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GODIŠNJI NATJEČAJ / ANNUAL CONTEST

ROVINJ PHOTODAYS 2017


GODIŠNJI NATJEČAJ / ANNUAL CONTEST

ROVINJ PHOTODAYS 2017 Zavičajni muzej grada Rovinja, svibanj 2017. / Rovinj Heritage Museum, 2017 May Muzej za umjetnost i obrt Zagreb, studeni 2017. / Museum of Arts and Crafts, Zagreb, 2017 November


Izložba pobjednika i finalista festivala Rovinj Photodays 2017

Rovinj Photodays 2017 Festival Winners & Finalists Exhibition

Na ovogodišnji je natječaj do 31. siječnja, pristiglo više od 8600 fotografija. Radove je prijavilo oko 600 autora iz 27 država, a kako je i očekivano, brojem prijava prednjačili su fotografi iz regije. Žiriranje se odvijalo u dva kruga. Nacionalni selektori i Savjetodavni odbor festivala preuzeli su sve radove i suzili izbor glavnom selektoru koji je odabrao tri finalista u svakoj kategoriji. Valja istaknuti kako se ove godine među finalistima pozicioniralo po četiri autora iz Hrvatske i Srbije, 3 iz Bosne i Hercegovine, po 2 iz Slovenije i Makedonije, te po jedan autor iz Velike Britanije, Španjolske, Švedske i Italije.

For this year’s competition, we received over 8,600 photographs by January 31, 2016. Approximately 600 photographers from 27 countries sent in their work and, as expected, a fair number of those were from Croatia and its neighbouring countries. The selection was conducted in two stages: National selectors and the festival’s advisory board narrowed the selection and then forwarded it to the head selector who chose three finalists for each category. It is worth mentioning that amongst them there are 4 photographers from Croatia and Serbia, 3 from Bosnia and Herzegovina, 2 from Slovenia and Macedonia and 1 from Great Britain, Spain, Sweden and Italy each.

Deseto po redu izdanje Rovinj Photodaysa još jednom donosi niz uzbuđenja široj fotografskoj zajednici okupljenoj oko godišnjeg tradicionalnog javnog natječaja. Završna izložba finalista predstavlja javnu internacionalnu promidžbu radova i natjecatelja koji su po ocjenama dvostrukog žiriranja dosegli razinu izvrsnosti. U raspisivanju natječaja, kriterijima, procesu ocjenjivanja, realizaciji i prezentaciji, natjecateljski dio festivala ima za cilj iskazivati najbolju praksu fotografske struke. Natječaj unutar jasnih pravila utemeljenih na struci i ravnopravnosti ostavlja slobodan prostor najprije nacionalnim selektorima a potom i glavnom selektoru da prema svojem uvjerenju i stručnom znanju slobodno ocjeni radove u konkurenciji. U ime cjelokupnog savjeta festivala koristim priliku još jednom čestitati svim finalistima i pobjednicima natječaja.

The tenth Rovinj Photodays festival once again brings a myriad of exciting events to the wide photography community gathered at this traditional annual competition. The closing exhibition of the works by all the finalists is actually an international promotion of excellence for both the competitors and their work, as attested by a twofold jury process. The objective of the competition itself, the criteria, the judging and the assessment process, the production and the presentation is to show the best in photography practice. The competition follows a clear set of rules set by the profession and is based on fairness and impartiality that creates a great environment for the national selectors as well as for the head selector to freely assess the work according to their professional experience, expertise and convictions.

Želim vam puno uspjeha u vašem stvaralačkom radu.

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

S poštovanjem,

Sincerely,

Denis Redić direktor festivala Rovinj Photodays

Denis Redić, Director of Rovinj Photodays Festival


Ocjenjivački Sud / Jury

Glavni selektor / Main selector: Willie Osterman Nacionalni selektori / National selectors: Bosna i Hercegovina / Bosnia and Herzegovina:

Slovenija/ Slovenia:

Dejan Đurić, Andrija Vrdoljak, Budimir Zeljko

Emina Đukić, Katarina Sadovski, Dejan Sluga

Crna Gora / Montenegro:

Srbija/ Serbia:

Ljiljana Karadžić, Duško Miljanić, Stevo Vasiljević

Branimir Karanović, Miroslav Karić, Andrea Palašti

Hrvatska / Croatia:

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

Jelena Blagović, Petar Dabac, Leonida Kovač

koordinacija i vodstvo / coordination and guidance: Italija / Italy: Stefania Rössl , Fabio Severo, Massimo Sordi Makedonija / Macedonia: Elena Bojadijeva-Cvetkovska, Robert Jankuloski, Dragi Nedelchevski

Hrvoje Slovenc


Glavni selektor:

Main Selector:

Willie Osterman je profesor i voditelj odjela Fine Art Photography na Rochester Institute of Technology u New Yorku gdje trenutno predaje, provodi istraživanja i aktivno se bavi umjetnošću. Preddiplomski studij fotografije završio je na sveučilištu Ohio, dok je diplomu primijenjenih umjetnosti iz vizualnog dizajna i fotografije stekao na sveučilištu Oregon, gdje su mu ponuđene dvije nastavničke stipendije.

Willie Osterman is Professor and Chair of Fine Art Photography at the Rochester Institute of Technology, New York where he currently teaches, researches and is working as an active artist. He received his Bachelor of Fine Art degree in photography with a minor in art history from Ohio University, a Master of Fine Art degree in Visual Design and Photography with the award of two teaching fellowships from the University of Oregon.

