Bruce Gilden’s American Made exhibition consists of dozens of portraits, small towns’ landscapes and still life made between 2013 and 2014 in the American countryside on the occasion of state fairs, picnics and other events organised in the western and southern states of the USA. In his interview for the S Magazine (#7, spring 2016) he talked about the beginnings of this project:
“The state fairs are traditional American summer events in the form of picnics. Since the 19th century, residents of particular states come to the fairground around their capital cities to meet friends, have fun and have a drink. My first fair was Wisconsin State Fair in Milwaukee, to where I went in August 2013 to take pictures for the ‘Postcards from America’ project. It was like a godsend: 1,012,552 visitors in 11 days! I took lots of good pictures and I thought it would be a good thing to carry on. In the next months of 2013 and throughout the summer of 2014, I used to go from one picnic to another: Mississippi State Fair, then Ohio, Iowa and Minnesota, visited by 150,000 people every day! Some of the events were more interesting than others, but it was never boring there.“
Bruce Gilden has been hunting with his camera along the streets of New York City for decades. His B&W street photographs draw their strength from the immediacy with which their author approaches his characters. As he says: “I’m known for taking pictures very close, and the older I get, the closer I get.” Such approach led him to the Magnum Photos agency and made him famous.
Gilden worked exclusively on B&W film for four decades. But recently he has started to use colour. His latest project results from that artistic catharsis and proves transformation of his work from the street photography to documentary portrait photography. With his American Made series, he carries on his monumental reportage based project on the contemporary United States, asking questions about the condition of America and veracity of its image, searching for what is left of the great American dream.
The variety of faces by Gilden confirms the fundamental truth: the world does not consists of winners only; there are lots of different things we would rather not know up close. But it is just this diversity of characters, attitudes, places that makes the life so fascinating. The world in Gilden’s photographs is not that retouched one from soap opera or illustrated magazine. The people from his photos are neither beautiful nor spotless. Their houses, cars, their food and lifestyle are not the ideal of the West. But these images are unforgettable, they force us to reflect on how the modern civilisation imprints its mark on us.
Bruce Gilden (b. 1946) | based in New York City (NY, USA) | a member of the legendary Magnum Photos agency (since 1998) | known for photographing unusual people, far from any canons | has received numerous awards and recognitions all over the world | one of the most recognisable American photographers.
The Bruce Gilden exhibition is organised under doc! photo magazine patronage.
Mark Twain once said: “The report about my death was an exaggeration.” This statement perfectly matches doc! photo magazine, whose latest edition has just seen the light of day.
The ongoing Fotofestiwal in Łódź is not only a large presentation of outstanding photography and its creators, it is also a perfect opportunity for the premiere of reworked doc! photo magazine, which came from the vastness of the Internet on… the paper and has become a quarterly publication.
“Just after the first online edition in 2012 the readers asked us about a paper version of our magazine,” - says Grzegorz Kosmala, its Editor-in-Chief. - “Now we fulfil their requests. The paper edition required some changes. We hope they will make our magazine more attractive as a printed photo provides additional emotions. It is a completely different dimension of the photography.”
The first regular paper version of doc! photo magazine is entirely dedicated to this year’s edition of the Fotofestiwal. It consists of selected projects that are presented in Łódź. Part of them refers to the main theme of the festival – Photographers’ Travel, while others represent projects taking part in the Grand Prix competition.
The travel can be interpreted in different ways. Generally we associate it with something nice and done on our own. We travel to enjoy the sun, to relax far away from our everyday hectic life and work. However it is only one side of the matter. There is also another one – a bit darker that makes people leave their homeland to search for a better life, for an asylum. The first kind of travels result in funny photographs of smiling sunbathing and playing in the water people whereas the other ones are the moving pictures of bodies thrown out on the beach by the waves or retrieved by rescue teams.
This issue starts with the essay Photography and Travel by Alison Nordström, Art Director of the festival, that is a historical view talking about connections between photography and travel and the role played by photographs depicting the trip.
