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GODIŠNJI NATJEČAJ / ANNUAL CONTEST

ROVINJ PHOTODAYS 2020


GODIŠNJI NATJEČAJ / ANNUAL CONTEST

ROVINJ PHOTODAYS 2020 Zavičajni muzej grada Rovinja, svibanj 2020. / Rovinj Heritage Museum, May 2020 Muzej moderne i suvremene umjetnosti Rijeka, studeni 2020. / Museum of Modern and Contemporary Art Rijeka, November 2020


Ocjenjivački Sud / Jury

Hrvoje Slovenc Predsjednik žirija / President of the jury

Fotograf / Photographer, NY

Bruna Kazinoti

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.

Fotografkinja / Photographer, CRO

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

Sabina Salamon Muzej moderne i suvremene umjetnosti u Rijeci / Museum of Modern and Contemporary Art in Rijeka, CRO

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

Ono što je zajedničko finalistima festivala Rovinj Photodays 2020 je akutna svijest o svrsi vlastite fotografije, kako ona funkcionira u svijetu. S time na umu, bila je čast raditi s drugim članovima žirija: Brunom Kazinoti, Sabinom Salamon i Unom Popović. Zajedno smo bili zaduženi za težak zadatak odabira iz velikog broja fotografija koje su bile vizualno i konceptualno bogate. Tijekom proučavanja radova više smo se puta vraćali pojedinim radovima koji su se, osim jednostavnih slika, transformirali u slojevite vizualne tekstove.

What the finalists of Photodays 2020 have in common is an acute awareness of the purpose of their own photography, how it functions in the world. In thinking about that output, it was an honor to work with other members of the jury: Bruna Kazinoti, Sabina Salamon, and Una Popovic. Together we were charged with the difficult task of cherry-picking from a large body of images that are visually and conceptually rich. While studying the submissions we found ourselves returning multiple times to individual works. Beyond simple pictures we found they transformed into layered visual texts.

Dokumentarna

Documentary

Kategorija dokumentarne fotografije tradicionalno je najjača, velikim dijelom zbog same prirode teme. Radovi trojice finalista ovdje istražuju teme relevantne za suvremeno društvo. Na primjer, projekt Alessia Paduana-Libero priča o ženama Nigerije koje su završile u prostituciji tražeći bolji život u Italiji. Nik Neubauer nudi manje konvencionalni dokumentarni projekt. Njegovo je rad čak neznatno povezan s geografskim položajem, precizno južnom Italijom. Fotografije čine vizualni dnevnik naizgled nepovezanih trenutaka, uključujući odavanje počasti svojim prijateljima i strancima te događaje i mjesta koja je ovjekovječio u procesu vizualnog istraživanja. Svijet koji njegove fotografije stvaraju je nefiltriran i sirov. Durguta je, kroz dosta slični pristup, fotografirao izbjeglice u Vučjaku, kampu u blizini bosanskog grada Bihaća. Mjesto je izgrađeno na odlagalištu otpada, a nema ni tekuće vode ni struje. Ove moćne slike daju izbjeglicama vrlo ljudsko lice.

The documentary photography category is traditionally the strongest, in large part because of the nature of the subject matter. The works of the three finalists here explore topics relevant to contemporary society. Alessio Paduano-Libero’s project, for example, tells the story of Nigerian women who ended up in the grip of prostitution while seeking a better life in Italy. Nik Neubauer offers a less conventional documentary project. His work is loosely tied to a geographical location, namely southern Italy. The images constitute a visual diary of seemingly unrelated moments, including a tribute to his friends and strangers and events and places he captured in the process of visual exploration. The world that his photographs create is unfiltered and raw. In a not unsimilar vein, Durguta photographs refugees in Vucjak, a camp near the Bosnian town of Bihac. The site is built on top of a landfill and has neither running water nor electricity. These powerful images lend the refugees a very human face.


