatives depicted in this series were found by chance and photographed in sunlight, seeking to re-awaken them in the present. The scenes and figures imprinted on the glass are of unclear origin and their meaning is uncertain; the content seems to have dissolved into an inert materiality. Time has transformed them from images to abandoned objects, but capturing the moment of contact with the sun allows the object to become an image once again. . Alia Zapparova and Mia Cuk are photographic artists based in London and Belgrade. They collaborate on exploring the unmapped surfaces of cities and archiving the insignificant, lost details of its everyday life. duststudies.org


TEREZA ZELENKOVA

Grob Žorža Bataja,Vezele, srebrnoželatinasti print, 2013.

Pred nama je fotografija groba Žorža Bataja, poslednjeg počivališta pisca koji je kroz nasilje znao spojiti religiju, smrt i ljubav, čije nas shvatanje proganja u besanim noćima užasa. Šire gledano, fotografija predstavlja sliku smrti. Ona se kreće ka ništavilu, tamnom ambisu koji nastaje od viška svetlosti na površini foto papira. Trag pocepanog i oštećenog filma koji se vidi na fotografiji samo još više potencira zjapeću prazninu same slike. Moris Blanšo, Batajev prijatelj, je svojevremeno opazio sličnost između fotografije i leša, s obzirom da su i fotografija i leš povezani sa nečim što je bilo nekada. U svojoj umrtvljenosti oni prikazuju sliku koja se prilično razlikuje od one koja nam je jednom bila bliska. Tereza Zelenkova rođena je 1985. u Češkoj. Uglavnom radi u mediju crno bele fotografije, ostvarajući poetkse veze između pojedinačnih slika. Završila je master studije iz oblasti fotografije na Kraljevskom umetničkom koledžu u Londonu 2012. godine.

Georges Bataille’s Grave, Vézelay, silver gelatin print, 2013

This photograph is of Georges Bataille’s grave, the resting place of the writer who once so eloquently united the worlds of religion, death and love through acts of violence; haunting us during nights of self-induced insomnia and terror. In more general terms, the photograph is an image of death. It opens itself up to nothingness, a dark abyss created by the excess of light hitting the sensitive surface of photographic paper; the ripped and damaged film violently interrupting the depicted scene and exposing the hollow emptiness of the image itself. Bataille’s friend Maurice Blanchot interestingly observed that images and cadavers have a lot in common, both directly bound to something that once was. In their stillness they show us a quite different picture from the image with which we were once familiar. Tereza Zelenkova (b. 1985, Czech Republic) works predominantly with black and white photography, creating series based on poetic relationships between individual images. She received her MA in Photography from the Royal College of Art in London in 2012. terezazelenkova.com


JULIA MARGARET CAMERON

Beatriče Čenči, karbonski print sa kolodijske ploče negativa, oko1869. (štampano oko1890.) Radovi Džulije Margaret Kameron se mogu grubo podeliti u dve celine: prvu čine porteti njenih savremenika i članova porodice, a drugu, alegorijske teme sa istorijskim ličnostima ili likovima iz književnosti. Beatriče Čenči spada u ovu drugu grupu. Na ovoj fotografiji nećaka Kameronove, Mej Prinsep igra ulogu Beatriče Čenči, italijanske plemkinje iz XVI veka, čija je porodica bila u centru pažnje zbog skandaloznog suđenja za ubistvo u Rimu. Beatriče, njena braća i sestre i majka bili su optuženi za ubistvo oca porodice, kojeg su optuživali za zlostavljanje, silovanje i incest. Javnost je bila potpuno opčinjena ovim sudskim procesom koji se na kraju završio presudom koja je podrazumevala mučenje i pogubljenje porodice Čenči. Ova tragična priča je inspirisala mnoge umetnike i pisce, uključujući i slikara Gvida Renija kao i engleskog romantičarskog pesnika Persija Šelija, koji je 1819. odine napisao dramu o porodici Čenči nakon što je u Italiji video Renijev portret Beatriče. Kompozicija na fotografiji Kameronove takođe je inspirisana Renijevim portretom. Lord Alfred Tenison, karbonski print sa kolodijske ploče negativa, oko1870. (štampano 1880-tih) Čuveni pesnik Alfred Lord Tenison bio je blizak prijatelj i komšija Džulije Margaret Kameron na ostrvu Vajt. Kameronova je načinila veliki broj njegovih portreta tokom zajedničkog druženja. Dobro je bilo poznato da Džulija Kameron nije bila zainteresovana za doteranu, tehnički savršenu, komercijalnu fotografiju svog vremena, već da je više koristila nesavršenost ovog medija zarad većeg umetničkog dojma. Ovaj portret poput mnogih drugih koje ja načinila namerno nije izoštren. Sama umetnica je za tehniku fokusa koji je koristila govorila: „kada uočim nešto što je mom oku lepo, ja se tu odmah zaustavim, umesto da montiram sočiva kako bi imala bolju oštrinu na čemu ostali fotografi insistiraju“. Mnogi savremenici su kritikovali ono što su kod Kameronove doživljavali kao manjak fotografske tehničke veštine. Međutim, ona je nastavila da koristi tehničke nesavršenosti postupka sa negativima na vlažnim kolodijskim pločama – što je poznato kao zahtevna tehnika – kako bi podvukla ulogu umetnika u procesu nastanka slike i time odvojila svoje fotografije od komercijalnih i naučnih, poistovećujući ih sa skulpturom i slikom. Džulija Margaret Kameron (1815 -1879) bila je jedna od najznačajnijih predstavnica umetničke fotografije XIX veka i centralna ličnost grupe viktorijanskih umetnika, naučnika i intelektualaca čije je mnogobrojne portrete i uradila.


