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PROGRAM
Galerija Božidar Jakac, Kostanjevica na Krki, 15. in 16. september 2006 PETEK (15. september) 9.30 do 10.00 prihod udeležencev in registracija (From 9:30 to 10:00: arrival of the participants and registration) Uvod (Introduction) ALEŠ ERJAVEC: Deformacija Predavatelj bo predstavil ključne zgodovinske točke v razumevanju "resničnosti" in deformacije v vizualni percepciji in v razlagi vizualne umetnosti zahodne kulture (Platon, Janez iz Damaska, H. Jonas, V. Flusser, itd.), problematiziral pojem forme v vizualni umetnosti ter izpostavil pomen "dogodka" (J.-F. Lyotard, A. Badiou). Deformation The lecturer is going to present key historical points on understanding "reality" and deformity in visual perception and analysis of visual art in Western culture (Plato, John of Damascus, H. Jonas, V. Flusser etc.), he is going to point out the problem of form in visual art and the meaning of "event" ((J.-F. Lyotard, A. Badiou). Odmor (Coffie break) STEVE EDWARDS: Nepristranost, nevtralnost in objektivnost : Položaj opazovalca v fotografiji zgodnjega devetnajstega stoletja V prispevku se bo posvetil eni od osrednjih doktrin na področju fotografije - doktrini o nepristranskem in objektivnem opazovalcu. Tako dokumentaristi kot poklicni medijski reporterji zatrjujejo, da so se dvignili nad posamične interese. Za izhodišče bo vzel presojo zadnje fotografske serije Johna Timberlaka "Drugačna dežela" in raziskoval pojavljanje nepristranskega opazovalca v spisih o fotografiji iz zgodnjega 19. stoletja. V prispevku se bo še posebej osredotočil na idejo o objektivnosti v delih W.H.F. Talbota in britanskih znanstvenikov 19. stoletja. Prepričan je, da so znanstvene ugotovitve, ki so jih takrat razvili, v veliki meri oblikovale naše sedanje poglede na fotografijo. Detachment, Disinterest, and Objectivity: the Position of the Observer in Early Nineteenth-Century Photography This paper examines one of the central ideologies operative in photography: that of the neutral or objective observer. From documentary to the news media professional observers claim to occupy a position outside of particular interests. Taking my point of departure from reflections on John Timberlake�s recent photographic series �Another Country�, I will examine the emergence of the idea of the detached observer in early nineteenth-century accounts of photographs. In particular, this paper focuses on the idea of objectivity in the writings of W.H.F. Talbot and the British men of science. I argue that knowledge claims elaborated by these men shaped much of our subsequent �ways of seeing� photography. ŽELIMIR KOŠČEVIĆ: Vertikalna sondaža Na primeru kalotipije Franje Pommera, fotografa iz sredine 19. stoletja, ki prikazuje Ivana Kukuljevica, se postopoma analizirajo sloji fotografske slike: od površinskega sloja, ki očitno predstavlja osebo moškega spola iz sredine 19. stoletja, do slojev pod površino, ki govore o kulturi časa, estetiki, kot o današnjem videnju te slike. Vprašanje ni "kaj", temveč "kako" vidimo sliko Diskusija - moderator (Discussion - moderator) MILAN PAJK Odmor - kosilo (Lunch break) DAMJAN KOZOLE: Obrazi (Faces) SKUPINA TRIE: Flirting with Photgraphy Skupina bo skozi tri projekte (95/05, MIXED MEDIA, Na sončni strani alp/ On the sunny side of the Alps) izpostavila vlogo in različne možnosti uporabe medija fotografije pri njihovem delu. 19.00: Odprtje razstave (Galerija Božidar Jakac, arkade) Ne povsem/ne pravo: zgodovine, telesa in koncepti v sodobni fotografiji Umetniki: Tomaž Gregorič, Irwin, Jane Štravs, Aleksandra Vajd & Hynek Alt Kuratorka: Marina Gržinić Razstavo bo odprla državna sekretarka na Ministrstvu za kulturo gospa JELKA PIRKOVIČ Exhibition opening: Not-quite/not-right: histories, bodies