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
The exhibition In Trance We Trust, developed from the book of the same title, is the outcome of a twelve-year collaboration (2003–2014) between Nenad Racković and Srđan Veljović—a sustained exchange that functions as a dialogue, translating Racković’s bodily and performative practices into the language of photography.
Formally, the photographs engage with Racković’s artistic behavior, which may be understood across four interrelated modes:
performative acts—a lexicon of corporeal gestures;
the skater identity;
the clubber identity;
and practices of hygiene and purification.
Together, these articulate his artistic method as a form of intervention within—and upon—public space.
In translating the phenomenology of Racković’s practice into a sequence of images, the work foregrounds the intensity of expression, seeking to grasp what lies beyond the visible—its impulse, its cause. It considers how narrative operates: how it touches us, and how it speaks of community.
The deeply intimate and the traumatic surface with urgency, seizing attention and generating sensations of a similar order, drawing in participants irrespective of their will. What unfolds is a raw interplay of unstable, undefined boundaries.
The narrative constructed through these images emerges almost automatically—through recognition—as a kind of play between two agents. It does not represent reality as such; rather, it enters it from the other side, from a position outside itself. It provokes and expands the field of imagination.
It educates.
The best example is a bad example.
Nenad Racković, multimedia artist, was born in Belgrade in 1967. He studied acting at the Faculty of Dramatic Arts.
His first poem was published in 1984 in the literary magazine Književna reč and he had his first exhibition in SKC (Student Cultural Centre in Belgrade) in 1985. He was the editor and host of the Radio B92 iconic program The Rhythm of the Heart (1990–1998), and was a regular contributor to the magazine Beorama (1995–1998).
He had 18 solo and over 20 group exhibitions; he acted in three films: The Fall of Rock and Roll (1990), The Black Bomber (1991), Marble Ass (1995) and in a television film The Last Dadaist Show (TV Novi Sad, 1992); performed the theater show Saint Nick, Nicholas Edward Cave – Life and Relationships (Bitef Theater 1992); and enacted a number of performances.
Aside from the numerous essays in literary magazines, he has also published six novels: Aspirin (2002), Book of Recipes (2002), The Insurmountable Story (2006), The Fifth Season (2017), The Bible (2019), Slime and Bile (2021).
The independent art association Remont published Nenad Johnny Racković’s monograph in 2018.
Srđan Veljović, photographer and conceptual documentarian, was born in Belgrade in 1968. Graduated from the Faculty of Electrical Engineering in Belgrade. He has been working in collaboration with a number of cultural institutions: Student Cultural Center, Center for Cultural Decontamination, National Library of Serbia, Youth Center Belgrade.
He worked as an associate at Radio B92. Documented the Belgrade club scene with Apgrade collective.
He has published photos in printed and electronic media: X Zabava, Beorama, Feral Tribune, Peščanik, Komunalinks, Playboy, Haaretz, Dazed Digital.
He was a member of the Led Art collective.
His work was exhibited in all of the former Yugoslav states, then in Germany, Albania, Austria, Romania, Hungary, Italy and the United States.
He has published three books: The Nineties (2020) and Petrovaradin, Casual Reflections on Time (2020), In Trance We Trust, (2022).
Izložba In Trance We Trust, izvedena iz istoimene knjige, plod je dvanaestogodišnje (2003-2014) saradnje Nenada Rackovića i Srđana Veljovića; njihove komunikacije, svojevrsnog dijaloga koji telesne, performativne prakse Nenada Rackovića prevodi u medij fotografije.
U formalnom smislu fotografije interpretiraju Rackovićevo umetničko ponašanje koje se može podeliti u četiri grupe:
1) performativni aktovi, katalog telesnih izražajnih gestova
2) skejterski identitet
3) klaberski identitet
4) higijena, pročišćavanje, tretirajući metod umetničkog delovanja Nenada Rackovića kao svojevrsne intervencije u/nad javnim prostorom.
Prevođenje fenomenologije Nenada Rackovića u sled fotografskih slika jeste prikaz silovitosti ekspresije, pokušaj razumevanja onoga šta je izvan, šta je uzrok. I načina na koji nas narativ dodiruje. Načina na koji priča o zajednici.
Duboko intimno i traumatično probija i pleni svu pažnju do koje može doći, izazivajući senzacije istog registra, uvlačeći aktere nezavisno od njihove volje. Gruba igra nedefinisanih granica.
Ovim slikama stvorena pripovest nastala je automatski, prepoznavanjem; igrom dvojice aktera. Ona ne prikazuje ono što jeste, već ulazi u stvarnost sa druge strane, izvan nje same. Provocira, proširuje polje imaginacije.
Edukuje.
Najbolji primer je loš primer.
Nenad Racković, multimedijalni umetnik, rođen je u Beogradu 1967. godine. Studirao je glumu na Fakultetu dramskih umetnosti.
Prvu pesmu objavio je 1984. godine u Književnoj reči, a prvu izložbu imao je u SKC-u 1985. godine. Uređivao je i vodio kultnu emisiju Radija B92 Ritam srca (1990–1998), bio je stalni saradnik Beorame (1995–1998).
