EXHIBITION OPENING: ON PHOTOGRAPHY AT THE ACADEMY OF ARTS OSIJEK

Group exhibition entitled On Photography At The Academy of Arts Osijek has been opened to the public on December 1st, 2017  in the Gallery of Fine Arts in Osijek, Croatia. The exhibition, curated by Vladimir Frelih,  showcased student works in the photography medium. What is amazing about this exhibition is the unique approach of each artist to the photography medium, which resulted in great contemporary photography artworks.

I am very happy to be a part of this exhibition, and a couple of photographs from the series Apartment (2016) and Untitled (2015) were included.

 

The following artists have been featured in this group exhibition: Adam Atila, Ana Petrović, Andrea Knezović, Damir Lesinger, Dina Lukić, Dora Tomić, Dražen Budimir, Ida Đurkić, Ivan Matančević, Ivana Jozić, Ivona Medarski, Josip Kaniža, Karlo Arnold, Kristina Marić, Krunoslav Dundović, Lucija Jakovina, Lucija Marić, Luka Brico, Marija Matić, Marija Mikulić Bošnjak, Martina Ižaković, Mirna Petrović, Mirna Pokorić, Momir Baborac, Robert Fišer, Tamara Čes, and Zrinka Botić. 

For more information about each artist and their work, read the text about the exhibition, by Anamarija Koljanin.

(scroll down for Croatian version)

 

 

 

 

 

 

On Photography at the UAOS

The exhibition On Photography at the UAOS gathers selected works of the students from the Art Academy in Osijek, realized through photography classes under the mentorship of Professor Vladimir Frelih during the last ten years, from the beginning of the photography class at the UAOS.

The exhibition includes the works of the first generation of students of the Art Academy in Osijek, some of which are those who continued to work as artists after the end of their studies and became noticed in the art scene. We know their work from solo and group exhibitions they are actively participating in, while some of them became educators and art pedagogues. On the other hand, the exhibition gathers the works of the students who exclusively chose to be only educators or they apply their knowledge outside of the sphere of contemporary art, as well as the youngest future artists and educators who are yet to finish their studies.

 

 

 

 

 

The photography classes have the goal to familiarize students with the basic terms and technical knowledge and applications of photography through different aspects of visual expression, covering a wide range from documentary photography to works that are created by visual exploration and experimentation with some of the aspects of media or visual, conceptual or representational problems. Aside from questioning the visual in photography and using photography for documenting situations or processes, the students are familiarized with using photography as an integral part of multimedia projects and connecting different art mediums. Furthermore, learning how to choose and apply the photographic medium and technique for the realization of their work, how to conceive, develop, perform, and present a photographic project, how to compare and combine different photographic experiences from history and theory of photography is learned simultaneously through adopting a multimedia approach and an attitude that photography is simply one of the possible mediums for artistic expression within a number of contemporary art strategies and that choosing photography as a medium comes from solving some sort of artistic problem, idea or a concept.

 

One of the more complex projects that include multiple mediums is the work of Josip Kaniža, here present with the series of photographs Untitled and Copy/Paste. In this work, photography is used to document imprints of a space with the frottage technique so that the photographs document the relief structure created with graphite. With this process, the photography series functions as an archive of the space transferred into imprints and at the same time as a series of abstract paintings, while it’s primarily created as a document of an artistic process.

Interest for abstract visuals and transferring content from one medium to another is characteristic to Ana Petrović’s Untitled (from the LIFRAM series). Her series of five photographs records light from a movie projector so that the light alone and the spreading of light between the projector and the screen becomes the content of the image, and the series of abstract compositions have subtle tonal variations within an identical frame.

A couple of other authors are also interested in aspects of photography where tonal or coloristic visual compositions are made that move towards abstraction or difficulty of discerning motifs, usually in series, shooting surface structure in close-ups like a flimsy wall, pavement or impressed traces on human skin, in the works of Dora Tomić (Layers of Rationalization), Momir Baborac (Untitled), and Kristina Marić (Traces). Or they emphasize color and geometry of lines and surfaces shot from above in the work of Marija Matić (From Above).

 

In the works of Krunoslav Dundović (Reconstruction I and Reconstruction II) and Mirna Pokorić (Object), a photograph is a result of a work process in the medium of digital video and animation. Dundović experiments with computer editing of video and collages of micro-frames and he achieves a visual fragmentation of a moving image while Pokorić constructs object from fragments of different discarded objects, photographs them and includes them in a stop animation. In another work, Pokorić intervenes with drawing and painting on the pages of a scrapbook bought at a flea market, and then she photographs her interventions over children drawings, accomplishing meaningful and visual contrasts.