Portret

Portrait

Odabrani radovi u ovoj kategoriji zasigurno proširuju definiciju portreta. Finalisti su preuzeli težak zadatak redefiniranja kategorije kako bi se obuhvatili ne samo ljudski subjekt, već i grad, generacija i identitet. Patrick Bienert, na primjer, prikazuje mlade Gruzijce koji su odrasli na prijelazu iz sovjetskog komunizma u zapadni kapitalizam. Njegovi subjekti očito traže kulturnu srodnost s Europom, istovremeno se dijelom definirajući tradicionalnim, patrijarhalnim normama, umotani u ethos Gruzijske pravoslavne crkve. Konceptualno ovaj projekt proširuje portretiranje izvan prepoznatljivih lica i uključuje kulturno-povijesni trenutak. Slično tome, Mihail Lebedev se fokusira na Umyot, malo selo u Rusiji. Točnije, fotografira male restorane u obiteljskom vlasništvu i njihove vlasnike. Broj ovih ustanova gomila se od 1990-ih, a sve u nadi da će oživjeti devastirano lokalno gospodarstvo. Denis Butorac koristi autoportrete, arhivske slike, pa čak i vez, za istraživanje osobnog identiteta i obiteljske povijesti.

The selected works in this category expand the definition of the portrait for sure. The finalists took on the difficult task of redefining the category to include not just the human subject but a town, a generation, and an identity. Patrick Bienert, for instance, portrays young Georgians who grew up in the transition from Soviet communism to Western capitalism. His subjects clearly seek a cultural affinity with Europe while defining themselves in part by traditional, patriarchal norms, wrapped up as they are in the ethos of the Georgian Orthodox Church. Conceptually, this project expands portraiture beyond recognizable faces to include a cultural-historical moment. Similarly, Mikhail Lebedev focuses on Umyot, a small village in Russia. More specifically, he photographs small, family-owned restaurants and their proprietors. The number of these establishments has mushroomed since the 1990s, all in the hopes of reviving a devastated local economy. Moreover, Denis Butorac uses selfportraits, archival images, and even embroidery to explore personal identity and family history.

Arhitektura

Architecture

Radovi odabrani u ovoj kategoriji uglavnom koriste arhitekturu kao sredstvo za istraživanje zamršenih priča. Na prvi pogled čini se da djelo Fadila Šarkija samo dokumentira vizualnu transformaciju Monaka, no Šarki doslovno hoda granicom između kopna Monaka i nedavno iskrčenog zemljišta na kojem će biti postavljen novi apartmanski kompleks. Simbolično, međutim, Šarki istražuje društvenu hijerarhiju i odgovornost kroz ovaj i slične projekte. Ivana Jagušić, s druge strane, fotografira kostur nikad dovršenog medicinskog centra u Zagrebu. Njezin rad nadilazi čistu dokumentaciju napuštene građevine. Svaka njezina fotografija otkriva detalje koji ukazuju na to da je projekt vjerojatno bio osuđen od samog

The works selected in this category by and large employ architecture as a device for pursuing intricate stories. At first glance it appears that Fadil Sarki’s work merely documents the visual transformation of Monaco. Sarki literally walks on a border between mainland Monaco and a recently reclaimed plot on which a new apartment complex will be erected. Symbolically, however, Sarki is exploring social hierarchy and responsibility through this and similar projects. Ivana Jagusic, on the other hand, photographs the skeleton of a never-completed medical center in Zagreb, Croatia. Her work goes beyond the sheer documentation of an abandoned structure. Each of her images reveals details which suggest the project was probably doomed from the start. She photographs a piece


početka. Ona fotografira arhitekturu koja bi, čak i da je završena, više nego vjerovatno bila nefunkcionalna.

of architecture that even if completed would have more than likely been dysfunctional.

