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Moja je prva asocijacija film Dim gdje on svakoga jutra snima isti ugao ulice. Desetljećima! To je zato jer se čovjek lakše i brže sjeća priča iz filmova nego iz života zato jer su već pročišćene, strukturirane, pripremljene za pamćenje. Zato se često i lakše sjećamo fotografija nekih događaja, bez obzira što smo im prisustvovali, nego samoga događaja. Ponavljano snimanje istoga mjesta, što obično implicira i isti kadar, je svakako bilježenje protjecanja vremena, neka meditativna aktivnost, potvrđivanje vlastite prisutnosti u svijetu, ali što još?
Kolbas snima livadu pred prozorom novozagrebačkog stana. Staze i cestica se križaju tako da čine možda neki znak dječaka koji trči. Barem onako kako to crtaju djevojčice. Promatranje, snimanje, ponavljane familijarizira nas s pejzažom i on postaje dobra podloga za otčitavanja nekih drugih događanja. Istinski nove stvari možemo primijetiti samo u potpuno poznatom okruženju. Komadić urbanog krajolika Silvestar Kolbas učestalim fotografiranjem posvaja. Taj je krajolik postao vrlo osoban već kadrom zadanim pogledom kroz prozor, prozor stana u kojem je živio dok je snimao ovu seriju fotografija.
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Marina Viculin
Tekst Sandre Križić Roban gust je i protočan poput najboljih fotografija. Iznoseći znatnu količinu slabo poznatih činjenica, od kojih je mnoge i sama istražila, ona ni u jednom trenu ne gubi osoban odnos prema materijalu o kojem piše. To tekst čini zamamno sočnim i lakim za čitanje bez obzira na ugođenost i predznanje čitača.
Naime, čitanje se uvijek odvija po linijama emocionalnih događanja koji pripadaju podjednako intelektualnoj koliko i socijalnoj sferi. Autorica vrlo jasno poima da nam se istinski doživljaj teksta može dogoditi samo unutar mreže podraženih osjeta i osobnih sjećanja za koja ne možemo sasvim točno reći gdje smo ih stekli. Stoga kroz cijelu svoju studiju Sandra ljekarnički pažljivo usklađuje precizno odmjerene udjele doživljaja i spoznaje. Spretnošću dobrog alpiniste u nekoliko vještih odraza spušta nas u samu jezgru vlastitog doživljaja. A mi se, umireni deskriptivnim obličjem ljuske koju čini događaj i zaštićeni njezinim naizgled očiglednim objašnjenjima, bez zadrške prepuštamo opisanim osjetilnim avanturama. I padamo u zečju rupu odraženih pogleda!
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Marija Stipišić Vuković o radu Rina Efendića
Rino Efendić je fotograf koji rijetko, ali vrlo promišljeno i selektivno izlaže svoje fotografije. Osim radova iz ciklusa crno-bijelih fotografija pod nazivom „Iza“, nastalog sredinom osamdesetih godina prošloga stoljeća, na recentnoj izložbi u Galeriji umjetnina izložena su i novija ostvarenja crno-bijelih fotografija, kao i fotografija u boji. U ovakvom odabiru stariji radovi funkcioniraju kao referentna mjesta koja svjedoče kontinuitet i konzistentnost sadržaja i metoda, izdvajajući Rina kao snažnu umjetničku osobnost iza čijih se postupaka probija autentična misao. Riječ je o autoru koji njeguje jedan sasvim osobni likovni jezik prepoznatljivog koncepta, po strani od dominantnih umjetničkih strujanja, koji se razvija više unutar samoga sebe, nego u dijalogu sa suvremenim kretanjima.
