Category Archives: Event

East to East – Klavdij Sluban

Klavdij Sluban
Winner of the European Publishers’ Award of Photograpy (EPAP) 2009

EAST TO EAST : published by 6 European publishers:
-Actes Sud, France
-Dewi Lewis Publishing, England
-Braus Verlag, Germany
-Lunwerg Editores,Spain
-Peliti Associati Editore, Italy
-Apeiron Editions, Gteece

Text by Erri de Luca

Twenty years ago, a dividing wall was breached and the door to Eastern Europe thrown wide open. To talk of ‘the fall of the Berlin Wall’ is not strictly accurate: it didn’t fall down, there was no subsidence. Its time had passed and it was torn down. I have been a builder; for many years I have also knocked down walls – it’s good when they are no longer needed. To tear down a dividing wall is wonderful; to clear away the sentry post on a border which no longer exists. The one thing I love about new Europe is the abolition of internal borders. I love the word ‘union’. Walls have two sides and two purposes: one is to offer protection from the outside elements, theother to keep people in – to imprison those inside. The twentieth century has seen more imprisonment than any other period in the history of mankind. In my own country, Italy, people of my generation, the last revolutionary left-wing generation of the West, have been imprisoned more often than at any other time in the history of the country, shattering the record of incarceration set during the Fascist years. The walls of the twentieth century were built to confine people.

Klavdij Sluban comes from the segregated half of Europe, he is used to fences and to bars. He has even taught photography in prison. In this book he visits the East, an East whose people have been
set free, like monks released from an enclosed order. Twenty years ago, in Berlin, a dam was demolished. One autumn evening, a throng, a tidal wave of people poured towards the forbidden half of the divided city through the first breach in the wall. Just a few metres and they were reunited with their compatriots. That night Germany slowly began to emerge from the effects of a war that had been lost forty four years before.Twenty years ago the Eastern part of a world in conflict, a world then divided in two, broke down the barriers and broke ranks. Poland, Hungary, East Germany: Eastern Europe dismantled the locks and the bolts. In Romania, the Latin Slavs subjected their dictator and his wife to summary trial and quick execution by firing squad. Like his fellow countrymen Klavdij Sluban, who spent his childhood in Livold, Slovenia, belonged to Yugoslavia, a country which ended up being torn apart in the final decade of the century. As an aid convoy driver, I experienced the war of the southern Slavs: as soon as the shackles of union were removed they became free to destroy each other. I saw the flowering bushes of barbed wire, the multiplication of frontiers, the desecration of graveyards, the destruction of places of worship, the names expunged from registers one by one. From this region of all-consuming hatred the photographer emerges, his Leica slung over his shoulder and loaded with black and white film. He tells about those in the East, to those who hardly knew the East existed. For those who, like me, know that the day begins in the East, the photographer’s revelations upset the equilibrium, revealing the shadows that emanate from there. Even the snow is dark, the light a faded white, exiled to the surface. The photographer walks through the abandoned cities of the East. Where have all the inhabitants gone? Is anyone left hidden in the mist, is there some poor wretch on the run or with their back to the wall. The photographer presses on, in search of people, beyond Europe, advancing into Asia, Russia, Mongolia, China, on the Trans-Siberian Railway, but he finds no areas of dense population. Everywhere it is the geography that dominates, making human beings insignificant. Lake Baikal, in Siberia, the deepest lake in the world and the richest in oxygen, is an unseeing eye to those on the passing train. To those who know of Asia as a continent teeming with billions of people the prophetic vision of an empty world is offered. It is peopled only by the one or two souls who are left after who knows what mass exodus or population disaster: the remaining few live on there without hope. The Hebrew word kèdem indicates both time past and the East. The journey of the photographer, rather than leading him to an East that is conceived as time past, opens a crack in the wall of time and takes him into the future. He visits the East as if he were a pilgrim consulting an oracle. From it he receives visions veiled in smoke and mist: the East is a defeated future, a time yet to come for humanity, stretched out and flexing, as if it were a tail, still wagging, if only feebly. The tail, as every butcher knows, is the hardest part to skin. And the future depicted here in photographic images is hard, hard to listen to. From the noisiest century of all, the greatest producer of mechanical clatter, we shall pass into a world of silence. The future will be accompanied by the silence of those who have been struck dumb. In these photographs, the use of black and white is like the fitting of a silencer to the barrel of a gun. The photographer is a marksman. The rumble of escalators, nuclear power stations, trains and urban landscapes breaks up into whispers. The photographer is homesick for the native snow of his childhood, the snow that used to blanket his corner of the world. But here it has become a white leprosy; it doesn’t coat the ground but eats away at it. Its silence is oppressive. Occasionally the photographer uses a fast exposure to capture a movement, a sudden rush. More often he uses a long exposure and a very small aperture, so that the image is suffused with silence. To give subjects stillness a longer exposure is required. Stillness is the state of grace of a messianic moment, not the thrill of a divine visitation, but the conclusion of a race. The trunks of four slender birches stand out from the wood, like sentries in white. They signal the land’s return to nature, free from human intervention, reclaimed by the wind. I am moved by the single historical flashback which appears in the book, the rush of the sailors across the square for the onslaught on the Winter Palace. The photographer wasn’t there, but he wanted to recreate the scene, and so he photographed a painting exhibited in a museum in St. Petersburg, known as Leningrad to those of us from the twentieth century. It is the only image of a mass of people in motion in the book and it comes from a painting from the beginning of the revolutionary era. Anyone with an imaginative ear can hear the crackle of the bullets and crunch of the trodden snow. The balance of power between the oppressors and the oppressed was changing throughout the world with the revolutions in the East. Ours was a century of insurgents. One photograph is a portrait of our times, the face of a woman with her lips parted to kiss
nothingness, caught in a mirror image. She is turning and is divided for ever. The whole of the East
looks in this way towards the West. Its speechless gaze is the mutest of the whole collection: it
offers and invites a greeting – and silences the onlooker.

