[artinfo] Serbian photography in Fotohof
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Tue Jun 7 13:07:28 CEST 2005
Galerie Edition Bibliothek
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NEW PHOTOGRAPHY FROM SERBIA
Aleksandrija Ajdukoviæ, Milan Aleksiæ, Jovan Èekiæ, Branimir Karanoviæ, Paula Mikloeviæ Muhr, Tijana Pakiæ, Dragan Papiæ, Vesna Pavloviæ, Ivan Petroviæ, Dragan Petroviæ
Introduction: Milanka Todic
10th June – 23rd July, 2005
Opening: 9th June, 19.00
According to dictionary definition, document is a certified testament about the given state of affairs, a proof supported by authority. Credibility of photography, derived from its referential nature - reproducing with apparent realism what was in front of the lens at the moment of exposure - contributes to reaffirmation of our sense of identity. But far from being an unmediated record of reality, photographic image is always dependent on the contexts of its creation as well as interpretation. In the process of reading the image, one should take into account not only aesthetic, but also cultural codes and social relations within which meaning of the photograph is produced. This turns photographic representation into a very powerful discursive practice, with strong ideological overtones. This exhibition offers an overview of the ten most innovative positions in the new Serbian documentary photography, thematically ranging from personal narratives to investigations of the dominant
social and political issues.
Aleksandrija Ajdukoviæ in her series Fashion registers the codes of dressing as telling signs of social identity. She approaches women pensioners in public places and lifts them out of their everyday context by posing them as fashion models.
Milan Aleksiæ's Low Maintenance series traces less pleasant facets of the Balkan reality. His photographs convey public neglect, as well as the lack of care and money. They materialise the rising entropy in the everyday environment - things falling apart with the passage of time, without being repaired or conserved.
Jovan Èekiæ`s video Exhaustion of Europe questions the extent to which global politics affects the everyday lives of actual people. The work juxtaposes rather ominous official analyses and forecasts of geo-political situation in Europe within the next ten years (present in the off as a sound background) with routine daily activities shown on two parallel screens.
With the avidness of a chronicler, Branimir Karanoviæ has, over decades, photographed discarded symbols of the desintagrating society and its changing ideologies. Smeared billboards with faces of Serbian politicians as well as communist flags that ended on a garbage depony attain a surprisingly attractive visual quality, while, at the same time, serving as an unsparing social and political criticism.
Paula Mikloeviæ Muhrs series Ideal Place compares a variety of clichés related to utopia, drawing on personal desires and notions of happiness of young people living in East Europe. All the chosen people were photographed in natural, bucholic surroundings and interviewed about their imagined or existant idyllic places.
Tijana Pakiæ, inspired by Lars von Trier Vow of Chestity, aims to materialise in her family images things which usually remain outside photographic representation intimate relationships. The photographs of her family members, friends and their neighbourhood, present documents of her highly intimate experinces and viewpoints.
Dragan Papiæ's photography based videos deal with the proliferation of images in contemporary society. Papic expects his viewer to react quickly to the rapidly changing succession of the images he combines in the rhythm of the juxtaposed songs, creating works which formally resemble music videos..
Vesna Pavloviæ's series Palace of Federation investigates interiors of the Presidential Palace in Belgrade. Although the course of Yugoslav history dramatically changed, the interiors of the Palace remained intact. A rich state-owned collection of post World War II-era paintings is still on display in the building, as well as the especially arranged furniture.
Dragan Petroviæ's frank photographs of Serbs possess a specific humour which verges on the carnivalesque. His portraits of common men and women defy the notions of decorum and celebrate excess - they promote an authentic, provincial mixture of beauty and kitch.
The series Photo-album presents re-photographed and enlarged images from a family album that Ivan Petroviæ found in Kosovo, while serving the army there during the NATO bombing of Serbia in 1999. The images open several semantic layers of investigation, challenging social convetions of intimacy ascribed to one's private photo-album.
Aleksandrija Ajdukoviæ (1975) graduated photography at the Academy of Arts BK in Belgrade. She had solo exhibitions in Belgrade and participated in group exhibitions in Slovakia, Bulgaria, Switzerland and Austria.
Milan Aleksiæ (1954) received his BA in photography at Cornell University (USA). He is the Head of Photography Department at Academy of Arts BK in Belgrade. Exhibited widely in Serbia, Canada, USA and Great Britain.
Jovan Èekiæ (1953) graduated philosophy in Belgrade. His texts in theory of art have been published in numerous periodicals. Since 1975 he has exhibited in Serbia, Austria, Germany, Sweden, Hungary and Slovakia. His curatorial projects include Belgrade Summer Festival in 2003 and 2004.
Branimir Karanoviæ (1950) is the Head of Photography Department at the Academy of Applied Arts in Belgrade. Since 1976 had numerous solo and group exhibitions of printmaking and photography in Serbia, as well as in Poland, Greece, Slovakia, Germany, Italy, France and the Czech Republic.
Paula Mikloeviæ Muhr (1977) graduated photography at the Academy of Arts BK. Worked as curator for photography in Students Cultural Centre in Belgrade from 2002-05. Had a number of solo and group exhibitions in Serbia, Austria, Great Britain, Romania, Switzerland, Albania and Slovakia. Lives in Germany.
Tijana Pakiæ (1974) graduated photography at the Academy of Arts BK where she works as assistant. She had solo exhibitions in Serbia and participated in group exhibitions in Denmark and Italy.
Dragan Papiæ (1952) founded the Inner Museum in 1993 in his own house and kept developing it ever since. Exhibited since 1980 throughout Yugoslavia. In 2003 received the award of the 44th October Salon.
Vesna Pavloviæ (1970) exhibited widely, including solo shows in Belgrade and Washington, D.C. Featured in group exhibitions at the Museum of Contemporary Art in Belgrade, Photographers Gallery in London, Kettles Yard in Cambridgeand Akademie der Bildenen Kunste in Vienna.
Dragan Petroviæ (1958) worked as assistant at the Academy of Arts BK from 1998 until 2003. Had several solo exhibitions of photography in Belgrade.
Ivan Petroviæ (1973) graduated photography at Academy of Arts BK. Had several solo exhibitions in Belgrade and participated at group exhibitions in Austria, The Netherlands, Slovakia and Croatia. Received Kulturkontakt scholarship in 2004.
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