Priredio je 18 samostalnih i preko 20 grupnih izložbi; snimio tri filma: Kako je propao rokenrol (1990), Crni bombarder (1991), Marble Ass (1995); televizijski film Poslednja dadaistička predstava (TV Novi Sad, 1992); odigrao pozorišnu predstavu Sveti Nik, Nicholas Edward Cave – život i veze (Bitef teatar 1992); izveo brojne performanse.
Pored mnogobrojnih tekstova u književnim časopisima objavio je i 5 romana: Aspirin (2002), Knjiga recepata (2002), Nesavladiva priča (2006), Peto godišnje doba (2017), Biblija (2019), Sluz i žuč (2021) .
U izdanju Remont – nezavisne umetničke asocijacije 2018. godine je objavljena monografija Nenad Johnny Racković.
Srđan Veljović, fotograf, konceptualni dokumentarista, rođen je u Beogradu 1968. godine. Diplomirao na Elektrotehničkom fakultetu u Beogradu. Sarađivao sa nizom institucija kulture: Studentski kulturni centar, Centar za kulturnu dekontaminaciju, Narodna biblioteka Srbije, Dom omladine Beograd. Objavljivao fotografije u štampi i elektronskim medijima: X Zabava, Beorama, Feral Tribune, Peščanik, Komunalinks, Playboy, Haaretz, Dazed Digital.
Izlagao u svim jugoslovenskim državama, zatim Nemačkoj, Albaniji, Austriji, Rumuniji, Mađarskoj, Italiji, Sjedinjenim Američkim Državama.
Objavio tri knjige: Devedesete (2020) i Petrovaradin, neobavezne refleksije o vremenu (2020), In Trance We Trust, (2022).
instagram: @bookelab
This event introduces new books by authors published under the curatorship of the independent publishing platform Book[e]lab, founded in 2020 by Olga Matveeva and Jenya Yahina. Working at the intersection of contemporary art and photobook design, Book[e]lab focuses on limited-edition artist’s books in which visual narrative and material form are conceived as a unified artistic statement.
The platform supports experimental approaches to the book as an artistic medium, exploring the relationship between image, structure, and tactility. Each project is developed with close
attention to the physical qualities of the book — its sequencing, materials, and printing processes — alowing the concept to unfold not only through images and texts but also through the object itself.
Through colaboration with artists, photographers, designers, as wel as paper manufacturers and printing technologists, Book[e]lab creates a space for dialogue between artistic vision and production expertise. This process foregrounds the book as a site of experimentation, where editorial thinking, design, and material choices become integral to the work.
The presentation brings together a selection of newly published artist’s books in which the concept is not only articulated but physicaly embodied in the book’s structure and design.
Each book functions as an autonomous work, where content and form are closely intertwined, expanding the possibilities of the photobook as both an artistic medium and a carefuly crafted
object.
Artists:
Alexey Belov. Consolation B. (2026)
Sveta Kaverina. The Garden of Earthly Delights (2025)
Natalia Ershova. [Im] Planting (2025)
Maya Nesterenko. Afrersun We`re Goung To The River (2025)
Anya Belka. A Book About Break Dance (2025)
Alexander Baranovsky. Vague Feeling (2026)
Katerina Kouzmitcheva. Sorry for the Lack of Contact (2025)
Prezentacija će se održati na engleskom jeziku.
Ovaj događaj predstavlja nove knjige autora objavljene pod kustoskim vođstvom nezavisne izdavačke platforme Book[e]lab, koju su 2020. godine osnovale Olga Matveeva i Jenya Yahina. Radeći na preseku savremene umetnosti i dizajna foto knjige, Book[e]lab se fokusira na umetničke knjige u ograničenim tiražima u kojima su vizuelni narativ i materijalna forma osmišljeni kao jedinstvena umetnička celina.
Platforma podržava eksperimentalne pristupe knjizi kao umetničkom mediju, istražujući odnos između slike, strukture i taktilnosti. Svaki projekat razvija se uz posebnu pažnju prema fizičkim karakteristikama knjige, njenom redosledu, materijalima i procesima štampe, omogućavajući da se koncept razvija ne samo kroz slike i tekstove, već i kroz sam objekat.
Kroz saradnju sa umetnicima, fotografima, dizajnerima, kao i proizvođačima papira i stručnjacima za štampu, Book[e]lab stvara prostor za dijalog između umetničke vizije i produkcionog znanja. Ovaj proces stavlja knjigu u prvi plan kao prostor eksperimenta, gde uredničko razmišljanje, dizajn i izbor materijala postaju sastavni deo rada.
Prezentacija okuplja izbor nedavno objavljenih umetničkih knjiga u kojima koncept nije samo predstavljen, već je i fizički utelovljen u strukturi i dizajnu knjige. Svaka knjiga funkcioniše kao autonomno delo, gde su sadržaj i forma usko povezani, proširujući mogućnosti foto knjige kao umetničkog medija i pažljivo oblikovanog objekta.
Alexey Belov. Consolation B. (2026)
Sveta Kaverina. The Garden of Earthly Delights (2025)
Natalia Ershova. [Im] Planting (2025)
Maya Nesterenko. Afrersun We`re Goung To The River (2025)
Anya Belka. A Book About Break Dance (2025)
Alexander Baranovsky. Vague Feeling (2026)
Katerina Kouzmitcheva. Sorry for the Lack of Contact (2025)
* Galleries and exhibition spaces retain the right to change the date and time of the exhibitions and other events