2013.

12.6. / 21.6.nova imena AkAdemijA drAmske umjetnosti u ZAgrebu / odsjek snimAnjA

iZložbA fotogrAfijA

new namesacademy of dramatic art in Zagreb / cinematography department

photographic exhibition

2013

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12.6. / 21.6.nova imena AkAdemijA drAmske umjetnosti u ZAgrebu / odsjek snimAnjA

iZložbA fotogrAfijA

new namesacademy of dramatic art in Zagreb / cinematography department

photographic exhibition

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Popis izlagača / List of exhibitors

1. godinA PreddiPlomskog studijA snimAnjAundergraduate study / 1 year Ba CinematographyVana Katančić Sara Bernarda Moritz Roza Zanini Mozara Frane Pamić Robin PretkovićMario Pućić Sara Vurušić

2. godinA PreddiPlomskog studijA snimAnjAundergraduate study / 2 year Ba CinematographySven Čustović Anja Kolić Iva Korenčić Tena Pavletić Matija Pekić Toni Renaud

3. godinA PreddiPlomskog studijA snimAnjAundergraduate study / 3 year Ba CinematographyDario Belić Ema Giunio Maja Jokić Nives Milješić Antonio Pozojević Dino Šertović Nikola Šerventić Ino Zeljak

1. godinA diPlomskog studijA / usmjerenje fotogrAfijAgraduate study / 1 year ma photographyIgor Ilić Tjaša Kalkan Marina Paulenka

2.godinA diPlomskog studijA / usmjerenje fotogrAfijAgraduate study / 2 year ma photographySiniša Glogoški Luka Kedžo Davor Konjikušić Petra Mrša Neven Petrović Borko Vukosav Nikola Zelmanović

mA godinA diPlomskog studijA / usmjerenje snimAnje graduate study / ma Cinematography Bojan Mrđenović

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(Nova) imena/ ivA Prosoli

Već dugi niz godina izložba studenata snimanja i fotografije Akademije dramske umjetnosti nosi naziv Nova imena. Međutim nekolicina studenata, koja izlaže na ovoj preglednoj izložbi, već je dobro poznata fotografskoj publici. Posljednjih godina, studenti su sudionici mnogih izložbi i natječaja, kao što su Rovinj Photodays, natječaj THT-a, Essl Art Award, Erste fragmenti, New Now festival,… te nerijetko i dobitnici nagrada, pa više i ne možemo reći da se radi o posve novim imenima. Takva promjena situacije, sasvim sigurno potvrđuje ulogu Akademije, prvenstveno Katedre za fotografiju u formiranju domaće fotografske scene.

I ove je godine u okviru Katedre za fotografiju napravljen izbor fotografija, koje su nastajale na fotografskim kolegijima pod mentorstvom Sandre Vitaljić, Jelene Blagović i Darija Petkovića.

Već i radovi studenta prve godine pokazuju veliku raznolikost. Frane Pamić i Robin Pretković izlažu reportažnu fotografiju, Frane portretira putnike u tramvaju, dok Robin snima ulične prizore u kojima su glavni akteri psi. Snimke Marija Pućića dio su serije Put bez spomenika, nastale na putovanjima tijekom 2012. godine. Sam kaže da tom serijom propituje turističku fotografiju, no čini to na način da umjesto da prezentira top destinacije, što bismo od tog žanra očekivali, snima mjesta bez identiteta. Vana Katančić snima površinu vode, igrajući se pritom njezinim tonovima.Roza Zanini Mozara eksperimentira s dvostrukom ekspozicijom, stapa portret djevojke s površinom vode. Fotografije Sare Bernarde Moritz iz serije Magla su, kako sama kaže, “fotografije atmosfere, u kojima sam izostavljajući ljudski faktor unutar kadra, htjela dodatno naglasiti osjećaj praznine te istaknuti ritam, linije i tonove”.