Nakon diplome, dvije je godine radio kao docent na sveučilištu Oregon. Njegovo profesorsko iskustvo uključuje Ansel Adams Workshops u nacionalnom parku Yosemite i putujuće radionice u 12 saveznih država SADa, kao i u Italiji, Francuskoj, Austriji i Hrvatskoj. Kao bivši kustos za fotografiju Muzeja umjetnosti na Sveučilištu Oregon, primio je dvije stipendije od Nacionalne zaklade za umjetnost. Bio je asistent u produkciji Ansel Adams Special Edition Prints te radio s gospodinom Adamsom u Carmelu, Kalifornija. Radio je i kao fotograf za Eastman Kodak Company. Njegova publikacija ‘Déjà View: A Cultural Re-Photographic Survey of Bologna, Italy’ u svom drugom izdanju je sada izašla iz tiska. Tijekom studijskog dopusta za 2009./10. godinu dodijeljena mu je nagrada Fulbright Scholars za nastavnički položaj i razvoj magistarskog programa na Akademiji dramskih umjetnosti Sveučilišta u Zagrebu.

After graduating he became a visiting assistant professor at the University of Oregon for two years. His teaching experience includes the Ansel Adams Workshops in Yosemite National Park, and in traveling workshops in twelve US states as well as in Italy, France, Austria and Croatia. As Former Curator of Photography at the University of Oregon Museum of Art, he received two grants from the National Endowment of the Arts. He was a printing assistant to the production of the Ansel Adams Special Edition Prints working with Mr. Adams in Carmel California and has worked as a contract photographer for the Eastman Kodak Company. His publication ‘Déjà View: A Cultural Re-Photographic Survey of Bologna, Italy’ in its second edition is now out of print. During his sabbatical for the year 2009/10 he received a Fulbright Scholars Award to develop a Masters Degree program and teach at the Academy of the Dramatic Arts, University of Zagreb, Croatia.


Ostermanov rad nalazi se u mnogobrojnim kolekcijama, uključujući: Muzej suvremene fotografije u Chicagu; Muzej umjetnosti Sveučilišta New Mexico u Albuquerqueu; Muzej George Eastman u New Orleansu; Muzej umjetnosti u Portlandu, Muzej umjetnosti u Eugeneu, Oregon; Lotus Collection u Salzburgu, Austrija; Muzej suvremene umjetnosti u Milanu, Italija; Fotografski arhiv Alinar u Firenzi, Italija i Muzej grada Zagreba.

His work is in numerous collections including: The Museum of Contemporary Photography, Chicago; University of New Mexico Museum of Art, Albuquerque; George Eastman Museum, New Orleans Museum of Art; Portland Museum of Art, Museum of Art, Eugene, Oregon; Lotus Collection, Salzburg, Austria; Museo della Fotografia Cinisell Balsamo, Milan, Italy; Alinari Photographic Archive, Florence, Italy; City Art Museum of Zagreb, Croatia.

Izlagao je diljem SAD-a, uključujući: Muzej umjetnosti u Aspenu, Colorado; Muzej George Eastman, Rochester, NY; Galerija 49th Street u New Yorku, NY; Galerija Ansel Adams, Yosemite, Kalifornija; Fotografski centar u Carmelu, Kalifornija; Muzej primijenjene umjetnosti u St. Petersburgu, Florida; Galerija Sert, sveučilište Harvard; galerija Vision u San Franciscu, Kalifornija; Visual Studies Workshop, Rochester, NY. Njegove međunarodne izložbe, među ostalima, uključuju: Uluslararasi Foto raf Yari masi Međunarodna izložba fotografije, sveučilište Yildiz u Istanbulu, Turska; Arhiv centra za istraživanje fotografije u Milanu, Italija; Kulturni centar Diavassi u Ateni, Grčka; galerija Lotus, Ernsting/Salzburg, Austrija; Međunarodni festival fotografije Ping Yao u Kini; galerija Klovićevi dvori, Kula Lotrščak u Zagrebu.

He has exhibited widely in the US including: Aspen Museum of Art, Aspen, Colorado; The George Eastman Museum, Rochester, NY; The Gallery @ 49th Street, New York, NY; The Ansel Adams Gallery, Yosemite, California; The Photographic Center, Carmel, California; Museum of Fine Arts, St. Petersburg, Florida; The Sert Gallery, Harvard University; Vision Gallery, San Francisco, CA; Visual Studies Workshop, Rochester, NY. His International Exhibitions, among others, include: Uluslararasi Foto raf Yari masi International Exhibition of Photography, Yildiz University, Istanbul, Turkey; Centro Ricerca Archiviazione della Fotografia, Milan, Italy; Diavassi Cultural Center, La Strada ‘Regina Margherita’ Athens, Greece; Lotus Gallery, Ernsting/Salzburg, Austria; Ping Yao International Photography Festival, Ping Yao, China; Galerija Klovicevi dvori Kula Lotrscak, Zagreb, Croatia.


Osvrt Williea Ostermana

Willie Osterman’s review

Odabir fotografija za ovu izložbu pokazao se kao vrlo zahtjevan zadatak, jer su fotografi poslali na natječaj velik broj jakih vizualnih trenutaka. Biti izbornik je uvijek vrlo uzbudljivo, ali ujedno i strahovito stresno. Svoju metodu odabira bazirao sam na vizualnoj intrigantnosti kao i sofisticiranosti prikaza, koju fotografija implicira. Pod time podrazumijevam “održivost” prikaza. Moj postupak uključuje pregledavanje svih fotografija više puta dok se ne upoznam s njima, a zatim procjenjujem njihove prednosti i mane, tehničke kvalitete i promašaje, te konačno, u obzir uzimam i svoju intuiciju. Na početku se taj proces doima se kao nesavladiv zadatak, no gledajući finalno izabrane radove samouvjeren sam u i zadovoljan izborom.

