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GODIŠNJI NATJEČAJ / ANNUAL CONTEST

ROVINJ PHOTODAYS 2019


GODIŠNJI NATJEČAJ / ANNUAL CONTEST

ROVINJ PHOTODAYS 2019 Zavičajni muzej grada Rovinja, svibanj 2019. / Rovinj Heritage Museum, May 2019 Muzej za umjetnost i obrt Zagreb, studeni 2019. / Museum of Arts and Crafts, Zagreb, November 2019


Izložba pobjednika i finalista festivala Rovinj Photodays 2019

Rovinj Photodays 2019 Festival Winners & Finalists Exhibition

Sjećam se kako smo se davnih studentskih dana borili pronaći najbolju definiciju umjetnosti analizirajući povijesna remek-djela likovnosti, književnosti, teatra, filma pa i fotografije. Tek nakon 5-6 semestara dotakli smo onu Matoševu: „Umjetnost je život protkan kroz prizmu individualnosti“. Prizma individualnosti se podrazumijeva dok ono „ Život“ naravno, određuje odmak u vremenu. Ponekad je za taj odmak potrebna godina, ponekad desetljeće, ponekad još i više pa da spoznamo kako je to djelo aktualno i živo dan danas. Eto razloga zašto vjerujem struci i zašto izuzetno cijenim kustose koji nam znaju interpretirati i artikulirati strukturu vrijednosti po čemu prikazano djelo živi. Vjerujte, isplati se, možete uštedjeti puno vremena.

Back in the day when we were students, I remember how we struggled to find the best definition of art by analysing the old masterpieces of visual arts, literature, theatre, film and photography. Only after 5-6 semesters we encountered Matoš’s quote: “Art is life permeated in the prism of individuality”. The prism of individuality is implied while the “Life”, of course, is determined by the passing of time. Sometimes we need years to attain that distance, sometimes a decade, and sometimes even more so, in order to see how that artwork is still relevant today. That is the reason I have trust in the artistic profession and why I greatly appreciate curators who know how to interpret and articulate the values through which the artwork lives. Believe me, it is worth it, and it saves a lot of time. With this brief introduction, I would like to thank the team of experts in the jury, headed by Hrvoje Slovenc, who selected this year’s concourse, to which more 200 authors from 16 countries applied their work.

Ovim kratkim uvodom želim zahvaliti stručnom timu ocjenjivačkog suda pod presjedanjem Hrvoja Slovenca koji je žirirao ovogodišnji natječaj na koji se odazvalo 200 autora iz 16 zemalja. Treba posebno istaknuti kako smo ove godine u sustavu natjecanja, procesu prijave i žiriranja uveli znatne izmjene. Jedini cilj pri tome bio je podići razinu kvalitete nagrađenih radova, a time i produkcije završne izložbe te sam natječaj učiniti zanimljivijim i kompetitivnijim. Činjenica da svi nominirani radovi završne izložbe finalista odlaze u stalni fundus Muzeja za umjetnost i obrt u Zagrebu, permanentno nam nameće imperativ odgovornosti spram suvremene fotografske scene koju festival predstavlja. Dosadašnji dvostupanjski način žiriranja zamijenili smo jednim krugom dok smo umjesto 21 nacionalnog selektora uveli internacionalni šesteročlani ocjenjivački sud sastavljen od referentnih predstavnika struke: kustosa, muzealaca i fotografa.

It should be emphasized that this year, we have made significant changes in the competition, the application process and the jury structure. In doing so our only aim was to raise the quality of awarded works and thus the final exhibition, all along making the contest more interesting and competitive. The fact that all the nominated works in the finalists exhibition become a part of the permanent holdings of the Museum of Arts and Crafts in Zagreb, lastingly embraces the imperative of responsibility towards the contemporary photographic scene that the festival presents. We have replaced two-round jury system with one round and instead of 21 national selectors, we have introduced an international six-member jury made up of well-known experts in the field: curators, museum workers and photographers.


I dalje imamo sedam natjecateljskih kategorija što nam daje jedinstveni festivalski rukopis, ali i već tradicionalnu tematsku širinu. Želja nam je, ali ne i imperativ, kao i do sada nagraditi po tri rada iz svake kategorije. Ocjenjivački sud ima potpunu autonomiju odlučivanja o broju i sastavu finalista, što znači da u pojedinim kategorijama čak ne mora biti niti jednog nagrađenog - sve s ciljem kako bismo osigurali da konačna izložba predstavlja zaista najbolje od prijavljenih radova.

We still have seven competition categories which provide a unique festival impression, but also the traditional thematic scope. Our wish is to reward three works from each category, but it is not an imperative. The jury has full autonomy in decision-making on the number and composition of the finalists, which means that there can be a category without an award all aimed at ensuring that the final exhibition is really the best of the competing works.

Odabrani radovi finalista ući će (u dogovoru s autorima) u fundus Muzeja za umjetnost i obrt.

The selected works of the finalists will be (in agreement with the authors) included in the holdings of the Museum of Arts and Crafts.

Dobitnik Grand Prixa osvaja novčanu nagradu od 2.000 eura, nagradu sponzora Epson, samostalnu izložbu s katalogom u Rovinju za vrijeme trajanja Festivala u 2020. godini te vikend boravak u Rovinju u terminu po dogovoru. I na koncu jedna osobna preporuka : Volio bih da svatko tko ovaj katalog drži u ruci obrati pažnju na osvrt glavnog selektora Hrvoja Slovenca te prihvati izazov spram samog sebe i svoje percepcije viđenog. Svim finalistima i pobjednicima ovogodišnjeg natječaja iskrene čestitke.

The winner of the Grand Prix wins a 2,000€ reward, Epson Sponsor Award, an independent exhibition with a catalogue in Rovinj during the Festival in 2020, and a weekend stay in Rovinj, with dates depending on agreement. And finally one personal recommendation: I would like anyone holding this catalogue to pay attention to the overview by head selector Hrvoje Slovenc and accept the challenge of facing oneself and one’s own perception of what was seen. I wish to congratulate all the finalists and winners of this year’s competition.