Damir Lesinger explores the possibilities of narration in a photo-comic, using himself as a character in a fictionalized narrative structured through collage photography and a couple of works are done by digital photomontage and digital collage, and the result is strange and humorous displays that critically interpret reality, playing with ingrained patterns of representation. Like in the works of Atila Adam (Colt Python), Ivana Jozić (Dining and Forest), Marija Mikulić Bošnjak (Headless), Tamara Čes (Universal), and Lucija Marić (The Moon), the works a created with photo manipulation of their photographs or collected visual material. From photographs collected from the internet, Ana Petrović and Karlo Arnold create wall collages or photo-installations, questioning personal identity. Ana Petrović structures the installation from random portraits of the people with the same name and surname, while Arnold creates a visual archive of his everyday life and social interactions with the photographs from social media and his personal collection.

Everyday life is a subject of more series of works. Dina Lukić records staged situations where she questions the weird and offensive in the context of an ordinary everyday life. Andrea Knezović, dealing with the problem of self-representation, in the series Apart ment, openly records traces of her lifestyle, privacy, and intimacy, questioning them as a reflection of her personality and identity in relation to social norms. Ivan Matančević in the series In The Home of the Media, shoots portraits of his friends illuminated by a TV screen, in states of intense immersion in the content of the TV program, presenting them as passive consumers of mass media. Ida Đurkić in the series Habit captures the same sight every day, a view through a window with a lamp reflection, in different light conditions, at the same time of the day.

 

A couple of works deal with different aspects of presentation of the human body, using different techniques like cyanotype or scanning, and different approaches in recording staged situations and portraits: Kristina Marić (Dichotomy of Pain, Hansel and Gretel), Zrinka Botić (Untitled), Andrea Knezović (Untitled), Mirna Petrović (Memento), Martina Ižaković (Untitled), Tamara Čes (Zone).

Documentary aspects of photography are developed by Lucija Jakovina by portraying her grandmother and especially Robert Fišer in the series Transitions, precisely capturing the interior of devastated factories like Kožara and Šećerana, creating a visual archive of empty industrial buildings. A critical charge in capturing social reality is evident in the series Cats, Sex & Nazis by Dražen Budimir. He captures the sights inside cars, over the barrier of car windows, making rosaries with crosses hung on the rearview mirror the center of the composition. By repeating the motifs of the religious symbol which he combines with statements taken from internet forums where hate and bigotry is expressed next to religiousness, Budimir constructs a critical narrative about hypocrisy in the contemporary society. Kristina Marić, in the work Nobody’s square, is also critical towards society imprinted with nationalism. She uses photography to document phases of an art action where a piece of land dug up in the territory of one country is transferred over the state border and buried in the territory of the other country.

The number of different approaches, aesthetics and practices that can be seen in this selection of student works show encouraging courses of thought that develop towards different elementary or more complex medium exploration, depending on personal interests, preoccupations, and artistic curiosity. There are works from the ones that are easily read and simple to concepts and more complex ideas that invite us for a more layered reading. Thereby, it shouldn’t be forgotten that these are the works that were often created as a result of first student encounters with the medium of photography and their first explorations of the possibilities of the medium which has, as we can see from a few artist, resulted in a deliberate and complexly structured works.

Ana-Marija Koljanin

 

Croatian version:

O fotografiji na UAOS

Izložba O fotografiji na UAOS okuplja odabrane radove studenata Odsjeka za likovnu umjetnost Umjetničke akademije u Osijeku realizirane kroz nastavu kolegija fotografije pod mentorstvom profesora Vladimira Freliha, tijekom posljednjih deset godina, odnosno od samoga pokretanja kolegija fotografije na Odsjeku za likovnu umjetnost do danas.

Izložba obuhvaća radove prvih generacija studenata osječke Umjetničke akademije, među kojima su i oni koji su se nakon završetka studija nastavili baviti umjetnošću te postaju sve zapaženijima na umjetničkoj sceni. Njihov rad poznajemo sa samostalnih i skupnih izložbi na kojima aktivno sudjeluju, dok su neki od njih i sami postali edukatori i likovni pedagozi. S druge strane, izložba okuplja i radove studenata koji su se nakon studija opredijelili isključivo za pedagoški rad ili primjenjuju stečena znanja izvan sfere suvremene umjetnosti, kao i najmlađe buduće autore i pedagoge kojima tek predstoji završetak studija.