Choosing images for this exhibition is a very difficult task as there are so many strong visual moments shared by the photographers. Being a juror is always very exciting and tremendously stressful. My method of choosing images is based on visual intrigue of the picture as well as the sophistication implied within the image. By that I mean what is the ‘staying power’ of the image. My process was to look at all the images many times and get acquainted with them, then look closely at their strengths and weakness’, technical successes and failures, and finally, my intuitive reaction. At the start of this process I find it quite an overwhelming task. However, as I look at the final accepted pieces I feel confident and pleased with the choices.

Pejzaž

Landscape

Gledajući ovu skupinu fasciniran sam kako vidimo svijet na toliko različitih načina. Neki odlučuju prikazati ljepotu planeta dok drugi pokazuju koliko smo ga uništili. U svojem sam izboru odlučio pokazati i dati važnost onome što jest i onome što činimo. S jedne strane prikaz poput Frozen Dream predstavlja nevjerojatan sjaj našeg planeta, dok je s druge strane serija In Contaminated Lands dokaz onog što smo mu učinili. Dok sam odrastao časopisi o prirodi prikazivali su ljepotu. No danas oni pokazuju opasnost narušavanja ravnoteže svijeta u kojemu živimo. U seriji diptiha Polaris fotografije prikazuju prekrasan krajolik koji odražava i znakove industrijalizacije. Mogli bismo ih shvatiti kao banalne, ali prikazi se tomu opiru i stvaraju simetriju koja je jedinstvena.

As I look at this group I am fascinated by how we see the world in so many different ways. Some show the beauty of the planet while others show how we have destroyed it. In my selection, I chose to show both to give relevance to what is and what we are doing. By showing images such as Frozen Dream it represents the unseen splendor or our planet while In Contaminated Lands the images are evidentiary of what we have done. So often as I was growing up, landscape magazines showed beauty. But now, more so, they are showing the danger of the balance of the world we inhabit. In Polaris the diptychs are presented as a beautiful landscape that shows the industrialization of the landscape. One could consider them trite but graphics oppose that and create a symmetry that is unified.


Portret

Portrait

U ovoj skupini odabrao sam mlade, starije i povijest. Riječ „portret” dolazi iz francuskog jezika, a jedno od značenja podrazumijeva dramatično predstavljanje, poput onog na pozornici. Moj prvi izbor za ovu skupinu pokazuje mrežu fotografija (Life and Photography) i, kako sam ih interpretirao, prati je prekrivanje drugim portretima, koji pokazuju tijek vremena. Fotografija ono čemu smo svjedočili samo na trenutak zapisuje zauvijek. Upravo taj trenutak hvatanja i kondenziranja vremena prisutan je u ovoj mreži fotografija. Prikaz mlade djevojke (Wild Spirit) pokazuje ljepotu i nevinost mladosti, ali i znatiželju budućnosti naznačenu gestom ruke. Dvostruki portret žene (Memories) u fotografiji i slici odražava smisao i protjecanje vremena. Jednostavnost i ljepota geste prikazuje dostojanstvo portretirane.

In this group I choose the young, the elderly and history. The word ‘portrait’ derives from the French and, among meanings, is to ‘portray’ such as to represent dramatically, as on the stage. My first choice for this category shows a grid of images (Life and Photography) and, as I interpret them, flowing with an overlay of other portraits that show the passage of time. Photography records forever what we witness for only a brief moment and this work captures and condenses time into this one gridded image. The image of the young girl (Wild Spirit) shows the beauty and innocence of youth, but also curiosity of the future by the gesture of the hand. The double portrait of the woman photographed (Memories) and the painting reflect the meaning of time and the passage of it. The simplicity and beauty of the gestures reflect the dignity of the sitters.

Akt / Tijelo

Nude / Body

U ovoj skupini izabrao sam i hiper-estetizirane i realistične radove. U našoj mladosti, mnogi su težili izgledu mladog čovjeka s lijepo definiranim mišićima i tetovažama te savršenom gestom i ekspresijom (Portrait of Jonatan, a gypsy boy). No činjenica je da smo se svi razvili u nešto što i nije baš zavodljivo na komercijalan način poput fotografije (Life) koja u sebi sadrži mnogo više stvarnosti od pukog akta. Ovo tijelo odražava iskustvo života, u kojem je u stvarnosti bilo mnogo lijepih, ali i nekih nesretnih (ili ne-lijepih) trenutaka. To je stvarnost s kojom se svi moramo suočiti na ovaj ili onaj način, ako živimo toliko dugo. Rad Ghosts prikazuje tijelo usred leta,

In this category I choose images that are hyper-aestheticized and realistic. In our youth, many aspired to look like the young man with finely tuned muscles and tattoos with the perfect gesture and expression (Portrait of Jonatan, a gypsy boy). The reality is that we each evolve into something not quite as commercially seductive such as (Life) which is much more reality than the Portrait of Jonatan. This body reflects the experience of living a life that in reality had many happy as well as some unhappy (or non-beautiful) moments. That is the reality that we all must face in one way or another, if we live that long. Ghosts shows a body in mid-flight, running past a mirror in an architectural setting. The body suggests strength and motion


u trku pred ogledalom, u arhitektonskom ambijentu. Tijelo odražava snagu i gibanje kao da pluta, dok njegova gesta podsjeća na prizore trka prvih ljudi kroz šumu.

as it floats by and its gesture is reminiscent of early humans running through the woods.

