Rovinj Photodays 2022

GODIŠNJI NATJEČAJ / ANNUAL CONTEST

ROVINJ PHOTODAYS 2022

GODIŠNJI NATJEČAJ / ANNUAL CONTEST

ROVINJ PHOTODAYS 2022 Muzej moderne i suvremene umjetnosti Rijeka, studeni 2022. / Museum of Modern and Contemporary Art Rijeka, November 2022

Izložba pobjednika i finalista festivala Rovinj Photodays 2022

Rovinj Photodays 2022 Festival Winners & Finalists Exhibition

Petnaesto po redu izdanje Rovinj Photodaysa još jednom donosi niz uzbuđenja široj fotografskoj zajednici okupljenoj oko godišnjeg tradicionalnog javnog natječaja.

The fifteenth edition of Rovinj Photodays once again brings a series of exciting events to the broader photographic community, gathered around the traditional annual public competition.

Na ovogodišnji je natječaj, do 25. veljače, prijavljeno 2700 fotografija autora iz 12 zemalja svijeta.

Ocjenjivački je sud imao zadaću odabrati finaliste natječaja i među njima dobitnika Grand Prix-a, odnosno sveukupnog pobjednika natječaja. U procesu žiriranja dana im je autonomija odlučivanja o broju i sastavu finalista, kako bi osigurali da konačna izložba finalista predstavlja zaista najbolje od prijavljenih radova.

Ove godine se među finalistima u šest natjecateljskih kategorija pozicioniralo 7 autora iz Hrvatske, 8 iz Italije (uključujući jedan duo) i po jedan autor iz Poljske, Slovenije i Srbije.

Izložba radova ovih 18 autora u Multimedijalnom centru središnja je točka događanja na festivalu koji se održava 6. - 8. svibnja u Rovinju.

Nastavljamo našu suradnju s Muzejom moderne i suvremene umjetnosti u Rijeci, koji uključuje jesensku izložbu finalista te uvrštenje u Zbirku fotografije MMSU Rijeka svih radova sa završne izložbe. Vjerujem da je svakom autoru najvrjednija nagrada upravo ta da će se njegovim likom i djelom u naredih x godina baviti kustosi u relevantnoj nacionalnoj instituciji.

By February 25, 2,700 photographs from 12 countries had been submitted to this year’s competition.

The jury had the task of selecting the finalists of the competition and among them the winner of the Grand Prix, ie the overall winner of the competition. In the judging process, they were given complete autonomy to decide on the number and composition of the finalists, to ensure that the final exhibition of the finalists is really the best of the submitted works.

Among the finalists this year, there were 7 authors from Croatia, 8 from Italy (including a duo!) and one author from Poland, Slovenia, and Serbia each.

The exhibition of works by these 18 authors, at the Multimedia Center, is the focal point of the festival’s events, which takes place between May 6 and 8 in Rovinj.

We are also continuing our cooperation with the Museum of Modern and Contemporary Art in Rijeka, which includes the autumn exhibition of finalists and their inclusion in the Collection of Photography MMSU Rijeka. I believe that the most valuable award for every author is that his character and work will be dealt with by curators of a relevant national institution in years to come.

NAGRADE I PRIZNANJA:

FINALISTS PRIZES:

1. Prezentacija svih radova finalista s pripadajućim izjavama autora na službenoj web stranici

1. Presentation of all the works of the finalists with the corresponding statements of the authors on the official website

2. Prezentacija odabranih radova finalista na zajedničkoj izložbi za vrijeme trajanja festivala u Rovinju te krajem studenoga 2022. u Muzeju moderne i suvremene umjetnosti u Rijeci

2. Presentation of the selected finalists works at the joint exhibition during the festival in Rovinj, and at the end of October 2022, at the Museum of Modern and Contemporary Art in Rijeka

3. Svi nominirani radovi sa završne izložbe finalista u printanoj i digitalnoj formi ostaju u stalnom fundusu muzeja 4. Svim finalistima pripada službeni katalog završne izložbe u printanoj ili digitalnoj formi 5. Svi pobjednici po kategorijama dobivaju besplatan smještaj na bazi polupansiona za dvije osobe u Hotelu Istra na otoku sv.Andrije u Rovinju na završnici festivala u svibnju 2022.

