ART STAYS 2017

VIDNO POLJE / FIELD OF VISION, razstava / exhibition

ANNALÚ

Annalù se je rodila v mestu San Donà di Piave v beneški pokrajini leta 1976, kjer živi in dela. Leta
1999 je diplomirala na Akademiji za likovno umetnost v Benetkah. Njena dela so bila razstavljena
na številnih samostojnih in kolektivnih muzejskih razstavah ter v privatnih zbirkah v Italiji in
tujini, med drugim je leta 2001 in 2011 sodelovala na beneškem bienalu. Osvojila je več priznanj in
nagrad: Arte Laguna Prize v 2007 in 2008, Pagine Bianche d'Autore leta 2006, Stoney za sodobno
umetnost v 2008, Ora leta 2011, Opera le vie dell'Acqua leta 2012 in Zaha Hadid v 2016.
Annalù was born in San Donà di Piave (VE) in 1976. In 1999, she graduated from the Academy of Fine Arts
in Venice. Her works have been shown in numerous solo and collective exhibits in Italy and abroad (among
them, the Venice Biennale in 2001 and 2011). She has won several awards and mentions (Premio Arte
Laguna 2007 e 2008, Premio Pagine Bianche 2006, Premio Stoney per l'Arte Contemporanea 2008,
Premio Ora 2011, Premio Opera le vie dell'Acqua 2012, Premio Zaha Hadid 2016). Her works have been
shown in a number of Italian and foreign museums and belong in public and private collections in Italy and
abroad. She lives and works in San Donà di Piave (VE).

UCHIVA, 2016
mešana tehnika / mixed media, 110x147x12 cm, courtesy Punto Sull’Arte, Varese

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ELISA BERTAGLIA

Elisa Bertaglia, rojena leta 1983 v Rovigu v Italiji, kjer živi in ustvarja, je leta 2009 magistrirala na
temo slikarstva na beneški Akademiji za likovno umetnost. Od leta 2007 prejema vabila za
udeležbo na različnih državnih in mednarodnih razstavah, sodelovala je s številnimi kustosi,
kuratorji in umetnostnimi galerijami; njena dela so bila razstavljena v različnih muzejih, nahajajo
se v javnih in privatnih zbirkah. Aprila 2011 je bila izbrana za sodelovanje v akademskem
paviljonu na 54. beneškem festivalu. Leta 2016 je bila s strani fundacije ESKFF izbrana za
umetniško rezidenco v kulturnem centru Mana Contemporary (Jersey City, ZDA).
Elisa Bertaglia was born in 1983, in Rovigo (Italy). In 2009 she received her MFA in painting from the
Venice Academy of Fine Arts. From 2007, she has been invited to take part in national and international
shows, she has collaborated with different art curators and art galleries, exhibiting her artworks in
Museums, Public and Private Collections. In April 2011, she has been selected to take part in the 54. Venice
Biennial, Academy Pavilion. In 2016, she won an Artist Residency at ESKFF at MANA Contemporary in
Jersey City, USA. She lives and works in Rovigo, Italy.

IZ MODRINE / OUT OF THE BLUE, 2016
mešana tehnika na papirju / mixed media on paper, 30x24 cm, courtesy Ofcine dell’Imagine, Milano

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RICCARDO COSTANTINI

Riccardo Costantini se je rodil v Buranu leta 1980 in diplomiral iz slikarstva na Akademiji za
likovno umetnost v Benetkah. Svoja dela je razstavljal v umetnostnih galerijah L'Occhio in
Melori&Rosenberg v Benetkah ter v pariški Galerie L'Echaude. Živi in dela med Buranom in
Benetkami.
Riccardo Costantini was born in Burano in 1980 and is a graduate in painting from the Accademia di Belle
Arti art school in Venice. He has exhibited his work at the L’Occhio art gallery and the Melori&Rosenberg
Art Gallery in Venice, and at the Galery L’Echaude in Paris. He lives and works between Burano and
Venice, Italy.