and concepts in contemporary photography Curator: Marina Gržinić SOBOTA (16. september) 10.00 (from 10.00 AM onwards) MARINA GRŽINIĆ: Ne-povsem/Ne-pravo: zgodovine, telesa in koncepti v sodobni fotografiji Ob rob spremljajoči razstavi SPOT 2006, ki predstavlja štiri izbrane pozicije na področju sodobne umetnosti in fotografije: Tomaž Gregorič, IRWIN, Jane Štravs in Aleksandra Vajd & Hynek Alt. Not-quite/not-right: histories, bodies and concepts in contemporary photography Alongside exhibition SPOT 2006 representing four selected positions in the area of contemporary art and photography: Tomaž Gregorič, IRWIN, Jane Štravs and Aleksandra Vajd & Hynek Alt. CHRISTINE FRISINGHELLI: Camera Austria: Fotografija - diskurz in dokument Camera Austria kot kulturno-umetniški projekt vključujoč razstave, simpozije in revijo. Camera Austria: Photography - discourse and document Camera Austria, as a cultural-art project, includes exhibitions, symposiums and a magazine. Odmor (Coffie break) LARA ŠTRUMEJ: Iskanje pomena Pilonovih fotografij Beseda bo tekla o fotografijah Vena Pilona, ki so od svojega nastanka sredi 20. stoletja obležale v umetnikovem arhivu in bile vse do leta 2000, ko jih je Moderni galeriji podaril umetnikov sin, Dominique Pilon, stroki nedostopne. Na primeru dokumentarnih posnetkov, ki jih je Pilon posnel med vožnjo z vlakom iz Francije v domovino leta 1947, bo izpostavila splošen problem fotografij, namreč, da te kljub svoji deskriptivni moči in mimetični jasnosti ne govorijo same zase. Da bi se približali pravemu pomenu Pilonovih fotografij, in se ne zadovoljili samo z njihovo estetsko kontemplacijo, bo opozorila na pomen pisnih virov, s pomočjo katerih šele je zgodbo o povojnem vračanju repatriirancev, ki jo ta neverbalna sporočila nakazujejo, mogoče razumeti v vsej njeni večplastnosti. Seeking the meaning of Pilons photographs The talk is going to be based on Veno Pilons photographs, which were, from their creation in the mid 1920s, lying in the artists archives and were not accessible to experts until 2000 when they were a gift to Modern Gallery by his son, Dominique Pilon. Based on an example of documentary shots made by Pilon during his train journey from France back home in 1947 the lecturer is going to point out the general problem of photographs, namely that they do not, despite their descriptive power and mimetic clarity, speak for themselves. In order to approach the true meaning of Pilons photographs and not be satisfied merely with their aesthetic composition, the lecturer is also going to draw our attention to the significance of written resources, which represent the only way of understanding the story of post-war comeback of repatriates in all its layers, that is, the story revealed by those non-verbal messages. PRIMOŽ LAMPIČ: Fotografija mariborskega kroga: kopičenje interpretacij skozi čas Fotografija skupine fotografov iz Fotokluba Maribor, Slovenija, ki se je poimenovala mariborski krog, je v začetku sedemdesetih let 20. stoletja dodobra pretresla nekoliko zaspano slovensko kreativno fotografsko produkcijo, ki je slonela predvsem na ljubiteljskih fotografih. V predavanju pa ne bo govor samo o fotografiji, temveč predvsem o interpretacijah, kakor so se v javnosti pojavljale v teku časa. Pisec jih je razdelil na pet faz. Prva faza obsega avtorefleksijo iz konca šestdesetih in prve polovice sedemdesetih let, katere nosilec je bil predvsem Zmago Jeraj. Sledijo interpretativni odzivi fotografov sodobnikov in tedanjih kritikov. Tretjo fazo predstavlja umestitev mariborskega kroga v kontekst sodobne likovne umetnosti, zlasti konceptualizma, ki jo je argumentirala mariborska umetnostna zgodovinarka Meta Gabršek Prosenc. V osemdeseta leta sodi osvetlitev dejavnosti mariborskega kroga v luči