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GODIŠNJI NATJEČAJ / ANNUAL CONTEST

ROVINJ PHOTODAYS 2016


GODIŠNJI NATJEČAJ / ANNUAL CONTEST

ROVINJ PHOTODAYS 2016 Zavičajni muzej grada Rovinja, svibanj 2016. / Rovinj Heritage Museum, 2016 May Muzej za umjetnost i obrt Zagreb, listopad 2016. / Museum of Arts and Crafts, Zagreb, 2016 October


Izložba pobjednika i finalista festivala Rovinj Photodays 2016

Rovinj Photodays 2016 Festival Winners & Finalists Exhibition

Deveto po redu izdanje Rovinj Photodaysa još jednom donosi niz uzbuđenja široj fotografskoj zajednici okupljenoj oko godišnjeg tradicionalnog javnog natječaja. Završna izložba finalista predstavlja javnu internacionalnu promidžbu radova i natjecatelja koji su po ocjenama dvostrukog žiriranja dosegli razinu izvrsnosti.

The ninth Rovinj Photodays festival once again brings a myriad of exciting events to the wide photographic community assembled at this traditional annual open competition. The closing exhibition of work by all the finalists is actually an international promotion of excellence for both, the competitors and their work, as attested by a twofold jury process.

U raspisivanju natječaja, kriterijima, procesu ocjenjivanja, realizaciji i prezentaciji, natjecateljski dio festivala ima za cilj iskazivati najbolju praksu fotografske struke. Natječaj unutar jasnih pravila utemeljenih na struci i ravnopravnosti ostavlja slobodan prostor najprije nacionalnim selektorima a potom i glavnim, finalnim selektorima da prema svojem uvjerenju i stručnom znanju slobodno ocjenjuju radove u konkurenciji.

The objective of the competition itself, the criteria, the judging process, the realisation and the presentation is to show the best in photographic practice. The competition with clearly set rules laid down by the profession and based on fairness and impartiality, leaves manoeuvring space for the National selectors as well as for the main selectors to freely assess the work according to their professional experience, expertise and convictions.

Na ovogodišnji je natječaj do 31. siječnja, pristiglo više od 8500 fotografija. Radove je prijavilo oko 600 autora iz 35 država, a kako je i očekivano, brojem prijava prednjačili su fotografi iz regije. Žiriranje se odvijalo u dva kruga. Nacionalni selektori i Savjetodavni odbor festivala preuzeli su sve radove i suzili izbor glavnim selektorima koji su odabrali tri finalista u svakoj kategoriji. Valja istaknuti kako se ove godine među finalistima pozicioniralo čak 8 autora iz Hrvatske, 4 iz Srbije, po 2 iz Slovenije, Italije i Rusije, te po jedan autor iz Španjolske i Litve. U ime cjelokupnog savjeta festivala koristim priliku još jednom čestitati svim finalistima i pobjednicima natječaja. Želim vam puno uspjeha u vašem stvaralačkom radu.

For this year’s competition we received over 8,500 photographs by January 31, 2016. Approximately 600 photographers from 35 countries sent in work and, as it was to expect, a good number were from Croatia and the neighbouring countries. The selection was conducted in two stages: National selectors and the festival advisory board narrowed the selection and then forwarded it to the main selectors who chose the three finalists for each category. It is worth mentioning that amongst them there are 8 photographers from Croatia, 4 from Serbia, 2 from Italy, Slovenia and Russia and one each from Spain and Lithuania.

S poštovanjem,

On behalf of all festival advisers I take this opportunity to congratulate the finalists and the winners of the competition and wish them further success with their creative work.

Denis Redić direktor festivala Rovinj Photodays

Sincerely, Denis Redić, Director of Rovinj Photodays


Ocjenjivački Sud / Jury

Glavni selektori / Main selectors: Mindaugas Kavaliauskas, Kristina Juraitė Nacionalni selektori / National selectors: Bosna i Hercegovina / Bosnia and Herzegovina:

Slovenija/ Slovenia:

Dejan Đurić, Maja Abdomerović, Ziyah Gafić

Emina Đukić, Katarina Sadovski, Uroš Acman

Crna Gora / Montenegro:

Srbija/ Serbia:

Duško Miljanić, Ljiljana Karadžić, Stevo Vasiljević

Miroslav Karić, Ivana Tomanović, Ana Adamović

Hrvatska / Croatia: Leonida Kovač, Petar Dabac, Jelena Blagović

Ostale zemlje / other countries: Savjet festivala - Advisory board:

Italija / Italy:

koordinacija i vodstvo / coordination and guidance: Hrvoje Slovenc

Stefania Rössl, Massimo Sordi, Fabio Severo Makedonija / Macedonia: Dragi Nedelchevski, Robert Jankuloski, Elena Bojadijeva-Cvetkovska


Glavni selektori

Main Selectors:

Mindaugas Kavaliauskas je fotograf, kustos, savjetnik, nakladnik fotografije. Godine 2004. pokrenuo je Kaunas Photo festival, kojim predsjedava od tada. Kaunas Photo je najdugovječniji festival umjetničke fotografije u baltičkim zemljama, čiji je fokous na radovima mladih fotografa i promociji izvrsne fotografije iz čitavog svijeta, kao i na globalnoj promociju radova izloženih u Kaunasu. Iako dokumentarna fotografija prevladava, brojni drugi stilovi i žanrovi čine spektar umjetničke fotografije predstavljene na festivalu.

Mindaugas Kavaliauskas is photographer, curator, consultant, photography publisher. In 2004 he founded KAUNAS PHOTO festival, that he has been directing ever since. KAUNAS PHOTO is the longest-running art photography festival in the Baltic states. It focuses on works of emerging photographers and great underexposed photography from all over the world, promoting the works exhibited in Kaunas globally. With documentary photography prevailing, numerous other styles and genres make up the spectrum of image art presented at the festival.

