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ANTON KARPITA

Výstava študentov fotografie a nových médií , Vysoká škola výtvarných umení, Bratislava
Názov výstavy:  SLOVENSKÉ ŠPECIALITY

Miesto: Galéria Opera, Divadlo Jiřiho Myrona, Ostrava, Česka republika

Vernisáž: 16. 4. 2009 o 17:00 hod. 
Trvanie výstav: 17. 4. – 5. 5. 2009

Výstavu otvorí :  Mgr.art. Jana Hojstričová ArtD – vedúca katedry fotografie a nových médií a
     Doc. Ľubo Stacho – vedúci pedagóg ateliéru
Kontakt:  00421 905 322 718 

Vystavujúci študenti:
Boris Németh, Dictionary document, 2007, 2.ročník magisterského štúdia, Ateliér fotografie a intermediálnych presahov doc. Ľuba Stacha
Martin Ilčík, Wágenplatz / Letanovce, 2007, 4.ročník bakalárskeho štúdia, Ateliér fotografie a intermediálnych presahov doc. Ľuba Stacha
Ján Viazanička, Hra, 2008, 1.ročník magisterského štúdia, Ateliér fotografie a intermediálnych presahov doc. Ľuba Stacha
Anton Karpita, Plus a mínus, 2008-09, 2.ročník bakalárskeho štúdia, Ateliér ø fotografii  odb. asist. Mgr. Silvii Saparovej, ArtD
Táňa Takáčová, Podozrenie z OCD, 2008-09, 2.ročník bakalárskeho štúdia, Ateliér ø fotografii  odb. asist. Mgr. Silvii Saparovej, ArtD
Andrea Juneková, IN-DIVI-DUAL-I-TY?, 2008 , 1.ročník magisterského štúdia, Ateliér ø fotografii  odb. asist. Mgr. Silvii Saparovej, ArtD
Juraj Fifík, Glamoure – komponované zátišie, 2008, 4.ročník bakalárskeho štúdia Ateliér fotografie odb. asist. Filipa Vanča
Ján Kekeli, Vizuálny knock-out, 2008, 3.ročník bakalárskeho štúdia Ateliér fotografie odb. asist. Filipa Vanča

Jan Kekeli vizualny knokaut

BRIDE Boris Nemeth 2007

Andrea Junekova individuality

Katedra fotografie a nových médií
Výstava predstavuje súčasné práce študentov katedry fotografie v rôznych stupňoch štúdia od bakalárskeho po magisterské. Koncepcia výučby na katedre sa snaží integrovať v sebe štúdium fotografie, tak aby sa pokryla celá škála rôznorodých prístupov v tomto médiu. Katedra má v súčasnosti tri samostatné ateliéri, kde sa  pedagogický proces odvíja od inklinácie vedúcich pedagógov k istým tvorivým názorom a postupom v ich vlastnej tvorbe. V ateliéri sa kladie hlavný dôraz na princíp voľnej tvorby, ktorá sa pohybuje v multimediálnom procese a svojimi výsledkami často prekračuje hranice tradičnej fotografie.
Ateliér ø fotografii  odb. asist. Mgr. Silvii Saparovej, ArtD je zameraný na výskum a štúdium problematiky v oblasti súčasnej výtvarnej fotografie. Ateliér Ø fotografii definuje samotný pojem fotografie ako vizuálny záznam reality a fotografické médium ako prostriedok pre použitie fotografického obrazu vo výtvarnej tvorbe
Ateliér fotografie a intermediálnych presahov doc. Ľuba Stacha uvádza študenta do fotografického média - cez dokumentárnu fotografiu a posúva ju do iných médií. Prvá časť štúdia je vnímaná ako analytická: štúdium literatúry, návšteva výstav, rozvinutie metód výskumu témy. Druhá časť je venovaná samotnej realizácii práce. Exkurzie po Slovensku a tvorba sociálneho dokumentu sú integrálnou súčasťou štúdia.
Ateliér fotografie odb. asist. Filipa Vanča sa sústreďuje na symbiózu kvalitného technického spracovania fotografie s vybranou témou. Jednotlivé zadania gradujú s cieľom vychovávať vizuálnych tvorcov – komplexné osobnosti, ovládajúce fotografické médium, schopné ponúknuť autorské riešenia vizuálnych problémov súčasnosti v najvyššej esteticko-obsahovej kvalite.
Zlomok semestrálnych  prác študentov prezentujúcich sa  na tejto výstave obsahovo odrážajú pedagogické smerovanie jednotlivých ateliérov.