S poštovanjem,

Sincerely,

Denis Redić

Denis Redić, Director of Rovinj Photodays Festival

direktor festivala Rovinj Photodays


Ocjenjivački Sud / Jury

Hrvoje Slovenc Predsjednik žirija / President of the jury Fotograf / Photographer, NY

Bruna Kazinoti Fotografkinja / Photographer, CRO

Predsjednik žirija: Hrvoje Slovenc je hrvatski vizualni umjetnik s diplomom fotografije s Yale University School of Art (2010.) Među ostalim, izlagao je u Muzeju novije umjetnosti u Detroitu, Muzeju nacionalne akademije u New Yorku, Art Baselu u Švicarskoj, Palači za umjetnost u Belo Horizonteu u Brazilu, Gradskom muzeju u Münchenu, Muzeju umjetnosti Bronx i Muzeju suvremene umjetnosti u Zagrebu. Njegov najnoviji rad, Hrvatska rapsodija: Borderlands izložen je u Muzeju suvremene fotografije u Chicagu.

Ana Frangovska Nacionalna galerija Makedonije / Macedonian National Gallery, MK

Una Popović Salon Muzeja savremene umetnosti / Museum of Contemporary Art’s Salon in Belgrade, RS

Dr. sc. Iva Prosoli

Muzej za umjetnost i obrt / Museum of Arts and Crafts, CRO

Matic Zorman Fotograf / Photographer, SLO

President of the jury: Hrvoje Slovenc is a Croatian visual artist who holds an MFA in Photography from Yale University School of Art (2010). Among other venues, he exhibited in the Museum of New Art in Detroit, the National Academy Museum in New York, Art Basel in Switzerland, Palace of Arts in Belo Horizonte, Brazil, Münchner Stadtmuseum in Munich, the Bronx Museum of the Arts, and the Museum of Contemporary Art in Zagreb. His latest work, Croatian Rhapsody: Borderlands was shown in the Museum of Contemporary Photography in Chicago.


Osvrt Hrvoja Slovenca

Hrvoje Slovenc’s review

Fotografija je čarolija. Kada je uspjela, ona može preobraziti ovozemaljsku stvarnost unutar granica pravokutnog kadra dodajući mu značenje i pletući odnose koji u stvarnosti jednostavno ne postoje. Fotografija prenosi shvaćanje svijeta autora, ne poput ilustracije već višeznačno i slojevito. Kada je uspjela svaki put pruža priliku novog čitanja, znak po znak, no bez mogućnosti potpunog iščitavanja. U cijelosti me opčinjava dubina značenja koju jedan maleni kadar može sadržavati. Bilo je potpuno zadovoljstvo biti jednim od sudaca ovogodišnjeg natječaja Rovinj Photodays. Također, bila mi je čast raditi s drugim članovima žirija. Izabrali smo radove koji su istovremeno i vizualno i konceptualno odvažni. U svakoj kategoriji postoje radovi koji nadilazile puko bilježenje stvarnosti. Izabrani fotografi shvatili su kako nije dovoljno vidjeti zgradu, tijelo ili lice. Koristili su spomenute teme kao alate za dijalog o većim problemima. Nastale fotografije nisu stvorene samo kako bi pokazale stvari onakvima kakve jesu, već sadrže i jasan stav autora.

Photography is magic. When successfully done it transforms mundane reality within a rectangular frame charged with meaning, creating juxtapositions that simply don’t exist in the real world. A photograph translates its maker’s perspective on the world, not as an illustration but as an ambiguous, layered text. Again, when successfully done, that text can be read repeatedly, symbol by symbol, and never be fully deciphered. The depth of meaning that can be packed in this tiny rectangle truly astounds me. It was an absolute pleasure to be one of the judges for this year’s Rovinj Photodays contest. It was also an honour to work with other members of the jury. Together, we selected works that are daring both visually and conceptually. In every category there were bodies of work that went beyond the mere recording of reality. The selected photographers understood that it was not enough just to see a building, a body, or a face. The photographs we selected used those subjects as tools to talk about larger issues. Not created simply to show things as they are, they have a point of view.

Akt / Tijelo

Nude / Body

Fotografi koji prijavljuju svoje radove u ovu kategoriju nerijetko su zavedeni formalnim konvencijama žanra: zavodljivost krivulje leđa, različite tjelesne forme ili jednostavno razodjeveno tijelo. Ova vrsta interpretacije svakako je pitoreskna, no, ukoliko ne služi određenoj svrsi, ona nema konceptualnu vrijednost. Zaintrigirali su me radovi koji koriste tijelo kako bi ispričali mnogo kompleksniju priču. Dvije serije su se ista-

Photographers who submitted works in this category tended to be seduced by formal conventions: the curve of an arched back, the shapes that limbs can create, or simply a body stripped of clothing. This kind of interpretation is certainly pictorial, but unless it serves a particular purpose, it falls flat conceptually. I was intrigued by the works that use the body to tell a much more complex story. Two works stood out: Milan Gies’ State of Identity and Denis Butorac’s


knule; State of Identity Milana Giesa i Homesick Denisa Butorca. Gies u svojim fotografijama prikazuje ljude u potrazi za rodnim identitetom; tijela u procesu fizičke tranzicije. S druge strane, Butorac fotografira mrtve prirode konstruirane od tijela ili dijelova tijela mrtvih ili umirućih životinja. Oba umjetnika bave se širim društvenim pitanjima; rodnim identitetom i pravima životinja, a svojim subjektima pristupaju na način da propituju društvene konvencije o čovječnosti i animalnosti.

Homesick. In his photographs, Gies portrays people in search of their gender identity, bodies in the process of a physical transition. On the other hand, Butorac photographs still lifes created from dead or dying animals, incorporating their body parts. Both of these artists are concerned about larger social issues, gender identity and animal rights, and they approach their subjects in such a way as to interrogate social conventions about humanity and animality.