6. Po odabiru glavnog selektora jedan će pobjednički rad biti izložen u Galeriji Photon u Beču GRAND PRIX 2022.

1. Novčani iznos od 2.000 Eura

3. All nominated works from the final exhibition of the finalists in printed or digital form remain in the permanent holdings of the museum 4. All finalists get an official catalog of the final exhibition in a printed or digital form 5. All winners in every category will receive free accommodation on a half board basis in the Island hotel Istra for two people in Rovinj at the festival in May 2022.

6. After the selection the jury president will choose one winning work to be exhibited at the Photon Gallery in Vienna GRAND PRIX 2022.

1. Cash prize of 2,000 Euros

2. Samostalna izložba s pripadajućim katalogom na završnici festivala u svibnju 2023. godine u Rovinju

2. Solo exhibition with the accompanying catalog at the end of the festival in May 2023 in Rovinj

3. Besplatan smještaj na bazi polupansiona u Hotelu Istra na otoku sv.Andrije za vrijeme boravka u Rovinju 2022.

3. Free accommodation on a half board basis in the Island hotel Istra during the 2022 and 2023 festival editions

4. Samostalnu izložbu s pripadajućim katalogom u Muzeju moderne i suvremene umjetnosti u Rijeci tijekom jeseni 2023. godine

4. Solo exhibition with the accompanying catalog in the Museum of Modern and Contemporary Art in Rijeka during the autumn of 2023

5. Posebna pozicioniranost u fundusu muzeja gdje rad ostaje na skrb kustosa u digitalnoj ili otisnutoj formi (po izboru autora)

5. Special positioning in the museum’s holdings where the work remains in care of the curators in digital or printed form (author’s choice)

6. Priznanje: Grand Prix Photodays 2022

6. The Grand Prix Photodays 2022 written plaque

U ime cjelokupnog savjeta i tima festivala koristim priliku još jednom čestitati svim finalistima i pobjednicima natječaja.

On behalf of the entire festival ouncil and team, I take this opportunity to once again congratulate all the finalists and winners of the competition.

Želim vam puno uspjeha u vašem stvaralačkom radu...

I wish you a lot of success in your creative work...

S poštovanjem, Denis Redić direktor festivala Rovinj Photodays

Sincerely, Denis Redić, Director of Rovinj Photodays Festival

Predsjednik žirija:

Ocjenjivački Sud / Jury

Dejan Sluga Predsjednik žirija / President of the jury kritičar, urednik, Udrugu Photon / critic, editor, Photon Association, SLO

Hrvoje Slovenc Fotograf / Photographer, NY

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

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

Stefania Rössl Direktorica OMNEFesta / director of OMNEFest, IT

Massimo Sordi Fotograf i direktor OMNEFesta / Photographer and director of OMNEFest, IT

Dejan Sluga diplomirao je povijest umjetnosti i sociologiju kulture na Filozofskom fakultetu u Ljubljani. Postdiplomski studij završio je na Sotheby’s Art Institute u Londonu i upisao doktorat na Fakultetu humanističkih studija u Kopru.

Sluga je radio kao kritičar, urednik i voditelj odnosa s javnošću za razne medijske i kulturne organizacije u Ljubljani / Sloveniji.

2003. godine osnovao je Udrugu Photon, Galeriju i kasnije Centar za suvremenu fotografiju. 2005. godine organizira prvi festival Photonic Moments - Month of Photography u Ljubljani.

Djelatnost Photona proširio je 2012. uspostavljanjem bečke podružnice Photona i tamo 2013. otvorio galeriju. Upravitelj je, direktor programa i kustos obje organizacije.

President of the jury: Dejan Sluga graduated Art History and Sociology of Culture at the Philosophical Faculty at the Ljubljana University. He finished his post-graduate studies at the Sotheby’s Art Institute in London and enrolled in Ph.D. studies at the Faculty of Humanistic Studies in Koper (unfinished).