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You could often hear a remark that looking at photographs of most Yugoslav photographers; you could hardly get an appropriate image of the way of life in this region. The reasons offered for this state were tendency for over-aestheticizing, conscious avoidance of facing the reality in crisis, or the inability to face burning issues. However, from time to time, certain individuals and lesser known groups appeared, and they were able to bring to light some moments of this reality, although it proved hard to push this representation beyond mere fragments. However, in their defense, we can say that the picture of the world today cannot be more than an image made from individual particles. The recent exhibition by Ivan Posavec in CEFT, Gallery of the City of Zagreb, showed that this does not necessarily have to be the case. Here’s finally a photographer who makes images which stream life, the kind which we can recognize in our own surroundings, and here's also a photographer who is sufficiently refined and professional, that his pictures never serve as mere anecdotes, but rather as visual records, representing the whole of an artist's "world view."
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The author Boris Cvjetanović, born in Zagreb in 1953 and undoubtedly one of the most distinctive phenomena in Croatian photography of recent decades is, through a combination of circumstances, best known to the general public by a section of his opus which could be described as tranquil and ultimately - why shy away from the word - beautiful. It is a cycle which the author himself claims was created in times of leisure, and one which is still open-ended. The cycle emerges, depending on the time of its creation, under different titles: Summer holiday, Scenes without significance, or under the simple and self-effacing title, Photographed.
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Tekst Leonide Kovač on work of Ana Opalić
She began at this time to describe landscape as if anything she saw was a natural phenomenon, a thing existent in itself, and she found it, this exercise, very interesting and it finally led her to the later series of Operas and Plays. I am trying to be as commonplace as I can be, she used to say to me. And then sometimes a little worried, it is not too commonplace.
Gertrude Stein, The Autobiography of Alice B.Toklas
Ana Opalić adds her recent video-installation entitled I do not see, comprising six video-photographs, or rather six eight-minute video sequences where the static camera records an identical frame, to the series of photographic self-portraits which she has been making since 1994 to this day. Looked at in a superficial manner one could be led to conclude that the shot in question is a representation of a landscape, but how is one to define the type of frame presented to us – a close-up or a total; is it neither, or is it both rolled into one? Furthermore, how can one define oneself – as an spectator – in relation to that which is being presented? Do I see an image or a scene; neither one or the other, or both? In order to answer my own questions, I must delve / into description, and description is nothing other than a representation. Should I decide to categorize the said frame as a scene, defining it more precisely I shall describe it as a forest scene. If I were to identify it as an image, then I would say that it is a picture of trees (although I do not see trees but only their fragments cropped by the left, right, bottom and upper edge of the frame) with a forest path leading through them – which becomes visible in the middle of the bottom edge, and is lost at the intersection of diagonals of the horizontal frame the cut of which constructs that which I am seeing, and calling, a picture. Positioned in medias res the camera yields a large close-up in which the movement of a branch annuls the static nature of the picture, i.e. that immobility peculiar to a photograph, while the audible sound of that movement within the non-happening suggested by a static frame infers a certain dramatic quality of the scene. At the same time, the path – which vanishes form one's gaze in the geometric centre of the picture – denotes the category of perspective, historically immanent to painting, in other words the procedure of illusionisation of depth, of a three-dimensional space upon a flat surface. Thus the connoted perspective attributes the character of a total to this frame. The syntax of a video-recording, which allows the total and the close-up to exist at the same time and in the same place, leads me to identify the articulation of rhetorical figures of place and landscape – which in turn signify the interspace between the concepts of reality and illusion – in the sense of the object of representation of the video-installation, I do not see.
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Marina Viculin on series Foto studio City by Boris Cvjetanović
Boris was telling me about storytellers, and yet he is the greatest storyteller of all. He was telling me about storytellers in non-material cultures. About the ones that preserve the thousand-years-old stories. He was telling me this as we looked at the photographs of the Australian sandy coastline that looks out to the end of the world. He stood in a place where Indian Ocean and the Pacific flow together and where the Aboriginal storytellers stood thousands of years before him. Open space, the ocean with only Antarctica behind it…
- That’s palpable, that open space?
I am looking at him and I realize that I am entangled, happily caught up in the stories. Through the story he took me out of an ugly pink café to a place whose transience can be mesmerizing: “Photo studio City”. It’s getting dark, as it does in every good sentimental story…
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