Moda

Fashion Portrait

Općenito govoreći, dizajneri koriste medij fotografije kao alat za prodaju odjeće. Rekavši to, ne postoji opća formula koja čini dobru modnu fotografiju. Pregledavajući prijavljene radove u ovoj kategoriji, primijetio sam dva glavna pristupa ovoj temi:

Generally speaking, designers use photography as a tool to sell clothes. Having said that, there is no one formula as to what makes a good fashion photograph. While looking through applications in this category, I noticed two major approaches to the subject:

1. Tradicionalna, kataloška modna fotografija u kojoj modeli stoje ispred kamere, zavodljivo nas gledajući. Želimo biti poput njih. Želimo nositi ono što oni nose. 2. Samosvjesniji, umjetnički pristup modnoj fotografiji u kojoj modeli nose nekonvencionalnu odjeću i u kojoj je tijelo predstavljeno u neobičnoj pozi. Fascinirani smo nenosivim kreacijama, koje uzburkavaju našu maštu. Bez obzira na koji se pristup fotografi odluče, fotografije i dalje moraju biti kvalitetne. Svaki potez na tijelu modela kao i svaki rekvizit na setu postoji s razlogom. Rasvjeta, kut kamere i obrezivanje kadra trebaju biti svrsishodni i u skladu s odjećom koju portretiraju. Tri odabrane serije govore o vrlo jasno ciljanoj publici i fotografski su uspješne. Denis Butorac fotografira strogo postavljene kompozicije preciznošću laserskog rezanja. Anđela Vidić koristi svjetlo kako bi naglasila strogoću izgleda svog modela. Fotografije Edvina Kalića promišljene su i predstavljaju avangardan, ali i dalje pristupačan dizajn. Ovo troje fotografa nadišlo je konvencionalnu funkciju žanra.

1. Traditional, catalogue-style fashion photography in which a model stands in front of a camera, looking at us seductively. We want to be them. We want to wear what they are wearing. 2. A more self-conscious, artistic approach to fashion photography in which a model wears unconventional clothing and in which the body is broken in an unusual pose. We are fascinated by the unwearable creations, which fire our imagination. Whichever approach photographers decide to take, the photographs still have to be good. Every brush mark on the model’s body and every prop on the set has to be there for a reason. Lighting, camera angle, and cropping should be purposeful and in harmony with the outfits that are portrayed. Three selected works spoke to a very clear target audience and were photographically successful. Denis Butorac photographs sharp designs with laser cut precision. Anđela Vidić uses light to emphasize the firmness of her model’s appearance. Edvin Kalić photographs are thoughtful and present designs that are avant-garde but still approachable. All three of these photographers transcend the conventional function of the genre.


Portret

Portrait

Dva izabrana rada potpune su suprotnosti u smislu fotografskog pristupa subjektu. Inscenirane fotografije Anye Miroshnichenko prikazuju žensko tijelo, ograničeno i čak izmučeno odjećom koju nosi. Na Anyinim fotografijama, tijelo žene postaje velika garderoba s beskonačnim brojem odjevnih predmeta; poistovjećuje se s mnoštvom kozmetike, maski, masažera i uređaja za sagorijevanje masti; ono je predmet manipulacija zbog ljepote. Štoviše, Anya koristi konvencije modne fotografije i izvrće ih kako bi kritički govorila o zahtjevima seksualnosti i klišeiziranoj ljepoti u suvremenom svijetu. Rad Ivana Buvinića Stigma prikazuje romsku zajednicu s periferije Slavonskog Broda, u Hrvatskoj. Njegove fotografije su promišljene, kompleksne i objektivne. Predstavljaju svakodnevni život u zajednici koja djeluje bolno poznato: otac i sin odlaze u ribolov, četiri dječaka igraju se u dvorištu, obitelj kupuje sladoled. Njegov portret Drugog pretvara se u portret poznatog.

The two selected works are polar opposites in terms of a photographic approach to the subject. Anya Miroshnichenko’s staged photographs portray a female form, restricted and even tortured by the outfits she’s wearing. In Anya’s photographs, the body of a woman becomes a large wardrobe with an infinite number of clothes; it is identified with a battery of cosmetics, masks, massagers, and appliances for burning fat; it is an object of manipulations for the sake of beauty. Moreover, Anya uses the conventions of fashion photography and turns it on its head in order to speak critically of the demands of sexuality and clichéd beauty in the contemporary world. Ivan Buvinić’s work Stigma depicts the Roma community, located on the outskirts of Slavonski Brod, in Croatia. His photographs are clever, complex, and void of sentiment. They paint a picture of daily life in a community that seems painfully familiar: a father and son going fishing, four boys playing in a back yard, a family buying ice cream. His portrait of the other is transformed into a portrait of the known.

Arhitektura

Architecture

Slično kao i u kategoriji akt/tijelo, i u ovom slučaju fotografe privlače oblici. Prekrasne forme, često apstrahirane, oku ugodne, no, često im nedostaje konceptualna složenost. Pitanje je: koje je značenje tih zgrada i oblika? Govore li nam fotografije na razini koja nije samo dokaz o postojanju zgrada? Samo je jedan fotografski rad koristeći arhitekturu progovorio o većim kulturnim pitanjima. Fotografije Claudia Cerasolija prikazuju talijanski grad L’Aquilu deset godina nakon razornog potresa. Fotografirajući složenost tekuće rekonstrukcije, Cerasoli predstavlja L’Aquilu kao mjesto neprestane mijene i dinamike oko kojeg ljudi oblikuju svoj svakodnevni život. Kako se grad polako obnavlja, svjedočimo izgradnji nove kolektivne dinamike između grada i njegovih ljudi, budućnosti koja je

Similar to Nudes/Body, photographers in this category, for the most part, tended to be lured by the forms of things. Beautiful shapes, many times abstracted, are visually pleasing, but so often they lack conceptual complexity. The question is: what do these buildings and shapes stand for? Do the photographs speak to us on a level other than simply proving that the buildings exist? There was only one body of work that used architecture to speak to larger cultural issues. Claudio Cerasoli’s photographs depict the Italian town of L’Aquila ten years after the devastating earthquake. While photographing the complexities of the ongoing reconstruction, Cerasoli presents L’Aquila as a constantly changing and dynamic site around which people shape their daily lives. As the city is slowly being rebuilt we witness the construction of a new collective dynamic