The variously understood travel is discussed by projects by Kadir van Lohuizen (Via PanAm: Tierra del Fuego), Michelle Frankfurter (Destino), Seba Kurtis (Drowned), Yurian Quintanas Nobel (Happy Nothing), Qian Zhao (offcut, the edge) and Nick Hannes (Mediterranean. The Continuity of Man). They are complemented by François Deschamps’ Photo-Rapide and Shadman Shahid’s Ajna projects that cover the travel in a more indirect way.
The magazine also includes three interviews with David Fathi – winner of the main prize of the Grand Prix Fotofestival 2016 contest (material Wolfgang and the interview Jokes and Anecdotes Can Be a Weapon), Adél Koleszár – presented in the festival’s Discovery section (material New Routes of Faith and the interview Transforming the Reality into a powerful Visual Experience), and with Kadir van Lohuizen about the making of the Vía PanAm project (Very Long Days, Very Short Nights).
“With this edition we start a completely new chapter of our travel,” - says Kosmala. – “We feel a little like those old explorers discovering new lands. That is why the premiere during the Fotofestiwal, which is devoted to travels this year, takes on additional meaning.”
The paper edition of doc! photo magazine is available @ doc! store online shop and in selected retail outlets.
The Lumière Brothers Centre for Photography is pleased to invite to the Malkovich, Malkovich, Malkovich: Homage to Photographic Masters exhibition, a photographic collaboration between Chicago photographer Sandro Miller and actor John Malkovich.
In 2013, after having secured his place as one of the top advertising and portrait photographers worldwide, Sandro Miller set out to complete a series that honours the photographs that had inspired and impacted Sandro and became iconic in the history of world photography. The series contains Irving Penn’s portrait of Truman Capote crouched in a corner, Bert Stern’s photographs of Marilyn Monroe, Dorothea Lange’s image of a migrant mother during the Great Depression, Robert Mapplethorpe’s self-portrait with a gun, Annie Leibovitz’s image of John Lennon and Yoko Ono shot for the Rolling Stone magazine, Diane Arbus’ iconic photograph of a boy holding a toy hand grenade and Richard Avedon’s beekeeper, among many others.
This project for Sandro Miller is an attempt to go back and get into the heads of photographers, to explore their technical and emotional ways of working, to understand how a particular photograph was created. For John Malkovich it is another opportunity to show the stagecraft and capacity for any transformation of his face and body; an opportunity to “get inside the frame” and to tell viewers a story in one single image. This project involves the viewer into a situation between the real and the imaginary, exploring the power of an image and the photography’s ability to change our memory and perception.
The exhibition also features works from the most recent project released this year – The Malkovich Sessions – the product of a unique, years-long artistic collaboration between two stars – and short films, which have become the natural progression for their work and have gained international recognition. The Malkovich Sessions, accompanied by a book (Glitterati, 2016), represents a profound meeting of the minds.
Sandro Miller (b. 1958) | based in Chicago (IL, USA) | a commercial photographer, also willingly doing artistic projects | known for frequent changing styles and searching for inspiration in history of photography | has been photographing people for over 30 years | his pictures have been internationally published and exhibited | winner of many prestigious awards, including the Lucie Foundation’s International Photographer of the Year (2014 and 2015) | recognised as one of the top 200 advertising photographers in the world.
Sandro Miller – MALKOVICH, MALKOVICH, MALKOVICH: HOMAGE TO PHOTOGRAPHIC MASTERS
@ The Lumière Brothers Centre for Photography (3 Bolotnaya Emb., Building 1, Moscow, Russia)
The exhibition is open to the public until August 28, 2016
Viktor Kolář is one of the most important Czech photographers of the second half of the 20th century. The exhibition includes around 60 silver gelatin prints from his Ostrava and Canada series.