„I LOVE NOT MAN THE LESS BUT NATURE MORE“, 2017
olje na platnu / oil on canvas, 160x360 cm

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SILVIA DE BASTIANI

Silvia de Bastiani se je leta 1981 rodila v Feltru v italijanski pokrajini Belluno, trenutno živi v
mestu Imer v pokrajini Trento. Od leta 2007 do 2012 je sodelovala s profesorjem M. Zocchetto pri
predmetu anatomija umetnosti na beneški Akademiji za likovno umetnost in od leta 2008
poučuje slikanje z akvareli na veronski Akademiji za likovno umetnost G. B. Cignaroli. Zraven
poučevanja izvaja tudi delavnice in pleneristične seanse, njena dela pa so bila predstavljena na
različnih razstavah; eno od njenih večjih del je tudi del stalne zbirke v Naravoslovnem muzeju
(MUSE) v Trentu.
Born in Feltre, Belluno (Italy) in 1981. In 2007 she received her MFA in painting from the Venice Academy
of Fine Arts. From 2007 to 2012 she has collaborated with Professor M. Zocchetta, Artistic Anatomy class,
at the Academy of Fine Arts (Venice)and since 2008 she has been teaching watercolor painting at the
Academy of Fine Arts "G.B. Cignaroli" (Verona). In addition to teaching, including conducting short
workshops and en plein air sessions, her work has been featured in several exhibitions. A large-sized artwork
of hers is permanently exhibited at the Science Museum (MUSE) in Trento. She currently lives in Imer,
Trento.

MARMOLADA, 2014
akvarel / watercolor, 161x342 cm

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LEO FERDINAND DEMETZ

Leo Ferdinand Demetz, rojen leta 1967 v Bolzanu, je po zaključeni umetniški šoli za rezbarstvo v
Val Gardeni, s katero je pridobil naziv »umetnostni mojster«, kariero nadaljeval kot kipar.
Njegove skulpture temeljijo na človeških gurah, v prvi vrsti predstavljajo naravne like v
vsakdanjem okolju na dramatičen ali komičen način. Sodeloval je na razstavah v Italiji, Avstriji,
Nemčiji in na Češkem. Živi in dela v Selvi v Val Gardeni.
Leo Ferdinando Demetz, born in Bolzano in 1967. After concluding the art school for carving of Val
Gardena – Bolzano and obtaining the qualication of "Maestro d´arte" he begins his career of sculptor on
his own. The sculptures of Demetz are based on human gure, representing most of all characters in their
way of being, catching the daily scenery, dramatic or comic. He takes part in many exhibitions in Italy,
Austria, Germany, and Czech Republic. He lives and works in Selva di Val Gardena.

MRTVO MORJE II / DEAD SEA II, 2010
les in barva / wood and color, h 53 cm

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GABRIELE GRONES

Gabriele Grones se je rodil leta 1983 v Italiji, leta 2009 je magistriral iz slikarstva in vizualnih
umetnosti na beneški Akademiji za likovno umetnost. Razstavljal je na številnih skupinskih in
samostojnih razstavah, na prizoriščih, ki vključujejo londonski National Portrait Gallery in Mall
Galleries, beneški bienale, Muzej sodobne umetnosti v Barceloni, muzej MART v italijanskem
Roveretu, galerijo Undercurrent Projects v New Yorku, Narodni muzej likovnih umetnosti v
malteški Valletti, Galerie MZ v nemškem Augsburgu, Fort Wayne Museum of Arts (Indiana,
ZDA), Narodni muzej likovnih umetnosti v romunskem Cluju in galerijo Bernarducci Meisel
Gallery (New York, ZDA). Njegove slike so bile večkrat nagrajene in so del različnih javnih in
zasebnih zbirk.
Gabriele Grones was born in Italy in 1983. In 2009, he received his MFA in painting and visual arts from
the Academy of Fine Arts, Venice, Italy. Grones has exhibited in numerous group and solo exhibitions, in
venues including The National Portrait Gallery (London, UK), Venice Biennale (Italy), Mall Galleries
(London, UK), MEAM Museum (Barcelona, Spain), MART Museum (Italy), Undercurrent Projects
Gallery (New York, USA), National Museum of Fine Arts (Valletta, Malta), Galerie MZ (Augsburg,
Germany), Fort Wayne Museum of Arts (IN, USA), National Museum of Fine Arts (Cluj, Romania), and
Bernarducci Meisel Gallery (New York, USA). His paintings have been selected for numerous art prizes
and his works are included in several public and private collections.