Beatrice Cenci, carbon print from collodion negative, c1869 (printed c1890)

Julia Margaret Cameron’s work can be loosely divided in two strands: the first are portraits of her contemporaries and family members; and the second are allegorical works depicting historical or literary characters. Beatrice Cenci falls into the second category. ln this photograph, Cameron’s niece May Prinsep plays the role of Beatrice Cenci, a sixteenth-century Italian noblewoman whose family were the subject of a scandalous murder trial in Rome. Beatrice, her siblings and mother were accused of assassinating their father, whom they accused of abuse, rape and incest. The public was captivated by the trial, which nonetheless resulted in the torture, conviction, and execution of the Cenci family. The tragic story inspired many artists and writers, including the painter Guido Reni and the English Romantic poet Percy Shelley, who wrote a play about the Cenci family in 1819 after seeing Reni’s portrait of Beatrice in ltaly. The composition of Cameron’s photograph is also based on the Reni portrait. Alfred Lord Tennyson, carbon print from collodion negative, c1870 (printed 1880s)

The Poet Laureate Alfred, Lord Tennyson was Julia Margaret Cameron’s close friend and neighbour on the Isle of Wight, and Cameron made many portraits of him during the course of their friendship. Cameron was well-known for her lack of interest in the crisp, technically accomplished commercial photography of her time, preferring instead to make use of the imperfections of her medium for artistic purposes. In this portrait of Lord Tennyson - as in many of Cameron’s portraits - the focus is deliberately soft. Cameron said of her focusing tecnique that when ‘coming to something which, to my eye, was very beautiful, I stopped there instead of screwing on the lens to the more definite focus which all other photographers insist upon.’ Many of her contemporaries criticised what they saw as her lack of proficiency in the technical aspects of photography. However, Cameron continued to make use of technical imperfections of her wet plate collodion negatives - a notoriously complex process – to allude to the hand of the artist in the making of the image and differentiate her photography from commercial and scientific fields, instead placing it on a par with fine art painting and sculpture. Julia Margaret Cameron (1815 -1879) was at the forefront of nineteenth-century artistic photography, and at the centre of a group of Victorian artists, scientists and intellectuals, many of whom she made portraits of.


image @ Allan Parker


HENRY PEACH ROBINSON

Kada se završi radni dan, karbonski print sa više negativa, 1877.

‘Jedan od najboljih modela koje sam ikada angažovao bio je jedan starac od sedamdeset i četiri godine. Bio je čistač jednog prelaza. Nikada ne bih načinio jedan od mojih najboljih radova da ga nisam video da sedi kod stola u mom studiju čekajući dok ne stignem da pričam s njim. Ne samo da sam video starca već sam, u mislima, mogao da vidim i staricu i unutrašnjost kolibe... Taj starac, njegov stav i izraz, posadili su seme toj ideji. Staricu je trebalo naći, kolibu sagraditi ali oni su se pojavili preda mnom jasno i opipljivo’ Kada se završi radni dan verovatno je najpoznatija fotografija Henrija Piča Robinsona i očigledan primer konstruisane fotografije. Od inicijalne ideje do same štampe, Robinson je konstruisao nepomičnu scenu koja je odgovarala slici koju je video u mislima, često koristeći različite negative – proces koji je poznat kao kombinovana štampa - kako bi stvorio jednu fotografiju. Na ovoj fotografiji je iskošćeno šest različitih negativa. Spojevi se najlakše vide na vertikalnim linijama između mračnih i svetlih površina u pozadini. Henri Pič Robinson (1830-1901) je bio fotograf piktoralista i pisac. Iako više njegov rad nije popularan, bio je izuzetno uticajna figura za fotografiju XIX veka i majstor bez takmaca kada je reč o kombinovanju negativa. When the Days Work is Done, carbon print from multiple negatives, 1877

‘One ofthe best models l ever employed was an old man of seventy- four. He was a crossing-sweeper. I should never have accomplished one of my best works ifl had not seen him sitting at a table in my studio, waiting, till l could talk to him. I not only saw the old man there, but mentally the old lady and the interior of the cottage... The old man, by his attitude and expression, gave the germ of the idea; the old lady had to be found, and the cottage built, but they appeared to me then quite visibly and solidly’ Henry Peach Robinson When the Days Work is Done is perhaps Robinson’s bestknown work and a clear example of the constructed photograph. From the initial idea to the printing process, Robinson constructed tableaux to match the image in his mind, often using various different negatives - a process known as combination printing - to construct a single image. In this photograph, six different negatives were used; the most easily discerned seam between negatives is the vertical line between the light and dark areas of the backgound.’ Henry Peach Robinson (1830-1901) was a Pictorialist photographer and writer. Although his work has fallen out of fashion, he was an extremely infuential figure in nineteenth century photography and the undisputed master of combination printing.


CIP - Каталогизација у публикацији Народна библиотека Србије, Београд 7.038.54(100)”20”(083.824) 7.038.54.071.1(100)”20”:929(083.824) OPIPLJIVA svetlost : Beograd ,[Kulturni centar Beograda, 30. 7. - 22. 08. 2015.] / [prevod Svebor Midžić]. - Beograd : Kulturni centar Beograda, 2015 (Beograd : Grafolik). - [64] str. : ilustr. ; 24 cm Uporedo srp. tekst i engl. prevod. - Tiraž 150. - Str. 1: Opipljiva svetlost / Allan F. Parker. ISBN 978-86-7996-145-7 a) Концептуални уметници - 21в - Изложбени каталози COBISS.SR-ID 216584204


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