na mnogo načina nepovratna. Ovi prikazi istražuju neku vrstu društveno-arhitektonskog temelja, narativa u kojemu su ljudi intimno povezani s fizičkim svijetom koji ih okružuje. Pejzaž Dvojica fotografa odabrana u ovoj kategoriji predstavljaju na neuobičajen način različite vrste okruženja - prirodni i urbani pejzaž. Rad Marka Novosela postoji u prostoru između dva pola, nedirnutog i konstruiranog, na način da prikazuje prirodu kao metaforu. Fotografiranjem širokog raspona tema omogućuje gledatelju da osvijesti ljudsku prisutnost i utjecaj na planetu. U njegovoj seriji fotografija pronalazimo prekrasno osvijetljenu bujnu paprat; sjenu na travi pod nasipom; crni dim koji se diže iz goruće hrpe suhe trave; apstraktnu sliku džungle na podrumskom zidu; i mrtvu prirodu sastavljenu od odjeće obješene na tavanu. Postavljanjem ovih fotografija na određen način odjeća poprima oblik paprati. Tavan postaje naše prirodno utočište. Što god da dotaknemo promijenjeno je zauvijek. Za razliku od Novosela, Bartul Pejaković fotografira urbane scene iz gornjeg rakursa. Prolaznike obasjava dramatično svjetlo. Dugačke sjene arhitektonskih struktura i ljudi stapaju se u jednu, povezujući tijela i beton u gradski kostur. Na određeni način nemoguće je pobjeći gravitacijskoj sili kulture ni kod jednog od ove dvojice autora, no, suprotstavljanje njihova dva rada također povlači pitanje o našoj sposobnosti da pobjegnemo prirodi.

between the city and its people, a future that in many ways is irreversible. In many ways these images explore a kind of socio-architectural laying, a narrative in which humans are intimately linked to the physical world around them. Landscape The two photographers chosen in this category feature different types of settings in unexpected ways: landscape and cityscape. Marko Novosel’s work exists in a space between the two poles of the untouched and the fabricated in such a way as to present nature as a kind of metaphor. By photographing such a wide range of subjects, he enables the viewer to become aware of the human presence and its influence on the planet. In a series of images we find a beautifully illuminated, lush fern; a shadow on grass under a levee; black smoke from a burning pile of dry grass; an abstract painting of a jungle on a basement wall; and a still life made of clothing hung in an attic. By encountering these photographs in a particular order, the clothing takes on the shape of the fern. The attic becomes our natural escape. Whatever we touch, we permanently change. By contrast, Bartul Pejaković photographs urban scenes from a bird’s eye perspective. Dramatic lighting illuminates passersby. Long shadows of man-made structures and people merge into one, fusing bodies and concrete into a one city skeleton. In a sense we never escape the gravitational force of culture in the works of either, but the juxtaposition of these works also begs the question about our ability to escape nature.

Dokumentarna

Documentary

Definicija dokumentarne fotografije dramatično se izmijenila tijekom prošlog stoljeća. Od bilježenja do preoblikovanja stvarnosti, od saznavanja do zamišljanja, radovi u ovoj kate-

The definition of documentary photography has dramatically changed in the last century. From recording to reforming reality, from knowing to imaging it, works in this category offer a wide


goriji nude širok raspon pristupa razmišljanjima od osobne i globalne važnosti. Emmanuele Artenio fotografira mladića s invaliditetom prilikom svakodnevnih aktivnosti. Fotografije su iskrene i snažne, prikazuju život mladog čovjeka sa svim ljepotama i borbama s kojima se svakodnevno suočava. Stanislava Novgorodtseva dokumentira Krimski poluotok u godinama nakon njegovog pripajanja Rusiji. Od 2014. godine Krimski poluotok predmet je političkih kontroverzi, a ovim radom dobivamo unutarnji pogled na svijet koji bi nam inače bio poznat samo s naslovnica. Alessio Paduano snima nekoliko tisuća pakistanskih izbjeglica zapelih na granici između Bosne i Hercegovine i Hrvatske. Bilo da je fotografski aparat usmjeren prema jednoj osobi, grupi ljudi ili čitavoj regiji, ovi dokumentarni projekti otkrivaju više dimenzija teme koju obrađuju.

range of approaches to insights of personal and global importance. Emanuele Artenio photographs a young, disabled man during his daily activities. The photographs are candid and powerful, exposing the young man’s life with all the beauties and struggles he faces on a daily basis. Stanislava Novgorodtseva documents the Crimean peninsula in the years after the Russian annexation. Since 2014, the peninsula has been in the spotlight of political controversy. We get an insider’s view into a world familiar only as headlines. Alessio Paduano records a couple thousand Pakistani refugees who are stuck at the border between Bosnia and Herzegovina and Croatia. Whether the photographer’s camera is pointed towards a person, a group of people, or an entire region, these documentary projects reveal multidimensional perspectives of the issues they depict.

Umjetnički koncept

The winner in this category is a collaborative project, Land of Ibeji. Through photographs, Sanne De Wilde and Benedicte Kurzen discover the mythology of twinhood in Nigeria, a country that has one of the highest birth rates of twins in the world. Visually, the project is a fascinating fusion of documentary, fashion, and surreal photography. Almost every picture offers a visual surprise, either as a result of a technical innovation or formal play used in surprising ways (including shadow, reflection, and colour). Using symmetry and resemblance as visual tools, De Wilde and Kurzen tell a compelling visual story. Conceptually, the project reveals multiple layers of complexity. The word Ibeji means ‘double birth’ or ‘the inseparable two’ in the Yoruba language. The two photographers extend their gaze beyond appearance and reveal the twins as powerful metaphors and mythological figures.

Pobjednik ove kategorije zajednički je projekt Sanne De Wilde i Benedicte Kurzen, pod nazivom Land of Ibeji (Zemlja Ibeji). Fotografije otkrivaju mitologiju blizanaštva u Nigeriji, zemlji s jednom od najviših stopa nataliteta blizanaca u svijetu. Vizualno, ovaj projekt fascinira fuzijom dokumentarne, modne i nadrealne fotografije. Gotovo svaka slika pruža vizualno iznenađenje, bilo kao rezultat tehničke inovacije ili formalne igre korištene na neuobičajene načine (uključujući sjenu, refleksiju i boju). Koristeći simetriju i sličnosti kao alate, De Wilde i Kurzen pričaju snažnu vizualnu priču. Konceptualno projekt je višeslojan u svojem značenju. Riječ Ibeji na jeziku Yoruba znači ‘dvostruko rođenje’ ili ‘nerazdvojno dvojstvo’. Dvije fotografkinje upućuju svoj pogled dalje od površine i prikazuju blizance kao moćnu metaforu i mitološke figure.

Hrvoje Slovenc

Artistic Concept

Hrvoje Slovenc


ARHITEKTURA / ARCHITECTURE: 1. MJESTO / 1ST PLACE Claudio Cerasoli X Italija / Italy

IZJAVA O RADU:

ARTIST STATEMENT:

X (neprestana mijena):

X (ongoing):

X govori o mjestu i vremenu.

