Izložbe

In The Horses Are Coming, Christina Werner focuses on animal symbolism as a main visual and staging strategy of National Socialism: Eagles, lions, horses and sheepdogs functioned in the Third Reich as symbols of strength, purity and order – codes that are still effective today: When Viktor Orbán presents Austria with two horses as a “sign of friendship” in 2022 or Herbert Kickl calls for the launch of a mounted police force, it becomes clear how animal motifs continue to be used as strategic symbols in right-wing and authoritarian narratives.

The work uses the technique of collage to visualise ideological codes by fragmenting and rearranging historical image sources. It is thus in the tradition of political art, such as the photomontages of John Heartfield, who worked visually against the rise of fascism in the 1930s.

Nike Bekemeier, Curatorial Assistence, Westlicht Vienna

Christina Wener

Born in 1976 in Baar (Switzerland), grew up in Baden near Vienna (Austria) and lives and works in Vienna (Austria)

In her artistic practice, she analyzes political visual strategies, mechanisms of visual power, and their dissemination through the media. She focuses on global developments such as the rise of neo-fascism and the role of public space as a place of commemoration. The archive is becoming increasingly important as a source of knowledge and starting point for many of her works.

From 2007 to 2013, she studied photography and moving image with Tina Bara and media art with Alba D’Urbano at the Academy of Visual Arts in Leipzig (Germany).

Works have been exhibited at venues including the Deichtorhallen – House of Photography, Hamburg (D); Lentos Museum, Linz (A); Mattatoio, Rome (I); Museum Villa Stuck, Munich (D); National Gallery, Prague (CZ); Fotogalerie Wien (A); the Goethe-Institut Los Angeles (USA); the Kunsthalle Exnergasse, Vienna (A); the Galerie Photon-Center for Contemporary Photography, Ljubljana (SI); and the Bauhaus Museum Dessau (D).

Her works are included in the following collections: the Austrian Federal Collection, the Vienna Museum, the Collection of the State of Lower Austria, the Lentos Museum Linz, and the Vienna Chamber of Labor.

www.christinawerner.com
Instagram: werner.christina

This exhibition was made possible with the support of the Austrian Cultural Forum Belgrade.

U radu The Horses Are Coming, Christina Werner fokusira se na simboliku životinja kao glavnu vizuelnu i inscenacijsku strategiju nacionalsocijalizma: orlovi, lavovi, konji i nemački ovčari funkcionisali su u Trećem rajhu kao simboli snage, čistoće i poretka – kodovi koji su i danas i dalje delotvorni. Kada Viktor Orbán 2022. godine Austriji poklanja dva konja kao „znak prijateljstva“ ili kada Herbert Kickl poziva na formiranje konjičke policije, postaje jasno kako se životinjski motivi i dalje koriste kao strateški simboli u desničarskim i autoritarnim narativima.

Rad koristi tehniku kolaža kako bi vizualizovao ideološke kodove kroz fragmentaciju i ponovno komponovanje istorijskih izvora slika. Na taj način se nadovezuje na tradiciju političke umetnosti, poput fotomontaža Johna Heartfielda, koji je vizuelno delovao protiv uspona fašizma tridesetih godina XX veka.

Nike Bekemeier, kuratorska asistentkinja, WestLicht Vienna

Christina Werner

Rođena 1976. godine u Baaru (Švajcarska), odrasla u Badenu kod Beča (Austrija), živi i radi u Beču (Austrija).

U svojoj umetničkoj praksi analizira političke vizuelne strategije, mehanizme vizuelne moći i njihovo širenje putem medija. Fokusira se na globalne procese poput uspona neofašizma i na ulogu javnog prostora kao mesta sećanja. Arhiv postaje sve važniji kao izvor znanja i polazna tačka za mnoga njena dela.

Od 2007. do 2013. godine studirala je fotografiju i pokretne slike kod Tine Bare, kao i medijsku umetnost kod Albe D’Urbano na Akademiji vizuelnih umetnosti u Lajpcigu (Nemačka).

Njeni radovi izlagani su, između ostalog, u: Deichtorhallen – House of Photography, Hamburg (Nemačka); Lentos Museum, Linc (Austrija); Mattatoio, Rim (Italija); Museum Villa Stuck, Minhen (Nemačka); National Gallery, Prag (Češka); Fotogalerie Wien (Austrija); Goethe-Institut Los Angeles (SAD); Kunsthalle Exnergasse, Beč (Austrija); Galerie Photon – Center for Contemporary Photography, Ljubljana (Slovenija); kao i u Bauhaus Museum Dessau (Nemačka).

Njeni radovi nalaze se u sledećim kolekcijama: Austrijska savezna kolekcija, Muzej grada Beča, Kolekcija pokrajine Donja Austrija, Lentos Museum Linz i Privredna komora rada Beča.

www.christinawerner.com
Instagram: werner.christina

Ova izložba je realizovana uz podršku Austrijskog kulturnog foruma u Beogradu.