Dokumentarna

Documentary

U ovoj skupini bio sam vrlo impresioniran uhvaćenim trenutcima i korištenjem tehnologije. Serija Europea sadrži sirovost i namjeru svakog prikaza, koja se ogleda u načinu korištenja fotoaparata; one su surove, direktne i teške. Te fotografije su otkrića pojedinca u šetnji, koji živi i otkriva oblike socijalnog pejzaža. One odražavaju distopijsku agendu našeg sadašnjeg trenutka. Za razliku od toga Selfie-Culture bilježi moment u kojem je sve jedinstveno, u kojem su žarište prikaza dvojica muškaraca koji hvataju trenutak koji pokreće fotografiju i savršeno usklađuje s cijelim događajem. Takva fotografija usrećuje promatrača jer i on na neki način sudjeluje u stvaranju trenutka koji prikazuje. Serija Displaced ilustrira sposobnost ljudi da ustraju i u najtežim uvjetima poput migracije zbog političkih sukoba ili previranjima vlasti koje utječu na milijune širom svijeta.

In this category I was most impressed by the moments captured and use of the technology that presents the images. In Europea there is a roughness and deliberateness to the images that is reflected in the use of the camera; they are harsh, in your face and heavy handed. They are discoveries by an individual out walking, living and discovering significant forms in the social landscape. They reflect the dystopian agenda of our current time. In contrast to that Selfie-Culture captures a moment where everything it uniquely in concert and the images’ focal point of two capturing a moment sets off the image to perfectly harmonize with the entire event. This is an image that brings happiness to the viewer as a wonderful decisive moment. Displaced shows the ability of humans to persevere in the most severe conditions such as being displaced due to political strife or differences of governments that affect millions around the world.

Arhitektura

Architecture

Bio sam zaveden prelijevajućim oblicima nosača autoceste na fotografiji Cut i vještim korištenjem boje, kao i snažnim grafičkim dojmom fotografije suncobrana (Tri). Prikaz stadiona iz niskog očišta (Stadion 2) ilustrira strukturu arhitekture no istovremeno odražava fragmente osobnosti onih koji sjede na tribinama, kroz boju njihove odjeće i suptilne geste.

I was seduced by the flowing form on the highway supports on photograph Cut and the subtle color as is similar with the strong graphic of the umbrellas (Tri). The stadium image as seen from below (Stadium 2) exemplifies the architecture of the structure while giving small glimpses of personality by the color of clothing and subtle gestures of the sitters.


Moda

Fashion

Zapela mi je za oko ekstremna upotreba boje u seriji Popout. Ta izrazita (ili pretjerana?) upotreba boje odražava svježinu zastarjelog modnog trenda te sam ostao impresioniran njenom oštrinom. Serija Reckless nosi pogrešan naziv zbog delikatnosti poza i izraza jer odaje dojam smirene senzualnosti, koja je u isto vrijeme i vrlo privlačna. Slika pod nazivom Mongolian Beauty vrlo je suptilna. Prazna ekspresija i zatvorena gesta stvaraju dojam samouvjerenosti, pojačan govorom tijela, koji naglašava odjeću.

The use of extreme color in Popout caught my eye in this series. There is a very strong use (or is it over use?) of color that reflects the brightness of some outdated fashion and I am impressed with the edge of it. Reckless is misnamed as the delicacy of the poses and expressions create an attitude quiet sensuality that is very appealing. The image entitled Mongolian Beauty is very subtle. The empty expression and closed gesture creates a confidence in body language that highlights the clothing.

Umjetnički koncept Ova skupina bila mi je najveći izazov jer je predstavila veliku raznolikost u vrlo jakim radovima. Da sam imao priliku, odabrao bih nekoliko pobjednika. Međutim, kako sam ih pregledavao, stalno sam se vraćao na seriju Post Factum. Postignuta je vizualna snaga u kombinaciji s konceptualnom idejom projekta. Izjava o radu govori o nastojanju jedne osobe da vrati vrijednost životu druge, nepoznate osobe, koji je završio. Izjava uključuje i citat Miljenka Jergovića: „Društvo je izgrađeno na temelju osjećaja, dojmova, utjecaja, vjerovanja - vjerskog ili ideološkog - ne na temelju činjenica. Slobodno od terora činjenica, društvo se osjeća oslobođeno pismenosti, pristojnosti, povijesti, sjećanja.” Ova izjava donosi stav kako mi kao (globalno) društvo možemo sagledati svoju evoluciju i budućnost. U ovom trenutku to je sveprisutno i neophodno. Također, izjava o radu sugerira i činjenicu da je 2016. godina post-istine. Ovaj rad stvara pripovijest o življenom životu i

Artistic Concept This group provided the greatest challenge as there is such a diversity of very strong work. If I had the opportunity I would select several as winners. However, as I reviewed them many, many times I kept coming back to Post Factum. The visual strength combined with the conceptual ideation of the project is excellent. In the writing of the statement it shows how one person attempts to give credence to an unknown person’s life who is passed. The inclusion of Miljenko Jergovic’s writing: ‘A society is built on the basis of feelings, impressions, affects, beliefs – religious or ideological – not based on facts. Free from the terror of facts, a society also feels free from literacy, decency, history, memory.’ This statement presents an opinion about how we as a (global) society can view our evolution and future. At this point it is ever-present and ever-necessary for us to consider. Also, suggested in the artists’ statement is the fact the 2016 is the year of post-truth. This work creates a narrative of a life lived and shows one impression of that life that is gone and, until this work, forgotten. The second place for this category is Inhabit


