Sara Nuša Golob Grabner – Trauma

Sara Nuša Golob Grabner is a young prospective photographer and poet. She began photographing in 2009 and has since had four solo exhibitions. She has exhibited at group exhibitions several times, including as part of the Transgeneration Festival. She received several awards for her work. She lives and works in Maribor, where she also studies art history and English language and literature at the Faculty of Arts Maribor.

The  –  series is a conceptual photographic representation of the impression of traumatic experiences of an individual. Trauma is not defined through classical forms or presented as a specific experience. It is illustrated by abstract symbolism of paper, body, and colour. By that it gets rid of the stigma of what trauma actually is because it is overflowing in countless forms and intensities and materialized only through the consciousness and subconscious of the individual. The black colour is a representation of this flow of experience that travels through the perception of a person, which they notice imprinted on their body, which is our greatest mirror, our storage of life events. Whatever is stored in us is sooner rather than later inevitably transformed into an expression in the outside world and a projection to others. This is especially true for painful and difficult to process experiences. The trauma sticks out of us and soaks into everything we touch, and like once crumpled and dirty paper, those people, memories, and events we have marked will never be the same again.

POMEMBNO OPOZORILO!

Zaradi spoštovanja preventivnih ukrepov za preprečevanje in omejitev širjenja bolezni covid-19 obiskovalce naprošamo, da se prireditev udeležijo zgolj zdrave osebe brez znakov okužbe dihal, na prireditvi pa je treba vzdrževati primerno medsebojno varnostno razdaljo vsaj 1,5 m, skrbeti za pravilno higieno kašlja/kihanja in upoštevati druga varnostna navodila organizatorja. Prireditve, ki potekajo v zaprtem prostoru, sta ob vstopu v prostor obvezna uporaba zaščitne maske in razkuževanje rok. Ob vstopu na prireditev so obiskovalci dolžni odgovorni osebi sporočiti svoje podatke.

Mihael Brunčko – Perspektive

Kavarna Macchiato, Cankarjeva ulica 6, 2000 Maribor

Ti trije stavki so korenito posegli v navade ljudi.

Spomladanski sprehodi fotografa Mihaela Brunčka so bili zaradi teh treh stavkov pod vtisom novih družbenih okoliščin, osebnih razmer in intimnih razmislekov. Na pohodih so se skozi perspektivo do tedaj neznanih okoliščin in obenem negotove prihodnosti Mihaelu tudi podobe okolice izrisovale drugače kot sicer. Posamezni objekti so dobivali nove pomene in videz ter se na fotografije vtisnili neostri. Opazovalec teh zabrisanih podob lahko v njih doreče in izsanja svojo interpretacijo. Nekdo zazna mistiko. Drugi začuti subtilne razlike v tonski vrednosti. Tretjega se dotakne mehkoba. Kdo drug občuti črte, ritem, teksture, oblike, vzorce … Opazovalcu je morda zanimiva črno-bela fotografija z monokromatskim razkošjem razpona tonov. Tu je še simbolika drevesa. Psiho – duhovno potovanje se začne in konča z drevesom. Kot simbol matere, v kateri smo preživeli naša prva leta, drevo predstavlja našo nezavedno skladnost s konvencionalnim razmišljanjem. Drevo je simbol duhovnega razvoja, preporoda, individuacije (pot k sebi) in androginosti.

Marec in april 2020. Čas karantene.

V času korone se ljudje sprašujejo o marsičem, predvsem o smislu življenja. Fotografu se zazdi, da se v ljudeh »vrtijo« različni filmi. Samoumevno se mu zdi, da uporabi Fuji aparat in format 16 x 9. Filmski format.

Razstavljavec je vsak dan karantene zahajal na Kalvarijo, vzpetino nad Mariborom, kjer so ga

nagovarjala drevesa. Kaj je najboljši primer navdiha, razen narave same? Lepota dreves je magična v zgodnji in pozni svetlobi– okoli sončnega vzhoda in sončnega zahoda, v najhujši pripeki in pozno popoldne.