Pejzaž

Landscape

Kao i kod prethodnih fotografa, i ovdje se činilo kako finalisti redefiniraju kategoriju. Sandra Lensink transformira poznati pejzaž u vizualno upečatljiv portret psihe. Čini se da pita: Kako možemo vizualizirati scenu u smislu stanja duha, borbe? Na taj način okolina metaforizira složen skup borbi mentalnog zdravlja. Serena Vitrorini predstavlja nam rad koji je organiziran oko određenog zemljopisnog položaja: mjesta industrijske baštine, Bois du Cazier, u Belgiji. Mjesto radnje je bivši rudnik ugljena, lokacija velike rudarske nesreće koja se dogodila 1956. Ovaj osebujni hibrid između dokumentacije i fikcije istražuje povijest mjesta kako bi se razmišljalo o pitanjima raseljavanja, eksploatacije i ekologije. Kontrast privlačne kolorističke fotografije postavljen pored tkiva natopljenog krvlju, pored rendgenske slike pluća, pored arhivske fotografije nesreće – serija opozicija zahtjeva našu pozornost. Natalia Oreshina fotografira Lahta centar u Sankt Peterburgu, najviši neboder u Europi. Strukturu je izgradio Gazprom, najveća plinska kompanija na svijetu. Fotografirajući toranj s različitih lokacija po gradu, Oreshina komentira rastući utjecaj velikih korporacija na okoliš i kolektivnu svijest.

As with the previous photographers the finalists here too seemed to be about redefining the category. Sandra Lensink transforms a familiar landscape into a visually arresting portrait of a psyche. She seems to ask: How can we visualize a scene in terms of a state of mind, a struggle? In that way the setting metaphorizes a complex set of mental health struggles. Serena Vitrorini presents us with a body of work organized around a particular geographical location: the industrial heritage site, Bois du Cazier, in Belgium. The setting is a former coal mine, the location of a major mining accident that occurred in 1956. This peculiar hybrid between both document and fiction explores the history of the location in order to think about issues of displacement, exploitation, and ecology. The juxtaposition of an alluring color photograph placed next to a tissue soaked in blood, next to an X-ray image of lungs, next to an archival photograph of an accident—that series of juxtapositions is gripping. Natalia Oreshina photographs Lahta Center in St. Petersburg, the tallest skyscraper in Europe. The structure was built by Gazprom, the largest gas company in the world. By photographing the tower from different locations around the city, Oreshina comments on the growing influence that big corporations have on both the environment and collective consciousness.

Akt / Tijelo

Nude / Body

U svojoj seriji „Bukača“ Aida dokumentira odnos Martine i Gorana. Martina je preživjela karcinom dojke, a Igor je zadobio opekline četvrtog stupnja u nesreći koju je preživio kao dijete. Njezine su fotografije dirljive i srdačne, ali primjetno lišene sentimentalnost

In her series “Bukaca”, Aida documents the relationship between Martina and Goran. The former is a breast cancer survivor and the latter suffered fourth-degree burns in an accident he survived as a child. Her photographs are touching and heartfelt, and notably stripped of sentimentality.


Moda

Fashion

Dvoje finalista odabranih za ovu kategoriju ne iznenađujuće također odstupaju od konvencija modne fotografije. Katarina Marković koristi elemente performansa i forme usvojene iz Gauginovog “Božjeg dana” za scenografiju modnog editorijala.

The two finalists selected for this category not surprisingly also deviate from the conventions of fashion photography. Katarina Markovic uses elements of performance and form adopted from Gaugin’s “The Day of the God” to stage a fashion editorial.

Serija Patricka Bienarta, „Trgovina odjećom“, usvaja konvencije socijalne dokumentarne fotografije. Prema njegovim riječima, gotovo polovica sve odjeće koja se prodaje u Tunisu je rabljena. Trajni učinak takvog masovnog uvoza je dvosložan. S jedne strane, tekstilna industrija Tunisa snažno je pogođena jeftinom uvoznom robom, što uzrokuje pad domaće proizvodnje. S druge strane, praksa recikliranja odjeće široko se smatra odgovornim, ekološki prihvatljivim naporom. Zemlje potiču ovu trgovinu kako bi održale vlastitu odjevnu industriju živom i uspješnom, ali ciklus promicanja odgovornog života uz istovremeno podržavanje nezasitne potrošnje rezultira paradoksom, složenom vezom između stranog uvoza te lokalne i globalne ekologije.

