NEPRILAGOJENI OPAZOVALCI. OUTSIDERJI IN IZOBČENCI.

Name: NEPRILAGOJENI OPAZOVALCI. OUTSIDERJI IN IZOBČENCI.
Start: 2024-12-04T19:00:00+01:00
Location: Galerija Photon

Schedule

Wed, 04 Dec, 2024 at 07:00 pm

UTC+01:00

Location

Galerija Photon | Ljubljana, LB

V času socializma so bili status, funkcija in estetske zapovedi fotografije v vseh nekdanjih socialističnih državah zelo podobni. V srednjeevropskih državah, ki so bile del socialističnega bloka, je bila podobna tudi kolektivna organiziranost na področju fotografije, saj je večina fotografov delovala v okviru sistema fotografskih klubov. Vendar so nekateri fotografski ustvarjalci delovali tudi samostojno ali večinoma izven obstoječega sistema,
nekateri zaradi posebnega pristopa k ustvarjanju, drugi zaradi cenzure ali celo prepovedi njihovega dela.
V ospredje razstavnega projekta »Outsiderji in izobčenci« postavljamo ravno tiste avtorje, ki so iz različnih razlogov izstopali iz večinskega toka fotografske produkcije v nekdanjih socialističnih državah.
Razstavni projekt je razdeljen na dva dela. V prvi skupini predstavljamo avtorje, ki so ustvarjali predvsem v liniji socialnega dokumentarizma, vendar so teme in motivi njihovih fotografij v nekem trenutku postali problematični za tedanjo oblast. Nekateri fotografi so se zavestno usmerili v družbeno angažirano fotografijo, ki ni zgolj dokumentirala resničnosti, temveč je tudi izražala kritiko in odpor do režima ali pa je življenje v socializmu predstavljala v izrazito satiričnih odtenkih. Včasih pa je bila dovolj tudi zgolj ena »napačna« fotografija, da sta bili kariera in usoda nekega fotografa postavljeni na kocko.
V drugo skupino uvrščamo umetnike, ki so od poznih 1960-ih v fotografskem mediju predvsem raziskovali možnosti kreativnega izražanja. Po eni strani je šlo za umetnike, ki so »uporabljali fotografijo«, po drugi strani pa za fotografe, ki so se zavestno odmaknili od prevladujoče estetike dokumentarizma. Pri tem so oboji v veliki meri gradili na dediščini predvojnih avantgard, nekateri tudi v izraziti kontinuiteti s predvojnimi fotografskimi
avantgardami.
V razstavnem projektu predstavljamo nekatere pomembne protagoniste razvoja specifičnih avtorskih praks v fotografiji na področju CEE pred 1990, razvoja, ki je peljal od povojne
propagandne dokumentarne fotografije do današnje umetniške fotografije. Predstavljeni avtorji dokazujejo, da v tem delu Evrope obstaja izjemna dediščina povojne, modernistične fotografije, ki pa je v mnogih pogledih v širšem svetovnem pa tudi evropskem kontekstu še vedno (pre)malo znana. Razlogov za to je več, nedvomno pa je za to krivo tudi omejevanje svobode ustvarjanja, predstavljanja in mednarodnega povezovanja v času socializma.
V projektu bo predstavljenih deset avtorjev s fotografijami, ki so nastale v različnih srednjeevropskih državah, predvsem v ex-Jugoslaviji, na Madžarskem, nekdanji Češkoslovaški in na Poljskem:
János Szász, Andrzej Baturo, Vladimír Birgus, Jindřich Štreit, Tone Stojko, Stane Jagodič, Rudolf Sikora, Gábor Kerekes, Ladislav Postupa, Bálint Szombathy.
Razstavo podpira Lisztov inštitut.
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During socialism, the status, function, and aesthetics of photography were remarkably similar across all former socialist countries. In the Central European countries that were part of the socialist bloc, there was also a unique collective organisation in the field of photography, as most photographers worked within the system of photography clubs.
However, some photographers have worked outside the system and independently, some because of a particular approach to their work, others because of censorship or even a ban on their work. The exhibition project »Outsiders and Outlaws« focuses on those
photographers who stood out from the mainstream of photographic production in the former socialist countries.
The exhibition project is divided into two parts. In the first group, we present photographers who worked mainly in the line of social documentary, but at some point the subjects and motifs of their photographs became problematic for the authorities of the time. Some photographers consciously turned to socially engaged photography, which did not only document reality, but also expressed criticism and resistance to the regime, or presented life
under socialism in highly satirical tones. Sometimes, however, it took just one »wrong« photograph to put a photographer’s career and fate on the line.
The second group includes artists who, from the late 1960s onwards, primarily explored the possibilities of creative expression in the photographic medium. On the one hand, these were artists who used »photography«, on the other hand, photographers who consciously moved away from the dominant aesthetic of documentary. Both built to a large extent on the legacy of the pre-war avant-gardes, some of them in a marked continuity with the pre-war photographic avant-gardes.
In this exhibition project we present some of the important protagonists of the development of specific artistic practices in photography in the Central East Europe before 1990, a
development that led from post-war propaganda documentary photography to today’s contemporary art photography. The artists presented here demonstrate that there is a remarkable heritage of post-war, modernist photography in this part of Europe, but that in
many ways it is still (too) little known in the wider global as well as European context. There are several reasons for this, but undoubtedly the restrictions on freedom of creation, representation and international networking under socialism are also to blame.
Participating artists:
Tone Stojko, Janos Szasz, Andrzej Baturo, Vladimir Birgus, Jindrich Streit, Stane Jagodič, Rudolf Sikora, Gábor Kerekes, Balint Szombathy, Ladislav Postupa.
The exhibition is supported by Liszt Institute Ljubljana.