Nastava se na kolegiju fotografije izvodi u cilju upoznavanja studenata s osnovnim pojmovima, obilježjima, tehničkim znanjima te primjenama medija fotografije kroz različite aspekte likovnog izražavanja, obuhvaćajući širok raspon od reportažne i dokumentarne fotografije do radova koji nastaju vizualnim istraživanjem i eksperimentiranjem s nekim od svojstava medija ili likovnih, konceptualnih i prikazivačkih problema. Pored preispitivanja likovnog u fotografiji, zatim upotrebe fotografije za dokumentiranje situacija ili procesa, studente se upoznaje s upotrebom fotografije kao sastavnog dijela multimedijskih projekata ili poveznice između različitih medija likovnog izražavanja. Štoviše, učenjem kako odabrati i primijeniti fotografski medij i tehniku za realizaciju svog rada, kako koncipirati, razvijati, izvesti i prezentirati fotografski projekt, kako komparirati i kombinirati različita fotografska iskustva iz povijesti i teorije fotografije, uči se istovremeno kroz usvajanje multimedijskog pristupa radu i usvajanje stava da je fotografija tek jedan od ravnopravnih medija umjetničkog izražavanja unutar brojnih suvremenih umjetničkih strategija, odnosno da odabir fotografije kao medija proizlazi iz rješavanja nekog umjetničkog problema, ideje ili koncepta.

Jedan je od kompleksnijih projekata, koji uključuje realizaciju kroz više medija, rad Josipa Kaniže, ovdje predstavljen serijama fotografija Bez imena i Copy/paste. U ovom se radu fotografijom bilježi otiske prostora nastale tehnikom frotaža tako da fotografije dokumentiraju reljefnu strukturu izvedenu grafitom. Takvim postupkom serija fotografija funkcionira kao arhiv prostora prenesenog u otiske te ujedno kao niz apstraktnih slika, dok primarno nastaje kao dokument umjetničkog procesa.

Zanimanje za apstraktnu vizualnost i prenošenje sadržaja jednoga medija u drugi svojstveno je i radu Bez naslova (iz serije LIFRAM) Ane Petrović. Njezina serija od pet fotografija bilježi svjetlost projektora tijekom prikazivanja filma te tako sama svjetlost, odnosno rasprostiranje svjetla između projektora i projekcijske plohe postaje sadržajem slike, a sam niz apstraktnih kompozicija donosi suptilne tonske varijacije unutar identično postavljenog kadra.

Još nekoliko autora zanimaju prikazivački aspekti fotografiranja kojima ostvaruju tonske ili kolorističke likovne kompozicije koje se kreću prema apstrahiranju prikaza ili otežavanju raspoznatljivosti motiva, najčešće u serijama, snimajući u krupnim kadrovima strukturu neke površine, poput oronulog zida, uličnog pločnika ili utisnutih tragova na ljudskoj koži, u radovima Dore Tomić (Slojevi racionalizacije), Momira Baborca (Bez naziva) i Kristine Marić (Tragovi), ili pak naglašavajući boju i geometrizam linija i ploha udaljenim kutom snimanja motiva i odozgo, u radu Marije Matić (Svisoka).

U radovima Krunoslava Dundovića (Rekonstrukcija I i Rekonstrukcija II) i Mirne Pokorić (Objekt) fotografija je rezultat procesa rada u mediju digitalnog videa i animacije. Dundović eksperimentira pomoću računalne montaže digitalnog videozapisa i kolažiranja mikro-kadrova, čime postiže vizualnu fragmentaciju pokretne slike, dok Pokorić konstruira objekte od fragmenata različitih odbačenih predmeta te ih fotografira i potom uključuje u postupak stop-animacije. U drugome radu, Pokorić slikarski i crtački intervenira na stranicama spomenarske bilježnice kupljene na buvljaku, te potom svoje intervencije preko dječjih crteža i zapisa fotografski dokumentira, ostvarujući značenjske i vizualne kontraste.