pokazuje dojam tog života koji je prošao, koji je do ovog rada bio i zaboravljen. Drugo mjesto u ovoj skupini pripalo je seriji Inhabit the Time. Na prvi sam pogled bio impresioniran različitim prizorima i osjetio kako usvajanje „pronađenih slika” potvrđuje važnost onome što se promijenilo uslijed katastrofe. Korištenjem sjećanja na ono što je bilo (implicirano starim fotografijama) u kombinaciji s dokumentima katastrofe (onim što jest) stvaraju se proturječne uspomene za budućnost. Preživljavanje, nakon ovakvog iskustva, je teško. Fotograf je odabrao prikazati samo posljedice; bez ljudi. Na gledatelju je da zamisli ljude nakon katastrofe. Sljedeći izbor u skupini je serija The Beginning of the End. U ovoj seriji gornja polovina diptiha prikazuje ono što je bilo, doj je na donjoj, pretpostavljam, prikazano ono što jest. Bilo da se radi o istom mjestu ili ne, konotacija je prisutna i neizbježna. Na jednom primjeru žena, koja stoji u suvremenom ambijentu suprotstavljena je grupnom portretu u tvornici. Može se pretpostaviti da je na njemu netko koga je poznavala, možda član obitelji. Bez obzira na istinu ona se doima hladno i usamljeno, kao da žali za boljim prošlim vremenima.

the Time. At first glance I was impressed by the variety of imagery and felt the incorporation of the ‘found images’ created relevance to what was changed due to the catastrophe. The use of memory of the way it was (implied by the old images), and documents of the catastrophe (the way it is) combine to create conflicting memories for the future. Survival after something as this is difficult. The photographer chooses to show only the aftermath; devoid of people. It is up to the viewer to imagine the people after the catastrophe. The next selection winner is The Beginning of the End. In this series, the diptychs show on top what was and infer what is in the bottom image. Whether it is the same location or not the connotation is present and unavoidable. In one image, stands a woman in the contemporary frame and is juxtaposed against a group portrait at the factory in the other image. It can be assumed that someone she knew, perhaps a family member is part of the before image. Regardless of truth she is seen as cold and lonely as if wishing for the better days of the past.

Willie Osterman


ARHITEKTURA / ARCHITECTURE: 1. MJESTO / 1ST PLACE Kiril Shtrkov: Cut ROĐEN / BORN: 1958. Skopje, Makedonija / Skopje, Macedonia PROFESIJA / PROFESSION: Zubar / Dentist ŽIVI I RADI U / LIVES & WORKS IN: Skopje, Makedonija / Skopje, Macedonia


ARHITEKTURA / ARCHITECTURE: 2. MJESTO / 2ND PLACE Srđan Dunđerović: Tri ROĐEN / BORN: 1983., Sarajevo, Bosna i Hercegovina / Sarajevo, Bosnia and Herzegovina PROFESIJA / PROFESSION: Ekonomist i fotograf / Economist and Photographer ŽIVI I RADI U / LIVES & WORKS IN: Sarajevo, Bosna i Hercegovina / Sarajevo, Bosnia and Herzegovina


ARHITEKTURA / ARCHITECTURE: 3. MJESTO / 3RD PLACE Vlado Kos: Stadion ROĐEN / BORN: 1965., Osijek, Hrvatska / Osijek, Croatia PROFESIJA / PROFESSION: Fotoreporter / Photojournalist ŽIVI I RADI U / LIVES & WORKS IN: Petrijevci, Hrvatska / Petrijevci, Croatia


DOKUMENTARNA / DOCUMENTARY: 1. MJESTO / 1ST PLACE Joakim Kocjancic: Europea ROĐEN / BORN: 1975., Milano, Italija / Milano, Italy PROFESIJA / PROFESSION: Slobodni fotoreporter / Freelance Photojurnalist ŽIVI I RADI U / LIVES & WORKS IN: Stockholm, Švedska / Stockholm, Sweden


DOKUMENTARNA / DOCUMENTARY: 2. MJESTO / 2ND PLACE Jelena Janković: Selfie Culture ROĐENA / BORN: 1985., Beograd, Srbija / Belgrade, Serbia PROFESIJA / PROFESSION: Umjetnički fotograf / Art photographer ŽIVI I RADI U / LIVES & WORKS IN: Beograd, Srbija i Zagreb, Hrvatska / Belgrade, Serbia and Zagreb, Croatia


DOKUMENTARNA / DOCUMENTARY: 3. MJESTO / 3RD PLACE Milutin Marković: Displaced ROĐEN / BORN: 1998., Beograd, Srbija / Belgrade, Serbia PROFESIJA / PROFESSION: Fotoreporter i student / Photojurnalist and student ŽIVI I RADI U / LIVES & WORKS IN: Beograd, Srbija / Belgrade, Serbia


MODA / FASHION: 1. MJESTO / 1ST PLACE Milica Mrvić: Popout ROĐENA / BORN: 1987., Beograd, Srbija / Belgrade, Serbia PROFESIJA / PROFESSION: Fotograf / Photographer ŽIVI I RADI U / LIVES & WORKS IN: Beograd, Srbija i Budimpešta, Mađarska / Belgrade, Serbia and Budapest, Hungary


MODA / FASHION: 2. MJESTO / 2ND PLACE Nina Mašić: Reckless ROĐENA / BORN: 1990., Sarajevo, Bosna i Hercegovina / Sarajevo, Bosnia and Herzegovina PROFESIJA / PROFESSION: Fotograf / Photographer ŽIVI I RADI U / LIVES & WORKS IN: Sarajevo, Bosna i Hercegovina / Sarajevo, Bosnia and Herzegovina