FRAGMENT 17 / FRAGMENT 17, 2016
olje na platnu / oil on canvas, 30x30 cm, courtesy Galerie MZ, Augsburg

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ARKADIUSZ KARAPUDA

Arkadiusz Karapuda je bil rojen leta 1981 v Żyrardówu na Poljskem, živi in dela v Varšavi.
Študiral je na Fakulteti za likovno umetnost v Varšavi, kjer je tudi diplomiral z odliko. Leta 2011 je
doktoriral s področja vizualnih umetnosti. Zaposlen je kot profesor asistent na varšavski
Akademiji za likovno umetnost.
Arkadiusz Karapuda was born in 1981 in Zyrardow, Poland. He lives and works in Warsaw. He studied at
the Faculty of Fine Arts in Warsaw, where he also graduated with honors. In 2011, he received a PhD in
Visual Arts. He works as an assistant professor at Warsaw’s Academy of Fine Arts.

KULTURA ZA PRIHODNOST / CULTURE FOR THE FUTURE, 2017
olje na platnu / oil on canvas, 100x130 cm

NARAVA ZA PRETEKLOST / NATURE FOR THE PAST, 2017
olje na platnu / oil on canvas, 100x130 cm

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MICHAEL KOS

Michael Kos se je rodil leta 1963 v Beljaku. Med letoma 1986 in 1991 je študiral na Univerzi za
uporabne umetnosti na Dunaju pri profesorju Petru Weiblu. Živi in dela na Dunaju in v Retzu v
Spodnji Avstriji. Iz papirnatih izdelkov, kot so prepognjeni zemljevidi, lepenke in zloženke,
izdeluje strukturirane slike, tako imenovane surogate, ki od leta 2004 zaznamujejo njegovo
gračno ustvarjanje. Pri tem papir izgubi svoj prvotni namen, saj je poudarek na njegovih
formalnih lastnostih, kot so barva, svetloba in tekstura. Vizualni rezultat tovrstnega mapiranja je
v veliki meri odvisen od naključne zasnove, saj so si strukture na prvi pogled zelo podobne.
Michael Kos was born in 1963 in Villach. Between 1986 and 1991, he studied at the University of Applied
Arts in Vienna, under mentorship of Prof. Peter Weibel. He lives and works in Vienna and in Retz, Lower
Austria. He uses various paper products, such as folded paperbacks and maps, to create structured panel
paintings, the so-called surrogates that have determined his graphic work since 2004. The original purpose
of the paper is lost in favor of its formal properties, such as color, brightness, or texture. The visual result of
this mapping is based largely on a random design, as the structures are highly similar at rst glance.