Sluga worked as a critic, editor and public relations manager for various media and cultural organizations in Ljubljana/Slovenia.

In 2003 he established the Photon Association, Gallery and later Center for Contemporary Photography. In 2005 he organized the first Photonic Moments - Month of Photography festival in Ljubljana. He expanded Photon’s activities in 2012 by establishing a Vienna branch of Photon and opened a gallery there in 2013. He is the manager, program director and curator of both organizations.

Osvrt Dejana Sluge

Dejan Sluga’s review

I ove godine se godine na natječaj Rovinj Photodays festivala prijavio pozamašan broj fotografa, među kojima po brojnosti i kvaliteti prednjače prijave iz Italije. Natječaj je bio otvoren za amaterske i profesionalne fotografe. U prijavljenim serijama autori se bave i predstavljaju aktualne teme specifične za taj prostor. Tako prijave i izbor finalista svaki put iznova nude uvid u najnoviju aktualnu produkciju na polju suvremene fotografije u regiji.

This year, once again, a significant number of photographers submitted their work to the Rovinj Photodays competition, but in terms of quantity and quality, submissions from Italy really stood out this year.

Međunarodni žiri svaki put bira prijavljene radove u šest kategorija i to na području dokumentarne fotografije te žanru arhitekture, mode, portreta, pejzaža i tijela/akta. O ovom izboru je odlučivala međunarodni ocjenjivački sud u sastavu: Una Popović, Hrvoje Slovenc, Sabina Salamon, Stefania Rossi, Massimo Sordi i Dejan Sluga kao predsjednik. U svakoj kategoriji smo za središnju festivalsku izložbu odabrali po tri rada, koji pokazuju kvalitetu i originalnost kako u formalnom pristupu tako i u izboru tema. U užem izboru bilo je priličan broj radova koji su odgovarali očekivanju žirija, a dobitnik Grand Prix nagrade festivala, bio je među najboljima u svakoj kategoriji pri čemu smo se vodili kriterijem autorskog pristupa.

Akt / Tijelo Čovjekovo tijelo ostaje i u suvremenoj umjetnosti i fotografiji dovoljno intrigantan motiv, premda su određeni pristupi ove motivike prevladani, klišejski i banalni. Bez obzira na to, prikaz ljudskog tijela u fotografiji zauzima posebno mjesto.

U velikoj mjeri još uvijek širi granice društveno prihvaćenog.

Budući da smo posebnu pažnju pridali izvornosti, duhovitosti i aktualnosti, prvo mjesto smo dodijelili projektu Alessia Paduana „Otpornost porno industrije“ („The porn industry resilience“), koji tematizira porno industriju u vrijeme pandemije. Dokumentarni projekt otkriva zaleđe produkcije koja je u posljednje dvije godine bila pred velikim izazovima. Sa

Both amateur and professional photographers joined the competition, mostly from the region of Southeast Europe. In the series we’ve seen, the authors mostly discuss and present current topics specific to these areas. Each submission, as well as the selection of finalists, therefore, offers an insight into the latest, current productions in the field of contemporary photography in this area.

In each category, we selected three works for the main festival exhibition, which show quality and originality, both in the formal approach and in the choice of themes. The Grand Prix will be announced at the festival finale, as the best in all categories, especially considering the author’s approach as the basic criteria.

Nude / Body The human body remains a sufficiently intriguing motif in contemporary art and photography. However, certain approaches to this motif have been overcome, clichéd and banal. Nevertheless, the depiction of the human body in photography occupies a special place.

To a large extent, it still expands the socially accepted boundaries.

Particular attention was paid to originality, wit, and topicality, so we awarded first place to Alessio Paduano’s project “The porn industry resilience,” which focuses on the porn industry during the pandemic. The documentary project reveals the background of a production facing major challenges in the last two years. Blaž Stantič Kobal was also convincing with spontaneous black-and-white recordings of everyday life in summer from his series “Melancholic Thoughts.”

A slightly more artistic approach marked the series “Body Timelessness” by Adriano Cascio, referring to the artistic aesthetics and the eternal canon of beauty.

spontanim crnobijelim snimkama ljetne svakodnevice iz serije „Melankolične misli“ bio je uvjerljiv i Blaž Stantič Kobal.