MODA / FASHION: 3. MJESTO / 3RD PLACE Nina Žnideršić: Mongolian Beauty ROĐENA / BORN: 1989., Brežice, Slovenija / Brezice, Slovenia PROFESIJA / PROFESSION: Fotograf / Photographer ŽIVI I RADI U / LIVES & WORKS IN: Ljubljana, Slovenija / Ljubljana, Slovenia


PEJZAŽ / LANDSCAPE: 1. MJESTO / 1ST PLACE Srđan Vujmilović: Frozen Dream ROĐEN / BORN: 1994. Banja Luka, Bosna i Hercegovina / Banja Luka, Bosnia and Herzegovina PROFESIJA / PROFESSION: Student i slobodni fotograf / Student and Freelance Photographer ŽIVI I RADI U / LIVES & WORKS IN: Aleksandrovac, Bosna i Hercegovina / Aleksandrovac, Bosnia and Herzegovina


PEJZAŽ / LANDSCAPE: 2. MJESTO / 2ND PLACE Rocco Rorandelli: In Contaminated Lands ROĐEN / BORN: 1973., Firenca, Italija / Florence,Italy PROFESIJA / PROFESSION: Dokumentarni fotograf / Documentary photographer ŽIVI I RADI U / LIVES & WORKS IN: Rim, Italija / Rome, Italy


PEJZAŽ / LANDSCAPE: 3. MJESTO / 3RD PLACE Kollatou Elena and Toumpanos Leonidas: Polaris ROĐEN / BORN: 1984. / 1983., Atena, Grčka / Athens, Greece PROFESIJA / PROFESSION: Dokumentarni fotografi / Documentary photographers ŽIVI I RADI U / LIVES & WORKS IN: London, Engleska, UK / London, England, UK


AKT-TIJELO / NUDE-BODY: 1. MJESTO / 1ST PLACE Sandra Požun: Life ROĐENA / BORN: 1972., Zadar, Hrvatska / Zadar, Croatia PROFESIJA / PROFESSION: Arhivarka / Archivist ŽIVI I RADI U / LIVES & WORKS IN: Ptuj, Slovenija / Ptuj, Slovenia


AKT-TIJELO / NUDE-BODY: 2. MJESTO / 2ND PLACE Jorge López Muńoz: Portrait of Jonatan, a gypsy boy ROĐEN / BORN: 1975., Valenica, Španjolska / Valenica, Spain PROFESIJA / PROFESSION: Fotograf / Vizualni umjetnik / Photographer / Visual artist ŽIVI I RADI U / LIVES & WORKS IN: Madrid, Španjolska / Madrid, Spain


AKT-TIJELO / NUDE-BODY: 3. MJESTO / 3RD PLACE Ivan Durgutovski: Ghosts ROĐEN / BORN: 1988., Bitola, Makedonija / Bitola, Macedonia PROFESIJA / PROFESSION: Slobodni grafički dizajner, vizualni umjetnik i fotograf / Freelance graphic designer, visual artist and photographer ŽIVI I RADI U / LIVES & WORKS IN: Skopje, Makedonija / Skopje, Macedonia


PORTRET / PORTRAIT: 1. MJESTO / 1ST PLACE Jelena Žigić: Life and Photography ROĐENA / BORN: 1993., Pančevo, Srbija / Pancevo, Serbia PROFESIJA / PROFESSION: Fotograf / Photographer ŽIVI I RADI U / LIVES & WORKS IN: Pančevo, Srbija / Pancevo, Serbia


PORTRET / PORTRAIT: 2. MJESTO / 2ND PLACE Nina Mašić: Wild Spirit ROĐENA / BORN: 1990., Sarajevo, Bosna i Hercegovina / Sarajevo, Bosnia and Herzegovina PROFESIJA / PROFESSION: Fotograf / Photographer ŽIVI I RADI U / LIVES & WORKS IN: Sarajevo, Bosna i Hercegovina / Sarajevo, Bosnia and Herzegovina


PORTRET / PORTRAIT: 3. MJESTO / 3RD PLACE Saša Ćetković: Memories ROĐEN / BORN: Zagreb, Hrvatska / Zagreb, Croatia PROFESIJA / PROFESSION: Fotograf / Photographer ŽIVI I RADI U / LIVES & WORKS IN: Zagreb, Hrvatska / Zagreb, Croatia


UMJETNIČKI KONCEPT / ARTISTIC CONCEPT: 1. MJESTO / 1ST PLACE Domagoj Burilović: Post Factum ROĐEN / BORN: 1987., Vinkovci, Hrvatska / Vinkovci, Croatia PROFESIJA / PROFESSION: Nastavnik likovne kulture / Art teacher ŽIVI I RADI U / LIVES & WORKS IN: Županja, Hrvatska / Županja, Croatia

IZJAVA O RADU:

ARTIST STATEMENT:

Dok sam šetao malim dalmatinskim mjestom, naišao sam na staru zapuštenu kuću, napuštenu i propadajuću. Ispred kuće bila je stara, kožna putna torba i hrpa odbačenog papira. Pregledavajući papire shvatio sam da se radi o osobnoj i intimnoj dokumentaciji jedne osobe- osobni dokumenti, fotografije, razglednice, pisma rođaka, pozivnice... Ta mala hrpa smeća pričala je o životnom putu jednog čovjeka - od njegova rođenja 1922. do njegove nedavne smrti.

