Category Archives: Exhibition

BPM 2019: Verena Andrea Prenner – Congo Blue

March 30 at 5PM
Radisson Collection Hotel, Old Mill Belgrade
Bulevar Vojvode Mišića 15, 11000 Belgrade, Serbia

The exhibition will open on 30/3/2019 17h and will finish on 2/5/2019 19h

Verena Andrea Prenner accidentally met again her former neighbour who told her he has pictures that might interest her. Original photographs taken by the former researcher and hunter in Africa, Rudolf Grauer, during his expedition to Uganda and Congo-Kinshasa between 1904 and 1906.

A few months later, she was invited to realise a photographic project in Congo-Brazzaville.

In this work, still in progress, she wanted to refer to Grauer’s photographs and engage in a dialogue between the two perspectives, that of a former hunter and collector and her view, that of a sociologist.

In order to explore conditions, colors and light on site, she started making cyanotype prints. Cyanotype is one of the oldest photographic processes.
The paper is coated with a chemical solution sensitive to light and then
exposed to sunlight. The results are blue colour images. Blue, a very rare colour in the tropics.

Verena Andrea Prenner is sociologist and photographer born and raised in Austria. The last years she mainly spent in the Middle East working on various sociological and artistic projects. In her artistic work she focuses on humans and their social environment and combines sociological theories and field research with the medium of photography.

Exhibition by Бартcелона POP UP with the support by Radisson Collection Hotel, Old Mill Belgrade and Kulturforum Belgrad

BPM 2019: Erostalgija vs Pornivora

March 29 at 8PM
X Vitamin
Studentski trg 11, 11000 Belgrade, Serbia

EROSTALGIA vs. PORNIVORA/ The erotic and porographic discourse in XXth (and XXIst) century
Author & curator Dušica Popović
Exhibited photographs from the collection of Miloš Jurišić
Part of Belgrade photo month

The exhibition titled EROSTALGIA vs. PORNIVORA problematizes the erotic and pornographic cultural content in mass, that is, nonartistic global culture primarily of the twentieth century with a short overview of the previous period and anticipation of the possible future cultural trends. The core of the exhibition presented in the catalogue essays discusses the topic through the prism of three (conditionally speaking) epochs: the period till the middle of the XIX century when the erotic and pornographic cultural contents were not so strictly demarcated; the period from the middle of the XIX century up to the seventies of the XX century when a tension and always ambivalent polarization between the terms and contents they refer to were present; and the period that came after the seventies of the last century and continues until the present when pornography has taken cultural primacy both in the literal and metaphoric sense. The material that illustrates the mentioned thesis will be the exhibited photographs of erotic or/and pornographic provenience from the collection of the collector and photographer of the Museum of Science and Technology Miloš Jurišić.

About author

Dušica Popović born 1981. in SFRJ. Graduated art history at Faculty of Philosophy, University of Belgrade. Writes art criticism and essays. Translates humanistic papers from english to serbocroatian language for The Third Programme of Radio Belgrade. Continuosly works on her own art movement titled otogrifism. Lives and works in Belgrade. Contact:

BPM 2019: Božidar Vitas – Oproštaj od Stare dame

March 29 at 6PM u 18h
Železnički Muzej U Beogradu
Nemanjina 6, 11000 Belgrade, Serbia

Božidar Vitas was born on November 26th, 1939 in Belgrade, Dorćol area, where he still resides. He has been engaged in the “art of painting with light” since 1957. He has had 132 solo exhibitions (84 “art of light paintngs” – photo exhibitions, 15 slide shows and 33 light shows) throughout Serbia. He has also had two solo exhibitions in Thessaloniki, one in the city of Tajimio (Japan), seven in Frankfurt (Germany), two in Doboj, one in Trebinje and Višegrad (Republic of Srpska), one in Travnik (Bosnia and Herzegovina) and one in Perth (Australia). He has participated in 290 multi-artist exhibitions and art events, domestically and internationally, as well as 62 art gatherings
and workshops. Altogether, 3800 different photographs and 1300 different dias oeuvres have been presented. More than 300 art pieces are now part of national and foreign museums, galleries and private collections.