MAPIRANJE / MAPPING, 2014
mešana tehnika / mixed media, 80x80X10 cm

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INA LOITZL

Ina Loitzl, rojena v avstrijskem Celovcu leta 1972, je študirala vizualne komunikacije na akademiji
Mozarteum v Salzburgu in se nato preselila na Dunaj, da bi nadaljevala študij na Akademiji za
likovno umetnost. Tam živi in ustvarja, največ na področju fotograje in videa, izdeluje pa tudi
tekstilne izdelke in kolaže. Pri delu rada tematizira in analizira ženske vzornice in klišejske
podobe, vse, kar ima opraviti z ženskami na splošno, kot glavne teme pa nastopajo žensko telo,
lepotni mit, staranje in spolnost.
Ina Loitzl was born 1972 in Klagenfurt, Austria, Ina Loitzl studied visual media at the Mozarteum
Academy at Salzburg, Austria, and then moved to Vienna in order to continue these studies at the Academy
of Fine Arts Vienna. She lives currently in Vienna. She works primarily in photography and video, and
creates textile objects and collages. In her work, she gladly thematizes and analyses various feminine role
models and clichéd images of and about the so-called “fair sex”. Her subject matter includes the female body,
the beauty myth, ageing and sexuality.

BREZ NASLOVA / UNTITLED
mešana tehnika / mixed media, 130x230 cm

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OLGA SCHIGAL

Olga Schigal se je leta 1980 rodila v ruskem Išimbaju. Do svojega sedemnajstega leta je živela v
sibirskem mestu Njagan in se nato preselila v Nemčijo. Leta 2002 je bila sprejeta na Akademijo za
likovno umetnost v Münstru, kjer se je pod vodstvom prof. Katharine Fritsch specializirala za
upodabljajočo umetnost. Od leta 2009 živi in dela v Milanu.
Olga Schigal was born in Ishimbay, Russia in 1980. She had lived in Nyagan, Siberia until she was 17, then
she moved to Germany. In 2002, she was admitted to the Academy of Fine Arts in Munster, where she has
specialized in plastic arts with Prof. Katharina Fritsch. From 2009, she lives and works in Milan.

BREZOV GOZDIČEK / BIRCH LITTLE FOREST, 2011
les in barva / wood and color, 100x74x40 cm

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MARIKA VICARI

Marika Vicari se je rodila leta 1979 v Vicenzi, živi in dela v Creazzu v pokrajini Vicenza. Leta 2003
je z odliko diplomirala iz slikarstva (prof. Carlo Di Raco) na Akademiji za likovno umetnost v
Benetkah in leta 2005 magistrirala iz vizualnih komunikacij na Fakulteti za oblikovanje in
umetnost Univerze IUAV v Benetkah. Od leta 2000 aktivno sodeluje na samostojnih in
skupinskih razstavah po Evropi, v Združenih državah, Mehiki, Braziliji, Kanadi in na Kitajskem,
njene umetnine pa so del javnih in zasebnih zbirk v Evropi, Kanadi, ZDA in Združenih arabskih
emiratih. Ustvarja dela velikega in majhnega formata, iz lesa ali papirja, na katerega z gratom
riše in slika gozdove ter naravne krajine.
Marika Vicari was born in 1979 in Vicenza. She lives and works in Creazzo, Vicenza. Graduated with
Honors in Painting (Prof. Carlo Di Raco) at the Academy of Fine Arts in Venice in 2003, she graduated in
2005 in MFA, Design and Production of Visual Arts at the Faculty of Design and Arts, IUAV University
of Venice Architecture Studies. Since 2000, she has been active in numerous personal and collective
exhibitions in Europe, United States, Mexico, Brazil, Canada, and China. Her works appear in both public
and private collections in Europe, Canada, United States, and in United Arab Emirates. She works both in
small and large size, on wood and paper, on which she draws and paints, with graphite, forests and natural
landscapes.

„SPASIMA IL CIELO DI FENDERE LA TERRA... ED IO SONO LA RADICE DI TUTTO“., 2017
grat na papirju / graphite on paper, 100x70 cm