While strolling around a small Dalmatian town, I came across an old derelict house, abandoned and decaying. In front of the house, there was an old, leather travel bag and a pile of discarded paper. While going through the papers, I realized that they were personal and intimate documents of one individualpersonal documents, photographs, postcards, letters from relatives, invitation cards... That little pile of rubbish was telling a life story of one man - from his birth in 1922 until his recent death.

Pripovijest koju sam stvorio na temelju onoga što sam našao bio je nacionalistički mit o hrvatskoj imigraciji (s temeljen u Nacionalnoj gardi i „ustaškom” nacističkom pokretu). Kontemplacija o temi ponukala me na razmišljanje o za odnosu između činjenice (artefakta) i mita. Predmeti nisu bili u izvornom stanju - oni su se otapali, raspadali, gulili, pretvarali u apstrakciju. Na neki način, cjelokupna situacija pretvarala se u vizualni spektakl boja i tekstura. Kao takvi, oni (objekti) postaju otvoreni rad, situacija generira ogromnu paletu asocijacija i analiza, od osobnih i psiholoških do općenitih, društvenih i političkih. Otvaraju vrata za stvaranje mitova. Nakon činjenice dolazi mit.

The narrative I created based on what I had found was a nationalistic myth about Croatian immigration (originating in the Home Guard and the ‘Ustaše’ Nazi movement). Contemplation on the topic brought my interest to the relationship between fact (artefact) and myth. The objects weren’t in their original shape - they were melting, falling apart, peeling away, turning into abstraction. In a certain way, the entire situation was transforming into a visual spectacle of colours and textures. As such, they (the objects) are becoming an open work, the situation is generating a vast palette of associations and analyses ranging from personal, identity and psychological to general, social and political. Gates to creating myths are being opened. After fact comes myth.

Takva struktura odnosa može se prepoznati sve češće u javnom diskursu i aktivnosti. „Društvo je izgrađeno na temelju osjećaja, dojmova, utjecaja, vjerovanja - vjerskih ili ideoloških - ne na temelju činjenica. Oslobođeno terora činjenica, društvo se osjeća slobodno od pismenosti, pristojnosti, povijest, sjećanja...“, kaže pisac Miljenko Jergović u jednom od svojih tekstova. U 2016., riječ godine, izabrana od Oxfordskog rječnika, bila je post-istina, tj. post factum - nakon činjenice. Rad se sastoji od niza fotografija koji dokumentiraju dokumente koji ne dokumentiraju ništa više. Zapravo, cijela situacija scene na koju sam naišao bila je proces umiranja i nestajanja.

Such structure of relations can be recognized more and more often in public discourse and activity. ‘A society is built on the basis of feelings, impressions, affects, beliefs - religious or ideological - not based on facts. Free from the terror of facts, a society also feels free from literacy, decency, history, memory..., states writer Miljenko Jergović in one of his texts. In 2016, word of the year chosen by the Oxford Dictionaries was post-truth, i.e. post factum - after fact. The work consists of a series of photographs documenting documents which do not document anything anymore. In fact, the whole situation scene I found was a process of dying and disappearing.


UMJETNIČKI KONCEPT / ARTISTIC CONCEPT: 2. MJESTO / 2ND PLACE Antonio di Cecco: Inhabit the Time ROĐEN / BORN: 1978., L’Aquila, Italija / L’Aquila, Italy PROFESIJA / PROFESSION: Inženjer arhitekture i fotograf / Architectural Engineer and Photographer ŽIVI I RADI U / LIVES & WORKS IN: L’Aquila, Italija / L’Aquila, Italy

IZJAVA O RADU:

ARTIST STATEMENT:

Potres u središnjoj Italiji

Earthquake in Central Italy

24. kolovoz 2016. / 26. listopada 2016. / 30. listopad 2016.

24 August 2016 / 26 October 2016 / 30 October 2016

Vizualno istraživanje o promjenama teritorija nakon katastrofe.

Visual investigation on a changing territory after the catastrophe.

Ovaj projekt istražuje vezu između fotografije i teritorija. Riječ je o višestrukoj i kompleksnoj viziji ovih tranzicijskih lokacija. Same slike postaju čuvari sjećanja, u mogućnosti generirati pitanja o budućnosti.

The ongoing project explores the connection between photography and territory. It is a manifold and complex vision of this transitioning places. Images themselves become keepers of memories, able to generate questions about the future.

Područje koje se mijenja nakon katastrofe, stvara i lovi sjećanje.

The changing territory after a catastrophe, chases and creates memory.

Brzina transformacije povećava se nakon katastrofe te je izuzetno važna kod promišljanja koncepta kao predstavljanja funkcije vremena i sjećanja. Također se povećava i kompleksnost kada razmišljamo o ljudima i mjestima.

The transformation speed increases in the post-disaster, therefore is extremely important to reason around the concept of representation as function of time and memory. Also complexity increases, when we think in terms of memory of people and places.

Fotografija postaje koristan alat za zamišljanje budućnosti kada se ta dva sjećanja kombiniraju. Karta vremena i prostora, mozaik sastavljen od „pronađenih slika” i „misaonih slika”. Struktura narativa rada prelazi samo termine prije i poslije, već stvara apstraktno mjesto, izrađeno od prostorne i vremenske varijacije, gdje nastanjuju vrijeme. “Pronađene fotografije” kupljene su na buvljacima ili u antikvarijatima.

Photography becomes a useful tool to imagine the future when those two memories are combined. A map of time and space, a mosaic made up of “found images” and “thought images”. The narrative structure of the work goes over the before and after, but creates an abstract place, made of spatial and temporal variations, where inhabit the time. The “found images” were bought in flea markets or antique stores.