Kao bivši student Ecole Nationale de la Photographie (Arles, Francuska) i pripravnik u Rencontres d’Arles i Musée de l’Elysée (Lausanne, Švicarska), M. Kavaliauskas predaje fotografiju na različitim sveučilištima, školama i radi kao savjetnik za umjetnike. Bio je kustos niza izložbi na fotografskim festivalima, u galerijama i muzejima u Europi i Azijsko-pacifičkoj regiji: FotoGrafia (Rim), Fotohonap (Budimpešta), Photaumnales (Beauvais, Francuska), Photodemer (Vannes, Francuska), Backlight (Tampere, Finska), Pingyao i Lishui festivali (Kina), Auckland festival of photography (Novi Zeland) i sl. Pregledava portfolije na festivalima poput Fotofest (Houston), Photo Espana (Madrid), Eyes-On (Beč), Arles i također na Kaunas Photo festivalu, sa svojim natječajnim pregledom portfolija za Kaunas Photo Star.

As a former student of Ecole Nationale de la Photographie (Arles, France) and intern with Rencontres d’Arles and Musée de l’Elysée (Lausanne, Switzerland), M. Kavaliauskas has been teaching photography in different universities, schools and consulting artists. He has curated a number of exhibitions in photographic festivals, galleries, museums in Europe and Asia - Pacific region: FotoGrafia (Rome), Fotohonap (Budapest), Photaumnales (Beauvais, France), Photodemer (Vannes, France), Backlight (Tampere, Finland), Pingyao and Lishui festivals (China), Auckland festival of photography (New Zealand) etc. He reviews portfolios in festivals, such as Fotofest (Houston), Photo Espana (Madrid), Eyes-On (Vienna), Arles and also in Kaunas Photo, with its own portfolio review competition Kaunas Photo Star.


Kristina Juraitė, doktorica znanosti, profesorica javne komunikacije na Sveučilištu Vytautas Magnus u Kaunasu, Litva. Područje njezinih interesa (nastavničkog i istraživačkog) uključuje kulturnu komunikaciju i medijatizaciju, postsovjetske medije i demokratizaciju, medijsku pismenost i participiranje s posebnim naglaskom na vizualnu kulturu i fotografiju. Opsežno je objavljivala o tim temama u zemlji i inozemstvu. Njezina najnovija publikacija kao ko-urednice je knjiga pod naslovom “Komuniciranje kulture: institucije, strategije, publike”. Diplomirala je Društvo i politiku na Central European University u Poljskoj 1997. i magistrirala Sociologiju na Sveučilištu Vytautas Magnus u Litvi. U razdoblju od 2006. do 2012. godine, te ponovno od 2015. godine, dr. Juraitė vodi Odjel javnih komunikacija na istom sveučilištu. Aktivna je u kulturnim, obrazovnim i istraživačkim inicijativama, mrežama, stručnim institucijama i strukovnim udrugama. Od 2004. godine, surađuje s Kaunas Photo festivalom.

Kristina Juraitė, Ph.D., professor of Public Communication at Vytautas Magnus University in Kaunas, Lithuania. Her fields of interests (both, teaching and research) include cultural communication and mediatization, post-Soviet media and democratization, media literacy and participation with a special focus on visual culture and photography. She has been extensively publishing on the issues nationally and internationally. Her most recent publication is a co-edited book entitled Communicating Culture: Institutions, Strategies, Audiences. She earned MA in Society and Politics at Central European University in Poland in 1997 and a Ph.D. in Sociology at Vytautas Magnus University in Lithuania. In 2006-2012 and since 2015, dr. Juraitė has been serving as chair of the Department of Public Communication. She has been active in cultural, educational and research initiatives, networks, expert institutions and professional associations. Since 2004, associated with Kaunas Photo festival.


Osvrt glavnih selektora Mindaugasa Kavaliauskasa i Kristine Juraitė

Mindaugas Kavaliauskas and Kristina Juraitė’s review

Rovinj Photo Days 2016: Gdje se joie de vivre susreće s Balkanskom rutom

Rovinj Photo Days 2016: Where the joie de vivre encounters the Balkan Route

Festival Rovinj Photodays 2016 pokazao je veliki odaziv fotografa s Balkana, iz cijele Europe pa i šire. Raznolikost predloženih tema i stilova ukazuje na popularnost ovog festivala, ne samo među profesionalnim fotografima, već i među ljudima iz različitih sfera života. To ne može biti drugačije objašnjeno nego kao gledanje na Hrvatsku kao savršenu joie de vivre scenu, kojoj međutim treba dodati i ozbiljnost promatranja povijesnih i recentnih zbivanja europskog i globalnog značaja koja se događaju oko Mediterana, a o kojima fotografija ne prestaje svjedočiti.

Rovinj Photo Days 2016 had a huge response from photographers in the Balkans, across Europe and beyond. A variety of topics and styles proposed indicates that this festival is popular not only among professional photographers, but also among people of different walks of life. It cannot be explained otherwise, but by a view on Croatia as a perfect scene of joie de vivre, as well as the gravity of our attention towards historic and recent events of European and global significance staged around the Mediterranean, of which photography does not cease to bring testimonies.

Zahvalivši se organizatorima Festivala na ukazanom povjerenju, moramo odati naše poštovanje velikom timu nacionalnih selektora, čiji je posao bio pregledati stotine prijava i ocijeniti ih kako bi nama olakšali zadatak.

While thanking the festival organizers for the confidence they took in us, we need to relay our respect to the great team of the Regional Selectors, whose job was to analyze hundreds of portfolios and rate them in order to facilitate our task.

Pregledavanje prethodno odabranih radova otkrilo nam je demokratičnost Rovinj Photodays-a koja se reflektira u raznovrsnosti radova - od sudjelovanja entuzijasta do potvrđenih autoriteta u fotografskoj struci, od digitalnog mainstreama do povijesnih tehnika, od ispitivanja formalnih elemanata slike do socijalnih istraživanja, od insceniranih bajki do dramatičnih priča prikazanih u reportaži, od mediteranske strasti za prirodom do razočaranja u političku scenu.