Damir Lesinger u foto-stripu istražuje mogućnosti naracije, koristeći svoj lik u fikcionaliziranom narativu strukturiranom kroz kolaž fotografija, a nekolicina je radova izvedena postupcima digitalne fotomontaže ili digitalnog kolaža, čime nastaju likovne cjeline začudno ili humorno konstruiranih prikaza koje nerijetko kritički interpretiraju stvarnost poigravajući se uvriježenim obrascima prikazivanja, primjerice u radovima Adama Atile (Colt Python), Ivane Jozić (Objedovanje i Šuma), Marije Mikulić Bošnjak (Headless), Tamare Čes (Universal) i Lucije Marić (Mjesec), pri čemu se radovi realiziraju naknadnom manipulacijom vlastitih fotografija ili se koriste i kolažiraju fragmenti prikupljenog vizualnog materijala. Od fotografija prikupljenih s Interneta Ana Petrović i Karlo Arnold stvaraju zidne kolaže, odnosno fotoinstalacije, baveći se pitanjima osobnog identiteta. Ana Petrović strukturira instalaciju od nasumično odabranih portreta osoba istog imena i prezimena (Ana Petrović), dok Arnold stvara vizualni arhiv svoje svakodnevice i društvenih interakcija fotografijama s društvenih mreža te iz osobne kolekcije.

Svakodnevica se kao tema na različite načine pojavljuje u još nekoliko serija radova. Dina Lukić snima režirane situacije kojima problematizira zazorno u kontekstu uobičajene svakodnevice. Andrea Knezović, baveći se problemom autoreprezentacije, u seriji Stan neskriveno bilježi tragove svog načina života, privatnosti i intime, propitujući ih kao odraz svoje osobnosti u odnosu na društvene norme. Ivan Matančević u seriji U domu medija portretira svoje prijatelje osvijetljene svjetlošću ekrana, u stanjima intenzivne uronjenosti u sadržaj televizijskog programa, prikazujući ih kao pasivne konzumente masovnih medija. Ida Đurkić pak u seriji Navika svakoga dana bilježi jedan te isti prizor, pogled kroz prozor u kojem se zrcali sobna lampa, u različitim svjetlosnim uvjetima, u isto doba dana.

Nekoliko se radova bavi različitim aspektima reprezentacije ljudskog lika, koristeći različite tehnike, poput cijanotipije ili skeniranja, te različite pristupe u bilježenju režiranih situacija i portretnih uprizorenja: Kristina Marić (Dihotomija boli, Hensel und Gretel), Zrinka Botić (Bez naziva), Andrea Knezović (Untitled), Mirna Petrović (Memento), Martina Ižaković (Untitled), Tamara Čes (Zona).

Dokumentarističke aspekte fotografije razvija Lucija Jakovina portretiranjem svoje bake, te posebno Robert Fišer u seriji Tranzicije, precizno bilježeći kadrove interijera devastiranih tvornica, poput Kožare i Šećerane, stvarajući vizualni arhiv ispražnjenih industrijskih pogona. Kritički naboj u bilježenju društvene stvarnosti dolazi do izražaja i u seriji Cats, Seks & Nazis Dražena Budimira, koji registrira prizore unutrašnjosti automobila preko barijere automobilskih stakala, smještajući u središte kompozicije motiv krunice s križem ovješene o retrovizor. Repeticijom motiva religijskog simbola koji u kompozicijama fotografije i teksta kombinira s iskazima preuzetim s internetskih foruma u kojima se uporedo s religioznošću izražava netrpeljivost ili mržnja, Budimir konstruira kritički narativ o licemjerju i sve prisutnijim nazadnim pojavama suvremenog društva. Kristina Marić se u radu Ničiji kubik također postavlja kritički spram šireg društvenog konteksta obilježenog nacionalizmima, koristeći fotografiju za dokumentiranje faza umjetničke akcije u kojoj se određenu količinu zemlje iskopane na teritoriju jedne države nastoji prenijeti preko državne granice i zakopati na teritoriju druge.

Brojnost i različitost pristupa, estetika i praksi koje se uočavaju u ovom odabiru studentskih radova ukazuju na poticajne smjerove razmišljanja koji se razvijaju se prema različitim elementarnim ili složenijim medijskim istraživanjima, ovisno o osobnim interesima, preokupacijama i umjetničkoj znatiželji. Nastaju radovi u rasponu od lako čitljivih i jednostavnih koncepata do kompleksnijih i detaljnije razrađenih ideja koje pozivaju na slojevitija čitanja. Pri tome ne treba gubiti iz vida da su ovdje izloženi radovi često nastali kao rezultat prvih studentskih susreta s radom u mediju fotografije i njihovih prvih istraživanja samih mogućnosti medija, što je, kako se možemo uvjeriti, kod nekolicine autora rezultiralo i vrlo promišljenim i kompleksno strukturiranim realizacijama radova.

Ana-Marija Koljanin

 

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  • […] was exhibited at Gallery of Fine Arts, Osijek. The photograph was a part of the group exhibition On Photography at the Art Academy of Arts, Osijek. The artwork was used for political means and was also censored by Facebook for being […]

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