What would happen if the little toy soldiers from our childhood could tell the story of a country?

We invite you to discover an original and thought-provoking perspective on Cuban reality through the photography of artists Lidice and Yamel Santana. In this artistic photography exhibition, they use the iconic Toy Story soldiers as a visual metaphor to reflect on everyday life, resilience, and the many stories lived in Cuba. Through carefully constructed scenes, the images portray daily life, tensions, and contradictions that are part of the island.

Each image transforms seemingly simple scenes into powerful narratives full of symbolism, where playfulness blends with the social and the human. A creative proposal that invites viewers to observe, question, and engage in dialogue about reality from another perspective. Each image mixes memory, play, nostalgia, and reflection, creating a visual universe where the small becomes immense and where every photograph invites us to feel, question, and look beyond the obvious.

Come discover how art can turn a toy into a story—and a story into a unique experience, blending pop culture and social critique to encourage us to see things from a different perspective.

@lidi_sabinera
@yamsfocsa

ta bi se desilo kada bi mali vojnici iz našeg detinjstva mogli da ispričaju priču jedne zemlje?

Pozivamo vas da otkrijete originalan i provokativan pogled na kubansku stvarnost kroz fotografiju umetnika Lidice i Yamel Santana. Na ovoj izložbi umetničke fotografije koriste ikonične vojnike iz Toy Story-ja kao vizuelnu metaforu da promišljaju o svakodnevnom životu, otpornosti i mnogim pričama koje se žive na Kubi. Kroz pažljivo konstruisane scene, fotografije prikazuju svakodnevni život, tenzije i kontradikcije koje su deo života na ostrvu.

Svaka slika pretvara naizgled jednostavne scene u snažne narative pune simbolike, gde se igra i humor mešaju sa društvenim i ljudskim temama. Kreativan predlog koji poziva posmatrača da posmatra, preispituje i razgovara o stvarnosti iz druge perspektive. Svaka fotografija spaja sećanje, igru, nostalgiju i refleksiju, stvarajući vizuelni univerzum u kojem malo postaje veliko i gde svaka slika poziva da osetimo, preispitamo i pogledamo dalje od očiglednog.

Dođite da otkrijete kako umetnost može da pretvori igračku u priču, a priču u jedinstveno iskustvo — spajajući pop kulturu i društvenu kritiku kako bi nas podstakla da gledamo iz drugačije perspektive.

@lidi_sabinera
@yamsfocsa

The project Swimming Pool by Icelandic photographer Bragi Þór Jósefsson explores the relationship between architecture, landscape, and everyday life in Iceland through one of the most characteristic spaces in the country: swimming pools. Beyond their practical function, these spaces become places of encounter, observation, and quiet social interaction, where the intimate and the collective coexist in a natural way.

Through a clean, silent, and carefully composed visual language, Jósefsson documents these environments by paying close attention to geometry, colour, light, and human presence. The images convey a strong sense of calm and contemplation, while also speaking about Icelandic identity and the relationship between people, water, climate, and community. In these photographs, the pools become small stages where everyday life takes on a sculptural and almost minimalist dimension.

Jósefsson’s work exists at the intersection of documentary photography and the photography of constructed landscapes, where space is not simply a background but the true protagonist. Repetition of forms, the presence of steam, the contrast between cold exterior environments and warm water, and the way people inhabit these spaces together create a subtle narrative about how a society relates to its environment.

Bragi Þór Jósefsson was part of the Belgrade Photo Month programme last year with his project Iceland Defense Force, in which he explored the remains of the American military presence in Iceland and its marks on the landscape. While that project focused on memory, geopolitics, and territory, Swimming Pools approaches a more everyday and social aspect of the country, showing another side of Iceland and its visual culture.

Together, these projects reveal the artist’s interest in landscape as a carrier of history, identity, and ways of life, as well as his ability to transform seemingly ordinary spaces into images filled with meaning, silence, and presence.

Projekat Swimming Pool islandskog fotografa Bragi Þór Jósefsson istražuje odnos između arhitekture, pejzaža i svakodnevnog života na Islandu kroz jedan od najkarakterističnijih prostora u zemlji: bazene. Pored svoje praktične funkcije, ovi prostori postaju mesta susreta, posmatranja i tihe društvene interakcije, gde intimno i kolektivno koegzistiraju na prirodan način.

Kroz čist, tih i pažljivo komponovan vizuelni jezik, Jósefsson dokumentuje ove prostore obraćajući posebnu pažnju na geometriju, boju, svetlo i prisustvo ljudi. Fotografije prenose snažan osećaj mira i kontemplacije, ali istovremeno govore o islandskom identitetu i odnosu između ljudi, vode, klime i zajednice. Na ovim fotografijama bazeni postaju male scene u kojima svakodnevni život dobija gotovo skulpturalnu i minimalističku dimenziju.