Reviewing the preselected works allowed us to discover the democratic vocation of Rovinj Photo Days that gets reflected by the variety of work - from participating enthusiasts to confirmed authorities in profession of the lens, from mainstream digital to historic techniques, from formalistic research to social investigation, from staged fables to dramatic stories depicted in reportage, from Mediterranean passion for nature and body to disillusionment in the political scene.

U kategoriji Tijelo / Akt zabavio nas je smisao za humor serije Prazan prostor, koja promiče nadahnuće u evokativnom korištenju tijela u potrazi za krhkim i raskrinkanim sobom i složenosti društvenog i nemaskiranog tijela.

In the Body / Nude category, we were amused by the sense of humor of the Prazan prostor that endorsed an inspiration of evocative usage of the body in quest for the fragile, unmasked self and the complexity of the social and the unmasked body.


Nestalno je projekt koji koristi skulpturalne odlike tijela i propituje njegovu monumentalnost postavljanjem živih skulptura u arhitektonsko okružje muzeja. Ne bez smisla za humor, sa sviješću o kontrastu crne i bijele, čovjeka i njegove reprezentacije u kiparstvu i slikarstvu, odnosno oblika stvorenih od ljudske i ruke i muškarca i žene kao Božjih stvorenja. Serija The Skin I live in mogla bi se opisati kao niz jednostavnih snimaka za alternativni online modni magazin. To ozbiljno razmišljanje o tihoj patnji mnogih žena (i muškaraca) prerušeno je u pospano i lijeno snimanje spavaće sobe. Privatna okolina jedino je okruženje u kojemu ljudi s tjelesnim ili kožnim oštećenjima mogu hodati na način na koji većina uživa na plaži. Taj rad baca svjetlo na suptilan psihološki problem koji neki ljudi trebaju prevladati na dnevnoj bazi kako bi mogli uživati u svom životu te ostaviti svoj strah od inferiornosti ili naše ravnodušnosti iza sebe. Arhitektura je među kategorijama koje nude čitav niz interpretacija u rasponu od kuće do doma, te tranzitnih mjesta. Perspective Geometry kupila nas je svojom jednostavnošću vezanom za shvaćanje arhitekture kao sjecišta linija, struktura i boja, obogaćenog višeslojnošću života. Dulcis domus pruža uvid u memoriju kao mogućnost fantazije o budućnosti u kojoj oronuo čovjek može napraviti svoj životni prostor luksuznim kroz povratak prirodi. No, naše najveće poštovanje zaslužila je serija tipoloških prikaza tranzicijskih prostora, koji se koriste za proslave dječjih rođendana. U Oggi é la Festa di prikazani su prostori u kojima se održavaju svečanosti

Nestalno was a project that uses the sculpturesque qualities of the body and questions its monumentality by placing the living sculptures in the architectural milieu of a museum, not without a sense of humor, well aware of the contrast of black and white, the human and its representation in sculpture and painting, as forms of man-made art as opposed to man and woman as creations of God. The Skin I live in is, as someone would describe it, is a series of one-session simple shots for an alternative online fashion mag. It is a serious reflection about silent suffering of numerous women (and men too) disguised in a drowsy and lazy bedroom shooting. Private environment is the only surrounding where people with body or skin defects can walk in a way everyone enjoys her/him self out on the beach. This work sheds light on a subtle psychological issue that some people need to overcome on the daily basis to be able to enjoy their lives and get their fear of inferiority and our indifference behind. Architecture was among the categories which provided an array of subjects ranging from house to home and to transitional places. Perspective Geometry bought us with its simplicity to regard a series to treat architecture as sphere of intersections of lines, structures and colors, which is enriched with layers of life. Dulcis domus provided a glimpse into both memory and possible fantasy of the future in which dilapidated man made living space luxury can accommodate the return of nature. But our utmost appreciation was won by a series of typological depiction of transitional spaces that host


na dnevnoj bazi, čineći tako arhitekturu konstruktom smisla, emocija, odraza raspoloženja, a ne samo zidom, krovom i podom. Dokumentarna je jedna od najjačih kategorija, na koju je prijavljen velik broj prijedloga fotografa s najvišim profesionalnim standardima i društveno-političkom svijesti. Scars of Independence je vizualna pripovijest o današnjoj Abhaziji. Olga Ingurazova iskoristila je u potpunosti svoju vještinu biranja pravog trenutka kako bi stvorila spomenike iz malih ili možda beznačajnih događaja iz svakodnevnog života ljudi koji pokušavaju pronaći put iz slijepe ulice u kojoj se nalazi njihova izolirana zemlja. Blind Colours pruža uvid u život ljudi koji nemaju sposobnost vida. Elegantnim rukovanjem formom i bojom, ovaj rad prenosi pozitivno stajalište i predanost prikazanih heroja na njihovom putu osjećanja radosti života. The Balkan Route ima sve: umor, nesigurnost, nadu izbjeglica i migranata od čega se sastoji njihov put prema zemlji snova preko Balkana i odnos s lokalnim stanovništvom - njihovoj želji da pomognu, ispresijecanoj sumnjom, nemirom, strahom od nesigurnosti. Već poznata slika male djevojčice s plastičnom vrećicom skreće nam misli na ikonografiju europskog egzodusa koji je slijedio u poraću Drugog svjetskog rata - prizori ljudi koji bježe spašavajući živote iz njemačkih logora ili sovjetskih gulaga, daleko od doma, očekujući mirno sutra. Moda je među najkonkurentnijim žanrovima u fotografiji danas. MEME leto 2015 kombinira kreativnost mizanscene s novim strategijama gledanja, tako čestim u autorefleksiji kod fotografije, koja se i dalje odnosi na ljetne zabave - ishodište modne fotografije.