Nešto više umjetnički pristup odredio je seriju „Bezvremenost tijela“ („Body Timelessness“) Adriana Cascia pozivajući se na likovnu estetiku i vječni kanon ljepote.

Arhitektura Sudeći po broju prijava mogli bismo potvrditi da je arhitektura u suvremenoj fotografiji i dalje omiljena tema. Naravno da ovdje nije riječ o specifično profesionalnoj vrsti arhitekturne fotografije, već o neprestanom interesu fotografa za materijalni svijet oko nas u širem smislu.

Odabrane serije fotografija istražuju međusobnu povezanost arhitekture i fotografije; arhitekture kao statične i jedinstvene, fotografije kao fluidne i ponovljive. Arhitekturni motivi naprosto ostaju neiscrpan izvor inspiracije u istraživanju formalnih mogućnosti fotografskog medija. Prvo mjesto je gotovo jednoglasno žiri dodijelio Domagoju Buriloviću za „Selo“ („Dorf“) gdje gotovo u „becherovskoj“ maniri sastavlja fotokolaže zgrada na praznim slavonskim ravnicama. Pritom nije riječ o formalističkom konceptu, autor naime upozorava na demografsku opustošenost slavonskog sela iz kojeg bježi sve veći broj mladih. U projektu „Kompozicija propadanja“ („Composition of Decay“) Areka Nižinskog bilježi postepeno propadanje nekad moćnih zgrada na način prvobitne fotografske tehnike koja zahtjeva višemjesečne ekspozicije. Arhitekturnoj baštini nekadašnje Jugoslavije posvetio se projekt „Jugoslavenski ostaci“ („Yugoslavian Leftovers“) Tomislava Marcijuša koji propituje specifičnu „betonsku utopiju“ i dotiče se osobnog i kolektivnog sjećanja.

Architecture Judging by the number of submissions, we could confirm that architecture is still a favorite topic in contemporary photography. Of course, this is not a particularly professional type of architectural photography but a photographer’s constant interest in the material world around us in a broader sense.

The selected series of photographs explore the interconnectedness of architecture and photography; architecture as static and unique, photographs as fluid and repeatable. Architectural motifs simply remain an inexhaustible source of inspiration in exploring the formal possibilities of the photographic medium. First place has been, almost unanimously, awarded to Domagoj Burilović for his series “Village” (“Dorf”). In it, he composed photo collages of buildings on empty Slavonian plains, almost in the Becher-like manner. This is not a formalistic concept; the author warns of the demographic devastation of the Slavonian village from which an increasing number of young people are fleeing. In the project “Composition of Decay,” Arek Nižinski records the gradual decline of once-powerful buildings in the manner of the original photographic technique that requires months of exposure. Tomislav Marcijuš’s project “Yugoslav Leftovers” is dedicated to the architectural heritage of the former Yugoslavia and questions a specific “concrete utopia” while touching on personal and collective memory.

Documentary Documentary photography usually captures events and places relevant to history and everyday life. It is the easiest way to cross and transcend one’s own genre boundaries. Still, at the same time, at least implicitly, it expresses authorial and artistic aspirations. In this

Dokumentarna Dokumentarna fotografija obično bilježi događaje i mjesta koji su relevantni za povijest i svakodnevicu. Najlakše prelazi i nadilazi vlastite žanrovske granice, no ujedno, barem implicitno, izražava autorske i umjetničke težnje. U tom smislu govorimo o raznim podvrstama dokumentarne fotografije, profesionalnoj reportaži, antropološkim projektima, koji u duljem periodu prate određene pojave iz života. Ponekad je riječ o amaterskoj, akademsko-istraživačkoj, ili u konačnici, o umjetničkoj fotografiji. Francesco Rucci i Francesco Marinelli su u ovoj kategoriji dobili najviše bodova za seriju „Buduća hrana“ („Future Food“) u kojem proučavaju promjene nastupile u proizvodnji i uzgoju, te otvaraju niz pitanja koja će označiti našu budućnosti, naročito prilagodbu na promjene u okolišu. S reportažom o stanju migranata pod nazivom „Bosanski pakao“ („Bosnian Hell“) Alessio Paduano opominje da je tragedija izbjeglica iz blisko-istočnih kriznih područja i te kako prisutna. U seriji »radni naziv: „U potrazi za nadom“ („Looking for Hope“) se Matej Jurčević bavi tematikom mladih, koji odrastaju u manjim mjestima po Balkanu, suočavajući se s pitanjima identitete i pripadnosti.