X tells about a place and a time.

X je L’Aquila, X je deset godina koje ga danas dijele od potresa 2009. godine.

X is L’Aquila and X is the ten years that divide it, today, from the earthquake of the 2009.

Današnja L’Aquila nova je stvarnost u usporedbi s onom od prije 10 godina. Promijenio se grad, njegov oblik, kolektivna dinamika, prostori i ljudi koji u njemu žive. Budućnost se neprestano mijenja i već je nepovratna.

L’Aquila today is a new reality compared to that of 10 years ago. The city, its form, its collective dynamics, the spaces and the people who live it have changed. Future changes, ongoing and already irreversible.

U složenoj fazi rekonstrukcije (ili konstrukcije) L’Aquila je predstavljena kao promjenjivo i dinamično tijelo u kojemu njegovi stanovnici oblikuju svoju svakodnevicu.

Among the typical complexities of the reconstruction phase (or construction?) L’Aquila presents itself as a changeable and dynamic body in which the people that the inhabit shape their daily life.

Ovaj projekt želi pričati o mjestu - rekonstruiranom gradu s dijelovima koji još stoje, kao i prostorima „ograničenog života“ svakodnevici njegovih stanovnika (uglavnom onih između 20 i 40 godina, djeci i prvoj generaciji „odraslih“ u vrijeme potresa).

The project therefore wants to tell the place - the city from the reconstructed areas to those still standing, passing through all the areas of “limit” - life and the daily life of the people who live it (mainly the subjects they have today between the ages of 20 and 40, the “children” and the first generation of “adults” at the time of the earthquake).


DOKUMENTARNA / DOCUMENTARY: 1. MJESTO / 1ST PLACE Emanuele Artenio Andreino Italija / Italy

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Prvi put sam vidio Andreu u sportskom centru “Il Faro”, mojem drugom domu, domu ASD CCCP, u kojemu igraju naše omiljene nogometne ekipe, od mlađih do odraslih C1 kategorije.

The first time I saw Andrea was at the sports centre “Il Faro”, my second home, home of the ASD CCCP, where our favourite football teams play, from the younger teams up to the adult C1 category.

Bio je pored igrališta, u invalidskim kolicima prekrivenim naljepnicama i vikao iz petnih žila, držeći se za ogradu, ohrabrujući našu ekipu, osobito Lele Brunu, svog obožavanog rođaka, koji je tog dana, ne znajući, promijenio Andrein život. Od tog trenutka Andrea je za sve nas postao „Andreino“. Zašto, Andreino? Možda zato što smo ga svi vidjeli kao malog, naizgled bespomoćnog, vezanog za ta invalidska kolica, koja ga sprečavaju da padne zbog nesvjesnih spastičnih pokreta uzrokovanih tetraparezom. No, njegovo vikanje, nabrekle vene na vratu, prsti zgrčeni na mreži pokazali su nam još puno toga: silu, duh, naboj koji je u mojim očima i u očima svih oko njega, učinio da invalidska kolica gotovo nestanu. Danas, razmišljajući o tom danu, sjetim se pjesme De Gregorija, nogometaša iz ‘68... “Dječak će biti...” Danas Andrea ima 20 godina, iznimno je inteligentan, iznimno odlučan. De Gregori kaže: “Igrača ćete prepoznati po njegovoj hrabrosti, altruizmu i fantaziji”. Andrea ima sve te osobine! Trenira mali nogomet, igra košarku, voli tetovaže i filozofiju i uvijek je okružen prijateljima, muškarcima i ženama koji ga vole. Njega je nemoguće ne voljeti. Svakodnevne borbe koje mu je život dao Andrei nisu prepreka, one su poligon. Tako i u školi, bori se kako bi imao „normalan“ program, koji će mu omogućiti da je završi ranije, a zatim pohađa sveučilište. Andrea zna kojim putem želi ići i gleda u budućnost.

He was by the side of the field, in his wheelchair covered in stickers and yelling at the top of his lungs, grasping the fence, encouraging our team, particularly Lele Bruno, his adored cousin, who that day, without knowing it, changed Andrea’s life, and from that moment on he became “Andreino” for all of us. Why, Andreino? Perhaps because we all saw him as so small, apparently helpless, tied to that wheelchair, to prevent him falling by the unconscious spastic movements caused by tetraparesis. But his yelling, the swollen veins on his neck, those fingers clenched on the net made you aware of much more: a force, a spirit, a full charge that in my eyes and of all those around him, almost made that wheelchair disappear. Today, thinking back to that day, it reminds me of the song by De Gregori, the football player of ‘68... “The boy will be...”. Indeed today Andrea is 20 years old, extremely intelligent, extraordinarily determined with an amazing desire to live his life. De Gregori says: “you will see a player by his courage, altruism and fantasy” and Andrea has all these attributes! He’s futsal coach, basketball player, fond of tattoos and philosophy and always surrounded by many friends, male and female who love him, also because it is almost impossible not to. The daily battles that life has reserved for him are no obstacle, it’s a training ground, like at school, where he fights to follow a “normal” course of study, which allows him to finish earlier and then attend university, because Andrea knows the road he wants to follow and he is looking into the future.


DOKUMENTARNA / DOCUMENTARY: 2. MJESTO / 2ND PLACE Stanislava Novgorodtseva The Island of Crimea Rusija / Russia

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U mom djetinjstvu, Krim je bio sveto apolitično mjesto. Otok djetinjstva, mitova i drevnih civilizacija. U ožujku 2014. godine Krim je pripojen Rusiji. Od tada je poluotok u fokusu svjetske zajednice i u središtu političkih nesuglasica. Istodobno, sankcije protiv Rusije i određena ograničenja na području Krima samo su ojačali osjećaj njegove izolacije.

In my childhood, Crimea was a sacred apolitical place. The island of childhood, myths and ancient civilizations. In March of 2014, Crimea was annexed by Russia. The peninsula has been in the spotlight of the world community and at the centre of political controversy ever since. At the same time, the sanctions against Russia and certain limitations on the territory of Crimea only strengthened the sense of its isolation.