Erri de Luca

Icons of Motions – Sabine Hauswirth

Radisson Blu Old Mill Hotel

17th April – 2nd May 2017


„Icons of Motion“ is the title of a series of photos of the contemporary Performance-Scene in Vienna and depicts cultural personalities on Vienna´s rooftops. The shots reveal the individuals setting the stage for themselves, allowing artistic icons to be created simultaneously. Just like the roof landscapes represent sign and signature with their silhouettes, the protagonist´s expressive faces and self-conscious composures reflect the creative elements of the city. Each building's construction and architecture is an idiosyncratic element in Vienna´s distinct silhouette, individual as the bodies of people. The roofs provide insight and outlook for the camera´s visual angle, presenting the individuals as a vital landmark. Belgrade, like Vienna, is a vivid and growing cultural Metropole, the art scenes are already in constant exchange. „Icons of Motion” was part of “Monat der Fotografie”, in Vienna, November 2016 – it will be a premier for the internationally renowned artist Sabine Hauswirth that her work can be seen in Belgrade.

Biography: Sabine Hauswirth, born 1963 in Vienna, is an international photographer, her works are represented and collected by museums and individuals alike. Her artistic portfolio includes multifaceted portraits of remarkable personalities. Among others, Sabine Hauswirth portrayed other artists such as David Bowie, Mario Vargas Llosa, Dennis Hopper, Christian Ludwig Attersee, Friederike Mayröcker, Harri Stojka, Jude Law, Hermann Nitsch, Nicholas Ofcarek or Christine Nöstlinger.

Sabine Hauswirth lives and works in Vienna.
Contact: Sabine Hauswirth|  Hauffgasse 27-1- 23 | 1110 Wien

E: | M: +43 664 103 84 67

Uncensored Books – Natasha Christia

gallery O3on

7th – 17th of April 2017.

Photobooks and installations by Valentina Abenavoli (Akina Books), Patricia Almeida (Ghost Editions), Francesco Amorosino (self-published), Julián Barón (KWY Ediciones), Lukas Birk (dummy-self- published), Lewis Bush (dummy-Brave Books), Brad Feuerhelm (Chaco Books), Amak Mahmoodian (ICVL Studio / RRB Publishing), Christof Nuessli (Cpress), Carlos Spottorno (Astiberri Ediciones), Europe: An Illustrated Introduction to Migrants and Refugees and Fictional Journal.

Photobook projects by: Patricia Almeida (Ghost Editions), Julián Barón (self-published / Editorial RM), Martín Bollati-Rigoberto Díaz Julián-Verónica Fieiras (Chaco Books), Brad Feuerhelm (Paralaxe Editions), Ben Helton (self-published),Edmund Clark (Here Press), Yannis Karpouzis (dummy), Daniel Mayrit (Phree / Riot Books), Christof Nuessli (Cpress), Elisabeth Tonnard (self-published), Jan Dirk Van Der Burg (self-published), and others.

“Uncensored Books” brings together a series of photobooks and installations that address in a critical way, through both their content and form, the production, uses / misuses, consumption and circulation of the Image today within dominant mass ideology’s narrative systems. By exploring new dissemination and audience engagement channels, many of its featured titles point to the potential role of photography and books can assume as activism tools. Many photographers employ recycling, appropriation and manipulation of existent images encountered on the Internet and social media, as a means of exploring new ways of storytelling, while addressing the political issues inherent in the circulation and use of images. Others perform and expose through their works the present uses of the Image as a tool of political and economical control amidst the contemporary media scape, placing special emphasis on the fundamental role of the viewer in the dissemination of the final

The exhibition will be structured in the following five chapters:

Chapter 1: Manifestation of Decline < Archival Recollection of Symbols
Group 2: Grievance and Protest < Private and Public Secrets
Group 3: Identity Claim < Activating the Subject
Chapter 4: Dissemination and Participatory Modes < Towards a New Making
Chapter 5: A Further Index < Books and Collaborations

“Uncensored Books” is curated by Natasha Christia and dedicated to Lorenzo Tricoli.

Image credit:
© Amak Mahmoodian: Shenasnameh.