Rad Jósefssona nalazi se na preseku dokumentarne fotografije i fotografije izgrađenog pejzaža, gde prostor nije samo pozadina, već pravi protagonist. Ponavljanje formi, prisustvo pare, kontrast između hladnog spoljnog okruženja i tople vode, kao i način na koji ljudi borave u tim prostorima, grade suptilnu naraciju o tome kako se jedno društvo odnosi prema svom okruženju.

Bragi Þór Jósefsson je prošle godine učestvovao u programu Belgrade Photo Month sa projektom Iceland Defense Force, u kojem je istraživao ostatke američkog vojnog prisustva na Islandu i njegove tragove u pejzažu. Dok je taj projekat bio fokusiran na sećanje, geopolitiku i teritoriju, Swimming Pools se bavi svakodnevnijim i društvenim aspektom zemlje, prikazujući drugo lice Islanda i njegove vizuelne kulture.

Zajedno, ovi projekti pokazuju autorovo interesovanje za pejzaž kao nosioca istorije, identiteta i načina života, kao i njegovu sposobnost da naizgled obične prostore pretvori u slike ispunjene značenjem, tišinom i prisustvom.

Welcome to the ethereal realm of color, light, and narrative whispers captured through the lens of contemporary visionaries. As a tribute to the pioneering spirit of Saul Leiter, whose profound exploration of early color photography revolutionized the medium.

Steeped in Leiter’s legacy, “Tribute to Saul Leiter Early Color” invites you on an immersive journey through the kaleidoscopic landscapes of human emotion, urban solitude, and fleeting moments frozen in time. Inspired by Leiter’s iconic book “Early Color,” this exhibition unites the talents of nine diverse photographers from around the globe, each offering a unique perspective on the interplay between color, composition, and the essence of existence.

Drawing upon Leiter’s masterful use of abstraction, ambiguity, and serendipitous beauty, these contemporary artists harness the power of the visual medium to weave intricate narratives that transcend the ordinary. From the vibrant streets of bustling metropolises to the quiet whispers of nature’s symphony, their photographs serve as windows into alternate realities, inviting viewers to lose themselves in the mesmerizing dance of hues and shadows.

Through a curated selection of images, ” Tribute to Saul Leiter Early Color ” celebrates the timeless allure of photography as a medium for introspection, connection, and collective storytelling. As we pay homage to Saul Leiter’s groundbreaking vision, we invite you to embark on a visual odyssey that transcends borders, cultures, and generations, illuminating the universal language of human experience.

Join us as we explore the echoes of the past, the hues of the present, and the infinite possibilities of the future, all captured within the delicate embrace of early color photography.

The 8 photographers that are part of the exhibition are:

Aaron Reyes https://www.instagram.com/tyndaro/
Alex Fokin https://www.instagram.com/fokinman/
Cristopher Vrsalovic https://www.instagram.com/satyrcam/
Katarina Trifunovic https://www.instagram.com/katarinatrifunovic/
Kirill Osipov https://www.instagram.com/okiris.photo
Rebecca Uliczka https://www.instagram.com/rebekunstphoto/
Sam L. Street https://www.instagram.com/sam.and.street/
Theo Belafonte https://www.instagram.com/theobelafonte
Zeynep Ayta https://www.instagram.com/aytazeynep

Dobrodošli u eterični svet boje, svetlosti i narativnih šapata zabeleženih kroz objektiv savremenih vizionara. Kao omaž pionirskom duhu Saula Leitera, čije je duboko istraživanje rane fotografije u boji revolucionisalo ovaj medij.

Prožeta Leiterovim nasleđem, izložba „Tribute to Saul Leiter Early Color“ poziva vas na impresivno putovanje kroz kaleidoskopske pejzaže ljudskih emocija, urbane samoće i prolaznih trenutaka zaustavljenih u vremenu. Inspirisana Leiterovom kultnom knjigom Early Color, ova izložba okuplja talente devet fotografa iz različitih delova sveta, od kojih svaki nudi jedinstvenu perspektivu o odnosu između boje, kompozicije i same suštine postojanja.

Oslanjajući se na Leiterovu majstorsku upotrebu apstrakcije, dvosmislenosti i slučajne lepote, ovi savremeni umetnici koriste moć vizuelnog medija kako bi ispleli slojevite narative koji prevazilaze svakodnevno. Od živopisnih ulica užurbanih metropola do tihih šapata simfonije prirode, njihove fotografije postaju prozori u alternativne stvarnosti, pozivajući posmatrača da se izgubi u očaravajućem plesu tonova i senki.