Mnogi kugo primerjajo s Covidom 19. Je slučaj, da se je fotograf povzpel sleherni dan na vrh hriba, kjer je postavljena cerkvica svete Barbare do katere vodi križev pot s kapelicami kot zahvala za prenehanje kuge med letoma 1680 in 1681? Mihael Brunčko bi lahko fotografiral križev pot, vendar je raje opazoval dolgoživa drevesa. Ni fotografiral korenin, ampak debla in krošnje, ki se pnejo v nebo.

Resnično žive nas naredi to, da se želimo spreminjati in razvijati, želja, da delujemo tu in zdaj ter želja po iskanju smisla življenja in udejanjanja večnih vrednot.

Drevo raste v dveh smereh – navzgor in navzdol. Drevesne korenine rastejo v globino in ko se spustimo v svojo notranjost, k svojim koreninam, spoznavamo ves svet. Krošnja sega v nebo in s spoznavanjem univerzuma spoznavamo sebe. Na pročelju Apolonovega templja v Delfih je napis: »Spoznaj sebe in spoznal boš univerzum in bogove.«

Islandci proti korona osamljenosti priporočajo objemanje dreves.

Naj Mihaelova mistična drevesa objamejo ta trenutek nas, da bomo kos novim izzivom.

 

Zapisala Rasta Vrečko, spec. lik. terapije

 

O avtorju razstave:

 

Mihael Brunčko, l. 1974

Živi in dela v Mariboru. S fotografijo se ukvarja od leta 2016. Član Fotokluba Maribor je od leta 2018. Sodeloval je na skupinskih razstavah. V letu 2019 je imel v Mariboru prvo samostojno razstavo. Ukvarja se s pokrajinsko, portretno in ulično fotografijo.

 

 

Kavarna Macchiato

Cankarjeva ulica 6

2000 Maribor

Slovenija

Ponedeljek – sobota 06:30–22:30

 

Alessandro Ruzzier

Alessandro Ruzzier is a photographer, visual and sound artist. His research is focused on the relationship between man and landscape, its representation and the actual physical experience. These aspects, beside photography, are also expressed through manipulation of sounds and video images. His works are kept in private and public collections, including MART Rovereto, Punto Fermo Collection Palinsesti, Craf, Photo Library Cultural Consortium of Monfalcone.

Kati Bruder

Kati Bruder studied at the Academy of Fine Arts Vienna (graduated in 2015), where Peter Kodera taught her how to use a camera. Since 2003 she has been working as a freelance photographer with a focus on portraits. In her photo series Kati Bruder explores the ambiguity of visibility, searching for answers to the following questions: how do our social status and gender affect our visual perception? What are we allowed to see by whom? What role is played by the symbolic significance of the gaze and what poses do we strike as soon as a camera is pointed at us. Kati Bruder lives in Vienna and works internationally.

UKM – Branimir Ritonja: Prisoners of their own border

Imagine having a home only accessible from one road and that road is not in your country, but in the neighboring one. This is only one story, however many similar stories happened after the disintegration of Yugoslavia –  when borders were put, that did not exist before. Before the disintegration of Yugoslavia there was – one country, one nation and good relationship. After the disintegration the border was put through many estates. That is not the only problem, many Slovenian homes have fallen under Croatian border and vice versa. There was united place once, that is now separated and people living there are facing many problems with affiliation and also infrastructure.

Although we used to be part of one country, there is a lot of hidden hatred and neglect of minorities between the newly formed countries after the disintegration. There are many people who were basically forced into other citizenship because of new border.

Branimir Ritonja’s photographs show us unusual and difficult stories of people, whose lives have been turned upside down by the newly set border. With a series of photographs Prisoners of their own border the photographer does not only raise many socially important questions –  about experiencing borders that did not exist before and nationalism – but also raises public awareness of the lives of often overlooked people along the border, who are oppressed and face hatred and nationalism.