teorije avantgarde, v devetdeseta leta, po demokratizaciji slovenskega političnega prostora in po osamosvojitvi Slovenije pa opredelitev krogove fotografije v kontekstu slovenske politične stvarnosti šestdesetih in sedemdesetih let. Predavanje spremlja projekcija ok. 50 fotografij mariborskega kroga z njihove prve razstave novembra leta 1971. Photography of Maribor Circle: Accumulation of Interpretations through Time Photography of a group of photographers from Photo Club Maribor, Slovenia, which has changed its name into Maribor Circle, created quite a shock for a somewhat lazy Slovene creative photography production based largely on amateur photographers in the beginnings of the 1970s. However, this lecture is not only about photography, but mainly about interpretations, as they have appeared in public through time. The author divided them into five phases. The first one includes self-reflection from the end of 1960s and the first half of 1970s, when they key figure was Zmago Jeraj. Interpretative reactions of photographers-contemporaries and critics of that time follow next. Third phase represents placement of Maribor circle into the context of contemporary fine arts, especially conceptualism, which has been supported by arguments of an art historian Meta Gabršek Prosenc. Illumination of Maribor circle activities from the point of view of avant-garde theories happened in the 1980s. In the 1990s, after democratisation of Slovene political space and after Slovene independence, the circles photography was defined within the context of Slovene political reality of the 1960s and 1970s. The lecture also includes a projection of approximately 50 photographs of Maribor circle from their first exhibition in November in 1971. Diskusija - moderator (Discussion - moderator) BORIS GABERŠČIK Odmor - kosilo (Lunch break) PORTFOLIO SHOW The lectures are going to be in Slovene and English and are going to be interpreted. |
SODELUJOČI
STEVE EDWARDS (Open University, Velika Britanija) Steve Edwards predava Umetnostno zgodovino na Open University v Veliki Britaniji. Veliko je napisal o fotografiji in moderni umetnosti 19. in 20 stoletja. Njegovi teksti so vključeni v: Photography: A Very Short Introduction (Oxford University Press, 2006) in The Making of English Photography, Allegories (Penn State University Press, 2006). Je urednik knjige Art and its Histories: A Reader (Yale University Press, 1999) in so-urednik knjige Art of the Avant-Gardes (Yale University Press, 2004). Trenutno piše knjigo o totalnosti in utopiji v sodobni fotografiji. STEVE EDWARDS (Open University, Velika Britanija) Steve Edwards is a lecturer of History of Art at Open University in Great Britain. He has researched 19th and 20th century photography and modern art. His texts have been included into: Photography: A Very Short Introduction (Oxford University Press, 2006) and The Making of English Photography, Allegories (Penn State University Press, 2006). He is the editor of the book Art and Its Histories: A Reader (Yale University Press, 1999) and a co-editor of Art of the Avant-Gardes (Yale University Press, 2004). He is currently writing a book on totality and utopia in contemporary photography. ALEŠ ERJAVEC (ZRC SAZU, Slovenija) Prof. dr. Aleš Erjavec je znanstveni svetnik na Filozofskem inštitutu ZRC SAZU v Ljubljani ter predstojnik Oddelka za kulturne študije na UP FHŠ Koper. Je avtor ali urednik 11 knjig, ki so izšle v Ljubljani, Sarajevu, Berkelyu in na Kitajskem ter drugih publikacij, ki so izšle v 30 deželah. Je predsednik Slovenskega društva za estetiko ter bivši predsednik Mednarodnega združenja za estetiko. Ukvarja se zlasti z estetiko, filozofijo, umetnosti in kulture, filozofijo in teorijo vizualnega ter globalno umetnostjo kulture. ALEŠ ERJAVEC