Portret Portret u povijesti fotografije zauzima posebno mjesto, a do danas se je iz njega kao temeljnog žanra razvilo mnogo podžanrova. Pritom je podložan redefinicijama i reinterpretacijama. Budući da svaki pojedinac ima svoju osobnost i u specifičnoj okolini različito reagira, fotograf ima bezbroj mogućnosti kako zabilježiti i interpretirati osobu pred kamerom.

sense, we are talking about various types of documentary photography, professional reporting, or anthropological projects, which follow certain life phenomena for a long time. Sometimes it is amateur, academic research, or ultimately, art photography. Francesco Rucci and Francesco Marinelli received the most points in this category for the series Future Food. In it, they study changes in production and cultivation and raise several questions that will mark our future, especially adaptation to changes in the environment. In a report on the situation of migrants entitled “Bosnian Hell,” Alessio Paduano warns that the tragedy of refugees from the Middle East crisis areas is very present. In the series “working title: Looking for Hope,” Matej Jurčević deals with the topic of young people growing up in smaller towns in the Balkans, facing issues of identity and affiliation.

Portrait Portraits have a special place in the history of photography. To this day, many sub-genres have developed from it as a fundamental genre. In doing so, it is subject to redefinitions and reinterpretations.

As each individual has their own personality and reacts differently in a specific environment, the photographer has countless options for capturing and interpreting a person in front of the camera.

The author’s approach and, to a lesser extent, the formal-craft skill were, therefore, the decisive criterion for evaluating submissions in this category. In the project “I am too sad to tell you why,” Katarina Marković deals with the topic of grief, i.e., the general topic of melancholy. As the theme gained its iconographic foundation during the Renaissance, the artist deliberately relied on Renaissance portraits and drew inspiration for poses, movements, characters, and scenography from them. In the project “Face to Phase - Me, Myself

Autorski pristup i, u manjoj mjeri, formalno-zanatska spretnost, bili su stoga odlučujući kriterij vrednovanja prijava i u ovoj kategoriji. Katarina Marković se u projektu „Previše sam tužan da bih vam rekao zašto“ bavi temom žalosti odnosno općom temom melankolije. Kako je tema svoje ikonografsko utemeljenje dobila u renesansi, umjetnica se namjerno oslanja na renesansne portrete i iz njih crpi inspiraciju za poze, kretnje, likove i scenografiju. U projektu „Face to Phase - Me, Myself & Nobody“ Marco Castelli preispituje jezik i metodu glume prema dramskom teoretičaru Stanislavskom pri čemu osnova slikovne manipulacije predstavlja lice samog autora.

U finaliste je žiri uvrstio i projekt „Plima“ Ivana Tomaševića, dokumentarni projekt u kojem autor prati svog oca i uži krug njegovog društva hrvatskih veterana, s naglaskom na psihološkim aspektima i stvaranju gotovo fiktivne atmosfere.

Moda Modna fotografija je u osnovi najkomercijalnija, namijenjena prikazivanju odjeće i drugih modnih predmeta, te stoga koristi psihologiju kako bi povećala interes za proizvodom. Obično pokazuje svijet koji je miljama daleko od slika koje nam donosi većina dokumentarne fotografije. Sa stajališta kreativnosti i značaja, ne možemo joj ne priznati kontinuitet postojanja i stvaralačku snagu, koja ju povezuje s ikonama i legendama koje je u minulom razdoblju stvorila. Upravo takvu umjetničku dodanu vrijednost je žiri zapazio kod Rebeke Legović te prvo mjesto dodijelio njezinom projektu „Perspektive identiteta“. Nadahnuće je autorica tražila u arhitekturnim oblicima i snažnim bojama, a dodatnu simboličku dimenziju su dala dva modela, blizanke. Antonija Butković svoju je kreaciju pod nazivom „Novo lice tradicije“ artikulirala osvještavanjem javnosti o problemima koje prostor bivše Jugoslavije trenutno