kid’s birthdays. In Oggi é la festa dicontains the spaces where festivity is today on the daily basis, making the architecture a construct of sense, emotion, reflection of mood rather than just walls, roof and floor. Documentary section is among the most competitive, having harvested a high number of proposals by photographers with top professional standards and social-political awareness. Scars of Independence is a visual narrative about today’s Abchazia. Olga Ingurazova deployed all of her decisivemoment-frame-filling mastery to create monuments out of small or maybe insignificant events of daily life of people of a country struggling to find out a way from a cul de sac of their isolated country. Blind Colours provides an insight into life of people who do not have a joy of sight. Elegant handling of form and color, this work translates the positiveness and commitment of the heroes depicted on their way to sense and joy of life. The Balkan Route has it all: fatigue, uncertainty, hope of refugees and migrants making their way to their dream country via Balkans and situation of the locals - their efforts to help, intersected by their suspicion, discomfort, and fear of insecurity. An already famous picture of the small girl with the plastic bag sends our thoughts to the iconography of the Europeans exodus of the WWII aftermath - people escaping death in German camps or Soviet Gulags, away from home, waiting for a peaceful tomorrow. Fashion is among the most competitive genres of photography today. MEME leto 2015 combines the creativity of mise-en-scene and new strategies of seeing, so common in self-reflection of photography, by still referring to the fun of summer time - the home of fashion image making.


Fall-en-Winner pravi je dokaz povratka kultu - robusni mužjaci su se vratili u modu, kao i sve što do nedavno nismo baš voljeli - brade, jesen, loše vrijeme. Mužjaci? Oni su naslijedili ženstvene trendove u modi, ili postali vođe unisex pokreta. Fotografski mudar, ovaj rad prepoznaje čovjeka kao nepoznatog, koji dolazi s druge strane planine - savršenog stranca. Ogledalo je trijumf jednostavnosti. Brojni fotografi imaju problem pronalaženja sebe u susretu s modelom u sterilnom studijskom ambijentu. Ovaj rad dokazuje da su zrcala uvijek bili dobri prijatelji za oboje, modele i fotografe. Kategorija pejzaža bogata je radovima koji se bave područjima nesigurnosti, što je čest osjećaj u današnjem nemirnom svijetu sukoba, migracija, prolaza i kontrola. Tomu se dodaje i majstorsko korištenje određenim dijelom dana za snimanje, svi ovi aspekti su prisutni u Border as transition. Svjedočanstva o posljedicama prolaska onih koji traže sigurno utočište i kao i trag stvari koje su ostale pronašle su svoj vizualni zapis u seriji Refugeescapes. Fotografija kao iz putnih časopisa poznatih i anonimnih krajolika SAD - začinjena dozom bljeska u naglašavanju prolaska, rezultirala je serijom Americana, uniformirano sentimentalnim djelom o onoj Americi, koja je na dohvat ruke. Portret, nekoć smatran jednim od najsloženijih fotografskih žanrova, danas, zbog poplave selfieja, preživljava krizu srednjih godina. Međutim, na festivalu Rovinj Photodays postoje radovi vrijedni gledanja i pokazivanja. Sjajni su primjeri socijalnog portreta, koji odaju počast različitim strukama, u seriji KBC, ili zanimanjima iz prošlosti, u seriji Railway Retirees Club. Trend starih tehnika ponosno zastupaju porteti Roberta Gojevića izrađeni mokrim kolodijskim postupkom, koji izgledaju

Fall-en-Winner is a good proof of the return of the cult - rustic males are back in fashion, as well as everything we did not love so much, just recently, - beards, autumn, nasty weather. Males? They inherited feminine trends in fashion, or became leaders of the unisex movement. Photo-wise, this work locates a man as an alien coming from the other side of the mountain - the perfect stranger. Ogledalo is a triumph of simplicity. Numerous photographers experience trouble of reinventing themselves facing a model in a sterile studio environment. Mirrors have always been good friends for both beauties, and photographers alike, proves the work. Landscape category was rich in works that deal with territories of insecurity, which is a common feeling in today’s uneasy world of conflicts, migrations, passages and control. Added the mastery of using the exact time of day, these aspects were all present in Border as transition. Testimonies of aftermath of the passage of those looking for a safe haven and a task remaining to-do found their visual record in Refugeescapes. Travel journal photography of visited known and anonymous landscapes of the USA topped with a touch of flash on accents of passage, gave birth to the Americana, uniformly sentimental work about a certain America, that’s at the reach of one’s hand. Portraiture, once considered among the most complicated genres of photography, is now overcoming the mid-life crisis of the deluge of selfies. Meanwhile, in Rovinj Photo Days, there are works worth seeing and showing others. Social portraiture has brilliant examples, paying tribute to professions and occupations, such as KBC, or those of the past, in Railway Retirees Club.


živo, poput crteža putujućeg umjetnika za vrijeme gradskog festivala, a ne kao neoštri ili ukočeni ambrotipijski portreti. Kategorija umjetnički koncept sadrži brojne radove koji bi se mogli uvrstiti i u neku od već spomenutih kategorija, no ono što ju izdvaja je konceptualni pristup prikazivačkoj i pripovjednoj umjetnosti. Great expectations je serija, koja se bavi ženama, njihovim raspoloženjima, napetosti, pri čemu svaka slika postaje moguća still fotografija nekog filma o balkanskim svadbama. Litvanka koja živi u Škotskoj, u seriji Away Home inscenirala je mrtve prirode opisujući njima svoje misli o izbivanju iz doma, postavljajući na stol predmete koji je tamo vode. Također prikazuje stolove svojih sunarodnjaka, čiji sadržaj svakim zalogajem i okusom omogućava ljudima da prevladaju geografsku udaljenost. Daleko je stol za kojim si sada, hrana je povratak na mjesto s kojeg potječeš. Aura: F37 je samo još jedan korak dalje u trendu aproprijacije slika. Uvođenjem nekonvencionalno stvorenih slika u galerijski prostor onemogućuju se ljudska nastojanja da se ide naprijed, promišlja i uočava. Presreće nas igra mačke i miša, i na kraju nas navodi na pomisao o potencijalu, ali i opasnosti umjetnog intelekta, kojemu je čovjek samo još jedan nađeni objekt kojim se može baviti.