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CYRYL ZAKRZEWSKI

Cyryl Zakrzewski se je leta 1986 rodil v Poznanju na Poljskem, kjer je leta 2011 diplomiral na
Univerzi za umetnost, nato pa v bližnjem Suchy Lasu odprl kiparski atelje. Leta 2012 je za izvedbo
stalne instalacije v botaničnem vrtu Univerze Adama Mickiewicza prejel štipendijo od
guvernerja Velikopoljskega vojvodstva in v okviru umetniške rezidence na 10. festivalu Art Stays
na Ptuju izdelal javno instalacijo na prostem. Sodeloval je na številnih samostojnih in skupinskih
razstavah na Poljskem, v Italiji, Avstriji, Sloveniji in na Japonskem.
Cyryl Zakrzewski was born in 1986 in Poznan, Poland. In 2011, he graduated from the University of Arts
in Poznan and opened a sculpture studio in Suchy Las. In 2012, he received a stipend from the Marshal of
the Wielkopolska Region for the creation of the permanent installation in the University of Adam
Mickiewicz Botanical Garden in Poznan, and was invited to create a permanent outdoor work for the 10th
Art Stays Festival in Ptuj, Slovenia. He had multiple solo and group exhibitions in Poland, Italy, Austria,
Slovenia and Japan.

METAMORFOZA / METAMORPHOSIS, 2013
video procesa / process video, 4:00

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Bernd & Hilla Becher, Hochofen Youngstown Ohio, USA, 1981, Zbirka / Collection Dionisio Gavagnin, Treviso

GALERIJA MESTA PTUJ / PTUJ CITY GALLERY

TLA IN CEMENT
GROUND AND CEMENT

ČLOVEK, KRAJINA IN FOTOGRAFIJA
MAN, LANDCAPE AND PHOTOGRAPHY

KUSTOS / CURATOR: CARLO SALA

FOTOGRAFIJE IZ ZBIRKE / PHOTOS FROM THE COLLECTION:

DIONISIO GAVAGNIN

TLA IN CEMENT / GROUND AND CEMENT

ČLOVEK, KRAJINA IN FOTOGRAFIJA / MAN, LANDCAPE AND PHOTOGRAPHY
kustos / curator: Carlo Sala
besedilo / text: Carlo Sala

Ko pišem te besede, me Googlova domača stran opozarja na to, da danes, 5. junija, obeležujemo
svetovni dan okolja. Tako je pred več kot štiridesetimi leti odločila Generalna skupščina
Združenih narodov. Tema za leto 2017 je Povezovanje ljudi z naravo, oziroma odnos med okoljem in
ljudmi. Letošnji svetovni dan okolja ima v luči nedavnih dogodkov posebno grenak priokus, saj je
predsednik ZDA Donald Trump pred nedavnim naznanil, da ZDA odstopajo od pariškega
podnebnega sporazuma. To bo nedvomno močno omejilo domet sporazuma in oslabilo njegovo
učinkovitost v prihodnosti. Tudi iz takšnih razmišljanj, ki jih sprožijo najbolj grozeči aspekti
aktualnosti, je nastala razstava »Ground and Cement«, ki opisuje zapleteno in protislovno
razmerje med človekom in zemljo. Razstava zajema izbor sedemdesetih del mednarodnih
avtorjev, ki so od zadnjih treh desetletij devetnajstega stoletja in vse do današnjega časa s pomočjo
fotografskega medija raziskovali pokrajino v vseh njenih pojavnostih, od arkadijske vizije do
težavnega sožitja med naravo in človeškim delovanjem - od tod tudi naslov »Ground and
Cement«.

Razstava se odvija po petih osnovnih tematskih oseh, ki raziskujejo daljše časovno obdobje in
povezujejo podobe, ki so v številnih primerih nastale iz dokumentarnih namenov, s podobami, ki
so plod avtorskih iskanj, nimajo pa izdelane zavesti o tematiki. Z izmeničnim vrstenjem fotografij
in dihotomijami, ki jih te izražajo v obliki vizualne deflagracije in nepričakovane refleksije, te
podobe problematizirajo vprašanja, povezana s sodobno pokrajino.