UMJETNIČKI KONCEPT / ARTISTIC CONCEPT: 3. MJESTO / 3RD PLACE Snježana Bratanović: The Beginning and the End ROĐENA / BORN: 1968., Pula, Hrvatska / Pula, Croatia PROFESIJA / PROFESSION: Fotograf i specijalist digitalne fotografije i obrade / Photographer & Fine art photo manipulation ŽIVI I RADI U / LIVES & WORKS IN: Pula, Hrvatska / Pula, Croatia

IZJAVA O RADU:

ARTIST STATEMENT:

Ovo nije priča o zaboravljenoj tvornici propalog istarskog tekstilnog diva,već svojevrsno oživljavanje sjećanja najdugovječnije i jedine istarske modne kuće, koja je u zlatno doba nosila naziv Arena trikotaža.

This is not the story about the forgotten factory and collapsed Istrian textile giant, however it is a kind of memory revival of the only and most enduring Istrian fashion house that bore a name Arena trikotaža in its golden years.

Danas je to veliko industrijsko groblje devastiranih i opustošenih hala.

Today it is a large industrial cemetery, with devastated and desolate halls.

Početak i kraj je koncept, kojima sam pokušala povući paralelu između tadašnjih „zlatnih vremena“, kada je tvornica zapošljavala naše bake, majke, djedove i očeve, a proizvodnja bila na vrhuncu i današnjega vremena stečaja, otkaza i rasprodaje i kraja, kada je taj sjaj sasvim iščeznuo i zlatno doba definitivno otišlo u povijest.

“The Beginning and the End” is a concept in which I have tried to draw a parallel between the “golden times” when the factory employed by our grandmothers, mothers, grandfathers and fathers, and production was at its peak and the present time of bankruptcy, layoffs, sales and the end. Without the glow, which completely disappeared and the golden times definitely being part of the history.

Fotografije su nastale u siječnju / 2016. i svjedoče sadašnjem vremenu kraja Arena trikotaže koja je radila punih 65 godina.

The photographs were taken in January / 2016 and serve as a witness of the present state and the end of Arena trikotaža, which was in operation for 65 years.


KATALOG / CATALOGUE Digitalni ispis / Digital print 2017.

Arhitektura / Architecture 1. Kiril Shtrkov: Cut, 66,7 x 100 cm 2. Srđan Đunđerović: Tri, 66,7 x 100 cm 3. Vlado Kos: Stadion, 70 x 46,7 cm

Dokumentarna / Documentary 1. Joakim Kocjancic: Europea, serija od 6 fotografija / 6 photographs in series, 30 x 40 cm, 40 x 30 cm 2. Jelena Janković: Selfie Culture, 100 x 67 cm 3. Milutin Marković: Displaced, serija od 6 fotografija / 6 photographs in series, 40 x 30 cm

Moda / Fashion 1. Milica Mrvić: Popout, serija od 6 fotografija / 6 photographs in series, 40 x 26,7 cm, 26,7 x 40 cm 2. Nina Mašić: Reckless, serija od 5 fotografija / 5 photographs in series, 50 x 50 cm 3. Nina Žnideršić: Mongolian Beauty, 33,5 x 50 cm

Pejzaž / Landscape 1. Srđan Vujmilović: Frozen Dream, 50 x 50 cm 2. Rocco Rorandelli: In Contaminated Lands, serija od 6 fotografija / 6 photographs in series, 70 x 46,7 cm 3. Kollatou Elena and Toumpanos Leonidas: Polaris, serija od 6 fotografija / 6 photographs in series, 60 x 33 cm


Akt - Tijelo / Nude - Body 1. Sandra Požun: Life, 63 x 50 cm 2. Jorge López Muńoz: Portrait of Jonatan, a gypsy boy, 40 x 60 cm 3. Ivan Durgutovski: Ghosts, 55 x 40 cm

Portreti / Portrait 1. Jelena Žigić: Life and Photography, 100 x 70 cm 2. Nina Mašić: Wild Spirit, 40 x 50 cm 3. Saša Ćetković: Memories, 50 x 40 cm

Umjetnički koncept / Artistic Concept 1. Domagoj Burilović: Post Factum, serija od 14 fotografija / 14 photographs in series 45 x 30 cm, 45 x 26,5 cm, 45 x 28 cm, 45 x 31 cm, 45 x 37,7 cm 2. Antonio di Ceccoo: Inhabit the Time, serija od 21 fotografija / 21 photographs in series 60 x 50 cm, 30 x 20 cm 3. Snježana Bratanović: The Beginning and the End, serija od 14 fotografija / 14 photographs in series 70 x 46,7 cm, 62,5 x 46,7 cm


Impressum: Izložba /Exhibition Kustosice izložbe / Exhibition curators: Dunja Nekić, Iva Prosoli Likovni postav / Exhibition setup: Dunja Nekić, Iva Prosoli Priprema i digitalni ispis, oprema fotografija / Digital processing and print, Mounting of photographs: Studio B-Nula Prijevod / Translation: Dunja Nekić Katalog / Catalogue Nakladnik / Publisher: Astoria d.o.o. Za nakladnika / For publisher: Tonči Denis Redić Urednici kataloga / Catalogue editors: Denis Redić, Dunja Nekić, Iva Prosoli Tekstovi / Texts: Denis Redić, Willie Osterman 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 978-953-59496-1-9 Rijeka, 2017

Pokrovitelj izložbe:

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

digitalni ispis fotografija / digital print

PapirusPapiri


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