“There is nothing more surreal than reality itself” – this quote by Brassaï helps to discern a multitude of meanings in Viktor Kolář’s work inspired by the environment of postwar Ostrava, where the communist present, with its double identity, withstood German occupation, the short-lived Czech Republic and Habsburg empire. Viktor Kolář has been photographing Ostrava for over 50 years.
His work experience at Vitkovice Steel Works, the ancient mill in the former industrial centre of the Czech Republic, largely influenced his photography. Viktor Kolář says, “The pain and misery some of us go through can often result in creating the best photographs. It is when things are hard, I believe, that we may see what appears invisible, or appreciate the potential of a subject that looks ordinary.”
Photography of Viktor Kolář bears similarities to works of the previous generations of Czech photographers. His talent of capturing the atmosphere of space and the fragility of the unrepeatable moment recall photographs of the interiors of St. Vitus Cathedral from the 1920s by Josef Sudek, “emotive photography” from the 1930s by Jaromír Funke, documentation of the perversity of meaning under state control on the streets of Prague from the1950s-60s by a Czech surrealist Emila Medková.
Viktor Kolář combines intellectual contemplation of and empathy toward his subjects. Psychological dynamics was central to his work produced in Canada and the USA from 1968 to 1973 where he shot in public places and in the streets of Hamilton, Montreal, Toronto, Vancouver and New York City and continued to capture it after his return to Ostrava. His photographs of the streets of Ostrava in the 1970s-80s reveal the psychological state of people in front of his lens and at the same time bring viewers in contact with the atmosphere of the time formed by the imposed rules of the communist state, destruction of values, loss of the utopia and anticipation of change. In his photographs of the independent Czech Republic, the symbols of a new capitalist society – shopping malls, cheep markets, ubiquitous advertising – contrast with the residents of Ostrava unfamiliar with market economy. Contradictory motifs of this later work trace back to Kolář’s early photographs and derive from his aspiration to embrace all of the multifaceted reality of the city. Kolář says about these photographs: “I have to be as realistic about the new order as I was about the old one. Sentimentality will not save us.”
Viktor Kolář (b. 1941) | based in Ostrava (the Czech Republic) | began to photograph at 13 and had his first exhibition at a local museum when 23 | fled to Canada after the invasion of Czechoslovakia by Warsaw Pact troops in 1968 and returned under the amnesty for Czech immigrants five years later | a winner of the Mother Jones International Fund for Documentary Photography award (1991) | has exhibited his works at solo and group exhibitions in France, Germany, Greece, Slovakia, the United Kingdom and in the USA, among others | his works are included in the collections of The Art Institute of Chicago, Victoria and Albert Museum in London, International Centre of Photography in New York City, Maison Européenne de la Photographie in Paris, Musée de l’Elysee pour la Photographie in Lausanne and Museum Ludwig in Köln.
Viktor Kolář – VISIONS OF VIKTOR KOLář. CZECH PHOTO
@ The Lumière Brothers Centre for Photography (3 Bolotnaya Emb., Building 1, Moscow, Russia)
Grand opening: June 15, 2016
The exhibition will be open to the public until September 25, 2016
The Dead Sea, the Sea of Salt, the Sea of Death – they are all names of the same sea, associated with the lowest located place on the planet and the salt concentration preventing any life in this area. What is a photographer to do facing this place escaping any definition? Facing the place whose deadliness is apparent, but which attracts and vibrants its hidden vitality but simultaneously undergoing processes threatening its existence?
Waldemar Zdrojewski proposes to look at this place directly. He allows the viewer to dwell on its silence, weaving threads disrupting “the established order of things” into the exhibition space. For instance, the coastal erosion whose scale surprises. He does not search for metaphors – the literal, seemingly quiet frames extract from that a universal story about the eternal life and death struggle. Thus the exhibition title is Dead Sea. A Story on Delusion of Death.
On the one hand, we see the pictures saluting the peaceful nature, on the other one – there are dramatic frames indicating destructive human presence, mercilessly exploiting its unique sources. The Dead Sea. A Story on Delusion of Death is the dialectic between life and lack of concern for it, between naturalness of a place and its centuries-old cultural layers. The dispute between the cracked by sun earth and irrigated with historic tensions civilisation. The question about the human’s place and role in nature.
