The article is analyzing artworks presented at the 53rd Venice Biennial Making worlds, Fare Mondi… that are connected via the medium of photography.

For decades, right up to the ’90s, Bollywood posters and billboards were hand painted by mostly anonymous artists.

Essay analyses cinematic representations of photographers and photography in Western post Second World War film production.

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 author of the essay provides a parallel between the basis of Deleuze’s theory of time and the movie by the French director Chris Marker La jetée.

Uroš Acman: Muzeji
Galerija Škuc, Ljubljana, 30.6.-15.7.2009

Interview with Valentin Perko

The purpose of the text is very simple; we try to identify how to understand this medium.

Kompozicije sodobnega peep showa nas pri In Sook Kim spominjajo na tableau vivant - t. i. “žive slike”, umetnost, ki je vse od srednjega veka dalje združevala vizualno in performativno, tako da so posamezniki ali skupine so pozirali v t. i. zamrznjeni sliki.

Lahko torej v tem smislu govorimo o fotografu kot o režiserju filma z enim samim posnetkom? Ali pa gre pri fotografiji in filmu za dve ločeni stvari? Režijski pristop k fotografiji, pa vprašanja razmerja svetlobe, zgodbe, filma in fotografije so tema pogovora z Alešem Gregoričem, fotografom, ki v nekem smislu stoji na vseh polih fotografije.

Fokus sejma Paris Photo 2009 je predstavljala arabska in iranska fotografija, in sicer je bilo v centralnem razstavnem prostoru videti izbrane predvsem starejše fotografije iz zbirke Arab Image Fundation, v sekciji Statement pa dela mlajših avtorjev arabskega in iranskega sveta.

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

Digitalizacijo fotografije že od osemdesetih naprej poleg tehnicistično- evforičnega spremlja enako močan melanholični diskurz, povezan s pojmoma izgube in smrti, ki v eni različici izpostavlja, v drugi pa obžaluje izgubo dokazne vrednosti fotografije

Scenski fotograf, je pisal, » /…/ mora zalagati filmsko družbo s »šminkarskimi posnetki« (ang. make-up stills), »potrebšinskimi slikami« (ang. set in prop stills), s posebnimi portreti, z »izven odrskimi« (ang. off stage) in stoterimi drugimi fotografskimi posnetki, ki bi sicer v naravni velikosti originalnega filmskega posnetka ne nudili dovolj potrebnih detajlov /…/«

Isolated from the rest of the world the Neorealism movement began in Italy which influenced and established itself most in the film production and it was the only logical consequence that later also the photographic practice followed.

A review of awarded works in the past few years, including Illusionist, Fateless, The Diving Bell and the Butterfly and Slumdog Millionaire, reflect dominant stylistic trends towards realistic representation considering traditional aesthetic principles.