& Nobody,” Marco Castelli re-examines the language and method of acting according to the play theorist Stanislavski, where the basis of pictorial manipulation is the face of the author himself. Among the finalists is also Ivan Tomašević’s project “Plima,” a documentary project in which the author follows his father and the inner circle of Croatian veterans, emphasizing psychological aspects and creating an almost fictional atmosphere.

Fashion Fashion photography is, at its core, the most commercial, intended to show clothes and other fashion items and therefore uses psychology to increase interest in the product. It usually shows us a world miles away from the images that most documentary photography projects bring us. But, looking from the perspective of creativity and significance, we cannot fail to acknowledge its continuity of existence and creative power, which connects it with the icons and legends it has created in the past. The jury noticed exactly such added artistic value with Rebeka Legović, and awarded her first place for the project “Identity Perspectives.” The author sought inspiration in architectural forms and bold colors, and an additional symbolic dimension was given by the two models, twins. Antonija Butković articulated her creation entitled “New Face of Tradition” by raising public awareness of the problems that the former Yugoslavia currently has with indigenous sheep’s wool. At the same time, Marina Bender was inspired by the issue of discriminatory behavior towards women in positions of power through fashion expression.

Landscape Landscape photography was created to capture the beauty of nature and create scenes that convey feelings of happiness, relaxation, and delight. When we talk about landscape photography in

ima s vunom autohtone ovce, dok je Marina Bender inspirirana problematikom diskriminirajućih ponašanja prema ženama u odnosu na muškarce na radnom mjestu „vođe”, prikazanih u obliku modnog izričaja.

Pejzaž Pejzažna fotografija je nastala s ciljem da uhvati ljepotu prirode i stvori prizore koji prenose osjećaje sreće, opuštenosti i oduševljenja. Kada govorimo o pejzažnoj fotografiji u kontekstu suvremene fotografije, u izboru finalista imamo širok raspon različitih pristupa i motiva. Ljepotu krajolika su zamijenile problematične slike postindustrijskog doba, dok su egzotični motivi u prijavama dobili značenja društveno i ekološko angažiranih projekata. Žiri u ovoj kategoriji prvu nagradu dodjeljuje iznimnom projektu „Crna je rijeka“ („Black is the River“) Pietra Millenottija. U toj je seriji noćnih prizora autor uspio ostvariti metaforičku preobrazbu rijeke Po, tako da je krajolik uz rijeku preselio u sferu nadrealnog. U seriji „Per omnia saecula saeculorum“ se je Francesca Spedalieri usredotočila na očita religijska obilježja na alpskim putevima u krajoliku Valle Grana, na njihov odnos do alpskog teritorija kao i ulogu religije u današnjem svijetu. Marialuisa Cortesi se u projektu „Slušajući Rubikon“ („Listening to the Rubicon“) posvećuje životu ljudi i okolice rijeke koja je snažno ostala upisana u povijest.

Dejan Sluga

the context of contemporary photography, the finalists offer us a wide range of different approaches and motives. The beauty of the landscapes has been replaced by problematic images of the postindustrial era, while exotic motifs in the submissions have taken on the meaning of socially and ecologically engaged projects. In this category, the jury awarded first place to the exceptional project “Black is the River” by Pietro Millenotti. In this series of night scenes, the author managed to achieve a metaphorical transformation of the river Po so that the landscape along the river moved to the realm of the surreal. In the series “Per Omnia Saecula Saeculorum,” Francesca Spedalieri focused on the apparent religious features of the Alpine roads in the Valle Grana landscape and their relationship to the Alpine territory and the role of religion in today’s world. In the “Listening to the Rubicon “project, Marialuisa Cortesi dedicates herself to the life of the people and the surrounding area of the river, which has remained firmly inscribed in history.