Kroz pažljivo kuriran izbor fotografija, izložba „Tribute to Saul Leiter Early Color“ slavi bezvremensku privlačnost fotografije kao medija introspekcije, povezivanja i kolektivnog pripovedanja. Odajući počast revolucionarnoj viziji Saula Leitera, pozivamo vas da krenete na vizuelnu odiseju koja prevazilazi granice, kulture i generacije, osvetljavajući univerzalni jezik ljudskog iskustva.

Pridružite nam se u istraživanju odjeka prošlosti, tonova sadašnjosti i beskrajnih mogućnosti budućnosti, zabeleženih u nežnom zagrljaju rane fotografije u boji.

Aaron Reyes https://www.instagram.com/tyndaro/
Alex Fokin https://www.instagram.com/fokinman/
Cristopher Vrsalovic https://www.instagram.com/satyrcam/
Katarina Trifunovic https://www.instagram.com/katarinatrifunovic/
Kirill Osipov https://www.instagram.com/okiris.photo
Rebecca Uliczka https://www.instagram.com/rebekunstphoto/
Sam L. Street https://www.instagram.com/sam.and.street/
Theo Belafonte https://www.instagram.com/theobelafonte
Zeynep Ayta https://www.instagram.com/aytazeynep

This is the second time that Бартcелона POP UP has organised a tribute exhibition to one photo book. The first tribute occurred last year when we organised an international group exhibition that referenced the unique photo book “Twentysix Gasoline Stations” by Ed Ruscha. The results were very satisfying and we decided to take the opportunity of arranging a similar exhibition as part of the 1st edition of BPM book, 2022. The selected book for this exhibition will be: “Summer Nights, Walking” by Robert Adams.

“Summer Nights, Walking” is an essential photo book that has been hailed as a classic. The first edition, simply titled “Summer Nights”, was published by Aperture in 1985, and included 38 images of nocturnal scenes taken in the region of Longmont and the Rocky Mountains in Colorado.

A re-edited version of the book was co-published with Aperture in 2009 and titled “Summer Nights, Walking”. For this revision Robert Adams added an extra 39 previuosly unpublished photos. May 2022 will see a new enlarged version of the book published by Steidl, an international publisher of photobooks based in Germany.

For our tribute, we did not ask for photos that were taken in Colorado, or for square format photos, but we wanted to keep the the theme of black and white photography and the essential spirit of the book, but with a wider geographic spread.

This exhibition includes work by:

Dany Vigil (El Salvador) @danyvigil.lab
Dario D’Alessio (Italy) @dario_dales
David Alexis Jainz Aguiñaga (Mexico)
Max Klebl (Austria) @maxklebl
Olivera Radmanović (Serbia) @olja_radmanovic
Telmo Pinto (Portugal) @telmojgp
Ray Knox (Great Britain) @rayknox_photography

Ovo je drugi put da Бартcелона POP UP organizuje izložbu posvećenu jednoj fotografskoj knjizi. Prvi omaž održan je prošle godine kada smo organizovali međunarodnu grupnu izložbu inspirisanu jedinstvenom fotografskom knjigom Twentysix Gasoline Stations Eda Rusche. Rezultati su bili veoma uspešni i odlučili smo da iskoristimo priliku da organizujemo sličnu izložbu u okviru prvog izdanja BPM Book 2022. Knjiga koja je izabrana za ovu izložbu je Summer Nights, Walking Roberta Adamsa.

Summer Nights, Walking je suštinska fotografska knjiga koja se danas smatra klasikom. Prvo izdanje, pod jednostavnim nazivom Summer Nights, objavila je izdavačka kuća Aperture 1985. godine i sadržalo je 38 fotografija noćnih scena snimljenih u regionu Longmonta i Stenovitih planina u Koloradu.

Ponovo uređena verzija knjige objavljena je zajedno sa izdavačkom kućom Aperture 2009. godine pod naslovom Summer Nights, Walking. U ovom izdanju Robert Adams je dodao još 39 prethodno neobjavljenih fotografija. U maju 2022. godine objavljeno je i novo, prošireno izdanje knjige u izdavačkoj kući Steidl, međunarodnom izdavaču fotografskih knjiga sa sedištem u Nemačkoj.

Za naš omaž nismo tražili fotografije snimljene u Koloradu niti fotografije kvadratnog formata, ali smo želeli da zadržimo temu crno bele fotografije i suštinski duh knjige, ali sa širom geografskom perspektivom.

Dany Vigil (El Salvador) @danyvigil.lab
Dario D’Alessio (Italy) @dario_dales
David Alexis Jainz Aguiñaga (Mexico)
Max Klebl (Austria) @maxklebl
Olivera Radmanović (Serbia) @olja_radmanovic
Telmo Pinto (Portugal) @telmojgp
Ray Knox (Great Britain) @rayknox_photography