Prof. dr. Aleš Erjavec is a research director at Institute of Philosophy at Scientific Research Centre of the Slovenian Academy of Sciences and Arts in Ljubljana and principal of the Department of Cultural Stuides at UP FHŠ (Faculty of Humanities) Koper. He is either the author or editor of 11 books, published in Ljubljana, Sarajevo, Berkely and China as well as other publications, published in 30 different cointries. He is the predisdent of the Slovenian Society of Aesthetics and former president of Internationa Association for Aesthetics. His research areas are mainly aesthetics, philosophy, art and culture, philosophy and visual theory as well as global art of culture. CHRISTINE FRISINGHELLI(Camera Austria, Avstrija) Christine Frisinghelli živi in dela v Gradcu (Avstrija). Je direktorica Camera Austria, Kunsthaus, Gradec, urednica revije Camera Austria International in kuratorka. Predava na Oddelku za Informacijski dizajn Univerze za uporabno umetnost Scviences Joanneum, Gradec. CHRISTINE FRISINGHELLI (Camera Austria, Avstrija) Christine Frisinghelli lives and works in Graz (Austria). She is the director of Camera Austria, Knusthaus, Graz, the editor of Camera Austria International magazine and a curator. She lectures at the department of Information Design at the University of Applied Art Scviences Joanneum, Graz. BORIS GABERŠČIK (samostojni delavec v kulturi, Slovenija) Boris Gaberščik se je po diplomi na oddelku za biologijo Biotehniške fakultete Univerze v Ljubljani popolnoma posvetil fotografiji. Od leta 1986 je samostojni fotograf. Pomembnejše osebne razstave: Galerija Equrna (1989), Galerija Fotohof Salzburg, z B. Radovičem, (1992), Orpheum, Graz (1994), Moderna Galerija, Ljubljana (1995), Galerija Arthoteka, Bratislava, Mesec fotografije, z L. Jakšo, H. Pivkom in J. Vlachyjem (1995), Galerija Fotografija, Ljubljana (2006). Sodeloval je na mnogih skupinskih razstavah, v žirijah in delavnicah. Njegova dela so uvrščena v javne zbirke (Moderna Galerija, Talum, KSF...) in mnoge privatne zbirke. Živi in dela v Ljubljani. BORIS GABERŠČIK After he completed his degree at the department of Biology at Biotechnical Faculty of Ljubljana University he has devoted his time entirely to photography. He has been an independent photographer since 1986. A few of his exhibitions: Gallery Equrna (1989), Gallery Fotohof Salzburg, with B. Radovič, (1992), Orpheum, Graz (1994), Modern Gallery, Ljubljana (1995), Gallery Arthoteka, Bratislava, Mesec fotografije (Month of Photography), with L. Jakša, H. Pivk and J. Vlachy (1995), Gallery Fotografija, Ljubljana (2006). He has participated at many group exhibitions, has been a member of several juries and workshops. His works are parts of public collections (Modern Gallery, Talum, KSF�) and of many private collections. He lives and works in Ljubljana. MARINA GRŽINIĆ (ZRC SAZU, Slovenija) Marina Gržinić je filozofinja in raziskovalka na Filozofskem inštitutu ZRC SAZU v Ljubljani. Je profesorica na Academy of Fine arts na Dunaju. Dela tudi kot svobodni medijski teoretik, kritik in kustos. Gržinićeva je izdala na stotine člankov in uredila 13 knjig. MARINA GRŽINIĆ Marina Gržinić is a philosopher at Institute of Philosophy at Scientific Research Centre of the Slovenian Academy of Sciences and Arts in Ljubljana. She is a professor at the Academy of Fine Arts in Vienna. She also works as an independent media theoretician, critic and a curator. She has published inumerable articles and edited 13 books. ŽELIMIR KOŠČEVIĆ (Foto Galerija Lang, Hrvaška) Prof. Želimir Koščevič je umetnostni zgodovinar in etnolog. Rojen je bil v Zagrebu. Od 1980 do 2004 je bil višji kustos in muzejski svetnik v Muzeju suvremene umjetnosti v Zagrebu. Trenutno je programski vodja Fotogalerije Lang v Samoboru. V