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.
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.
Please send us your photos in the best possible resolution before 12/3/2019 with your Instagram username to: email@example.com
Finally, second round of jurying is over. It is our great pleasure to announce 3 winners, whose
fantastic projects has win the most votes (in alphabetical order):
- Debbie Schoone
- Nikita Svertilov
- Sebastian Wells
Our Jury finished with the first round of the New Talents contest and we selected 10 finalists.
We would like to thank all our participants – though we received fewer applications than the last year, the quality of the proposals was really high.
88 proposals, 55% of which were by women, and 45% by men. 25% participants from Serbia, 10% from Italy, and around 5% from USA, Brasil, Poland and Spain. In total, 30 different countries.
In our next communication, we will announce the names of 3 winners, but not the order in which they were selected. Their work will be part of the exhibition that will open the Festival on 29.3.2018, at 19h, in UK Parobrod.
The list of 10 finalists, in alphabetic order is:
- Adam Żądło
- Dominik Wojciechowski
- Emily Garthwaite
- George Selley
- Jošt Franko
- Julia Gat
- Miljan Vuletic
- Nanna Heitmann
- Natalia Poniatowska
- Pedro Moreno
Congratulations to all the participants and thank you for believing in our Festival.
We are very proud to announce our cooperation with Transeurope Photo, and during Belgrade Photo Month, on 10th of April, in Dom Omladine, art historian and independent curator, expert of contemporary photography Christine Ollier will lead a session on the development of a photographic project, from its inception until final production. Inscriptions already open, limited places!
March… Saint Patrick, green, Irish Festival! This year, we have the pleasure to cooperate with Belgrade Irish Festival in various photography events that will be part of the Festival, an open call is just to be released. Free entre fees, prizes, exhibition…..co click the link and participate!
The primary goal of the photo competition (dis)Connection, an inaugural part of the program Smart Space, is to raise on efficient and inclusive use of public spaces
Read more and how to apply on the following link:
Congratulations to GRAIN for the new magazine issue. Thanks for including Belgrade Photo Month exhibitions that were part of Demofest Festival in Banja Luka with Marija Jankovic & Deyan Clement projects. We can’t wait for next!
24th April – 6th April 2017.
Felicia Simion’s photography installation Carpethian raises concerns about the preservation of tradition in modern society by revealing current ways in which traditional carpets are being utilized in her homeland Romania. The exhibition fosters a personal focus on the carpets owned by Simion’s relatives who live in the rural villages of Oltenia. In engaging with a community not yet swallowed by the full-fledged contemporaneity found in urban environments glimpses of bygone relics and past customs can be found and nurtured amongst a remote village setting. However nothing seems completely out of reach for modernity’s tinkering hand and it is the forms in which these customs have inevitably changed that continues Simion’s ongoing investigation into the evolution of tradition. Since the earliest carpets were hand woven in Armenia and Persia they have been attributed with many roles, whether practical or symbolical. From serving as thermal insulation for nomadic tribes’ tents, being adopted as a place of worship and prayer, to becoming a status symbol of wealth and prestige, or purely serving as beautiful decorative objects. With its diverse use and purpose the carpet has always been a part of the daily cultural life of communities in many nations. These days the carpet has been reduced to decoration and is a common staple in home décor stores. Made en masse in factories by machines, the personal human touch is void in the production of modern rugs and the craftsmanship and knowledge of their creation becoming a thing of the past. To own a hand-woven carpet has become a fetishised commodity in modern Western civilizations and problematic in that the owners are unaware of the objects rich history and place in culture. Specific to Romania, Oltenian carpets commonly bore a floral design and were gifted as a dowry for marriages. These carpets bore symbolic significance and would represent the social status of a family, with some carpets specifically customised for certain families that would incorporate patterns and motifs that could represent their amount of wealth, field of work, and history within the design. It was a privilege to own such an object and due to the carpets prestige people would display them in specific areas of the house, often on walls to exhibit their abundance, or immortalise their image with the carpets by standing for their portrait in front of them. Taken in the rural villages of Plenița, Ciocănești and Novaci, Simion documents the history of her own relatives’ carpets by appropriating the aforementioned style of photography popular in Romania one century ago. Staging her subjects in front of the carpets they’ve kept in their homes, she creates a visual juxtaposition between their casual modern attire and the old fashioned style of their rugs. Adversely she inverts this contrast in her self-portrait in which she is presented wearing a traditional Oltenian costume yet pictured in front of a carpet bought by her parents only years ago in a modern furniture store. The carpets featured in her families’ portraits were mainly bought to indulge the beginning of something new, from moving into a new apartment, to marking the demise of communism, or a purchase for a persons wedding, perhaps a hangover from the days of marriage dowries. Reasons for possessing such carpets have shifted into the realm of commodity and the rugs of her family have gradually veered from a traditional Romanian style to that of less precious Turkish and Oriental reproductions.
While Simion’s portraits provide an insight into the contemporary homes of rural Romania and their nostalgia with its rich and colourful past, her enquiry poses a much broader question about the place of tradition in the 21 st century. In discontinuing the handmade production and purchase of domestic Romanian carpets what could be at stake of being lost for the cultures history? In an age where their value is displayed on the opposing binaries of ‘the souvenir shop’ and ‘the heritage museum’ both catering heavily to tourism, how will traditions like these carpets be remembered by Romanian locals as they continue to warp and shift their meaning into a state of commodification. When confronted with Simion’s photographs, bound up in memory with their beauty and personal integrity, I’m left pondering mostly whether this commodification is a cultures move towards progress or alternately a mistake in abandoning its past.
24th April – 2nd May 2017
Wolfgang Müllner’s photographs are marine panoramas of a kind familiar from vacation shots. The horizon divides the picture right down the middle. Müllner then takes the color information “inscribed in” a given picture and calculates the average tonal values of sea and sky, respectively. He uses these two values to “overwrite” the image with monochrome fields, pushing the original motif back to the edges of the picture so that it serves as a mere “passe-partout,” a matte for a new form that renders an interpretation of the same segment of reality.
Martin Breindl’s graphic cycle Die Sehnsucht nach dem Meer (konkrete Version) translates the “longing for the sea” into a literal “description” of identical motifs. An imaginary horizon line splits the superimposed words HIMMEL und MEER, or SKY and SEA, in two and reconstructs them. Step by step, Breindl lends concrete substance to the composition by applying the same method to different manifestations and a spectral perception of the motif, almost incidentally revealing it to be a mirror image. Müllner’s and Breindl’s works are at heart essays in writing. The dialogue between the pictures playfully dismantles the distinction between “photography” and “graphic art.” What Müllner conceives of as the multiplicity of seascapes is to Breindl’s mind an instance of linguistic variety. Both perspectives are systematic and formulaic, suggesting the ways in which industrial standards and specifications inform our increasingly “automated” perception of the world around us.