Vídeň, 2005

Leica Gallery Prague, Školská 28, Prague,, April 21 – May 17, 2009
Open daily, 11 am – 9 pm, www.lgp.cz - Old Gallery ZPAF, pl. Zamkowy 8, Warsaw, May 21 – June 7, 2009

Barcelona, 2008

Ostrava, 1980

Nice, 2008

It is difficult to accept the challenge of writing an article about the photographs of Vladimír Birgus, simply because they defy classification. That also leads to a frequently occurring problem with their reception. They draw our attention, yet we are often unable to say exactly why. Therein lies their tremendous power.
Birgus has been making his principal series, Something Unspeakable, without a break since 1973, annually adding new works to it. The title aptly refers to a special way of looking at the world, superbly avoiding the recording of social situations or political events or commenting on the depicted facts, which is otherwise so frequent in documentary photography today. The many reviews of Birgus’s works often employ the term ‘subjective documentary’, which suggests that we are dealing with a highly individual figure, perhaps even a lone one.
‘At first sight,’ writes Václav Podestát, ‘the photographs of Vladimír Birgus tell of miniature events occurring in the oddest places of our planet. Upon closer examination, however, they tell mainly of contemporary globalized society, of always being in a hurry, of loneliness in the crowd, contrasts between dream and reality, what is unexpressed, left to be guessed at only with difficulty. That means they tell of the inner states which we carry in our souls with various degrees of tension.’
These words underscore a certain universality of the photographs, because while sojourning in various geographic latitudes Birgus has managed to find ever-similar, strikingly banal situations of everyday life, and in this distinctive way he distances himself from the pictorial identifiably of the specific places. His works, however, always have precise titles, which describe when and where the photographs were made. The viewer thus obtains the crucial key to reading this set as a special universal picture of the spiritual state of contemporary man. His life in various corners of our world is subject to similar principles. We are incapable, however, of guessing the principles of how these photographs were made. Instead of attempting to explain them, the photographer tends to make reference to other indefinite motives. We learn that man, even in a group, remains an individual, building his own world, which, however, must co-exist with his surroundings.
Apart from real figures, shadows also frequently appear in Birgus’s photographs. Though they are cast by real figures, these shadows strangely suggest the presence of a parallel world, as was pointed out by Elżbieta Łubowicz in the introduction to the catalogue to the exhibition at, among other places, the Moscow Photo Biennale, and the Galerie Camelot, Krakow, as part of Photography Month, 2004.
The figures in the photographs are always captured in unusual situations, often highly abstract ones, as for example the photograph of the man with eyes closed sitting on a bench (Sitges, 2005), surrounded by shadows that seem to come straight out of his dreams. These two worlds overlap with each other, much as human nature tends to be ambiguous.
The restrained expression, with pure but rich shades of colour, which substantially predominate in the aesthetic of the pictures, introduces a certain order. Mainly, however, it creates a quite unreal background for the scenes that have begun to unfold – the ‘deepness’ of these shades (recalling a palette of primary colours) and their dominant presence seem to shift the photographs somewhere beyond the boundary of real vision. The long shadows in the photographs and the shades of mostly warm colours, characteristic of the late afternoon, clearly define for us the time of day when another moment of great change is approaching – the last rays of the setting sun are momentarily superseded by twilight, taking us back to the edge of the world of the imagination and dreams.
Often the figures in Birgus’s photographs have been captured at the moment of ‘watching’ or ‘observing’, and also at the moment of photographing. This double game brings us closer to the essence of the photographic medium – Birgus seeks to convey something to us not only of ourselves, our complicated natures, but also of what photography actually is, reflecting the world, not commenting on it or even creating a new reality. This question is, I believe, highly relevant in times when photography has become somewhat trite, banally simple. In the great flood of pictures photography is losing its true, elementary function, and sincerity of communication is in short supply. Birgus’s photographs, however, preserve its purest form.

Ireneusz Zjeżdżałka (1972–2008) – photographer, curator, former editor-in-chief of Kwartalnik Fotografia.

Zveme Vás na představení nových publikací.
Vladimír Birgus, Jan Mlčoch
Česká fotografie 20. století
Spojeno s besedou s autory a autogramiádou.
Úterý, 7. dubna 2009 od 16.00 Výstavní síň Mánes, spodní patro.
Autogramiáda fotografů: Jan Reich, Dušan Pálka

Dovolujeme si Vás srdečně pozvat na slavnostní vernisáž 2. ročník veletrhu fotografie v pondělí 6. dubna 2009.
Vístavní síň Mánes, Masarykovo nábřeží 250, Praha 1.
www.praguefoto.cz/ info@praguefoto.cz