Sara Vurušić snima akt čiju površinu dinamizira kapljicama vode, a Tena Pavletić spretno koristi površinu tijela kao poligon za igru oblika i svjetla.

I dvije studentice druge godine izlažu aktove. Anja Kolić želi prikazati ljepotu tijela kroz seriju visoko kontrastnih crno bijelih fotografija, dok Iva Korenčić pokazuje seriju fotografija nefiksiranog pokreta utemeljenu na ideji da je ljepota u trajanju. Serija aktova nastala je kao reakcija na pjesmu Lepota, benda Goribor, pri čemu je trajanje ekspozicije izjednačeno s trajanjem pjesme (4.30’). Tako je niz pokreta/proces ostao zabilježen u jednom zapisu, pri čemu Iva tematizira mogućnosti percepcije, sjećanja i samu prirode fotografije kao medija: “bilježenjem dužeg perioda pokušavam taj trenutak produžiti, nesvjesno priželjkujući da on ne prođe - no fotografija je blijeda isto kao i moje sjećanje“.

U seriji Autoportret Matija Pekić istražuje vlastiti identitet kroz skenirane fragmente svoga tijela. Sličan je pristup Daria Belića, koji u seriji autoaktova nazvanim Klaustrofobija, snimanih kroz staklenu stijenu, tematizira granice.

Toni Renaud izlaže četiri fotografije iz serije Drugi svjetski rat. Radi se o kostimiranim portretima parova, pri čemu muški dio para predstavlja njemačkog, ruskog, odnosno američkog vojnika, ironiziranim studijama društva, koji impostacijom oponašaju studijske portrete 1940-ih godina.

Ema Giunio je na dugom putovanju kroz Poljsku bilježila pejzaže. Dvostrukim eksponiranjem stvorila je imaginarne prostore. Antonio Pozojević izlaže seriju pejzaža izražene pikselizacije, čime aludira na doživljaj prirode suvremenog čovjeka, ograničen na prizore s ekrana. Takvim postupkom priziva Sigmara Polkea i njegovo istraživanje medija u 1960-im godinama. Dino Šertović radi noćne snimke prostora uz koje je intimno vezan dijelom svojeg života. Nikola Šerventić apstrahira predmet snimanja, oplošnjava prizor, koncentrirajući se na odnose oblika i boja.

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Ino Zeljak izlaže tri fotografije interijera. Manipulacijom svjetlom svedeni su na geometrijske oblike, koji se poigravaju s gledateljevom percepcijom prostora. Pokušaj imitiranja filmskih kadrova, koji nagovještavaju priču, primjetan je u seriji modne fotografije Maje Jokić. Sven Čustović portretira mlade plivače, a Nives Milješić izlaže akt mlade djevojke, koji u sebi objedinjuje prerafaelitsku senzualnost i balthusovski eroticizam.

Studenti prve godine diplomskog studija fotografije izlažu varijante fotografskog dnevnika. Marina Paulenka dokumentira život jednog para, Tjaša Kalkan kroz portrete svojeg partnera, koji su dio veće cjeline nazvane Lisabonski dnevnik, govori o “početku veze na daljinu, usamljenosti, portugalskom jeziku, nerazumijevanju i frustraciji”, dok Igor Ilić fotografira školska dvorišta.

