David Salcedo consigue llevar la “fotografía de calle” a otro nivel, cuestionando los límites de la narrativa visual mediante una edición abierta que pone en valor la capacidad de interacción del lector, mostrando así que el verdadero acto creativo es su proceso de trabajo.
Como su nombre indica, + es el resultado de una suma, un trabajo cuyas escenas, a priori inconexas, dialogan entre sí desde el misterio y la poética del azar para generar una y otra vez nuevas y sorprendentes interpretaciones.
Una gota + una gota no son dos gotas,
es una gota más grande que está hablando del mar.
Álex Llovet
***
David Salcedo takes “street photography” to another level, questioning the boundaries of visual narrative through an open-ended editing approach that highlights the reader’s ability to interact, thus revealing that the true creative act lies in his working process.
As its name suggests, + is the result of an accumulation—a body of work whose seemingly disconnected scenes engage in a dialogue shaped by mystery and the poetics of chance, continually generating new and surprising interpretations.
A drop plus a drop does not make two drops;
it is a larger drop speaking of the sea.
Alex Llovet
davidsalcedo.es • @david_salcedo_
David Salsedo uspeva da uličnu fotografiju uzdigne na viši nivo, preispitujući granice vizuelne naracije putem otvorene knjige koja testira čitaočevu sposobnost interakcije, dokazujući na taj način da je istinski kreativni čin zapravo njegov proces rada.
Kao što i sam naziv sugeriše, + je rezultat sabiranja, delo čije naizgled nepovezane scene međusobno komuniciraju kroz misteriju i poetiku slučajnosti, neprestano stvarajući nova i iznenađujuća tumačenja.
Jedna kap plus jedna kap nisu dve kapi;
to je jedna veća kap koja govori o moru.
Aleks Ljobet
***
David Salcedo consigue llevar la “fotografía de calle” a otro nivel, cuestionando los límites de la narrativa visual mediante una edición abierta que pone en valor la capacidad de interacción del lector, mostrando así que el verdadero acto creativo es su proceso de trabajo.
Como su nombre indica, + es el resultado de una suma, un trabajo cuyas escenas, a priori inconexas, dialogan entre sí desde el misterio y la poética del azar para generar una y otra vez nuevas y sorprendentes interpretaciones.
Una gota + una gota no son dos gotas,
es una gota más grande que está hablando del mar.
Álex Llovet
davidsalcedo.es • @david_salcedo_
Curated by Ana Šćepanović.
In 2023, Delphine Schacher, Swiss photographer was given carte blanche by « Palp festival » (Valais) on the theme of funeral rites. Delphine decided to collaborate with a small group of « Val de Bagnes » residents who had lost a loved one and wished to honor their memory through a creative process.
Using archival photographs chosen by the residents, they created portraits using the cyanotype technique. This is one of the oldest non-silver monochrome processes, dating back to the middle of the 19th century and enabling us to create an image using sunlight. Today’s mountain flowers are superimposed on images of vanished lives.
Like memory inscribed in time, the flowers leave their imprint on these memories of a time gone by, evoking both the delicacy of maintaining memories and the strength of the cycle of life. This collaborative, contemporary creation takes the form of a “Garden of Remembrance”, sprouting organic portraits honoring the deceased in the world of the living.
This exhibition was made possible thanks to the Swiss Embassy in Belgrade.
delphineschacher.com • @delphineschacher
Mon – Sat 14 – 20h
DELPHINE SCHACHER
Vrt sećanja/Jardin du souvenir
Kustos/Curated by Ana Šćepanović
Godine 2023, švajcarska fotografkinja Delfin Šaše dobila je carte blanche od Palp festivala (Vale) na temu pogrebnih rituala. Odlučila je da sarađuje s malom grupom stanovnika doline Val de Bagne, koji su izgubili voljenu osobu i želeli da odaju počast njenom sećanju kroz kreativni proces.
Koristeći arhivske fotografije koje su učesnici odabrali, zajedno su
kreirali portrete tehnikom cijanotipije. Ova metoda, jedna od najstarijih monohromatskih tehnika, potiče iz sredine 19. veka i omogućava stvaranje slike pomoću sunčeve svetlosti. Na snimke prošlih života nadovezuju se cvetovi planina, ubrani u sadašnjosti.