Kristina Juraitė

The trend of ancient techniques is proudly represented in wet plate works by Robert Gojević, whose portraits look like lively, as if on-the-spot-cartoons drawn by a traveling artist during a city festival, rather than blurred or stoned faces typical images in ambrotypes. Artistic concept category contained numerous works that could have ended in any of the above mentioned selection of genres, but was plentiful in both conceptual solutions of image art and storytelling. Great expectations is a series observing women and their moods, tensions, making every image into a possible still of an intense movie about Balkan weddings. Lithuanian living in Scotland, in Away Home, a series of staged still lives, described everything she felt about being away from home, by placing on the table things and objects that take her there. She also interpreted tables of her fellow expats, with every food and taste attribute that allows people to cover the geographical distances. Away is the table where you are, Food is your way back where you come from. Aura: F37 was just another step further in the trend of image appropriation. Inviting unconventionally created imagery to cover the gallery walls renders the human endeavors to go forward, penetrate and see, intercept a game of cat and mouse, and eventually makes us think about the potential and dangers of the artificial intellect, to which a human target can become just another found object to take action about.

Mindaugas Kavaliauskas Kristina Juraitė Mindaugas Kavaliauskas


ARHITEKTURA / ARCHITECTURE: 1. MJESTO / 1ST PLACE Paolo Fusco: Oggi é la festa di ROĐEN / BORN: 1977, Rim, Italija / Rome, Italy PROFESIJA / PROFESSION: Fotograf / Photographer ŽIVI I RADI U / LIVES & WORKS IN: Rim, Italija / Rome, Italy


ARHITEKTURA / ARCHITECTURE: 2. MJESTO / 2ND PLACE Mirna Pavlović: Dulcis domus ROĐENA / BORN: 1989, Našice, Hrvatska / Našice, Croatia PROFESIJA / PROFESSION: Pisac i fotograf / Writer and photographer ŽIVI I RADI U / LIVES & WORKS IN: Belgija i Hrvatska / Belgium and Croatia


ARHITEKTURA / ARCHITECTURE: 3. MJESTO / 3RD PLACE Luka Dubroja: Naopako ROĐEN / BORN: 1995, Zadar, Hrvatska / Zadar, Croatia PROFESIJA / PROFESSION: Student Akademije dramske umjetnosti na odsjeku snimanja, Zagreb / Student on Academy of Dramatic Arts, Department of Cinematography ŽIVI I RADI U / LIVES & WORKS IN: Zagreb, Hrvatska / Zagreb, Croatia


DOKUMENTARNA / DOCUMENTARY: 1. MJESTO / 1ST PLACE Matic Zorman: The Balkan Route ROĐEN / BORN: 1986, Kranj, Slovenija / Kranj, Slovenia PROFESIJA / PROFESSION: Nezavisni fotoreporter / Freelance Photojurnalist ŽIVI I RADI U / LIVES & WORKS IN: Slovenija i Balkanska regija / Slovenia and Balkan region


DOKUMENTARNA / DOCUMENTARY: 2. MJESTO / 2ND PLACE Josep Echaburu Mulet: Blind Colours ROĐEN / BORN: 1967, Barcelona, Španjolska / Barcelona, Spain PROFESIJA / PROFESSION: Fotograf za španjolski TV kanal TVE / Photographer for Spanish Television Chanell (TVE) ŽIVI I RADI U / LIVES & WORKS IN: Barcelona, Španjolska / Barcelona, Spain


DOKUMENTARNA / DOCUMENTARY: 3. MJESTO / 3RD PLACE Olga Ingurazova: Scars of Independence ROĐENA / BORN: 1985, Moskva, Rusija / Moscow, Russia PROFESIJA / PROFESSION: Fotoreporter / Photojurnalist ŽIVI I RADI U / LIVES & WORKS IN: Moskva, Rusija / Moscow, Russia


MODA / FASHION: 1. MJESTO / 1ST PLACE Ivana Tešić: Ogledalo ROĐENA / BORN: 1992, Beograd, Srbija / Belgrade, Serbia PROFESIJA / PROFESSION: Studentica fotografije na Fakultetu primenjenih umetnosti, Beograd / Photography student, Faculty of Applied Arts, Beograd ŽIVI I RADI U / LIVES & WORKS IN: Beograd, Srbija / Belgrade, Serbia


MODA / FASHION: 2. MJESTO / 2ND PLACE Primož Zorko: Fall-en-Winner ROĐEN / BORN: 1983, Celje, Slovenija / Celje, Slovenia PROFESIJA / PROFESSION: Fotograf i grafički dizajner / Photographer and graphic designer ŽIVI I RADI U / LIVES & WORKS IN: Ljubljana, Slovenija / Ljubljana, Slovenia


MODA / FASHION: 3. MJESTO / 3RD PLACE Milica Mrvić: MEME leto 2015 ROĐENA / BORN: 1987, Beograd, Srbija / Belgrade, Serbia PROFESIJA / PROFESSION: Fotograf / Photographer ŽIVI I RADI U / LIVES & WORKS IN: Beograd, Srbija i Budimpešta, Mađarska / Belgrade, Serbia and Budapest, Hungary