DOKUMENTARNA / DOCUMENTARY: 3. MJESTO / 3RD PLACE Alessio Paduano Immigration emergency in Bosnia and Herzegovina Italija / Italy

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Više od 2000 izbjeglica zapelo je na granici između Bosne i Hercegovine i Hrvatske. Izbjeglice, uglavnom iz Pakistana i Afganistana, nalaze se u napuštenoj zgradi na periferiji bosanskog grada Bihaća. Prelazak granice je nemoguć, a hrvatska policija pretukla je mnoge izbjeglice ne mareći što se brutalnost onoga što se događa na europskim granicama dokumentira.

More than 2000 refugees are stuck at the border between Bosnia-Herzegovina and Croatia. The refugees that are mostly from Pakistan and Afghanistan are stranded in an abandoned building in the outskirts of the Bosnian city of Bihać. Crossing the border is impossible and many of the refugees have been beaten by Croatian police as if the brutality of what is happening on Europe’s borders is not being documented.


MODA / FASHION: 1. MJESTO / 1ST PLACE Denis Butorac Diferit Hrvatska / Croatia

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IVANA JANJIĆ - DIFERIT

IVANA JANJIĆ - DIFERIT

AW17 / 18

AW17 / 18

šminka: Ivana Stanić

make up: Ivana Stanić

stilist: Josip Kovač

styling: Josip Kovač

model: Marko Kotur

model: Marko Kotur

Fotografije su nastale kao vizuali za kolekciju „Diferit“, modne dizajnerice Ivane Janjić.

The photographs were created as visuals for the collection “Diferit”, by fashion designer Ivana Janjić.

Primarna ideja bile su pročišćene, crno-bijele fotografije u skladu s estetikom dizajnerice koja u svome radu spaja sportski i avangardni dizajn. Odmak od očekivanog je odjeća koja nije u svojoj primarnoj funkciji pa je tako npr. jakna, remenom stegnuta oko struka. Time je u prvi plan pozicionirana priča i atmosfera koju fotografije prenose, čemu u prilog idu naknadne intervencije u vidu kolažiranja.

The primary idea were purified, black and white photographs in line with the aesthetics of a designer who combines sports and avant-garde design in her work. A departure from the expected is clothing which is not in its primary function, such as a jacket, strapped with a belt around a waist. Thus the story is placed in the foreground as well as the atmosphere that the photographs transmit, along with subsequent intervention of collage.


MODA / FASHION: 2. MJESTO / 2ND PLACE Anđela Vidić MMXVII Hrvatska / Croatia

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Trenutak sjećanja praćen okusom nostalgije vremena potaknuo me na vizualno stvaranje ove modne kampanje kojoj temelj leži u prijateljstvu i lakoći stvaranja. Kampanja je snimljena analogno, s crno-bijelim filmom kamerom srednjeg formata čime sam htjela evocirati osjećaj trenutka kada u potkrovlju pronađeš stare fotografije i promatraš detalje i odjeću na njima.

A moment of memory followed by the taste of nostalgia of time inspired me to visualize this fashion campaign, the foundation of which lies in friendship and ease of creation. The campaign was shot in analogue, with black-and-white film with medium format camera, through which I wanted to evoke the feeling of the moment when you find old photographs in the attic and look at details and clothes on them.


MODA / FASHION: 3. MJESTO / 3RD PLACE Edvin Kalić Confession Bosna i Hercegovina / Bosnia & Herzegovina

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Fotografije su rađene za prezentaciju dizajna Marka Fehera.

The photographs were made to present the design of Marko Feher.

šminka: Maja Talović kosa: Ensar Dervišbegović modeli: Esma Hajrić, Asja Kunto stilisti: Gasha & Dina Priznanje i spoznaja čine život lakšim. Priznati sebi i okolini ono što se događalo te to priznanje kanalizirati, ovaj put kroz dizajn i editorijal - znači opet slobodno disati, skinuti teret, osloboditi se.

Make up: Maja Talović Hair: Ensar Dervišbegović Models: Esma Hajrić, Asja Kunto Styled by Gasha & Dina Recognition and acknowledgement make life easier. Admitting to oneself and the environment what was happening and to channel that confession, on this road through design and editorial - means breathing freely again, taking the burden off your shoulders, liberating yourself.


PEJZAŽ / LANDSCAPE: 1. MJESTO / 1ST PLACE Marko Novosel Once there were people there Hrvatska / Croatia

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Što god da čovjek dotakne i gdje god se pojavi ostavlja svoj trag.

Anything what humans touch or wherever they appear, they leave a trace.

Bilo u vidu radova, sjena, smeća ili jednostavno otiska prsta. Jednom su tamo bili ljudi, poslije nekih je ostao dim, priviđenje, miris, ponekad samo mreškanje u prostoru i vremenu, sjećanje, struktura. Ponekad san, a nekad ostaje samo njegov dio, trag.

Whether in the form of works, shadows, garbage or simply just a fingerprint. Once there were people there, only smoke left after some of them, an apparition, a scent, sometimes only a rippling in space and time, a memory, and a structure. Sometimes a dream, and at times only its fraction, a trace remains.


PEJZAŽ / LANDSCAPE: 2. MJESTO / 2ND PLACE Bartul Pejković Concrete jungle Hrvatska / Croatia

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Serija fotografija presjek je dvogodišnjeg promatranja i fotografiranja odnosa čovjeka i urbane sredine, odnosno urbanog pejzaža. Konkretno „Splita 3“. Koristeći usađene arhitektonske i geometrijske oblike kombinirane užarenim gradskim asfaltom i betonom postignut je romantičarski odnos grada i njegovih stanovnika. Jak svjetlosni kontrast i duge tamne sjene tvore upečatljiv stil i daju naslutiti kako je autorov svijet zapravo crnobijeli svijet.

The photography series is a cross-section of two-year observation and photographing of the relationship between a man and an urban environment, or urban landscape. To be specific of “Split 3”. By using the built-in architectural and geometric shapes combined with the scorching urban asphalt and concrete, the romantic relationship between the city and its inhabitants has been achieved. Strong light contrast and long dark shadows create a striking style and suggest that the author’s world is in fact the black and white world.


AKT-TIJELO / NUDE-BODY: 1. MJESTO / 1ST PLACE Milan Gies State of Identity Nizozemska / The Netherlands

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Tijekom godina mnogi intelektualci trudili su se razumjeti i definirati pojam identiteta.

