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.

The photographic series Being Gay in Uganda by photographer Tadej Žnidarčič documents a struggle of the gay community in Uganda, in a country where the conditions are getting harder and harder. The excerpts from interviews of participants alongside photos put the observers in the cruel reality, so common for the photographer’s protagonists.

Connecting any social activities with terrorism is always very problematic, and for several reasons. This connection from the outset requires the definition of what terrorism is.

Premikati zidove, Inštitut za odprto družbo (Moving Walls, Open Society Institute)

Prispevek je nastal na podlagi transkripcije oddaje Arsov forum in je bil objavljen na III. programu RA SLO – programu ARS 17. 02. 2010. Oddajo je vodil Gregor Podlogar. Gostje so bili Jan Babnik (urednik revije Fotografija), Meta Krese (fotografinja), Matej Leskovšek (vodja SPP) in Dejan Sluga (vodja galerije Photon). Za objavo je transkripcijo priredil Jan Babnik.

Photography and film not only share more than a century of common history but also the broad field of social and cultural context, aesthetics, as well as theoretical discourse.

The article discusses self-representation in the work of the talented American photographer Francesca Woodman (1958-1981) who produced a remarkable body of work before her untimely death.

The presented authors, Eikõ Hosoe, Yasumasa Morimura, Tomoko Sawada, Daidõ Moriyama, Masashi Asada, Miyako Ishiuchi and Miwa Yanagi use their own bodies or bodies of others for their work with photography and perform predetermined or spontaneous acts of shooting scenarios in public or private spaces.

Delo Joana Fontcuberta Povečava povečave ponovno odkrije duha Antonionijevega dobro znanega filma
Povečava (1966), pri čemer njegove pristope odpelje še dlje.

Sodoben konstruktor in arhitekt Santiago Calatrava ima biro v Zürichu, Parizu in v rodni Valencii. Njegove stavbe stojijo po vsem svetu. Zaslovel je z mostovi, ki se jih je lotil na svež, nekonvencionalen način, iščoč možne odgovore na vprašanje Kako premostiti razdaljo?

They are supposed to dive into their own world and that’s when the right energy emerges, that’s what he expects his models to create for his pictures.

The history can exist only through an individual expression, quotation, appropriation and transformation. Nevertheless, Samarah’s message is true, despite his arguments being wrong.