PEJZAŽ / LANDSCAPE: 1. MJESTO / 1ST PLACE Anna Hahoutoff: Americana ROĐENA / BORN: 1993, Pariz, Francuska / Paris, France PROFESIJA / PROFESSION: Fotograf / Photographer ŽIVI I RADI U / LIVES & WORKS IN: Europa i Sjeverna Amerika / Europe and North America


PEJZAŽ / LANDSCAPE: 2. MJESTO / 2ND PLACE Matic Zorman: Refugeescapes ROĐEN / BORN: 1986, Kranj, Slovenija / Kranj, Slovenia PROFESIJA / PROFESSION: Nezavisni fotoreporter / Freelance Photojurnalist ŽIVI I RADI U / LIVES & WORKS IN: Slovenija i Balkanska regija / Slovenia and Balkan region


PEJZAŽ / LANDSCAPE: 3. MJESTO / 3RD PLACE Mario Ferrara: Border as Transition ROĐEN / BORN: 1972, Caserta, Italija / Caserta, Italy PROFESIJA / PROFESSION: Fotograf (arhitektura) i profesor fotografije u srednjoj školi / Architecture photographer and high school photography teacher ŽIVI I RADI U / LIVES & WORKS IN: Caserta i Napulj, Italija / Caserta and Naples, Italy


AKT-TIJELO / NUDE-BODY: 1. MJESTO / 1ST PLACE Marina Ćorić: The Skin I live in ROĐENA / BORN: 1987, Zadar, Hrvatska / Zadar, Croatia PROFESIJA / PROFESSION: Studentica slikarstva na Akademiji primjenjenih umjetnosti, BiH / Student at Academy of Applied Arts, Bosnia and Herzegovina ŽIVI I RADI U / LIVES & WORKS IN: Zadar, Hrvatska i Široki Brijeg, BiH / Zadar, Croatia and Široki Brijeg, Bosnia & Herzegovina


AKT-TIJELO / NUDE-BODY: 2. MJESTO / 2ND PLACE Glorija Lizde: Nestalno ROĐENA / BORN: 1991, Split, Hrvatska / Split, Croatia PROFESIJA / PROFESSION: Studentica fotografije na Akademiji dramske umjetnosti, Zagreb / Photography student, Academy of Dramatic arts, Zagreb ŽIVI I RADI U / LIVES & WORKS IN: Zagreb, Hrvatska / Zagreb, Croatia


AKT-TIJELO / NUDE-BODY: 3. MJESTO / 3RD PLACE Srđan Đurić: Prazan prostor ROĐEN / BORN: 1989, Novi Sad, Srbija / Novi Sad, Serbia PROFESIJA / PROFESSION: Snimatelj i fotograf / Cinematographer and photographer ŽIVI I RADI U / LIVES & WORKS IN:Novi Sad, Srbija / Novi Sad, Serbia


PORTRET / PORTRAITS: 1. MJESTO / 1ST PLACE Robert Gojević: (F)aces ROĐEN / BORN: 1968, Zagreb, Hrvatska / Zagreb, Croatia PROFESIJA / PROFESSION: Grafički dizajner / Graphic designer ŽIVI I RADI U / LIVES & WORKS IN: Zagreb, Hrvatska / Zagreb, Croatia


PORTRET / PORTRAITS: 2. MJESTO / 2ND PLACE Zvonimir Tanocki: Railway Retirees Club ROĐEN / BORN: 1960, Vinkovci, Hrvatska / Vinkovci, Croatia PROFESIJA / PROFESSION: Nezavisni fotograf / Freelance photographer ŽIVI I RADI U / LIVES & WORKS IN: Vinkovci, Hrvatska / Vinkovci, Croatia


PORTRET / PORTRAITS: 3. MJESTO / 3RD PLACE Marin Mešter: KBC ROĐEN / BORN: Rijeka, Hrvatska / Rijeka, Croatia PROFESIJA / PROFESSION: Fotograf i grafički dizajner / Photographer and graphic designer ŽIVI I RADI U / LIVES & WORKS IN: Rijeka, Hrvatska i Ljubljana, Slovenija / Rijeka, Croatia and Ljubljana, Slovenia


UMJETNIČKI KONCEPT / ARTISTIC CONCEPT: 1. MJESTO / 1ST PLACE Davor Konjikušić: Aura: F37 ROĐEN / BORN: 1979, Zenica, Bosna i Hercegovina / Zenica, Bosnia & Herzegovina PROFESIJA / PROFESSION: Fotograf / Photographer ŽIVI I RADI U / LIVES & WORKS IN: Zagreb, Hrvatska / Zagreb, Croatia

OPIS KONCEPTA / Izjava:

CONCEPT / Statement:

U radu Aura: F37 koristim fotografije koje sam snimio pomoću policijskih termovizijskih kamera koje se koriste prvenstveno za noćni nadzor vanjskih granica Europske unije. Riječ je operativnim slikama, terminu koji je stvorio filmaš i teoretičar Harun Farocki. Na fotografijama su zabilježeni migrantski prelasci zelene šengenske granice.

In the work Aura: F37 I use images which were taken with the police infrared cameras for the night vision surveillance of the EU external border. On these photographs, or „operative images“ - the term Harun Farocki used, migrants are captured in the very moment of crossing the Schengen border. Highly sophisticated and expensive equipment is being used for the border surveillance, equipment unavailable for broader civil population, which detects body heat and people circulating during the night-time.

U ovom radu kao fotograf zaobilazim “objektiviziranje” subjekata koje snimam, a činom prisvajanja skupocjene policijske tehnologije i naknadnom zvučnom intervencijom mijenjam semantičko značenje slike čime razotkrivam njen restriktivni i represivni potencijal. Zvuk je zapravo originalno snimljena naracija migranta prilikom prelaska granice. Dok su prognanik, odnosno izbjeglica u širem biopolitičkom kontekstu za policijski aparat samo tijela, homo sacer, kroz spajanje fotografije i zvuka.