Over the years many intellectuals have struggled to understand and define the notion of identity. Is identity rigid or more fluid? Does such a thing as a man or a woman exists, or do these labels just serve the purpose of maintaining social order. What if you happened to be born in the wrong body and you have no choice but to confront your initial gender identity. In the series State of Identity the artist portrays those who are in search of their gender identity and are in the process of physical transition. In a quest for an answer the artist registers in a respectful manner doubts and uncertainties of these young people who literally and figuratively expose themselves for the first time. In doing so he removes them from their daily lives and photographs them in a monochrome setting.

Je li identitet rigidan ili više fluidan? Postoje li muškarac ili žena, ili te oznake služe za održavanje društvenog poretka. Što ako ste rođeni u pogrešnom tijelu i nemate izbora nego suočiti se sa svojim početnim rodnim identitetom? U seriji State of Identity prikazujem one koji su u potrazi za svojim rodnim identitetom kao i one koji su u procesu fizičke tranzicije. U traženju odgovora na dostojanstven način bilježim sumnje i nesigurnosti ovih mladih ljudi koji se doslovno i figurativno razotkrivaju po prvi put. Pritom ih izmičem iz svakodnevnog života i fotografiram u monokromnom okruženju. Teško da je moguće biti bliže izvoru. Baš kao i u ranijim radovima povezujemo se surađujući tijekom duljeg razdoblja. Samo ovako intenzivnom metodom moguće ih je predstaviti u svoj njihovoj složenosti.

Closer to the source is hardly possible. Just as in his earlier work he establishes a bond through working with them over a long period. Only through such intensive method he is able to represent them in all their complexity.


AKT-TIJELO / NUDE-BODY: 2. MJESTO / 2ND PLACE Denis Butorac Homesick Hrvatska / Croatia

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Odrastao sam u Slavoniji, u sredini u kojoj su uzgoj i ubijanje životinja u prehrambene svrhe višestoljetna tradicija. Samim time, ne samo da je prihvatljivo, već je i očekivano da djeca od najranije dobi budu uključena u cjelokupni proces kako bi se stečene vještine iznova prenijele na nove naraštaje. S obzirom na to da sam odmalena odbijao sudjelovanje, često sam nailazio na nerazumijevanje i uvrede. Revoltiran uvriježenim mišljenjem kako sposobnost da se ubije životinja može biti protumačena i kao potvrda muškosti, nastojim prevladati strah i gađenje te u ulozi pasivnog promatrača prvi put nakon dugo vremena prisustvujem činu klanja. Svjedočim toj nametnutoj dužnosti, istovremeno i društvenom događanju u kojem domaćin i pomagači potrebu za međusobnim dokazivanjem temelje na poricanju emocija. Poput kakve inicijacije, aranžiram posljedice tog rituala muškosti kako bih konzervirao neugodne uspomene i kreirao nove, ali ujedno uspostavio i novi model povezivanja s obitelji i sredinom u kojoj sam odrastao.

I grew up in Slavonia, Croatia in an environment where breeding and slaughter of animals for food is a centuries-old tradition. Thus, not only is it acceptable, but also it is expected that children from the earliest age are involved in the entire process in order to transfer the acquired skills to new generations. I have refused to participate on those occasions from an early age, so I was often faced with misunderstanding and insults. Revolted by the pervasive and deep-rooted belief that the ability to kill an animal can be interpreted as a confirmation of manhood, I tried to overcome my fear and disgust and, as a passive observer, I attended the act of slaughter. I witness this imposed duty, which is at the same time a social event where the host and his helpers seek mutual confirmation, based on emotional denial. Like an initiation, I arrange the consequences of this ritual of masculinity in order to conserve the unpleasant memories and create new ones, thus establishing a new model of connecting with my family and the environment in which I grew up.


PORTRET / PORTRAIT: 1. MJESTO / 1ST PLACE Anya Miroshnichenko Femininity Vulgaris Rusija / Russia

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Moji koncepti ženstvenosti razvijali su se u djetinjstvu dok sam promatrala majku. Moja majka je poput velike garderobe s beskrajnim brojem komada donjeg rublja, odjeće, nakita. Mnogo dodataka kako bi bila privlačnija, vitkija, ljepša. Moja majka je poput desetaka bočica parfema i raznog pribora za ljepotu: kozmetika, maske, masažeri, aparati za sagorijevanje masti. Moja majka je poput plastične operacije, njeno tijelo je poseban objekt manipulacije radi ljepote. Stvari koje će ostati nakon moje majke nekako će biti povezane s modifikacijom tijela i lica.

My concepts of femininity have been developed in my childhood when I was observing my mother. My mother is as a large wardrobe with an infinite number of underwear, clothes, jewellery. Lots of accessories to seem more attractive, slimmer, more beautiful. My mother is as dozens of bottles of perfume and various beauty trinkets: cosmetics, masks, massagers, appliances for burning fat. My mother is as a plastic operation, her body is a separate object for manipulation for the sake of beauty. Things that will remain after my mother will somehow be related to the modification of body and face.

Tijelo današnje žene je poput haljine - može se preoblikovati po želji, izrezati i oblikovati, prema jednom ili drugom konceptu. Vizualna slika žene, prikazivana u medijima i u masovnoj kulturi, neodvojiva je od seksualnosti, koja sve više poprima agresivnu prirodu. Takva seksualnost potiče na djelovanje i porobljava kao tiranin. I dok se ranije žena često smatrala akterom u reprodukciji života, danas njezina reproduktivna funkcija ostaje u sjeni zahtjeva seksualnosti i klišeizirane ljepote, a i sami organi se mogu mijenjati kako bi odgovarali suvremenom tijelu.

A body of the today’s woman is like a dress - it can be reshaped as desired, nipped and tucked, according to one concept or another. The female visual image, broadcasted in the media and mass culture, is inseparable from sexuality, which increasingly acquires an aggressive nature. That type of sexuality spurs to action and enslaves like a tyrant. And whereas previously a woman was often perceived as an actor in reproduction of life, now the reproductive function remains in the shadow of the demands of sexuality and clichéd beauty, and the organs themselves can also be altered to suit contemporary body fashion.