Poput sećanja urezanih u vreme, cveće ostavlja svoj trag na ovim
uspomenama, istovremeno osvetljavajući krhkost negovanja prošlosti i snagu životnog ciklusa. Ova savremena, kolektivna kreacija poprima oblik Vrta sećanja, iz kojeg izrastaju organski portreti, oda preminulima u svetu živih.
Ova izložba je realizovana zahvaljujući Ambasadi Švajcarske u Beogradu.
delphineschacher.com • @delphineschacher
pon/Mon – sub/Sat 14 – 20h
These photographs begin where control ends. Abandoned cars sink into the snow, walls crumble under the wind. Things made by human hands once seemed perfect and solid — artifacts of presence, markers of a claimed space — yet they slowly lose their shape, merging into the surroundings.
I watch as the landscape takes what people left behind and makes it its own.
This is not a struggle – what was brought here quietly dissolves into what has always been.
Here, it’s not an invasion of nature by man, but something else: where we sought to subdue, it absorbs. It does not live, as we understand life; it simply is.
andreysemenov.com •@andrew.semenov
Mon – Sun 10 – 20h
Ove fotografije počinju tamo gde kontrola prestaje. Napušteni automobili tonu u sneg, zidovi se ruše pod naletima vetra. Stvari koje su sačinile ljudske ruke nekada su delovale savršeno i čvrsto – artefakti prisustva, obeležja zauzetog prostora, ali polako gube svoj oblik, stapajući se s okolinom.
Posmatram kako pejzaž preuzima ono što su ljudi ostavili i čini ga svojim. Ovo nije borba, ono što je doneseno ovde tiho se rastapa u ono što je oduvek postojalo.
Ovo nije čovekova invazija na prirodu, već nešto drugo: tamo gde smo pokušali da je pokorimo, ona upija. Ne živi, barem ne onako kako mi shvatamo život; ono jednostavno jeste.
andreysemenov.com •@andrew.semenov
pon – ned 10 – 20h
Nastassja Nefjodov’s “Why being quiet is so loud” is an immersive multimedia installation including photographs, audio, video, text, poems and archive material. It is a combination of different chapters of her ongoing work on the dynamics of post-conflict and generational trauma.
She is using fragments from her grandfather’s stories who were fighting against each other in WWII; her German Jewish grandmothers story, who fled Berlin in 1939 and survived the war in Switzerland; her parents love story which unfolded on highly politicized grounds and her own upbringing in a cross-iron-curtain family during the Cold War and her Serbian partner’s story, who happened to have his military service during the Croatian war and came back highly traumatized.
Navigating through all these stories she is researching: what does stories of loved ones are doing to someone who has not experienced the war herself? And how inherited trauma is impacting families and intimate relationships long after the conflict is over?
By telling European history via her personal family stories, she strips it from political aspects and direct the focus on the emotional layer. She invites people to rethink history from a perspective of what it does to people, not only in the moment, but for generations, as a second part of the story. She wants to contribute to the normalization of talking about trauma and
turning towards healing. By sharing personal stories to cope with and resolve her and her family’s pain she not only wants to help people access their own stories but encourage them to also tell theirs. She sees this as a way out of the spiral of violence and passing the pain, fostering connection in a world often marked by silence.
Co-curated with Claudia Partac @claudia_partac
nefjodov.nl • @nnefjodov
Mon – Sat 11 – 19h
NASTASSJA NEFJODOV
Zašto je tišina tako glasna
Zašto je tišina tako glasna imerzivna je multimedijalna instalacija koja obuhvata fotografije, zvuk, video, tekst, poeziju i arhivski materijal. Ovaj rad spaja različita poglavlja njenog istraživanja o dinamici postkonfliktnog i generacijskog traumatskog nasleđa.
Kroz fragmente porodičnih priča, Nefjodov se bavi složenim nasleđem prošlosti: pričama svojih deda, koji su se borili jedan protiv drugog u Drugom svetskom ratu; sudbinom njene nemačko-jevrejske bake, koja je pobegla iz Berlina 1939. i preživela rat u Švajcarskoj; ljubavnom pričom njenih roditelja, koja se odvijala u politički nabijenom okruženju, kao i sopstvenim odrastanjem u porodici razapetoj između dva sveta Hladnog rata. U rad uključuje i priču svog partnera iz Srbije, koji je služio vojsku tokom rata u Hrvatskoj i iz njega se vratio duboko traumatizovan.