Dejan Sluga

ARHITEKTURA / ARCHITECTURE: 1. MJESTO / 1ST PLACE Domagoj Burilović: Dorf ROĐEN / BORN: 1987. Vinkovci, Hrvatska / Vinkovci, Croatia PROFESIJA / PROFESSION: Nastavnik likovne kulture / Art teacher ŽIVI I RADI U / LIVES & WORKS IN: Vinkovci i Županja, Hrvatska / Vinkovci & Županja, Croatia

ARHITEKTURA / ARCHITECTURE: 2. MJESTO / 2ND PLACE Arek Nizinski: Contemplation of Decay ROĐEN / BORN: 1972. Szczecin, Poljska / Szczecin, Poland PROFESIJA / PROFESSION: grafički dizajner / graphic designer ŽIVI I RADI U / LIVES & WORKS IN: Zagreb, Hrvatska i Poljska / Zagreb, Croatia & Poland

ARHITEKTURA / ARCHITECTURE: 3. MJESTO / 3RD PLACE Tomislav Marcijuš: Yugoslavian Leftovers ROĐEN / BORN: 1990. Osijek, Hrvatska / Osijek, Croatia PROFESIJA / PROFESSION: građevinski tehničar i freelance fotograf / construction technician & freelance photographer ŽIVI I RADI U / LIVES & WORKS IN: Osijek, Hrvatska / Osijek, Croatia

DOKUMENTARNA / DOCUMENTARY: 1. MJESTO / 1ST PLACE Francesco Rucci & Francesco Marinelli: Future Food ROĐENI / BORN: 1987 & 1998 Italija / Italy PROFESIJA / PROFESSION: fotografi / photographers ŽIVE I RADE U / LIVE & WORK IN: Bologna, Italija / Bologna, Italy

DOKUMENTARNA / DOCUMENTARY: 2. MJESTO / 2ND PLACE Alessio Paduano: The Bosnian hell ROĐEN / BORN: 1984.

PROFESIJA / PROFESSION: fotoreporter / photojournalist ŽIVI I RADI U / LIVES & WORKS IN: Napulj, Italija / Naples, Italy

DOKUMENTARNA / DOCUMENTARY: 3. MJESTO / 3RD PLACE Matej Jurčević: Working title - Looking for Hope ROĐEN / BORN: 1995. Osijek, Hrvatska / Osijek, Croatia PROFESIJA / PROFESSION: Fotograf / Photographer ŽIVI I RADI U / LIVES & WORKS IN: Osijek, Hrvatska / Croatia

MODA / FASHION: 1. MJESTO / 1ST PLACE Rebeka Legović: Identity perspectives ROĐENA / BORN: 1980. Rijeka, Hrvatska / Rijeka, Croatia PROFESIJA / PROFESSION: urednik \ novinar, fotograf / editor \ journalist, photographr ŽIVI I RADI U / LIVES & WORKS IN: Kopar, Slovenija / Kopar, Slovenia

MODA / FASHION: 2. MJESTO / 2ND PLACE Antonija Butković: A New Twist on Tradition ROĐENA / BORN: 1984. Rijeka, Hrvatska / Rijeka, Croatia PROFESIJA / PROFESSION: dizajnerica digitalnih proizvoda / digital products designer ŽIVI I RADI U / LIVES & WORKS IN: Zagreb, Hrvatska / Zagreb, Croatia

MODA / FASHION: 3. MJESTO / 3RD PLACE Marina Bender: A woman in the business world ROĐENA / BORN: 1995. Dubrovnik, Hrvatska / Dubrovnik, Croatia PROFESIJA / PROFESSION: Odgojiteljica i pedagoginja / Educator and pedagogue ŽIVI I RADI U / LIVES & WORKS IN: Zagreb, Hrvatska / Zagreb, Croatia

PEJZAŽ / LANDSCAPE: 1. MJESTO / 1ST PLACE Pietro Millenotti: Black is the River ROĐEN / BORN: 1973. Italija / Italy PROFESIJA / PROFESSION: Product manager ŽIVI I RADI U / LIVES & WORKS IN: Reggio Emilia, Italija / Reggio Emilia, Italy