Hrvoje Slovenc

Patrick Bienart’s series, “Clothing Trade,” adopts the conventions of social documentary photography. According to him, almost half of all clothes sold in Tunisia are second-hand. The lingering effect of such mass import is two-fold. On one hand, Tunisia’s textile industry is heavily affected by cheap imported goods, causing a slump in domestic production. On the other hand, the practice of recycling garments is widely considered a responsible, ecological-sound effort. Countries encourage this trade in order to keep their own garment industries alive and thriving. But the cycle of promoting responsible living while simultaneously supporting insatiable consumption results in a paradox, a complex relation between foreign import, local economy, and global ecology.

Hrvoje Slovenc


ARHITEKTURA / ARCHITECTURE: 1. MJESTO / 1ST PLACE Fadil Šarki: Monako čeka bogate ROĐEN / BORN: 1951. PROFESIJA / PROFESSION: fotoreporter / photojournalist ŽIVI I RADI U / LIVES & WORKS IN: Beograd, Srbija / Belgrade, Serbia


ARHITEKTURA / ARCHITECTURE: 2. MJESTO / 2ND PLACE Ivana Jagušić: Bez broja ROĐENA / BORN: 1983. PROFESIJA / PROFESSION: grafički dizajner / graphic designer ŽIVI I RADI U / LIVES & WORKS IN: Zagreb, Hrvatska / Zagreb, Croatia


DOKUMENTARNA / DOCUMENTARY: 1. MJESTO / 1ST PLACE Alessio Paduano: Contemporary slavery: the lost daughters of Nigeria ROĐEN / BORN: 1984. PROFESIJA / PROFESSION: fotoreporter / photojournalist ŽIVI I RADI U / LIVES & WORKS IN: Napulj, Italija / Naples, Italy


DOKUMENTARNA / DOCUMENTARY: 2. MJESTO / 2ND PLACE Nik Erik Neubauer: You cry twice when you go to the South ROĐEN / BORN: 1994. PROFESIJA / PROFESSION: Student / Student ŽIVI I RADI U / LIVES & WORKS IN: Ljubljana, Slovenija / Ljubljana, Slovenia


DOKUMENTARNA / DOCUMENTARY: 3. MJESTO / 3RD PLACE Armin Durgut: Jungle camp ROĐEN / BORN: 1995. PROFESIJA / PROFESSION: fotoreporter / photojournalist ŽIVI I RADI U / LIVES & WORKS IN: Sarajevo, Bosna i Hercegovina / Sarajevo, Bosnia & Herzegovina


MODA / FASHION: 1. MJESTO / 1ST PLACE Patrick Bienert: Clothing trade ROĐEN / BORN: 1980. PROFESIJA / PROFESSION: fotograf / photographer ŽIVI I RADI U / LIVES & WORKS IN: München, Njemačka / Munich, Germany


MODA / FASHION: 2. MJESTO / 2ND PLACE Katarina Marković: The Day Of God ROĐENA / BORN: 1993. PROFESIJA / PROFESSION: fotografkinja / photographer ŽIVI I RADI U / LIVES & WORKS IN: Beograd, Srbija / Belgrade, Serbia


PEJZAŽ / LANDSCAPE: 1. MJESTO / 1ST PLACE Sandra Lensink: Darkness enlightens us ROĐENA / BORN: 1970. PROFESIJA / PROFESSION: fotografkinja i spisateljica / Photographer & Writer ŽIVI I RADI U / LIVES & WORKS IN: Waalre, Nizozemska / Waalre, Netherlands


PEJZAŽ / LANDSCAPE: 2. MJESTO / 2ND PLACE Serena Vittorini: Dans mon souvenir, c’était blanc ROĐENA / BORN: 1990. PROFESIJA / PROFESSION: vizualna umjetnica / visual artist ŽIVI I RADI U / LIVES & WORKS IN: Bruxelles, Belgija / Brussels, Belgium


PEJZAŽ / LANDSCAPE: 3. MJESTO / 3RD PLACE Natalia Oreshina: Skyscraper ROĐENA / BORN: 1974. PROFESIJA / PROFESSION: dokumentarna fotografkinja / documentary photographer ŽIVI I RADI U / LIVES & WORKS IN: Sankt Peterburg, Rusija / St. Petersburg, Russia