2 in 1 – Nenad Vilimanovic

Gallery Stara Kapetanija
The project idea is something like a “spontaneous” or “natural” diptych, or the diptych occurring in the initial process of creating photo and as such represents two completely separate frames in one shot on one photo (2 in 1).Diptych by definition represents two works of art that stand side by side, and although different, together act as a whole.Often, only one photo frame contains two plans – two frames which can stand quite equal as individual images that tell two stories, and yet they are together and form a whole.
Author intended that every photo has clearly visible demarcation lines of the two frames and right in the middle, so that each frame has a fully equal treatment in all respects. This allowes him to achieve the desired effect of diptych. Such photos can be cut in half and you get two photographs, and also more such photos can be added, to one another in an endless sequence.
All photos were taken during 2016 in the urban environment.

H. said he loved us – Tommaso Tanini

Instituto de Italiano di Cultura Belgrado

4th – 25th of April 2017.

Exhibition curated by Natasha Christia

TommasoTanini’s H. said he loved us draws on the story of the GDR and the German Ministry for State Security (STASI) to explore the feelings of oppression and dread caused by living in a state of constant suspicion and diffidence. Following three years of travels and investigations in Germany, the project mingles archival and documentary research with a personal and subjective photographic investigation stepped on literary references and fictional narratives. An elegantly oppressive allegory of authoritarianism and domination, H. said he loved us was originally inspired by Corrado Alvaro’s dystopic novel “L’Uomo è Forte”. Published back in 1938, the book was a ferocious critique towards totalitarianism and its abuses of paranoia and instilled fear to control the masses.

The images of H. said he loved us are immersed in a world devoid of names and references. Portraits of five Stasi victims (all betrayed by people they trusted and loved, family members and friends), alongside anonymous corners and trivial details of East Germany cityscapes generate an unresolved tension between the act of spying and being spied upon. These pictures, partly cinematic and partly forensic, resonate with the sense of unease that pervades Alvaro’s book. They become a sinister background of the documentary material recollected by Tanini and enigmatic
monuments echoing the feelings of the people he encountered during his research. Emerging from this austere landscape as a loose, anonymous patchwork of documents, autobiographical notes, found images and portraits, the stories of the STASI victims are reactivated as fragmented albeit vivid and interactive accounts.Structured as a rich mosaic of traces and suggestions, H. said he loved us subtly warns us about the cyclical and evil nature of any form of totalitarianism, without imposing any unilateral vision or clichés. At the same time, it brings onto the surface the ghosts of a dreadful historical reality that has ruled GDR and not only – a reality that has been deliberately excluded from the founding myths of the post Cold-War Era European unity.

Prayer – Milo Sladakovic

Gallery Bozidarac – 1947

3rd – 17th of April 2017.


Public space as sacred space and interstice so elusive that sometimes its understanding and description depends only in the eye of the observer and the means we use to describe it.

This photo series was two years in the making, during the months of Ramadan, in the hot and humid Deira, oldest part of modern city of Dubai (UAE).

In its own stubborn way, Deira refuses to change, both visually and emotionally. While Dubai is constantly changing and unstoppably growing, Deira is forever squeezed between a Creek on one side, and other parts of the city and a massive airport from the other side. Creek, a main Dubai port for years is now a shadow of what it once was and used only as a local transport and tourist hub. It seems that Deira and its population are not attuned nor interested in what’s going on in the rest of this hectic city.

Info about multimedia project Book of Deira find on the link below:


More than journalism – Goran Zlatkovic

Gallery SKC New Belgrade

3rd – 7th of April 2017.

Goran Zlatkovic was born in 1972 in Belgrade, where he lives and works. He is Graduate Economist, who is now on senior year master academic studies in visual arts – photography at the European University, the New Academy of Arts in Belgrade in the class of Professor Dr. Milan Aleksic. Photographer of the magazine „Diplomacy&Commerce“ , PR of the agency Color Press Group (CMC), associate photographer magazine „Gloria“ and „Lepota i zdravlje“. Zlatkovic is photographer for Embassy of Canada, Brasil,Argentina, Belgium and Lebanon in Belgrade, Belgrade Jeunesses Musicales, Music school „Josip Slavenski“, Basketball club „Radnicki“, „Pompea“ (Italy). He participated in several group exhibitions in Belgrade and in the gallery Student Cultural Center Kragujevac. Exhibition „More than journalism“ consists of photographs from the diplomatic receptions, taken during the period from Jun 2016 to January 2017. The artist's need to see people and events through his eyes, to rise above formalities and patterns, resulted in photographs that represent something new, different in the world of journalism in our region. It seems that photojournalism reinforces power with new elements, slick, spontaneity and certainly the courage.

BEAUTY & the BEAST / Ljubisa Tesic

Gallery Tower on Gardos, Zemun
from 1 April to 18 April 2017

The very title of Beauty and the Beast is recognized as a source of contrast. A
woman body seen eye Ljubiša Tešić represents and expresses the beauty of women
as eternal inspiration in many aspects and on the other hand it also shows the woman
body through the exercising of professional boxing. Throughout the exhibition of 24
photographs, 30×40 cm, rotate and compete and compare, the beauty of women
and aggression, expressed through sport that model, Ana Nikolic professionally