Prvi sklop sestoji iz serije del, v katerih so predstavljene pokrajine z bohotno in cvetočo naravo.
Zato ima odprtje razstave z delom fotografa Carletona Eugenea Watkinsa tako simbolično kot
tudi kronološko vrednost. Watkinsova dela so namreč največ prispevala k izgradnji imaginarija
ameriškega zahoda (»novega« ozemlja par excellence). Njegovi posnetki temeljijo na delitvi na
dva pola: en pol predstavlja bogata narava, ki ima lastnost deviškosti, na drugi pa človekova
osvojitev teh krajev, ki neizbežno vodi v njihovo izkoriščanje in spreminjanje. V svoje fotografije
je umetnik ujel najgloblje lastnosti teh pokrajin, s čimer sega onkraj meja dokumentarne
fotografije in predstavlja pomemben prispevek k ustvarjanju okoljske zavesti. Tako je menil tudi
ameriški kongres, ki so ga fotografije prepričale v to, da je razglasil park Yosemite za zaščiteno
naravno območje, ki je še danes izrednega pomena za ohranjanje biotske raznovrstnosti.
Watkinsovim fotografijam sledijo dela ostalih pionirjev, ki so delovali na ameriških tleh, kot so
William Henry Jackson, Eadweard Muybridge in Timothy O'Sullivan. Tem sledijo avtorji 20.
stoletja, kot sta Edward Weston in Lee Friedlander. Pogled se nato usmeri v Evropo, začenši z
gorskimi razgledi alpinista in fotografa Vittoria Selle in se nato sprehodi skozi ruralna območja,
kipeča od identitete, ki jih je v objektiv ujel Mario Giacomelli. Sledijo jim idealizirane vizije
Wilhelma von Gloedena, ki spominjajo na klasična dela, kjer je v oblikovno-kompozicijsko
popolnost vključena človeška prisotnost, kar ustvari dimenzijo teatraličnosti, ki je distancirana

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od realnosti. To brezčasno vzdušje je pretrgano v drugem delu, v katerem je zbran obsežen
korpus industrijskih fotografij iz obdobja dvajsetega stoletja, ko so tovarne in montažne linije
predstavljale najbolj otipljive znake napredka, ki ga je pogosto spremljalo uničevanje ravnovesja
pokrajin, ki so bile podvržene naglim spremembam. V tem delu so na ogled fotografije, ki jih je
posnel Albert Renger-Patzsch, za katere je značilna okleščena estetika »nove objektivnosti«, ki se
izogiba vsakršnemu umetniškemu učinku, in fotografije Bernda in Hille Becher, za katere so
značilne enote industrijske arhitekture, razdeljene po tipologijah. Tem sledijo novejše podobe
industrializacije, ki sta jih ujela Olivo Barbieri z umetno svetlobo in Guido Guidi z značilno
vizualno temperaturo. Podobno soočenje z okoljem za nekatere avtorje pomeni prisotnost
človeka, kot na primer na socialnih fotografijah, ki jih je ujel Lewis Hine. Njegove fotografije so
bile izrednega pomena v boju za pravice delavcev v Ameriki v začetku dvajsetega stoletja.
Podobno velja za fotografije, ki jih je posnel Sebastião Salgado, ki pričajo o nečloveških delovnih
pogojih v rudnikih zlata Sierra Pelada v Braziliji.

Naslednji sklop pozdravlja zamisel o hibridni pokrajini, ki je predstavljena skozi dela ameriških
fotografov, članov gibanja, imenovanega Nove topografije (New Topographics), kot sta Stephen
Shore in Joel Meyerowitz, ki pogled usmerjajo v okolja, kjer se človekov vpliv kaže na anonimen
in neoseben način. Italijanske fotografe, ki so delovali v 70. in 80. letih prejšnjega stoletja, je po
drugi strani bolj pritegnila vsakdanja pokrajina. Mednje se prištevajo Luigi Ghirri, Vincenzo
Castella in Giovanni Chiaramonte, ki so tolmačili kraje, zaznamovane z neznatnimi in le
navidezno obrobnimi znaki, ki so pravzaprav ključnega pomena, saj so najbližje priče
človekovega življenja.