The pictures were taken in Israel, nearby Ein Bokek, Ein Gedi, Masada, Mitzpe Shalem and Neve Zohar within 8 years.
Waldemar Zdrojewski (b. 1963) | based in Zalesie (Poland) | a graduate of the Warsaw School of Photography and Graphic Design | a photography lecturer at the University of Warsaw | creator of the Warsaw’s Obserwacja Gallery | an author of numerous exhibitions and publications | a juror in photographic competitions | a curator of exhibitions | a winner of the Zbigniew Roszewski Theatre Institute’s photo contest | focused on documentary photography and photojournalism | interested in expressive and experimental photography.
The 7th edition of f/stop Festival for Photography, one of the most important photography festivals in Germany, will take place under the title the end of the world as we know it, ist der Beginn einer Welt, die wir nicht kennen and will explore today’s potential of narrative photography. f/stop 2016 will look back at the history of the genre of reportage and attempt to find out which of media presentations are best suited to portray the events of a chaotic world.
In the last few decades digitalisation has quickly brought the world closer together and created a society of images: online, on mobile phones, in the daily news. Everything is simultaneously there and not there. The festival main exhibition, curated by Anne König and Jan Wenzel, takes the term “experience” as a point of departure. How should we use the medium of photography to explain and understand the globalised world in all its complexity? The exhibition features works by Ruth Berlau, Khaled Barakeh, Bertolt Brecht, Robert Capa, Thomas Härtrich, Johann Peter Hebel, Sven Johne, Dagmar Keller & Martin Wittwer, Kenji Kawamoto, Andreas Langfeld, Bettina Lockemann, Ute Mahler, Lee Miller, Gilles Raynaldy, Erich Salomon, George Strock, Olivier van Breugel & Simone Mudde, Erik van der Weijde, Jonas Zilius, Tobias Zielony and other artists.
In three further exhibitions, national and international guest curators will present their perspectives on current forms of narrative photography: the theorist and film maker Ariella Azoulay for f/stop Solo, the American artist Monica Haller for f/stop Print and students of Anastasia Khoroshilova (Rodchenko Art School Moscow), Armin Linke & Michael Clegg (Karlsruhe University of Arts and Design) and Gilles Saussier (Ecole Nationale Supérieure de la Photographie Arles) for f/stop Plattform.
For the first time, f/stop Festival exhibitions will go outside traditional exhibition space – Baumwollspinnerei and conquer the city of Leipzig. In the framework of f/stop In Situ, reportages will be presented in the places where they were created. The 1945 works by Robert Capa, Margaret Bourke-White and Lee Miller will be shown in public areas. The work of Gerda Taro will also be presented for the first time in Leipzig, the city from which she fled in 1933 to live in Paris. Together with Robert Capa, she became a pioneer of modern war photography in the course of the Spanish Civil War. On the property of the German-French Education Centre photographs by the French photographer Gilles Raynaldy will be on display. The images show everyday life at a school in the Parisian suburb of Montreuil, which the artist documented over the course of several years. The photographer Andreas Langfeld and a family from Aleppo examine the role that photography played in their flight from war.
More info @ f-stop-leipzig.de
This is already the third DEBUTS final, the initiative which aims to discover and promote the most talented emerging Polish photographers. In these days where images surround us everywhere choosing people has not been an easy task. Additionally, the majority of these images are bland and are instantly forgotten as we flick through the pages of a newspaper or skip between television channels and websites. How do we find the best images in this ocean of mediocrity? How to ensure the good pictures reach a wider audience?
“To find an answer these questions is why we started our project,” – says Grzegorz Kosmala, editor-in-chief of doc! photo magazine. – “We want to present the photography enthusiasts, who care, who are worth watching, despite the fact that they are at the beginning of their artistic roads, in the hope that with our support their careers will flourish and not trundle into a blind alley.”