Žanrovski su ovim radovima srodne fotografije Borka Vukosava i Davora Konjikušića, studenata druge godine diplomskog studija fotografije, koji se bave aspektima autobiografskog. Borko Vukosav na primjerima naizgled neutralnog pejzaža Dubrovnika, “u kojem sam rođen, koji sam napustio, za kojeg sam izgubio sjećanja” objedinjuje simbole i rutine, koji opstaju i bez njegove prisutnosti. Davor Konjikušić pak izlaže fotoalbum nazvan Još jedan ljetni fotodnevnik u kojem kroz pejzaže, portrete, tekstualne zapise, i destruktivne intervencije na fotografijama objedinjuje iskustva jednog ljeta. Petra Mrša, Neven Petrović i Nikola Zelmanović izlažu fotografije, nastale tijekom prošle akademske godine kao rezultat suradnje Muzeja grada Zagreba i Akademije dramske umjetnosti, u okviru projekta Zagrebačka industrijska baština za koji su fotografirali prostor bivše Gradske klaonice. Petra Mrša se, tematizirajući moguću stambenu namjenu isluženih prostora, poigrala granicama medija, inkorporirajući sliku u svoju fotografiju suradnji s nekoliko umjetnika, slikara (Luka Dundor, Marija Kasum, Frano Makek, Ivan Marković and Antonija Albaneže). Noćne scene na napuštenim prostorima prikazali su

Neven Petrović i Nikola Zelmanović. Neven se kritički bavio simbolikom crvene boje i njezinim značenjem tijekom rada Klaonice, dok je Nikola pokazao nadmoć prirode, neovisne o planovima i projektima čovjeka. Siniša Glogoški snima beskućnike koji noću spavaju na ulicama Dhake, glavnog grada Bangladeša: ”U početku sam mislio da su to samo zaboravljene i odbačene krpe na cesti no svako malo provirila bi mršava ruka popravljajući pokrivač.” Luka Kedžo u najvećoj mjeri od svih studenata izlazi van granica fotografskog medija i svojim radom objedinjuje godine školovanja na Akademiji dramske umjetnosti: “zatvaranje kruga, školovanja, ULUPUH-a, razmišljanja...samozasjedni hommage samom sebi, profesorima, bivšim i sadašnjim studentima”. Rad mu se sastoji od tri elementa: fotografija kontejnera za smeće, koje su ujedno i njegova prva studentska vježba koju je jedan profesor ocijenio smećem; mobila, sastavljenog od otpadnog fotografskog materijala svojih kolega i proglasa u kojem iznosi svoja opažanja o vremenu studija i zaokružuje cjelinu.

Izložbi se pridružio i Bojan Mrđenović, jedini predstavnik diplomskog studija snimanja, serijom fotografija deponija jedne tvornice.

Zajedničko studentsko izlaganje na izložbi Nova imena (iako, kako je već spomenuto na početku teksta i nisu sva “nova”) od velike je važnosti, kako za same studente, jer nekima je to ipak prva prilika da predstave svoje radove javnosti i suoče se s prvim komentarima i kritikama, tako i za publiku, koja ima priliku na jednom mjestu sagledati najbolje od godišnje fotografske produkcije Akademije dramske umjetnosti, i pratiti razvoj imena iz godine u godinu.

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(New) names/ iva prosoli

For a number of years, the exhibition of works by students of Department of Cinematography and Photography at the Academy of Dramatic Arts has been entitled New Names. However, a number of students exhibiting their works at this review exhibition are already well-known to the photography public. In recent years, students have taken part at numerous exhibitions and competitions, for example, Rovinj Photodays, the THT competition, the Essl Art Award, Erste Fragmenti, the New Now Festival, and have also frequently received awards for their works, so that they are not exactly new names. These changes unquestionably confirm the role of the Academy, primarily the Department of Photography, in the shaping of the domestic art scene.

A selection of photographs, mentored at art classes run by Sandra Vitaljić, Jelena Blagović and Darije Petković has been made this year by lecturers of the Photography Chair.

Even the works of first-year BA students are diverse in character. Works by Frane Pamić and Robin Pretković are examples of reportage photography; Frane portrays passengers in trams, whilst Robin photographs street scenes in which the main protagonists are dogs. Images by Mario Pućić are part of a series entitled Journey without Monuments (Put bez spomenika) taken during a trip in 2012. He himself states that this series is a study examining tourist photography, but instead of presenting top destinations, which one would expect in this genre, he has taken photographs of places without identity. Vana Katančić is interested in the surface of water and plays with its tones. Roza Zanini Mozara experiments with double exposures, fusing the portrait of a young woman with the surface of water. The photographs of Sara Bernarda Moritz from her series entitled Fog (Magla) are, as she states, “ photographs of atmosphere, in which I left out the human factor in the aim of accentuating a sense of emptiness, but also rhythm, lines and tones.”