V poznih 60. letih so se umetniki, ki pripadajo gibanju Land Art, kot sta Dennis Oppenheim in
Richard Long, soočali s širnimi in nedotaknjenimi pokrajinami, ki so postale sestavni del
njihovega umetniškega delovanja. Drugim predstavnikom, ki v ospredje postavljajo uporabo
telesa, kot sta Gina Pane in Hamish Fulton, pokrajina predstavlja prostor za ustvarjanje
performansov ali akcij, ki slonijo na neposrednih izkušnjah. Razstava se zaključi z nekaterimi
akterji sodobne umetniške scene, kot so Roni Horn, Jenny Holzer in Olafur Eliasson, za katere
pokrajina postane prizorišče številnih konceptualnih in procesnih iskanj. Delo, ki idejno
povzema celotno razstavo in pooseblja vse napetosti ter zgodovinske in geopolitične razmere, ki
vplivajo na pokrajino, je Aral - T51 (2008), katerega avtor je Francesco Jodice. Fotografija
prikazuje ladjo, ki sameva sredi puščavske pokrajine in je nema priča krčenja Aralskega jezera, ki
velja za eno najhujših okoljskih katastrof našega časa. Samovolja in aroganca vlade Sovjetske
zveze je ogrozila obstoj lokalnih skupnosti in za vedno uničila naravno ravnovesje na tem
ozemlju, ki zdaj spominja na prizor iz post-apokaliptičnega filma.

Razstava kot celota ponuja tok podob, ki sprožijo vizualno pripoved z aktualno tematiko, ki jo
zaznamuje sodoben pogled na okoljska vprašanja, zlasti na razmišljanja o antropocenu, s ciljem,
da v gledalcu izzove zavestno in kritično dojemanje realnosti.

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As I am writing these words, Google's home page reminds me that today, June 5, is World
Environment Day, as established over 40 years ago by the United Nations. The theme for 2017 is
Connecting People to Nature, celebrating the relationship between the environment and people.
This year's World Environment Day leaves a particularly bitter taste in one's mouth, in light of the
recent announcement by U.S. President Donald Trump that the U.S. are withdrawing from the
Paris Climate Agreement, effectively weakening the scope and future effectiveness of the
agreement. It was also reflections brought on by the pressing realities of our time that fostered the
evolution of the exhibition "Ground and Cement", which aims to explore the intricate and
contradictory relationship between man and territory. The exhibition features a selection of over
seventy works by international authors, who, from the last three decades of the nineteenth
century to the present day, have photographed the landscape in its various declinations: from an
Arcadian vision of the landscape to the difficult coexistence between nature and anthropic
activity - hence the title "Ground and Cement".

The exhibition unfolds along five thematic axes exploring art that happened over an extended
period, linking images that in many cases were created for documentary purposes, or vice versa,
as a result of the author's creative process, but without full awareness of the subject. In their
alternation and in the dichotomies that these images reflect in the form of a visual deflagration
and unexpected reflection, they are able to tackle subjects related to contemporary landscapes.

The first section consists in a series of works depicting landscapes characterized by a prosperous
and luxuriant nature. That is why the exhibition opening with the work of photographer Carleton
Eugene Watkins assumes a symbolic as well as a chronological value. No other artist's
contribution to the construction of the imagery of the American West (the "new" territory par
excellence), has been as great as his. Watkins's shots are based on two polarities: on the one hand,
a flourishing, sometimes virginal nature, and on the other, the epic of the conquest of these
territories by man, which inevitably leads to their exploitation and modification. In his images,
the artist captured the deeper traits of those landscapes, reaching beyond the boundaries of
documentary photography. His work was so effective in creating environmental awareness that
it even compelled the United States Congress to declare Yosemite a protected wilderness area that
still plays an extraordinary role in safeguarding biodiversity. Watkins's work is followed by the
work of other pioneers who worked on American soil, such as William Henry Jackson,
Eadweard Muybridge or Timothy O'Sullivan. These are followed by 20th century authors, such
as Edward Weston and Lee Friedlander. The exhibition's focus then shifts towards Europe,
starting with the mountain views of climber and photographer Vittorio Sella, passing through
the rural territories overflowing with identity that were captured by Mario Giacomelli, or the
idealized visions of Wilhelm von Gloeden, which resemble classical works, where formal-
compositional perfection incorporates the presence of humans, giving birth to a dimension of
staged scenes that are disconnected from reality. This timeless atmosphere comes to an end in the
second section of the exhibition, which consists of a substantial corpus of industrial photographs
from the twentieth century, where factories and assembly lines are the most tangible signs of a
progress that often