What do the emerging Polish photographers tell us in their pictures? What preoccupies their minds? They discuss the issues that, at certain moments, are important in everybody’s life: the joy of experiencing childhood, loneliness after the loss of a loved one, anxiety about the future. They observe and document their nearest surroundings; comment on the reality around them. Sometimes photography helps them accept themselves, and sometimes it lets them take refuge in ideal world they themselves have created.
“As I dived deeper and deeper into the stories, the images, the portfolios the intensity raised,” – says Mads Nissen, member of the DEBUTS (edition 2016) jury. – “All of a sudden, I realised that I was not just staring into a screen – I was staring out. Out through the eyes of a young and talented Polish man or woman. Out on the world that surrounds him – but even more interesting than the naked facts – I was looking at his surroundings through the intriguing gaze of his mysterious mindset. That is photography for me. The photography I was looking for. The photography that tells us important stories about people and the realities that surround them, but always told with the photographers engaged and distinct voice. Because, if we don’t feel much when we take the picture – for sure – neither will anyone else when they see the image. And if the images are too sharp – too precise – then there is no room for thoughts. In the portfolios that I selected, I found just that, that magic that makes photography something much bigger than pictures.”
Despite of the range of photography we have to deal with – documentary, travel, street, fashion or fine art – all the portfolios are combined by the conscious use of the medium. The 40 people, whose photographs are presented at the exhibition and in the book, prove that the photography is something more than just pictures. It is about capturing forever emotions and life’s experiences. It is a joyful moment and a link between the present and the past, as well as a great gift for the future. It is a commentary on the photographer’s “here” and “now”, and it is up to us, the recipients, how we will decode this commentary. It requires us to open our minds to these pictures and to take the photographer’s point of view. Only then we will be able to decode his/her message. Only then we will understand his/her way of thinking. Only then we will be able to see ourselves in these pictures. So little and at the same time so much.
Jury: Calin Kruse (Germany), Petra Leene (the Netherlands/USA), Mads Nissen (Denmark), Moshe Rosenzveig (Australia), Grzegorz Kosmala (Poland)
Photographers: Basia Abramowicz, Joanna Bałaś, Adam Biernat, Katarzyna Bojko-Szymczewska, Alicja Brodowicz, Patryk Bułhak, Katarzyna Czerniak, Natalia Dołgowska, Kamil Domański, Tytus Grodzicki, Małgorzata Gwiazdonik, Edyta Jabłońska, Marta Kaczmarek, Julia Kaczorowska, Marta Kiela-Czarnik, Barbara Kosakowska, Katarzyna Kubiak, Magdalena Kuca, Artur Kucharczak, Dominika Kucner, Jacek Laube, Anna Lemke, Paweł Malinowski, Michał Matejko, Jakub Michalec, Maciej Narożny, Ola Nguyen Van, Laura Ociepa, Michał Orliński, Arkadiusz Pisarek, Arek Rataj, Sandra Recka, Marta Rybicka, Wojciech Ryziński, Małgorzata Skrzypczyk, Kamil Śleszyński, Weronika Twardowska, Dominik Witaszczyk, Weronika Woźniak, Aleksandra Zinkiewicz
2016 Fotofestiwal Łódź
HIT THE ROAD: Photographers’ Travel
June 9-19, 2016
More info @ www.fotofestiwal.com
The 15th International Festival of Photography FOTOFESTIWAL Łódź is organised under doc! photo magazine patronage.
The 2016 Fotofestiwal Łódź is going to feature the works of two photographers who revolutionised visual arts: David “Chim” Seymour and Robert Rauschenberg.