Sara Vurušić portrays nudes additionally dynamised through droplets of water, and Tena Pavletić adroitly applies the surface of the human body as a polygon for the interplay of form and light.

Two second-year BA students are also exhibiting nudes. Anja Kolić aims at presenting the beauty of the body through a series of highly contrasted black and white photographs, while Iva Korenčić’s series of photographs depicts unfixed motion based on the notion that beauty in a continuum. This series of nudes was inspired by the song Beauty by the band Goribor, while the exposure time is matched to the duration of the song (4:30). In this way a series of movements/process have been recorded instantaneously, whereby Iva emphasises the possibilities of perception, memories and even the nature of photography as a medium: “By recording a longer period, my aim is to extend the moment, unconsciously hoping that it will not pass – but photographs fade just as my memories do.”

In his series Self-Portraits Matija Pekić explores his own identity through scanned fragments of his own body. Dario Belić has a similar approach; in his series of self-portraits taken through a blurred glass entitled Claustrophobia he thematizes boundaries.

The exhibition also includes four of Toni Renaud’s photographs from his series World War II (Drugi svjetski rat). They portray costumed couples with the male model dressed up as a German, a Russian and an American soldier, and are ironic studies of society, emulating studio portraits from the 1940s.

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Ema Giunio recorded landscapes during her long journey through Poland. Through double exposures she has created imaginary spaces. Antonio Pozojević’s exhibits are a series of highly pixelated digitalized landscapes, alluding to modern man’s experience of nature, limited by screen scenes. This images evoke Sigmar Polke’s exploration of the media in the 1960s. Dino Šertović takes night shots of spaces that he has been intimately linked to during part of his life. Nikola Šerventić abstracts the photographed object, flattening the scene, concentrating on the relationship between shape and colour.

Ino Zeljak exhibits three photographs of interiors. Through the manipulation of light they are reduced to geometrical figures that play with the viewer’s perception of space. In Maja Jokić’s series of fashion photographs there is a visible attempt at imitating film shots foreshadowing a story. Sven Čustović portrays young swimmers, and Nives Milješić nude depicts an adolescent girl and subsumes Pre-Raphaelite sensuality combined with Balthus-like eroticism.

Works by first-year MA students of photography are variations to a photographic diary. Marina Paulenka documents the life of a couple; Tjaša Kalkan in portraits of her partner, exhibits a smaller part of her Lisbon Diary series, where she examines “the beginnings of a long-distance relationship, loneliness, the Portuguese language, lack of understanding and frustration”, whilst Igor Ilić photographs school playgrounds.

Photographs by Borko Vukosav and Davor Konjikušić, second-year MA students of photography, include autobiographical aspects. In his seemingly neutral landscapes of Dubrovnik “the town where I was born, that I left, that I have forgotten” Borko Vukosav subsumes symbols and routines that survive despite his absence. On the other hand, Davor Konjikušić’s work entitled Just another Summer Photo Diary (Još jedan ljetni fotodnevnik) includes photographs of landscapes, portraits, textual annotations and destructive interventions that encapsulate his experiences during one summer.

Photographs by Petra Mrša, Neven Petrović and Nikola Zelmanović are the result of cooperation between the Museum of the City of Zagreb and the Academy of Dramatic Arts during the previous year and are part of the project Zagreb Industrial Heritage for which the authors took photographs of the site of what was once the city’s abattoir. Petra Mrša takes the medium of photography to its limits and focuses on the possibilities of revitalising the disused building into housing whilst incorporating works of a number of artists/painters (Luka Dundor, Marija Kasum, Frano Makek, Ivan Marković and Antonija Albaneže) within her photographs. Neven Petrović and Nikola Zelmanović depict night scenes at the abandoned site. Neven’s critical focus is on the symbolism of the red colour and its implications during the functioning of the abattoir, whilst Nikola depicts the dominance of nature, irrespective of man’s plans and projects.