AKT-TIJELO / NUDE-BODY: 1. MJESTO / 1ST PLACE Aida Redžepagić: Bukača ROĐENA / BORN: 1986. PROFESIJA / PROFESSION: freelance fotografkinja / freelance photographer ŽIVI I RADI U / LIVES & WORKS IN: Sarajevo, Bosna i Hercegovina / Sarajevo, Bosnia & Herzegovina


PORTRET / PORTRAIT: 1. MJESTO / 1ST PLACE Patrick Bienert: East End of Europe ROĐEN / BORN: 1980. PROFESIJA / PROFESSION: fotograf / photographer ŽIVI I RADI U / LIVES & WORKS IN: München, Njemačka / Munich, Germany


PORTRET / PORTRAIT: 2. MJESTO / 2ND PLACE Mikhail Lebedev: Random restaurateurs ROĐEN / BORN: 1988. PROFESIJA / PROFESSION: fotograf / photographer ŽIVI I RADI U / LIVES & WORKS IN: Sankt Peterburg, Rusija / St. Petersburg, Russia


PORTRET / PORTRAIT: 3. MJESTO / 3RD PLACE Denis Butorac: Poslanica ROĐEN / BORN: 1992. PROFESIJA / PROFESSION: fotograf / photographer ŽIVI I RADI U / LIVES & WORKS IN: Zagreb, Hrvatska / Zagreb, Croatia


KATALOG / CATALOGUE Digitalni ispis / Digital print 2020

Arhitektura / Architecture 1. Fadil Šarki: Monako čeka bogate; serija od 16 fotografija / 16 photographs in series 2. Ivana Jagušić: Bez broja; serija od 11 fotografija / 11 photographs in series

Dokumentarna / Documentary 1. Alessio Paduano: Contemporary slavery: the lost daughters of Nigeria; serija od 18 fotografija / 18 photographs in series 2. Nik Erik Neubauer: You cry twice when you go to the Southms; serija od 14 fotografija / 14 photographs in series 3. Armin Durgut: Jungle camp; serija od 10 fotografija / 10 photographs in series

Moda / Fashion 1. Patrick Bienert: Clothing trade; serija od 18 fotografija / 18 photographs in series 2. Katarina Marković: The Day Of God; serija od 7 fotografija / 7 photographs in series


Pejzaž / Landscape 1. Sandra Lensink: Darkness enlightens us; serija od 12 fotografija / 12 photographs in series 2. Serena Vittorini: Dans mon souvenir, c’était blanc; serija od 16 fotografija / 16 photographs in series 3. Natalia Oreshina: Skyscraper; serija od 10 fotografija / 10 photographs in series

Akt - Tijelo / Nude - Body 1. Aida Redžepagić: Bukača; serija od 6 fotografija / 6 photographs in series

Portreti / Portrait 1. Patrick Bienert: East End of Europe; serija od 17 fotografija / 17 photographs in series 2. Mikhail Lebedev: Random restaurateurs; serija od 20 fotografija / 20 photographs in series 3. Denis Butorac: Poslanica; serija od 20 fotografija / 20 photographs in series


Impressum: Izložba /Exhibition Kustosice izložbe / Exhibition curators: Sabina Salamon Likovni postav / Exhibition setup: Sabina Salamon Priprema i digitalni ispis, oprema fotografija / Digital processing and print, Mounting of photographs: Studio B-Nula Prijevod / Translation: Ana Dujmović Katalog / Catalogue Nakladnik / Publisher: Astoria d.o.o. Za nakladnika / For publisher: Tonči Denis Redić Urednici kataloga / Catalogue editors: Denis Redić, Sabina Salamon Tekstovi / Texts: Hrvoje Slovenc Prijevod / Translation: Dunja Nekić 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 978-953-55330-2-3 Rijeka, 2020

Pokrovitelj izložbe / Sponsor:

digitalni ispis fotografija / digital print

Partner projekta / Partner:


katalog-izlozbe_ovitak-hrbate2016.indd 1

GODIŠNJI NATJEČAJ / ANNUAL CONTEST

ROVINJ PHOTODAYS 2016

Profile for Rovinj Photodays

Rovinj Photodays 2020  

Rovinj Photodays 2020  

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