David “Chim” Seymour, the son of a prominent publisher of books in Yiddish and Hebrew, was born as Dawid Szymin in Warsaw in 1911. In the early 1930s, he went to Paris as a student but his interest in photography led him to a freelance career, first in France and in Spain where he covered Spanish Civil War. He travelled to the United States in 1939, enlisted in the US Army as the World War II began, and became a US citizen in 1942, the same year his parents were killed in Poland by the Nazis. Following the war, he worked for such major picture magazines as LIFE or Paris Match and for UNESCO in Austria, Hungry, Italy, Poland and Germany. Not surprisingly, Seymour took a great interest in refugees, documenting the Republicans fleeing to Mexico after Franco’s victory in Spain, and the plight of refugee children across war-shattered Europe in moving B&W photographs that remain some of his best-known and best-loved work.
In 1947, along with friends and fellow photographers, George Rodger, Robert Capa and Henri Cartier-Bresson, Seymour co-founded the Magnum Photos agency. He became president of Magnum in 1954 and held that position until his death in Suez in 1956. In his last years, Chim made his home in Italy. He photographed the first years of the newly established state of Israel and became known for his portraits – often in colour – of such celebrities as Pablo Picasso, Sophia Loren, Ingrid Bergman and Audrey Hepburn.
Chim is often cited under the rubric of “The Concerned Photographer” and his humanism and compassion form most of his work and make it particularly relevant today. The CHIM: David Seymour, Citizen of the World exhibition will allow the viewers to embark on a journey through various, often breakthrough, moments in the world history. It will be divided into three sections: an introduction, a focus on his Polish photographs and a special selection of rarely seen portraits of film stars. The exhibition will be accompanied by screening of the Trisha Ziff’s The Mexican Suitcase, a documentary film about discovery of Chim’s, Capa’s and Taro’s negatives. After the screening, there will be a meeting with the director of the film.
One of the most important places on the Fotofestiwal roadmap will be Atlas Sztuki Gallery and the exhibition of works by Robert Rauschenberg (1925-2008), often referred as the first postmodern artist, whose oeuvre and innovative techniques influenced the global history of art.
The Robert Rauschenberg Travels exhibition will feature the complete seven-print series of oversize photogravures Soviet/American Array, that he began in the USSR in 1988. These large and dramatic works are complemented by 37 B&W photographs, made mostly in the 1980s and selected from the Rauschenberg Archive, and by enlargements of contact sheets from the artist’s 1989 visit to Moscow and Leningrad, now known as St. Petersburg.
The exhibition concentrates on a small slice of Rauschenberg’s prodigious and wildly varied oeuvre – the Rauschenberg Overseas Intercultural Exchange, a program of exhibition and performance in the 1980s that took the artist to Mexico, Chile, Venezuela, China, Tibet, Japan, Cuba, the USSR, Malaysia and then divided Germany. The project took its final configuration as a continually evolving selection of works, including the new work made in response to the artist’s experience of his host country, and work made in previously visited sites to be shared with the next country in line.
Rauschenberg’s photographs have generally been studied as highly manipulated source material for his works on paper, but as the selection of B&W images reveals, he captured the eye-catching details of the world with his camera, producing quirky, intelligent, brilliantly composed images of great value in their own right.
2016 Fotofestiwal Łódź
HIT THE ROAD: Photographers’ Travel
June 9-19, 2016
More info @ www.fotofestiwal.com
The 15th International Festival of Photography Fotofestiwal Łódź is organised under doc! photo magazine patronage.
As one of the main cultural projects of the 2016 European Green Capital, the Museum and Galleries of Ljubljana is presenting the momentous exhibition Genesis, a project by the world-renowned photographer Sebastião Salgado.
The exhibition, curated and designed by Lélia Wanick Salgado, is the result of the photographer’s multi-year survey and draws together 245 spectacular B&W photographs of wildlife, landscapes, seascapes and indigenous people, raising public awareness about the pressing issues of environmental and climate change.