BIOGRAPHY

Branimir Ritonja is one of Maribor’s most prominent contemporary photographers, especially recognizable by his portrait oeuvre. As a 12-year-old boy in elementary school, he developed his first black-and-white film and produced his first black-and-white photograph. As an extremely active member of the Photography Club Maribor in 1996, he became the artistic director of their Photo Gallery Stolp. Two years later, he received the title “Master of Photography” awarded to him by the Photographic Association of Slovenia. Branimir Ritonja has had more than 50 solo exhibitions to date, has participated in more than 600 group exhibitions and has also received over 110 awards for his works. Among them is the French Photographic Association plaque and the Glazer Prize with a charter for achievements in culture and a bronze medal at the Salon of Fine Arts in Paris.

“Borders”

OFF THE MARGINS

 

Stefanie Zofia Schulz

Verena Blok

Marvin Bonheur

 

“Off the Margins” is an international group exhibition organized within the project “From St. Germain to EU – 100 years of a border” with the support of the Europe for Citizens Programme. The exhibition is curated by Barbara Gregov, Luja Šimunović and Lea Vene from the partner organization Organ Vida and it features works by artists Stefanie Zofia Schulz (DE), Verena Blok (NL), and Marvin Bonheur (FR).

 

Focusing on teenagers and the youth population in general, the artists contemplate different aspects of European migration policies – from specific experiences of labor migration, asylum seeking and life in migrant settlements to wider issues of migrant work, discrimination and racism. The exhibition also aims to reexamine the dominant documentary approach to the topic – selected projects tackle it through staged photography, street, “snapshot” photography and film.

 

“From St. Germain to EU — 100 years of a border” is an international project with partner organisations Društvo za evropsko zavest (SI), Fotoklub Maribor (SI), Organ Vida — International Photography Organization (CRO), Associació cultural Ull per Ull (ES) and Österreichische Gesellschaft für Kinderphilosophie (AT). The project is co-funded by the Europe for Citizens programme of the European Union.

 

The European Commission’s support for the production of this publication does not

constitute an endorsement of the contents, which reflect the views only of the authors,

and the Commission cannot be held responsible for any use which may be made of the

information contained therein.

 

Stefanie Zofia Schulz – Duldung/Toleration

 

As part of her artistic project, Stefanie Zofia Schulz regularly visited the inhabitants of the largest refugee and political asylum seekers center in Germany. “Toleration/Duldung” focuses attention on children who are growing up in these centers and considered “tolerated” people. During her investigations at the “Lager” (as the center is known by the locals), she met people who have lived there for nearly fourteen years even though the accommodation was originally intended to simply be a temporary solution. For most young people interviewed as part of this work, the camp has become their home.

 

Stefanie Zofia Schulz was born in Germany in 1987 in a housing estate for migrants escaping from Russia and Poland. She graduated from the Ostkreuzschule in Berlin in 2013. Her photographic practice focuses on the documentation of important social issues and the human condition. Schulz presently lives and works in Berlin.

 

More info is available here: https://www.stefaniezofia.de

 

Verena Blok – Robota

 

The film’s title, Robota, is the Polish word for manual labor, and it has remained associated with arduous physical work despite the former socialist government’s effort to imbue the word with a noble, positive meaning. With attention to Poland’s transformation from a Soviet satellite to a capitalist nation following the fall of the Berlin Wall, Blok considers how the body, which had historically been seen as a tool for building the socialist state, now functions to accumulate individual capital. Frequently filming the men in extremely closely cropped frames, she fragments their bodies and focuses on specific movements—the flex of a bicep or twitch of a shoulder blade—drawing attention to the machinic quality of the body in motion. Asserting an eroticizing gaze, Blok captures the tension between looking and being looked at, reversing the stereotypical gendered power dynamic of a male creator behind the camera and a female objectified body in front of it. Sound and image are rarely in sync, resulting in a jarring discordance when shots of the idyllic landscape are combined with the men’s candid expressions of outright racism. However, the brothers’ beliefs are greatly influenced by the government-controlled media, whose construction of a Polish identity based on whiteness offers the men a sense of pride and power they lack when participating in Western Europe’s exploitative labor market. Blok juxtaposes shots of the brothers with footage of muscular, socialist realist sculptures of male workers in Warsaw, which the men feel resemble them, with one even declaring: “That’s me.” Yet the statues’ motionlessness contrasts with the brothers’ mobility, as well as the free-flowing capital that fills the void created by the decline of socialism.

