Retrospektiva 1982–2004 v Jakopičevi galeriji
Boarding House v Galeriji Fotografija
(23. marca 2009 do 30. aprila 2009)

The importance of publications for the concept is greater than ever. The School cooperates actively with the German publisher Hatje-Cantz. According to curator Timothy Persons (2008) altogether nine publications by Hatje-Cantz were scheduled for 2008–2009.

With a democracy of a medium emerged a localized and personally produced work that introduces a new power of the vernacular culture. The future of the medium is in the hands of modest, local amateurs and their powerful network.

Article about photographic ABC guide books. The selected reviewed books are: Photography by Toma Anga, Langford’s Basic Photography, Photography Essentials by Mark Jenkinson and Photographer’s Dictionary by N. K. Guy.

translation: Polona Mesec, abstract: Jan Babnik

translation: Anja Naglič, abstract: Pavel Koltaj

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.

As full of surprises as the people who frequent these studios are the backdrops they enjoy posing against and the props they choose.

A few years ago, new web sites that let you publish print-on-demand books have emerged on the publishing market. As a mean of democratization and alternative to bigger publishers they offer amateur and professional photographers an easier and more accessible way of publishing photo books. There is a variety of print on demand self- publishing sites, which differ from each other in various ways. Their suitability depends on the experience, wishes and needs of the author. The article describes the basics and emphasizes some main characteristics of online publishing.

Načini gledanja so ena najprodornejših in najpopularnejših de(kon)strukcij buržoazne zgodovine umetnosti in njenih podpornih institucij, ki interpretacijo vizualnih sporočil (Berger obravnava tako klasično slikarstvo kot moderno oglaševanje) omejujejo skozi mistifikacijo predpostavk o Lepoti, Resnici, Genialnosti, Civilizaciji, Statusu, Okusu ipd.

Fulgurator, kot cenena igrača dostopen vsakomur, bi s pogosto uporabo prepričal ljudi, da fotografijam ne moremo verjeti. Prepričal bi jih, da je zaupanje v fotografije nesmisel. Julius von Bismarck je v Ljubljani »fulguriral« na povabilo Aksiome, zavoda za sodobne umetnosti.

Intervju z Jožetom Vogrincem se ukvarja predvsem z različnimi oblikami in vlogami, ki jih dandanašnji zaseda amaterska fotografija. In navezavami amaterske fotografije z drugimi oblikami fotografskega ustvarjanja (npr. Dokumentarna in umetniška fotografija).

DK s pričujočo monografijo predstavlja tudi številne serije in dela, ki so bila do sedaj bodisi neobjavljena bodisi predstavljena zgolj delno. To so raznoliki, dolgoročni zapisi delovanja in opažanja tega ustvarjalca, ki se ozirajo tako v polje dokumentarne fotografije kot njenega skrajno poetičnega avtorskega pristopa.

Danes vsakdo pritisne na sprožilec vsaj z dvema vzgiboma v mislih. Prvič, ker bi rad potrdil, da je na določenem kraju res bil; torej, da si s tem dejanjem vzame dokaz za to, da je videl, in ker ima to zapisano v trajnem spominu medija, ki »izdeluje kopije sveta« celo po malem poseduje ta kos sveta.

Telo je za fotografijo predstavljalo izziv od njenega nastanka do danes in je postalo eno izmed njenih osnovnih zgodovinskih tem. Ključne spremembe pa so nastopile v dvajsetem stoletju s konceptualnimi umetniškimi praksami, z njimi se namreč spremeni raba telesa v likovni umetnosti nasploh.

Sodobna španska fotografija je pač zgolj sodobna fotografija, zaradi česar nad konceptom njene »španskosti« - ki tu očitno ne nastopa zgolj kot geografski označevalec - v kontekstu globaliziranega umetnostnega prizorišča kaj hitro obvisi slutnja nekakšnega instrumentaliziranega marketinškega prijema.
Hatje Cantz, 2008, 240 strani. ISBN 978-3-7757-2340-4

In the period before the Second World War until the 1980’s Slovenian and Yugoslavian photography was most significantly designated by solid and strong network of photographic clubs that were the major and often the only stimulation in the development of this media.