letih 1975-1980 in 1989-1997 je honorarno predaval muzeologijo na Filozofski fakulteti v Zagrebu. Objavil je več kot 500 študij, kritik in člankov ter več knjig o moderni in sodobni umetnosti. V tisku je knjiga z naslovom V fokusu, študija hrvaške fotografije. Je avtor ali soavtor številnih razstav. ŽELIMIR KOŠČEVIĆ Prof. Želimir Koščevič is an art historian. He was born in Zagreb. From 1980 to 2004 he was a high curator and a museum councillor at The Museum of Contemporary Art in Zagreb. At the moment he is a programme director of Photo Gallery Lang in Samobor. From 1975 to 1980 and from 1989 to 1997 he worked as a part-time lecturer of museum science at Faculty of Philosophy in Zagreb. He has published more than 500 studies, critiques and articles as well as several books on modern and contemporary art. His latest book In Focus (V fokusu), a study of Croatian photography, is currently in printing. He is an author and co-author of numerous exhibitions. DAMJAN KOZOLE (samostojni delavec v kulturi, Slovenija) Damjan Kozole je režiser in scenarist. Pri 22 letih posnel je posnel svoj prvi celovečerni film, nizkoproračunski Usodni telefon, ki je bil eden prvih neodvisnih filmov takratni Jugoslaviji. Njegovi celovečerni filmi so bili prikazani na več kot 100 mednarodnih filmskih festivalih, prejeli so več kot 20 nagrad in priznanj. Njegova zadnja dva celovečerna filma sta bila proglašena za slovenska filma leta, Porno film je prejel 6, Rezervni deli pa 7 nagrad na Festivalu slovenskega filma. Porno film si je v slovenskih kino dvoranah ogledalo prek 60.000 gledalcev. Film Rezervni deli spada med najuspešnejše slovenske filme: prikazan je bil v tekmovalnem programu filmskega festivala v Berlinu leta 2003 in nato še na več kot 50 mednarodnih festivalih. Film je bil nagrajen na mednarodnih filmskih festivalih v Sarajevu, Montpellierju in v Trstu, predvajan je bil v kinematografski distribuciji v več kot 10 evropskih državah in na več kot 20 televizijskih postajah. V angleškem dnevniku Guardianu je kritik Peter Bradshaw Rezervne dele označil za "enega najmočnejših in najprovokativnejših filmov leta". DAMJAN KOZOLE Damjan Kozole is a director and scriptwriter. At the age of 22 he made his first feature film, low-budget Fatal Telephone (Usodni telefon), which was one of the first independent films at that time in Yugoslavia. His feature films have been shown at more than 100 international film festivals and have been awarded more than 20 awards and certificates. His latest two feature films have been announced films of the year. Porno Film received 6 and Spare Parts (Reztervni deli) 7 awards at the Slovene Film Festival. More than 60,000 spectators have seen Porno Film in Slovene cinemas. Spare Parts is one of the most successful Slovenian films: it was shown as a part of competition programme of the film festival in Berlin in 2003 and afterwards at more than 50 other international festivals. The film has been awarded at international festivals in Sarajevo, Montpellier and Trieste, and has been shown by cinema distributors in more than 10 European countries and on more than 20 television stations. In English newspaper The Guardian a critic Peter Bradshaw defined Spare Parts as �one of the strongest and the most provocative films of the year�. PRIMOŽ LAMPIČ (Arhitekturni muzej, Slovenija) Doc. dr. Primož Lampič je publicist in likovni kritik. Dela kot muzejski svetovalec v Oddelku za fotografijo Arhitekturnega muzeja Ljubljana ter kot predavatelj za zgodovino fotografije na Oddelku za umetnostno zgodovino Filozofske fakultete v Ljubljani. Je dopisnik za gesla o slovenskih fotografih Saur Allgemeines Künstlerlexikona, München-Leipzig, in urednik slovenske revije za zgodovino fotografije Fotoantika. PRIMOŽ LAMPIČ Doc. dr. Primož