Andrej Furlan, »Ne-kraji«, na: Italijanski paviljon v svetu, Italijanski inštitut za kulturo, Ljubljana, 1. junij–31. avgust 2011.

Wenders nam razlaga, da je slika vedno definirana dvakrat. Prvič se to zgodi, ko jo uzremo kot celoto. Drugič jo definiramo, ko se nam iz nje izlušči določen detajl.

Fotografija torej pomeni le enega izmed elementov njenega ustvarjalnega procesa – vselej pa tudi končni izdelek: je avtorica celotnega procesa, konceptualistka, slikarka, kiparka, režiserka, scenaristka, kostumografinja, performerka in fotografinja.

What has made the notion of the portrait attractive is precisely the concept of interface which suggestively plays with the word face, and means simultaneously »something that is between faces« and »something that acts as a point of exchange between different systems«.

Charlotte Cotton’s approach towards research and writing was distinctive and unique, deriving from her professional position of a museum curator. The book quickly became a popular reference point for the comprehension of art photography of the recent decades.

Her work spans across a number of fields, ranging from documentary to social, ethnographic and medical photography. Despite very specific circumstances of their making, her photographs reveal the extraordinary variety of sister’s activities and display a deep sensibility towards the depicted subjects – images of elderly and suffering, hospitalized children, people living in remote villages of rural Slovenia and Croatian catholic community in North Kosovo.

Ou’s photographs of mundane parties in New York are just a fraction of his responsible and affectionate work which includes coverage of the Middle East conflicts, drug addicts in Canada or African children, who are forced to take weapons into their hands.

The text focuses on a specific area of contemporary Romanian photography, highlighting the common ground, artistic preoccupations and subtle interconnections between photographers of different generations and with quite diverse means of expression.

The article addresses the photographic portrait and its (in)ability to communicate identity. The author outlines the transformation of the photographic studio portraiture from the early practice of identity construction to contemporary, semi-automatic reproduction of faces for official documents.

Sodobna fotografija bi morala priznavati svoj razvoj iz (post)modernosti, vendar hkrati ohranjati kritičnost. Kritičnost ne samo do svojega reprezentacijskega sistema, temveč tudi do sistema, ki jo reprezentira - in posledično do sodobne kulture nasploh.

First Second, 288 strani, 2010.
ISBN-13: 978-1-59643-375-5
ISBN-10: 1-59643-375-2

Hatje Cantz, 120 strani, 59 barvnih illustracij, 2010.
ISBN 978-3-7757-2784-6

(ur. Geoffrey Batchen)
The MIT Press, 304 strani, 2009.
ISBN-10: 9780262013253, ISBN-13: 978-0262013253

Najava razstav v Galeriji Fotografiji
30. avgust 2011–24. september 2011

Hatje Cantz, 2010, 120 strani
ISBN 978-3775726368

Študijski center Nediža, izdalo ZTT EST, 277 strani, 2011.
Uredniki: Roberto del Grande, Alvaro Petricig, Michela Predan
ISBN: 978-88-7174-124-6

Hatje Cantz, 192 strani, 98 ilustracij, 2010.
ISBN: 978-3-7757-2811-9

Hatje Cantz, 156 strani, 169 ilustracij, 2010.
ISBN 978-3-7757-2737-2

Hatje Cantz, 212 strani, 410 ilustracij, 2010.
ISBN 978-3-7757-2608-5