With subsequent sound intervention, I change the semantics of the photography and expose its restrictive potential. The sound is, actually, originally recorded narration of migrants I talked to during their crossing of the border. While migrant is, that is refugee, in broader biopolitical context just a body to the police, homo sacer, through photographs and sound synthesis I am producing a new work about control and identity.


UMJETNIČKI KONCEPT / ARTISTIC CONCEPT: 2. MJESTO / 2ND PLACE Kotryna Ula Kiliulyte: Away Home ROĐENA / BORN: 1986, Vilnius, Litva / Vilnius, Lithuania PROFESIJA / PROFESSION: Samostalni umjetnik (fotografija i film) / Freelance artist (photography and film) ŽIVI I RADI U / LIVES & WORKS IN: Glasgow, Škotska / Glasgow, Scotland

OPIS KONCEPTA / Izjava:

CONCEPT / Statement:

Hrana i način na koji jedemo oduvijek su usko povezani s našim kulturnim identitetom. Naši korijeni i obitelji definiraju kako kuhamo, kupujemo i jedemo / hranimo se. Danas kada je migracija uobičajena pojava, sve više i više ljudi stvara svoje domove u novim zemljama. Za neke je to bijeg od ekonomskih teškoća, za druge bijeg iz okoline bez nadahnuća, a neki odlaze isprobati novu kulturu na nekoliko godina.

Food and the way we eat has always been closely related to our cultural identity. Our roots and families define how we cook, shop and eat. In this day and age when migration is a common phenomenon, more and more people make their homes in new countries. For some it is an escape from economical hardship, for others- from uninspiring surroundings, and some come to taste a new culture for a few years.

Pridošlice mogu naučiti jezik, prilagoditi se novoj kulturi, ali neki aspekti njihovog identiteta ostaju isti. Jedan od njih je i odnos prema hrani. Živeći u multikulturalnoj Škotskoj, bila sam čest posjetitelj različitih lokalnih prodavaonica koje nude hranu posebno za imigrante iz Poljske, Srednjeg Istoka, Kine, Rusije i sl.

Newcomers might learn the language, adapt to a new culture, but certain aspects of identity remain the same. One of them is our relationship with food. Living in multicultural Scotland I have been a frequent visitor in various local food shops catering specifically for immigrants from Poland, Middle East, China, Russia etc.

Zanima me odnos između hrane i nostalgije, pojedinih jela, okusa i sjećanja. Kuhanje je poseban ritual čiji cilj nije samo proizvesti ručak ili večeru, već i nahraniti emocionalnu glad, koja bi mogla nastati zbog udaljenosti od vlastite kulture. Specijalizirane trgovine mješovitom robom, paketi koji se šalju od kuće s tradicionalnim slasticama ili pecivima, polulegalna kombi vozila koja prolaze Europom prodajući prehrambene proizvode iz prtljažnika, moj kofer koji prelazi ograničenje težine u zračnoj luci zbog litvanskih kobasica i heljde- to su lijepi i tužni pogledi u svijet nostalgične prehrane.

I am interested in the relationships in between food and homesickness, particular dishes and nostalgia, taste and memories. Cooking is a particular ritual performed not only to produce dinner or supper, but also to feed the emotional hunger, that could be created by being far from one’s own culture. The specialised grocery shops, parcels being sent from home with traditional sweets or biscuits, semi- legal vans crossing Europe selling foodstuffs from the boot, my suitcase exceeding the weight limit at the airport because of Lithuanian sausage and buckwheat- these are beautiful and sad glimpses into the world of nostalgic eating.

Svi, koje sam intervjuirala za projekt su podijelili više od samog popisa jela, svi su se doimali kao da su preneseni u djetinjstvo, dijeleći svoja najosobnija sjećanja. Vizualna priča koju pričam je priča o bijegu iz uobičajenog/svakodnevnog i ugodnog ambijenta, stvaranju novog doma i života, a potom ponovnog bijega natrag kroz pun tanjur nostalgije.

The people I have interviewed for my project have all shared more than just lists of dishes, they all seemed to be transported to their childhood, sharing their most personal memories. The visual story I am telling is a story of escaping from one’s usual and comfortable surroundings, making new home and life, and then escaping back through a plate ful of nostalgia.


UMJETNIČKI KONCEPT / ARTISTIC CONCEPT: 3. MJESTO / 3RD PLACE Maja Medić: Great expectations ROĐENA / BORN: 1979, Beograd, Srbija / Belgrade, Serbia PROFESIJA / PROFESSION: Diplomirani filmski snimatelj / Professional cinematographer ŽIVI I RADI U / LIVES & WORKS IN: Beograd, Srbija / Belgrade, Serbia

OPIS KONCEPTA / Izjava:

CONCEPT / Statement:

Velika očekivanja je serija fotografija koja bilježi jednu tradicionalnu proslavu na Kosovu - sunićenje, iz ženskog kuta. Sam naziv serije ima višestruko značenje. Na tradicionalnim proslavama postoje različite vrste očekivanja, (posebno od žena) - gošće moraju biti lijepo uređene, dobro raspoložene, vesele i trebaju plesati. Slobodne djevojke očekuju da će možda upoznati nekoga, a sve prisutne očekuju da će se lijepo provesti. Osoba koja “slavi” očekuje mnogo od tog dana - između ostalog da joj to bude jedan od najljepših dana u njenom životu, a istovremeno se od nje očekuje da je lijepa, posebno sređena i obavezno cijelo vrijeme vesela i nasmijana. Starije generacije očekuju od mlađih „određenu vrstu ponašanja“ u skladu s tradicijom, a sve osobe koje su fotografirane imaju određeno očekivanje o tome kako će ispasti na fotografijama.

