- 2022
- 18/01/2022
< 1 min.
Skin – organ, boundary, shield, medium, metaphor. This permeable surface stands as a barrier to the “outer” world, an observable texture of our public persona, and at the same time a safeguard for our perceptual inner self that mediates and constructs our environment. Carved by the space and time, the skin is a (living) tissue, shaped by the chisel of time inscribing on it the contours of an individual’s autobiography. It is carnal, intimate, personal, always aware. It belongs to the senses and at the same time it is alienated, libidinous, even uncanny – it belongs to us, others… everyone – but at the same time, to no one at all. Skin is a part of a wider social tissue, framed by the gaze of others, seemingly animated by its own spirit. It is a membrane of the world and every individual – it equally radiates and inscribes identity.
The exhibition Skin unveils different photographic practices, touching the topic of skin, be it gently or roughly, from its superficial mindfulness, its microscopic structures, to its social embodiment – in the economy of the gaze, it oscillates between the desired and demanded, exposing physicality, the relations between the real and the created, between immersion and deconstruction. As does photography.
Nataša Ilec Kralj (1992) earned her MA at Academy of Fine Arts in Ljubljana in the field of photography and her BA at VIST Ljubljana – Department of photography. She takes interest in theoretical and philosophical aspects of the photographic medium and has also participated in a few group exhibitions (πr2 – contemporary cinetic ceramics: Layerjeva hiša, Kranj, 2021; Cyanotypical: Ljubljana, 2019; Svaka čast: Ljubljana, 2019; Create a work which is not yours: Ljubljana, 2019; FUGA – UL ALUO+FA: Ljubljana, 2019; Stičišče: Ljubljana, 2019; 25 Images: Berlin, 2017; ISO0: Photonic Moments, Ljubljana, 2016; Flâneur: Ljubljana, 2015; Overlook: Photonic Moments, Ljubljana, 2014; NovaF: Maribor, 2013). Ilec Kralj curated her first exhibition, Mejniki, in 2017. She has been collaborating, contributing and translating for Membrana since 2017. Her free time passion is bookbinding.
Kristina Ferk (1992) studied History of Art and Latin Language, Literature and Culture at the Faculty of Arts in Ljubljana. In 2020, she graduated from the School of Curatorial Practices and Critical Writing World of Art. As part of this course, she participated in the installation of the exhibition control < cultivate > evolve at Škuc Gallery. In November 2020, she co-curated Under Pressure, the final exhibition of the World of Art School at Škuc Gallery; and in January 2021, at the same gallery, she curated the exhibition Tadej Vaukman: But don’t show this to my kid. As part of the DLUL Gallery’s Young Curator Young Artist programme, she curated the exhibition Maja Bojanić: draw each easily enough enough erased erased. In November 2021, she curated the exhibition Impossible to Return to an Impossible Land at Galerie Kresija, where she has worked since 2019.
Ewa Doroszenko (1983) is a Warsaw-based intermedia artist. She earned her doctorate in fine arts from the Nicolaus Copernicus University in Toruń. Her artistic practice is characterized by an unconventional use of digital manipulation, together with the classic photographic medium and traditional painting. Ewa Doroszenko is a winner of international competitions, including Fait Gallery Preview (2016), DEBUTS – doc! photo magazine (2018), Debut – Lithuanian Photographers Association (2018), scholarship holder of the Ministry of Culture and National Heritage of the Republic of Poland (2019), the City of Toruń in the field of culture (2013 and 2011), and recipient of many international residency programs. She is also a finalist of the Noorderlicht International Photo Festival (2021), Kranj Foto Fest (2021), FIF-BH – International Festival of Photography of Belo Horizonte (2020), Athens Digital Arts Festival (2020), Landskrona Foto Festival (2018), FILE Electronic Language International Festival Sao Paulo (2015), ISEA International Symposium on Electronic Art Vancouver (2015), GENERATE! Festival for Electronic Arts (2015). Her works have been shown, among others, at the Center for Contemporary Art in Torun, Vilnius Photography Gallery, MAH – Museum of Angra do Heroismo, Propaganda in Warsaw, Fait Gallery in Brno, Kasia Michalski Gallery in Warsaw, Exgirlfriend Gallery in Berlin.
Görkem Ergün (1981) is an artist and also works in a photography archive in İstanbul. In his lens-based works, Ergün focuses on the relations between culture, design and violence with a body-centered point of view. Scientific developments, new technologies, great destructions and rituals make it possible to create new meanings about the consequences of focused relationships and how these relationships can be transformed. His works have been exhibited in various galleries, museums and showcases.
Karina-Sirkku Kurz is a Finnish-German photographer and visual artist currently based in Berlin. She studied in Bremen, Lahti and Helsinki where she graduated with a master’s degree from the Department of Photography at Aalto University School of Arts, Design and Architecture. Kurz’s work UNGLEICHGEWICHT (Imbalance) has won and been nominated for several prizes. The book of the same name won the Nordic Dummy Award in 2015 and was then published by Kehrer Verlag. In 2017, UNGLEICHGEWICHT was honored with the Finnish Photobook Award, organized by the Association of Photographic Artists and The Finnish Museum of Photography. Photographer Alec Soth chose the winner. Kurz is a member of the Union of Artist Photographers in Finland and Deutsche Fotografische Akademie. She received several grants, among others, from Haus am Kleistpark in Berlin, the Finnish Cultural Foundation, The Arts Promotion Centre Finland, FRAME Contemporary Art Finland, Norwegian Arts Council and The Swedish Cultural Foundation in Finland. Kurz’s works can be found in the Finnish State Art Collection, the Collection of “The Finnish Museum of Photography” and in private collections.