PEJZAŽ / LANDSCAPE: 2. MJESTO / 2ND PLACE Francesca Spedalieri: Per omnia saecula saeculorum ROĐENA / BORN: 1991. Rim, Italija / Rome, Italy PROFESIJA / PROFESSION: freelance fotografkinja / freelance photographer ŽIVI I RADI U / LIVES & WORKS IN: Rim, Italija / Rome, Italy

PEJZAŽ / LANDSCAPE: 3. MJESTO / 3RD PLACE Marialuisa Cortesi: Listening to the Rubicon ROĐENA / BORN: 1977. Savignano sul Rubicone, Italija / Savignano sul Rubicone, Italy PROFESIJA / PROFESSION: profesorica u srednjoj školi / secondary school teacher ŽIVI I RADI U / LIVES & WORKS IN: Savignano sul Rubicone, Italija/ Savignano sul Rubicone, Italy

AKT-TIJELO / NUDE-BODY: 1. MJESTO / 1ST PLACE Alessio Paduano: The porn industry resilience ROĐEN / BORN: 1984.

PROFESIJA / PROFESSION: fotoreporter / photojournalist ŽIVI I RADI U / LIVES & WORKS IN: Napulj, Italija / Naples, Italy

AKT-TIJELO / NUDE-BODY: 2. MJESTO / 2ND PLACE Blaž Stantič Kobal: Melancholic Thoughts ROĐEN / BORN: 2001. Izola, Slovenija / Izola, Slovenia PROFESIJA / PROFESSION: fotograf / photographer ŽIVI I RADI U / LIVES & WORKS IN: Koper, Slovenija / Koper, Slovenia

AKT-TIJELO / NUDE-BODY: 3. MJESTO / 3RD PLACE Adriano Cascio: Body Timelessness ROĐEN / BORN: 1967. Catania, Italija / Catania, Italy PROFESIJA / PROFESSION: fotograf / photographer ŽIVI I RADI U / LIVES & WORKS IN: Rapallo, Italija / Rapallo,Italy

PORTRET / PORTRAIT: 1. MJESTO / 1ST PLACE Katarina Marković: I am too sad to yell you why ROĐENA / BORN: 1993. Vranje, Srbija / Vranje, Serbia PROFESIJA / PROFESSION: fotografkinja / photographer ŽIVI I RADI U / LIVES & WORKS IN: Beograd, Srbija / Belgrade, Serbia

PORTRET / PORTRAIT: 2. MJESTO / 2ND PLACE Marco Castelli: Face to Phase - Me, Myself & Nobody ROĐEN / BORN: 1991. Bagno a Ripoli (FI), Italija / Bagno a Ripoli (FI), Italy PROFESIJA / PROFESSION: visual vizualni umjetnik i dokumentarni fotograf / artist and documentary photographer ŽIVI I RADI U / LIVES & WORKS IN: Firenca, Italija / Florence, Italy

PORTRET / PORTRAIT: 3. MJESTO / 3RD PLACE Ivan Tomašević: Plima ROĐEN / BORN: 1989. Našice, Hrvatska/ Našice, Croatia PROFESIJA / PROFESSION: Fotograf / Photographer ŽIVI I RADI U / LIVES & WORKS IN: Berlin, Njemačka / Berlin, Germany

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 & Rovinj Photodays 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: Denis Redić, Dejan Sluga, Ana Dujmović Prijevod / Translation: Ana Dujmović Likovno oblikovanje / Catalogue design: Tina Radosavljević, Astoria dizajn studio, Rijeka Tisak / Print: Kerschoffset Zagreb d.o.o.

Naklada / Circulation: 450 ISBN 978-953-55330-2-3 Rijeka, 2022

Pokrovitelj izložbe / Sponsor:

digitalni ispis fotografija / digital print

Partner projekta / Partner:

katalog-izlozbe_ovitak-hrbate2016.indd 1

GODIŠNJI NATJEČAJ / ANNUAL CONTEST

ROVINJ PHOTODAYS 2016