Great Expectations is a series of photographs that captures a traditional celebration in Kosovo - sunićenje (celebration of the first male child circumcision), from the perspective of women. A title of the series has multiple meanings. At traditional celebrations there are different kinds of expectations, particularly of women - they are supposed to be well dressed, be in a good mood , happy and willing to dance. Single girls expect to, maybe, meet someone and all participants are expected to have a good time . The person who “ celebrates “ is expected a lot from on this day - among other things, that it is one of the best days of her life while, at the same time, she is expected to be beautiful, all the time cheerful and smiling . Older generations expect from younger to respect and honor the tradition and above all, persons who are photographed have certain expectations about how they will turn out on photos.


KATALOG / CATALOGUE Digitalni ispis / Digital print 2015. Arhitektura / Architecture 1. Paolo Fusco, Oggi é la festa di, serija od 6 fotografija / 6 photographs in series, 53,3 x 80 cm 2. Mirna Pavlović, Dulcis domus, serija od 5 fotografija / 5 photographs in series, 50 x 70 cm 3. Luka Dubroja, Naopako, serija od 4 fotografije / 4 photographs in series, 50 x 50 cm

Dokumentarna / Documentary 1. Matic Zorman, The Balkan Route, serija od 6 fotografija / 6 photographs in series, 60 x 40 cm 2. Josep Echaburu Mulet, Blind Colours, serija od 6 fotografija / 6 photographs in series • The Black 2, 46,7 x 70 cm • The Black, 30 x 40 cm • The Blue, 30 x 40 cm • The No Colour, 46,7 x 70 cm • The Pink, 30 x 40 cm • The Purple, 30 x 40 cm 3. Olga Ingurazova, Scars of Independence, serija od 6 fotografija / 6 photographs in series, 26,7 x 40 cm

Moda / Fashion 1. Ivana Tešić, Ogledalo, serija od 5 fotografija / 5 photographs in series, 30 x 70 cm 2. Primož Zorko, Fall-en-Winner, serija od 6 fotografija / 6 photographs in series, 40 x 60 cm 3. Milica Mrvić, MEME leto 2015, serija od 6 fotografija / 6 photographs in series, 40 x 60 cm

Pejzaž / Landscape 1. Anna Hahoutoff, Americana, serija od 6 fotografija / 6 photographs in series, 50 x 70 cm 2. Matic Zorman, Refugeescapes, serija od 6 fotografija / 6 photographs in series, 40 x 60 cm 3. Mario Ferrara, Border as Transition, serija od 6 fotografija / 6 photographs in series, 40 x 60 cm


Akt - Tijelo / Nude - Body 1. Marina Ćorić, The Skin I Live In, serija od 6 fotografija / 6 photographs in series, 40 x 60 cm 2. Glorija Lizde, Nestalno, serija od 6 fotografija / 6 photographs in series, 50 x 70 cm 3. Srđan Đurić, Prazan prostor, serija od 6 fotografija / 6 photographs in series, 50 x 70 cm

Portreti / Portraits 1. Robert Gojević, (F)aces, (originalne fotografije nastale mokrim kolodijskim postupkom / original photographs made in wet collodion process) • Dimitrije Popović, 24 x 33 cm • Miljenko Jergović, 24 x 33 cm • Mio Vesović, 24 x 33 cm • Mirko Ilić, 24 x 33 cm • Miro Gavran, 24 x 33 cm • Tihana Lazovich, 24 x 33 cm 2. Zvonimir Tanocki, Railway Retirees Club, serija od 6 fotografija / 6 photographs in series, 42,6 x 60 cm 3. Marin Mešter, KBC, serija od 6 fotografija / 6 photographs in series, 50 x 70 cm

Umjetnički koncept / Artictic Concept 1. Davor Konjikušić, Aura:F37, fotografska instalacija (9 fotografija na LED panelima, zvuk) / Photographic installation (photographs on LED panels, audio) 2. Kotryna Ula Kiliulyte, Away Home, serija od 11 fotografija / 11 photographs in series • Akram is from Libya, 40 x 60 cm • Celine is from Canada, 40 x 60 cm • Dan is from Australia, 40 x 60 cm • Kotryna is from Lithuania, 40 x 60 cm • Monica is from Japan, 40 x 60 cm • Peng is from China, 40 x 60 cm • Rachel is from GeorgiaUSA, 40 x 60 cm • Sarah is from Scotland, 40 x 60 cm • Silje is from Norway, 40 x 60 cm • Sven is from Luxembourgh, 40 x 60 cm • Zsofia is from Hungary, 40 x 60 cm 3. Maja Medić, Velika očekivanja, serija od 10 fotografija / 10 photographs in series, 26,7 x 40 cm


Impressum: Izložba /Exhibition Kustosice izložbe / Exhibition curators: Iva Prosoli, Dunja Nekić Likovni postav / Exhibition setup: Iva Prosoli, Dunja Nekić Priprema i digitalni ispis, oprema fotografija / Digital processing and print, Mounting of photographs: Studio B-Nula Prijevod / Translation: Dunja Nekić Katalog / Catalogue Nakladnik / Publisher: Astoria d.o.o. Za nakladnika / For publisher: Tonči Denis Redić Urednici kataloga / Catalogue editors: Denis Redić, Dunja Nekić, Iva Prosoli Tekstovi / Texts: Denis Redić, Kristina Juraitė, Mindaugas Kavaliauskas Prijevod / Translation: Dunja Nekić Likovno oblikovanje / Catalogue design: Astoria dizajn studio, Rijeka Priprema fotografija za tisak / Processing of photographs: Studio B-Nula Tisak / Print: Denona, Zagreb Naklada / Circulation: 450 ISBN 978-953-55330-2-3 Rijeka, 2016

Pokrovitelj izložbe:

Zahvala / thanks to: Katalog izložbe tiskan je na papiru Symbol Tatami - Fedrigoni Cartiere Italia Printed on paper Symbol Tatami - Fedrigoni Cartiere Italia

digitalni ispis fotografija / digital print


katalog-izlozbe_ovitak-hrbate2016.indd 1

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