Anne Lysbeth Noble (1954) is one of Aotearoa New Zealand’s most widely respected contemporary photographers who has been at the forefront of photographic practice in New Zealand since the early 1980s. Creating bodies of work that mark sustained engagement with particular places, sites, histories, issues and more recently species, her images are known for their beauty, complexity and conceptual rigour and for their persistent inquiry into the ways we perceive and come to understand the natural world. Anne Noble is Distinguished Professor of Fine Arts (Photography) at Massey University, Wellington, and the recipient of numerous awards including the 31st Higashikawa Overseas Photographer Award (2015), a Fulbright Fellowship at Columbia College, Chicago (2014), a New Zealand Arts Foundation Laureate Award (2009) and US National Science Foundation Artists and Writers Award (2008). She has exhibited widely both nationally and internationally and her work is held in collections throughout the world.
Goran Bertok (1963) studied journalism and comparative literature and graduated in 1989 in journalism from the Faculty of Sociology, Political Science and Journalism – FSPN (now Faculty of Social Sciences – FDV). In 1990, the central motif of his first solo exhibition held at the ŠKUC Gallery was the human body bearing signs of physical violence. In subsequent series, Bertok explored the transitions between all stages of violence; from make-believe violence, intentional harm done to one’s own body and/or the other’s body to the organised violence that society inflicts on the body of an individual, culminating in physical death and complete destruction of the body.
Špela Šivic (1998) is a young Slovenian photographer. While attending the Faculty of Applied Sciences – VIST in Ljubljana, she expanded her knowledge of photochemistry and various darkroom processes with photographer Peter Fettich who has been member of the Kela collective over the past year. She decided to spend her third academic year in Bari, at the Accademia di Belle Arti di Bari. She uses the analogue technique and occasionally complements her works with other means of artistic expression, thus exploring in terms of both content and form how to render the moment that occurs in front of the camera in its final form as genuinely as possible. Her first photography book, Brugnon, came out in February 2021. Last September Špela Šivic and Jaka Mojškerc held the exhibition MOMCI and some other or less related things.
In the conversation, two of the most prominent New Zealand authors in the field of photography talk about the body of work of Anne Noble’s Antarctica photography projects. Had we lived is a re-photographic project reflecting on the tragedies of heroic age exploration (commemorating the centenary of the deaths of Robert Falcon Scott and his men on their return from the South Pole – Terra Nova Expedition or British Antarctic Expedition to the South Pole, 1912) and on the memory of Erebus tragedy of 1975, when a tourist plane flying over Antarctica crashed into Mt Erebus, killing all 257 people on board. Anne Noble re-photographed image taken by Herbert Bowers at the South Pole – the photograph of Scott and his men taken after they arrived at the South Pole to find Amundsen had already been and gone. Phantasms and Nieves Penitentes projects hint at the triumph of Antarctica over human endeavour and as a non-explorer type herself photographer Anne Noble states: “I rather liked this perverse reversal”. Both tragic events have a notable relationship to photography – Erebus in particular, as those who died were likely looking out of the aeroplane windows taking photographs at the time of impact. This relationship is addressed throughout the conversation between the two, providing an insightful commentary on the questions of authenticity, documentary value and the capacity of photography to exist in the in-between spaces of thoughtful imagining, and rational dreaming.
Anne Noble (born 1954) from New Zealand is Distinguished Professor of Fine Arts (Photography) at Massey University, Wellington. Her lens based practice spans landscape, documentary, and installations that incorporate both still and moving images. Antarctica has been a focus over the last decade, an extension of her interest in how perception and cognition contribute to a sense of place. She has made three visits to Antarctica, the most recent in 2008, to complete three photographic book and exhibition projects: Ice Blink (2011), The Last Road (2014), and Whiteout / Whitenoise (forthcoming, 2017). In 2009 she received an Arts Foundation Laureate award in recognition of her contribution to the visual arts in New Zealand. She was the recipient of a 2014 Fulbright Senior Scholar Award. Her current still photographic and video installation projects are concerned with the decline of the honeybee and human relationships to natural biological systems.
Geoffrey Batchen’s (born 1956) work as a teacher, writer and curator focuses on the history of photography. He is particularly interested in the way that photography mediates every other aspect of modern life, whether we’re talking about sex or war, atoms or planets, commerce or art. Besides being an expert in the general theory and historiography of photography, Geoff has helped to pioneer the study of vernacular photography (photographs not intended as art, such as snapshots, commercial photos, and objects like photographic jewellery). He has published extensively, in eighteen languages to date. He is the author of Burning with Desire: The Conception of Photography (1997, with subsequent translations into Spanish, Korean, Japanese, and Slovenian), Each Wild Idea: Writing, Photography, History(2001), Forget Me Not: Photography and Remembrance (2004), William Henry Fox Talbot (2008), What of Shoes: Van Gogh and Art History (2009, in German and English), and Suspending Time: Life, Photography, Death (2010, in Japanese and English). He has also edited an anthology of essays titled Photography Degree Zero: Reflections on Roland Barthes’s Camera Lucida (2009) and co-edited another titled Picturing Atrocity: Photography in Crisis (2012). Over the past twenty-five years, Geoff has also been involved in the international art world as a curator and editor.
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“Animals are becoming an increasingly bigger part of our lives, our inevitable loneliness. They complement our human or spiritual side that we are deprived of.”
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