Genesis, Salgado’s third long-term series, can be viewed as a response to its predecessors – Workers and Migrations – which explored displaced populations and the relentless working conditions endured by men and women around the world. In Genesis, Salgado has chosen to move his main interest away from people and to focus on the pristine beauty of the earth and those living in harmony with it. During his travels across the globe between 2004 and 2011, he documented Arctic and desert landscapes, tropical rainforests, marine and other wildlife, and communities still living according to ancestral traditions. Through these photographs, Salgado pays homage to the fragile planet he believes we all must protect.
“Genesis is a quest for the world as it was, as it was formed, as it evolved, as it existed for millennia before modern life accelerated and began distancing us from the very essence of our being” – says Lélia Wanick Salgado. – “It is testimony that our planet still harbours vast and remote regions where nature reigns in silent and pristine majesty.”
Salgado’s photographs captivate viewers with their delicate tinges of colour and shades of grey, together with sharp contrasts between light and dark areas. The photographs’ strong appeal is particularly due to the intentionally calm compositions made up of clear structures, lines and forms.
The exhibition is divided into five geographical regions: Planet South, Sanctuaries, Africa (on view at the City Museum) and Northern Spaces along with Amazonia and Pantanal (on view at Jakopič Gallery).
Sebastião Salgado (b. 1944) | based in Paris (France) | began his career as a professional photographer in 1973 | before establishing Amazonas Images (1994), had worked for Sygma, Gamma and Magnum Photos agencies | has travelled to over 100 countries for his projects | author of several books, including Other Americas (Contrejour, 1985), Sahel, l’Homme en Détresse (Prisma Presse, 1986), An Uncertain Grace (Aperture, 1990), Workers (Phaidon, 1993), Terra (Phaidon, 1997), Migrations (Aperture, 2000), Africa (Taschen, 2007) and Genesis (Taschen, 2013), among others | has been awarded numerous major photographic prizes in recognition of his accomplishments | through his Instituto Terra (established in 1998), involved in reforestation, conservation and education in Brazil | together with his wife Lélia, received an award from UNESCO Brazil and the Rio de Janeiro Municipality as well as the Personalidade Ambiental Prize from the World Wildlife Fund, Brazil in recognition of their work with Instituto Terra (2012) | a UNICEF Goodwill Ambassador and an honorary member of the Academy of Arts and Sciences in the United States.
Sebastião Salgado – GENESIS
@ Jakopič Gallery (9 Slovenska cesta St., Ljubljana, Slovenia)
@ City Museum of Ljubljana (15 Gosposka St., Ljubljana, Slovenia)
Grand opening: May 31, 2016
The exhibition will be open to the public until August 31, 2016
For detailed list of all accompanying events and initiatives, go to www.mgml.si.
She is a professional baker and always carries her camera with her. Many call her the queen of food porn, she runs the Gotuje, bo lubi blog, where she gives vent to her culinary and photographic fantasies. After three years in San Francisco (CA, USA), she has just come to Poland to present her landscape photography at her first exhibition – Mists of Yosemite.
She developed her passion for cooking during the internship in the Las Studio, to which she came with the aim of improving her photographic skills. Her culinary interests and talent came out to light, earning recognition of the whole staff of the Studio. As she admits, the most crucial factor in her self-improvement was her travels – first to Prague, then to San Francisco, thanks to which she was made herself as a cook and photographer.
“We are very pleased that Monika has made such a progress and that our GWL Gallery is the very place of her photographic debut“ - says Robby Cyron, co-owner of the gallery.
Mists of Yosemite is a wonderful and expressive series of photographs telling different stories about this iconic Californian park. It is not difficult to notice inspiration of photographs by Ansel Adams, an American photographer and pianist, who became famous for his black and white photographs of national parks. The exhibition will consist of 16 B&W pictures in classic 24×30 format.
The GWL Gallery was established to present and promote good fine art photography. The gallery ambition is to participate in creating a collector’s photography market in Poland. The gallery has already hosted exhibitions of Szymon Szcześniak, Kasia Bobula, Tomasz Albin, Marlena Bielinska and Robby Cyron (doc! #10), among others.
The exhibition is organised under doc! photo magazine patronage.