BPM 2019: Susanne Junker – Researching Identity

March 29th at 6 PM
Laufer Art
Svetozara Radića 4, 11000 Belgrade, Serbia

Selfie culture? Researching Identity through self-portraiture.

In the 1990s I earned a living as a subject in front of the camera. Years later, I radically shifted this orientation: I became the author of my own representation, gradually creating an extensive body of self-portraits. I have been doing this kind of work ever since, questioning always the position of the subject-woman with respect to the camera lens.

When I first began my work as a photographer, I drew inspiration from the work of Claude Cahun and Cindy Sherman among others, and I felt myself in good hands in this rather exclusive club of self-portraiture artists. Who could have imagined that 15 years later, “selfie” would become the word of the year in 2013 and that what seems like everyone in the world would be snapping away with a built-in camera-telephone turned around and aimed at themselves?

How the “self” actually figures in our increasingly “selfie culture” and what we as artists choose to put in our frames? Is there a difference of how do we present ourselves on social media and in art galleries? What does “perfection” mean? I ask about the distinction between art photography and contemporary selfies? In so doing, I evoke the explosive combination of anxiousness and celebration that comes from daring to realise abstract ideas with one’s own body, during the performance of the absolutely singular mixture of numbness and physical pain produced by the photo shoot as an experience of the process of creating art. What, if any, continuum can we draw between the image produced by that intense experience and
the quick image produced by an IPhone X and available filter work?

Susanne Junker

Sponsored by: Smokvica

On 30.3.2019 in UK Stari grad, in collaboration with Cedra Belgrade Susanne Junker will talk about her work with Marija Jovanovic and will present her book XXI Century Woman.

Mar 28 at 7 PM
UK Stari grad
Kapetan Mišina 6a, 11000 Belgrade, Serbia

It is our pleasure to welcome you to Belgrade Photo Month 2019, the 4th edition of the Festival, our child that keeps growing.

As we like to say, this festival belongs to us and to you; it is a festival for people from Belgrade and Serbia, but also a festival for photography enthusiasts from every corner of the world who want to enjoy it, in person or online.

Many things have changed since we started the festival in 2016, from the team members to the very vision of the festival, from its visibility in the media to the different kinds of support we have received from both volunteers and institutions.

From one year to the next, we feel an increasing obligation to continue improving the quality of the festival, as well as our outreach, and this is not an easy task. We are aware that with last year’s festival we raised the bar high in terms of the quality of work exhibited, and despite the extremely challenging situation in
Serbia concerning financial support for cultural manifestations and culture in general, we will persevere in our endeavours to make the festival even more special. Through our imagination and creativity, we will transform these challenges into concrete objectives to continue promoting photography in Serbia and Serbian photographers to international audiences. For us, 2019 will be a year of important transition.

Thank you all on behalf of the entire Belgrade Photo Month team. I would also like to thank all participants and visitors; all partners who offered exhibition or presentation spaces; all our volunteers, sponsors and organisations who have helped us to make this dream possible.

We look forward to welcoming you back to Belgrade in 2020.

David Pujado



Nowadays, photographic media is available everywhere and enables its users to use it in many different ways – with artistic aspirations or without them. Regardless of the authors’ tendencies and aspirations, in photographic results, one can find quality that highlights a specific photo or a group of photos compared to all of the others that fit into the matrix of producing photographs. Production matrix make photos redundant, matrix makes
instruments out of photos and help build clichés that structure our vision of reality, condition our interactions and control our boundaries. What is that specific mean we could name artistic in the domain of modern photographic practice? I would say that it would be recognising a matrix that is embodied in the media, the power of art to skin the context in which, conspiratively, photographic media takes part and show us roles of all of the actors in a clear light and constellation relations within our broader social framework. This
is why the winners of this year’s competition New Talents 2019 contribute to understanding specific topics that are globally and generally important: ecological, political, private and public relations, themes of sexuality. It is noticeable that young generations understand the power of photography to critically indicate problems of our modern age, with a precise knowledge about genre potentials and forms of photographic expressions in showing the attitude and analysing social phenomena. However, a large number of applications give testimony to a kind of limitation of media usage to the sentiment of recording disappearing worlds, adding more to the scales that incline more towards death and less towards life, they incline towards death, yet at the same time wrapped in beauty and innocence. The world today is far from being innocent and it is more
in the situation of having no way out as such. This world is shown through photography in order to annihilate the power of individuals and entire collectives, citizens and entire social systems, in distribution of images through media, through dissemination of fluid media through social networks, where art should actually
represent a needle permanently piercing that virtual balloon. No matter that the balloon is renewed at an incredible speed, the blade of art is renewed with the same progression.