 

Verena Blok (b. 1990, Netherlands) studied at the Royal Academy of Arts in the Hague and AKV I St. Joost in Breda. She was nominated for the 2017 Somfy Photography Award and was the Grand Prix Winner of the 2013 Poznan Photo Diploma Award. Her work has been exhibited at venues including Utrecht Central Station; Nederlands Fotomuseum, Rotterdam; Galeria Fotografii PF, Poznan; and Het Nutshuis in the Hague.

 

More info available here: https://www.stedelijk.nl/en/digdeeper/verena-blok

 

Marvin Bonheur – The Trilogy of Bonheur

 

Marvin Bonheur grew up in the “no-go zones” of Seine-Saint-Denis, where hope is in rare supply. Like everyone around him, he hung around, he played and soon realized that he would carry what he is and where he comes from all his life. In 2014, he started his project “Alzheimer”, a series on the haunted places of this area, with a 35mm compact camera. In the second part, “Thérapie”, he followed a quest to understand this area and his own identity. Today, he closes the trilogy with this chapter called “Renaissance”, revenge through images that still points to the stigmatization of origins and stereotypes. With pride and sometimes a little nostalgia, Marvin Bonheur gives us his “recipe for happiness” in three stages, the vision of his world, an honest gaze of acceptance on life in the suburb.

 

Born in August 1991, Marvin Bonheur grew up in Seine-Saint-Denis, Paris. At the age of 20, he started to practice photography. Between 2014 and 2018, he started to photograph his everyday life in this suburban area with his film camera. He completed a three-part project in 2018, which he called “La Trilogie du Bonheur” (The Happiness Trilogy). It tells of his memories, his everyday life and the dreams of a whole generation from working-class areas.

 

More info is available here: https://www.monsieurbonheurartist.com

 

 

THOSE WHO LIVE (LIVE OFF THE DEAD)  Antonin Artaud

The consumption and secretions of non-human animals is essential for sustaining ignored and extreme acts of violence for satisfaction of human pleasure. Torture and slaughter of billions is no longer significant or needed to feed human hunger; animal exploitation and it’s industrial scale killing system is providing us their body parts and bodily fluids as objects of our desire. Corrupted worshiping the banality and absurdity of massive scale breeding and killing of non-human animals gives us naively moral excuses while ignoring facts of crucial background consequences of animal exploitation for human consumption. And we as the higher breed take a great pride in naming this practice the circle of life when in reality it is the circle of our own madness, disease and death. Our obscene climax gives torture and killing a new urge and it is born out of reaching our divine pleasure: the taste. Betina Habjanič in Bojan Hajdu

Galerija Hladilnica Pekarna

Ob železnici 16
2000 Maribor, Slovenia

Dragana Jurišić

Dragana Jurišić was born in the former Yugoslavia and now living and working in Dublin, Dragana Jurišić received her PhD from the European Centre for Photographic Research in 2013. She is a Visiting Fellow at the University of South Wales and Assistant Professor in Dublin City University. Working primarily with image, text and video, she has shown her work extensively and won numerous awards, including the Golden Fleece Special Recognition Award, IMMA 1000 Residency Award and numerous Bursaries and Project Awards. Her work is in collections including the National Gallery of Ireland, Arts Council Collection and Irish State Art Collection. Her first book, YU: The Lost Country received accolades worldwide. Her new book Museum, a collaboration with the poet Paula Meehan, came out in July 2019.