Siniša Glogoški photographs the homeless sleeping in the streets of Dhaka, the capital of Bangladesh: “In the beginning I thought they were simply forgotten and discarded rags on the road, but every now and then a skinny hand would appear and adjust the covers”.

Among all the students, Luka Kedžo goes beyond the boundaries of photography and his works subsume years of education at the Academy of Dramatic Arts: “the closing of a circle, education, ULUPUH, contemplation... a startling hommage to the self, to professors, to past and present students.” His work consists of three elements: the photographs of a rubbish bin, which were one of his first student photographs and was evaluated as being rubbish by his professor; a mobile made of his colleagues’ waste darkroom material; and a statement in which he proclaims insights made during his studies, and so completes his circle.

Bojan Mrđenović, the only MA Cinematography student, is included with a series of photographs depicting a factory dump.

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This student exhibition entitled New Names (although some are not “new”, as stated earlier on in the text) is of great importance, not only for the students, as for some of them this is their first opportunity to present their works to the public and receive comments and criticism, but also for the spectators, as it presents the best of the photography production at the Academy of Dramatic Arts in one place and so allows them to track annual development these “names”.

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9 antonio pozojević

10 Bojan mrđenović

11 nives milješić

12 iva korenčić

13 sara Bernarda moritz

14 maja jokić

siniša glogoški

15 dino šertović

dario Belić

16 toni renaud

17 matija pekić

ema giunio

18 frane pamić

roBin pretković

19 tena pavletić

20 sven čustović

Borko vukosav

21 petra mrša

nikola šerventić

22 anja kolić

sara vurušić

23 roza zanini mozara

24 marina paulenka

tjaša kalkan

25 vana katančić

mario pućić

26 igor ilić

27 nikola zelmanović

28 davor konjikušić

29 luka kedžo

30 ino zeljak

31 neven petrović

uluPuHHrvatska udruga likovnih umjetnika primijenjenih umjetnosti / Croatian Association of Artists of Applied Arts, Preradovićeva 44/1, Zagreb, Hrvatska / CroatiaIvana Bakal, predsjednica ulupuh-a / ULUPUH presidentJelena Blagović i Iva ProsoliIva ProsoliTamara Budimirkuna zlaticaPrintera grupa, Zagreb, 2013.300 primjeraka / 300 copies

Darije Petković, doc.; Jelena Blagović, asis., Iva Prosoli

Darije Petković, doc.; Jelena Blagović, asis., Iva Prosoli

Ministarstvo kulture RH / Ministry of Culture of the Republic of CroatiaAkademija dramske umjetnosti u Zagrebu / Academy of Dramatic Art

CIP zapis dostupan u računalnom katalogu Nacionalne i sveučilišne knjižnice u Zagrebu. / A CIP catalogue record for this book is available from the National and University Library in Zagreb.978-953-327-044-9

a / Tkalčićeva 14, Zagreb, Croatiap/f / +385 (0)1 4813 746e / galerija-ulupuh@zg.t-com.hrw / www.ulupuh.hr

gAlerijA uluPuH

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nAklAdnik / publisher

ZA nAklAdnikA / for the publisherurednice / editors

Predgovor / introductionPrijevod nA engleski / english translation

grAfičko oblikovAnje i PriPremA / graphic designtisAk / print

nAklAdA / edition

koncePcijA iZložbe i selekcijA rAdovA / selection of works

Prostorno-likovni PostAv / installation

iZložbA je reAliZirAnA uZ finAncijsku PotPoru / exhibition has been put on with the support of

ciP

isbn

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