Maida Gruden

This is the 4th edition of our New Talents Contest, supported once again by Nikon Serbia, who have been with us since the 1st edition of the festival.

As with previous years, we have endeavoured to select a very eclectic jury team with 4 members: Marina Paulenka – Founder and Artistic Director at Organ Vida – International Photography Festival, Miroslav Karić – Art Historian, Maida Gruden – Visual Arts Programme Editor at Student’s City Cultural Center, Belgrade and Evita Goze – Writer, Curator, Project Manager at ISSP Gallery.

They had the very difficult task of selecting the best 3 projects from the 94 proposals that met the conditions to be part of the contest.

There was almost an equal amount of women and men submitting
proposals, with applications arriving from 40 different countries. The
countries with the highest amount of proposals were Serbia (20%), Spain (7%), Brasil, USA and India (5 %).

GRAIN will prepare a special issue featuring the work of the 10
Thank you to Embassy of the Netherlands in Serbia and in Montenegro for their support.

The exhibition will include the projects:
Debbie Schoone – How to farm fish
Julian M Johnson – Marfan Syndrome
Svertilov Nikita – Custom pleasure
Sebastian Welles – Utopia


Instagram was created almost nine years ago, by Kevin Systrom and Mike Krieger and was developed for use with Apple devices. Within the first two months of launching, Instagram had attracted two million users and that figure reached ten million by the end of the 1st year. Seven years ago in the month of April, Instagram became available on Android phones and was downloaded one million times in the first 24 hours. By September 2017 it had 800 million registered users.

Instagram started out as a homage to Kodak Instant and Polaroid with its particular square format 1:1 and a selection of filters that could be applied to the images. In 2015 Instagram allowed photographs to also be uploaded in rectangular form.

The photo with the most likes ever on Instagram is a photo of an egg posted by @world_record_egg in January, 2019 and has received over 53.2 million likes!

Three years ago the Belgrade Photo Month team decided to do an open call competition for Instagram users. The applications for this open call have increased enormously year by year, with the 2019 call receiving 1,100 entries.

The Belgrade Photo Month team and some BPM contributors did a blind selection of all the entries and the best entries form the BPM Instagram exhibition 2019.

Mitar Mitrović – Impressionism

Mar 25 at 8 PM – Mar 31 at 8 PM

Kulturni centar GRAD
Braće Krsmanović 4, 11000 Belgrade, Serbia

Impressionism was born in a famous photographer’s studio who allowed young painters, gathered in the association, to expose their works. The connection between impressionism and photography has remained inseparable from this first exhibition to the present time. The language of photography and painting is very similar and they have been influencing each other for more than one century. The series of photos I’m working on is an experiment and it’s inspired by Impressionism and impressionists, the founders of modern art, continuing the inextricable link between painting and photography.

Mitar Mitrović

Pophor Krsmanac will be part of the exhibition Opening.

On Friday 30.3 Mitar Mitrović will be in the gallery doing Guided Visit and talking about his project.

Cracow Fashion Week 2018

On 12th March 2018 in the Grey Gallery of Nowa Huta Cultural Centre in Cracow, took place an official opening of Focus on Fashion – international fashion photography exhibition – one of the events of Cracow Fashion Week 2018. In the exhibition participated graduates and students of School of Creative
Photography (organizer of the exhibition), as well as international guest photographers. Project was created in cooperation with Belgrade Photo Month and

Take a Cracow Fashion Week Catalogue

Simple world – photography exhibition by Marcin Ryczek

Tonight 30th April 2018 at 20h, Opening of photography exhibition “Simple world” by Marcin Ryczek, galerija Pro3or, Koče Popovića 9

The photographic series “Simple World” consists of minimalistic and conceptual photographs that operate with symbols and feel instantly familiar. A minimum of form for a minimum of substance – that is their most salient characteristic and guiding idea. Originating in the real world, the images make formal reference to geometric figures, to simple lines and patterns. The black-and-white prints heighten the minimalistic qualities of the pictures. They are also a bow to the classical tradition of art photography.