Kroz ove isprepletane priče, autorka istražuje: kakav uticaj imaju ratne priče voljenih na nekoga ko sam nikada nije doživeo rat? Kako nasleđena trauma oblikuje porodice i intimne odnose, dugo nakon što se sukob formalno završi?
Pričajući evropsku istoriju kroz lične porodične priče, Nefjodov je oslobađa političkih narativa i stavlja fokus na emocionalni sloj prošlosti. Poziva ljude da preispitaju istoriju iz perspektive njenog delovanja na pojedince, ne samo u trenutku sukoba već i kroz generacije koje dolaze. Njena misija je doprineti normalizaciji razgovora o traumi i okretanju ka isceljenju. Deljenjem ličnih
priča, kojima se suočava sa sopstvenim i porodičnim bolom, ona ne želi samo da pomogne ljudima da se povežu sa sopstvenim iskustvima, već ih i ohrabruje da ispričaju svoje priče. Time vidi izlaz iz spirale nasilja i prenošenja bola, podstičući povezivanje u svetu koji često bira tišinu.
Kustoski urađeno zajedno sa Klaudijom Partac @claudia_partac
nefjodov.nl • @nnefjodov
pon – sub 11 – 19h
For the first time, we’ve decided to host a proper Screening Night — and by “proper,” we mean at least it happens in the evening!
Our idea was to show around 20 photography projects connected to the topic of BPM 2025: postconflict.
In August, we launched an open call, and by the deadline, we had received 179 submissions that met all the official criteria. These came from all over the world — seriously, it felt like a global group chat. From those 179, BPM has carefully selected 24 outstanding projects for our very first Screening Night.
These 24 projects couldn’t be more different from one another — different styles, different stories, different ways of tackling the same big theme. Are you ready?
We’ll be waiting for you! Just come by, grab a seat, pour yourself a glass of wine (or a beer — we’re not judging), and enjoy the show!
List of participants:
Andrey Semenov
Anna Kevrel
Anna Poloneeva
Davide Gualtieri
Denis Begletz
Isolda Singer
Jean-Yves Gauze
Jens Romanski
Jonk
Karina Claramunt
Karina Dilan
Katerina Kouzmitcheva
Laura Prochilo
Linette Lin
Maija Bondar
Maria Kolesnikova
Matevž Čebašek
Rodrigo Illescas
Sergey Poteryaev
Shams Radwan
Tatiana Sikorskaya
Viktor Barkhatov
Yuehan Hao
Yusif Zadeh
Photography @Rodrigo Illescas
Po prvi put odlučili smo da napravimo pravu Screening Night — i kada kažemo pravu, mislimo: bar da bude uveče!
Naša ideja je bila da prikažemo oko 20 fotografskih projekata povezanih sa temom BPM 2025: postkonflikt.
U avgustu smo raspisali otvoreni konkurs, i do krajnjeg roka stiglo je 179 prijava koje su bile u skladu sa pravilima konkursa. Prijave su stizale sa svih strana sveta — bukvalno kao da smo otvorili globalni grupni čet. Od tih 179, BPM je pažljivo odabrao 24 projekta koji će biti deo naše prve Screening Night.
U ovih 24 predloga videćete potpuno različite projekte, različite ideje, različite pristupe istoj velikoj temi. Spremni?
Mi vas čekamo! Samo dođite, zauzmite svoje mesto, uzmite čašu vina ili pivo (nećemo zameriti) i uživajte u večeri!
Andrey Semenov
Anna Kevrel
Anna Poloneeva
Davide Gualtieri
Denis Begletz
Isolda Singer
Jean-Yves Gauze
Jens Romanski
Jonk
Karina Claramunt
Karina Dilan
Katerina Kouzmitcheva
Laura Prochilo
Linette Lin
Maija Bondar
Maria Kolesnikova
Matevž Čebašek
Rodrigo Illescas
Sergey Poteryaev
Shams Radwan
Tatiana Sikorskaya
Viktor Barkhatov
Yuehan Hao
Yusif Zadeh
Slika @Rodrigo Illescas
* Galleries and exhibition spaces retain the right to change the date and time of the exhibitions and other events