Lampič is a publicist and art critic. He works as a museum councillor in the department of Photography of Architectural Museum Ljubljana (Arhitekturni muzej) and as a lecturer in History of Photography at the Department of History of Art at the Faculty of Arts in Ljubljana. He is a correspondent for key entries on Slovenian photographers for Saur Allgemeines Künstlerlexikona, München-Leipzig, and the editor of Slovenian magazine for history of photography Fotoantika. MILAN PAJK (Likovna akademija, Oddelek za oblikovanje, Ljubljana) 1942 rojen v Ljubljani, diplomiral na FAGG , Univerza v Ljubljani, svobodni fotograf od 1976 do 2000, med leti 1980 in 1993 član Studia Znak, od leta 1986 predavatelj fotografije na Akademiji za likovno umetnost in oblikovanje, Univerze v Ljubljani. Od leta 1997 redni profesor Univerze v Ljubljani. Od 2001 predstojnik oddelka za oblikovanje ALU UL. Samostojne razstave: Ljubljana, Novo mesto, Zagreb, Beograd, Subotica, Novi Sad, Maribor, Piran Skupinske razstave: Ljubljana, Fribourg, Krakow, Liverpool, Gradec, Los Angeles, Milano. Buenos Aires, Pariz, Kranj Nagrade : 1974 1.nagrada na razstavi jugoslovanske fotografije 1976 Grand Prix Venus na 7.mednarodnem salonu fotografije v Krakowu, Poljska 1981 nagrada Prešernovega sklada 2000 I.nagrada na nacionalnem natečaju Hasselblad Publicistično delo: Teksti, kritike in kolumne v Delu, Razgledih, Sobotnem Delu, revijah Mars, Ampak, Emzin.Uvodni članku v fotografskih publikacijah. LARA ŠTRUMEJ (Moderna Galerija, Slovenija) Lara Štrumej je magistrirala iz zgodovine in teorije fotografije na Univerzi v Derbiju v Veliki Britaniji. Je kustosinja za fotografijo v Moderni galeriji v Ljubljani, kjer od leta 1992 vodi stalno fotografsko zbirko. Raziskuje slovensko starejšo in sodobno fotografijo. Je avtorica številnih fotografskih razstav, med njimi: Janez Marenčič (1994), Fran Krašovec, Od pastorale do gibanja (1995), Nova stvarnost v fotografiji na Slovenskem (1998), Fran Vesel, Fotografski kronist z začetka stoletja (1999), Aleksandra Vajd, Various Pictures (2003), Veno Pilon, S povratniki (2004), Leon Dolinšek, Velik interpret majhnih zgodb (2005), Franc Ferjan, Fotograf zasebne in socialne resničnosti (2006). LARA ŠTRUMEJ Lara Štrumej has a master�s degree in History and Theory of Photography at Darby University in Great Britain. She is a curator for photography in Modern Gallery in Ljubljana, where she has been in charge of permanent photography collection. She researches old and contemporary Slovene photography. She is the author of numerous photography exhibitions, a few of them are: Janez Marenčič (1994), Fran Krašovec, From Pastoral to Movement (1995), New Reality in Photography in Slovenia (1998), Fran Vesel, Photography Chronicle Writer from the Beginning of the Century (1999), Aleksandra Vajd, Various Pictures (2003), Veno Pilon, With Repatriates (2004), Leon Dolinšek, Great Interpreter of Little Stories (2005), Franc Ferjan, Photographer of Personal and Social Reality (2006). SKUPINA TRIE Metod Blejec, Staš Kleindienst, Sebastjan Leban - je bila ustanovljena leta 2002. Skozi polje umetnosti skupina raziskuje in opozarja na probleme specifičnih sistemov sodobne družbe, ter znotraj njih išče nove možnosti artikulacije. Skupino Trie ne definira specifični medij ali žanr, ampak je njihova uporaba medijev odvisna od koncepta - raziskave. Skupinske razstave: 2006 - 20l (Pogovarjanja/Conversation, Galerija Škuc, Slade) 2006 - Na sončni strani alp/On the sunny side of the alps ( Metamorfoze, Aškrčeva avtobusna postaja, Radio Študent) 2004 � Prajuha (Desetka, Peterokraki stolp, Ljubljanski grad) Samostojne razstave: 2006 - Mixed Media (Center in Galerija P74) Akcije: 2005 - 95/05 (pred Moderno galerijo) 2005 - Mixed Media (51. Beneški bienale) |