PORTRET / PORTRAIT: 2. MJESTO / 2ND PLACE Ivan Buvinić Stigma Hrvatska / Croatia

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Romsko naselje “Josip Rimac” smješteno je na rubnom dijelu Slavonskog Broda i broji oko 1200 stanovnika. Smješteni na periferiji grada, na neki način su “odvojeni” od ostatka društva. To je zajednica u kojoj se neprestano zrcale predrasude. Okruženi svojim obiteljima u svakodnevnom životu, brigama i potrebama uviđamo drugačiju sliku od one stereotipne: o kradljivcima i prosjacima.

The Roma settlement Josip Rimac is located on the outskirts of Slavonski Brod, Croatia, and houses a population of about 1200 Roma people. Living on the edge of the city, in a way they are ‘separated’ from the rest of the society. This community constantly mirrors the society’s prejudices. Surrounded by our families in everyday life, worries and needs, we get to see a picture different from the stereotypical one: of pickpocketers and beggars.

Ova dokumentarna serija fotografija pokušaj je približavanja svakodnevnog života romske nacionalne manjine, života koji je svima nama tako blizak i s kojim se možemo poistovjetiti.

This documentary series of photographs is an attempt at familiarising the viewers with the daily life of the Roma national minority, the life that is so close to us, and the life we can relate to.


UMJETNIČKI KONCEPT / ARTISTIC CONCEPT: 1. MJESTO / 1ST PLACE Sanne De Wilde i Benedicte Kurzen Land of Ibeji Nizozemska / The Netherlands

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LAND OF IBEJI zajednički je fotografski projekt koji otkriva mitologiju blizanaštva u Nigeriji, zemlji s jednom od najviših stopa nataliteta blizanaca u svijetu.

LAND OF IBEJI is a collaborative photographic project discovering the mythology of twinhood in Nigeria, a country which has one of the highest birth rate of twins in the world.

„IBEJI“, znači „dvostruko rođenje“ na jeziku Yoruba, nerazdvojno dvojstvo, označava krajnji sklad između dvoje ljudi. Kroz vizualni narativ i estetski jezik koji odražava i osnažuje jorupsku kulturu slavljenja blizanaca kao mitoloških figura, dvije fotografkinje upućuju svoj pogled dalje od površine - koriste simetriju i sličnost poput alata kako bi blizance pokazali kao moćnu metaforu: za dvojnost unutar ljudskog bića i dvojnost koju proživljavamo u svijetu koji nas okružuje.

“IBEJI” meaning ‘double birth’ in Yoruba, the inseparable two, stands for the ultimate harmony between two humans. Through a visual narrative and an aesthetic language that is meant to reflect and empower the Yoruba culture that celebrates twins as a mythological figure, the two photographers extend their gaze beyond appearance - with symmetry and resemblance as tools- to open the eyes to the twin as a powerful metaphor: for the duality within a human being and the duality we experience in the world that surrounds us.


KATALOG / CATALOGUE Digitalni ispis / Digital print 2019 Arhitektura / Architecture 1. Claudio Cerasoli: X, serija od 7 fotografija / 7 photographs in series; 33,5 x 40 cm

Dokumentarna / Documentary 1. Emanuele Artenio: Andreino, serija od 20 fotografija / 20 photographs in series; 45 x 30 cm 2. Stanislava Novgorodtseva: The Island of Crimea, serija od 7 fotografija / 7 photographs in series; 80,5 x 60,4cm 3. Alessio Paduano: Immigration emergency in Bosnia and Herzegovina, serija od 10 fotografija / 10 photographs in series; 40 x 30 cm

Moda / Fashion 1. Denis Butorac: Diferit, serija od 6 fotografija / 6 photographs in series; 50 x 34 cm 2. Anđela Vidić: MMXVII, serija od 6 fotografija / 6 photographs in series, 40 x 47 cm 3. Edvin Kalić: Confession, serija od 3 fotografije / 3 photographs in series; 40 x 30 cm

Pejzaž / Landscape 1. Marko Novosel: Once there were people there, serija od 5 fotografija / 5 photographs in series; 70,6 x 60,4 cm 2. Bartul Pejković: Concrete jungle, serija od 5 fotografija / 5 photographs in series; 20 x 30 cm


Akt - Tijelo / Nude - Body 1. Milan Gies: State of Identity, serija od 7 fotografija / 7 photographs in series; 80 x 60 cm, 40 x 30 cm 2. Denis Butorac: Homesick, serija od 5 fotografija / 5 photographs in series; 50 x 70 cm

Portreti / Portrait 1. Anya Miroshnichenko: Femininity Vulgaris, serija od 14 fotografija / 14 photographs in series; 30,4 x 20,6 cm 2. Ivan Buvinić: Stigma, serija od 14 fotografija / 14 photographs in series; 30,4 x 20,6 cm

UmjetniÄ?ki koncept / Artistic Concept 1. Sanne De Wilde i Benedicte Kurzen: Land of Ibeji, serija od 14 fotografija / 14 photographs in series; 70,6 x 60,4 cm


Impressum: Izložba / Exhibition Kustosice izložbe / Exhibition curators: Dunja Nekić, MUO i Iva Prosoli, MUO Likovni postav / Exhibition setup: Dunja Nekić, MUO i Iva Prosoli, MUO Priprema / Digital processing: Davor Horvat, COLOROOM Digitalni ispis / Print: Studio B-Nula Prijevod / Translation: Dunja Nekić, MUO Katalog / Catalogue Nakladnik / Publisher: Astoria d.o.o. Za nakladnika / For publisher: Tonči Denis Redić Urednici kataloga / Catalogue editors: Tonči Denis Redić, Dunja Nekić, MUO i Iva Prosoli, MUO Tekstovi / Texts: Tonči Denis Redić, Hrvoje Slovenc Prijevod / Translation: Dunja Nekić, MUO Lektura i korektura / Language editing and Proofreading: Antonia Došen, MUO Likovno oblikovanje / Catalogue design: Tina Radosavljević, Astoria dizajn studio, Rijeka Priprema fotografija za tisak / Processing of photographs: Studio B-Nula Tisak / Print: Kerschoffset Zagreb d.o.o. Naklada / Circulation: 450 ISBN 978-953-55330-9-2 Rijeka, 2019.

Pokrovitelj izložbe / Sponsor:

Partner projekta / Partner:

Digitalni ispis fotografija / Digital print

Priprema / Digital processing:


katalog-izlozbe_ovitak-hrbate2016.indd 1

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