Marcin Ryczek divides his oeuvre into two phases – process of discerning and process of expectancy. Discerning is an intense observation of reality and search for the unusual in apparently ordinary places. Expectancy is a quest for the moment in which something that constitutes visually tangible reflection of the artist’s personal considerations and meditations happens.

The photographs are of a metaphorical, ambiguous and universal character, hence activate imagination and encourage individual interpretations.

The Subtle Eroticism of A Photographic Story – photography exhibition by Stanko Abadžić

Today 30th April 2018 at 18h, opening of photography exhibition “The Subtle Eroticism of A Photographic Story” by Stanko Abadžić, Бартcелона gallery, Belgrade Design District

The Subtle Eroticism of A Photographic Story

Stanko Abadzic’s engagement in the medium of photography (taken up at the age of fifteen, pursued professionally since 1995) provides excellent evidence to the artistic, technical and technological possibilities of the photographic mode of expression. He achieves exceptional vividness and appeal through an authentic aesthetic dimension, visual clarity, legibility and powerful communicational dialogue. After the photographic collections based on city motifs (Prague, Paris, Berlin, Zagreb), he has focused his perception on the beauty and harmony of the female body. In Nudes, he has elevated it to the level of perfect visual form. There are three important aspects of his approach to the subject of the female nude: ordinary girls (not professional models) are posing for him, there is no styling or pronounced application of make-up, he makes no use of artificial lighting. In this personal, subjective photographic story he speaks about the ideal of beauty, about the enticing and the seductive in its natural intimacy and identity, about a woman’s nakedness which is not unseemly, about fanciful values, a subtle eroticism and a refined sensuality, but not in the manner of stereotypical photoshopped advertisements of populist media. As a separate fact he imposes a particular register of black and white tones, a treatment of daily light, and an atmosphere of refined sfumatos.

The nudes emanate, above all, a relation of light and shadow, taken over by photography from painting: skilful use of exclusively natural lighting which sheds soft light on the figures, fluid tonal shades and gradations of light, soft unfolding into space, insertion of shadows in the mild slopes of the body, tangibility of surface and the body’s almost polished smoothness, tectonics of the frame, artistic aestheticization focused on ambiance and minute details. He almost ascribes more importance to the invisible, to that which the camera has miraculously registered in the deep, impenetrable shadows.

Meticulousness and deliberation are invested in the frames of all photographs. He gives a great deal of thought to the right and genuine moment of activity in the frame: the singling out of details in the geometricized background of the photograph, the contrasting of light and dark parts, the affluence of optic effects, picturesque surfaces and textures, the emphasizing of gracile positions of the woman in intimate interiors or in nature (most often on a sand beach by the sea). He tackles the same problems as the painters: light, composition, fitting arrangement of space and the human figure in space (which he treats almost as a sculptor, with an exceptional feel for the moment and for details). His logic is to provoke tension, but we easily recognize a taste for tranquil intimate accords, for metaphysical peace and quiet. What a master he is at transforming the central motif of the female nude and the surrounding space into silence! We do not see the author, but we feel that he is also in the frame.

Abadžić’s line in new Croatian art photography is characterized by an almost scientific precision, fascination with beauty, and belief that photography both records and transforms reality. Nudes is one his most attractive collections. It is a project with a guiding line, one that encompasses an integral story, vibrancy and a firm viewpoint. And it evokes aesthetic judgement. Still, its ultimate goal is systematic construction of a distinct creative personality, and so the nudes are not only representations of the beauty and sensuality of the female body. They are, first and foremost, facts of the author’s distinct expressiveness, of the calm, strict and perfectionist visual aesthetics of black and white relations resolved only in the encounter of light and shadows. The glamorous impressionistic imagery affirms that his creative poetic quality ranks among the very finest in the medium of photography.

Branka Arh