119

undermined the balance of landscapes undergoing sudden changes: from the photography of
Albert Renger-Patzsch, characterized by the aesthetics of the "New Objectivity" movement,
which distances itself from any sort of artistic effect, from the works of Bernd & Hilla Becher,
who grouped buildings according to their typology, to the signs of a more recent industrialization
highlighted by Olivo Barbieri with his artificial lighting, or by the art of Guido Guidi with his
unmistakable visual temperature. A similar confrontation with the environment implies for some
authors the presence of man, as is the case with Lewis Hine's social images. His photographs
were a crucial weapon in the struggle for workers' rights in America at the beginning of the
twentieth century. The same is true of the photographs taken by Sebastião Salgado, which bear
witness to the inhumane working conditions in the gold mines of Sierra Pelada in Brazil.

The next section welcomes the idea of a hybrid landscape through the work of the New
Topographics, a group of American photographers that includes Stephen Shore and Joel
Meyerowitz, who turn their gaze toward environments where man has intervened in a manner
that is anonymous and impersonal. On the other hand, Italian photographers of the 1970s and
1980s, including Luigi Ghirri, Vincenzo Castella and Giovanni Chiaramonte, were more
interested in everyday landscapes and in interpreting places marked by minute and only
seemingly marginal signs that are in fact of fundamental importance, because they are the closest
witnesses of human life.

By the end of the 1960s, artists belonging to the Land Art movement, including Dennis
Oppenheim and Richard Long, were confronting vast uncontaminated lands that became an
integral part of their artistic expression. For those who instead focus on the use of bodies, such as
Gina Pane and Hamish Fulton, the landscape serves as a space in which to create performances
or actions based on direct experience. The exhibition ends with some of the protagonists of the
contemporary art scene, such as Roni Horn, Jenny Holzer and Olafur Eliasson, for whom the
landscape becomes a stage for a multitude of conceptual and processual explorations. The one
piece that ideally synthesizes the entire exhibition and encompasses all the tensions and historical
and geopolitical conditions affecting the landscape, is Aral - T51 (2008) by Francesco Jodice. The
image features a ship, abandoned in the middle of a desert land, serving as a reminder of one of
the worst environmental disasters of our time - the shrinking of the Aral Sea, caused by the
arbitrary and thoughtless decisions of the government of the Soviet Union, which caused
irreparable damage to the local communities and forever compromised the natural balance of
those territories, resulting in a post-apocalyptic scenario.

The exhibition as a whole offers a stream of images that triggers a very topical visual narrative in
line with modern attitudes towards environmental issues and, in particular, with reflections on
the Anthropocene, in order to elicit in the viewer a conscious and critical perception of reality.

120

ARKADIJA / ARCADIA

CARLETON EUGENE WATKINS

(Oneonta, 1829 – Napa, 1916)
Fotograf, ki je imel velik vpliv na izoblikovanje podobe ameriškega Zahoda ("novega" ozemlja v
pravem pomenu besede): na eni strani prikazuje cvetočo naravo z deviškimi potezami, na drugi
pa pripoveduje o zavzetju teh krajev s strani človeka, ki jih želi izkoriščati in nepovratno
spremeniti. Watkins je s svojimi posnetki uspel prepričati kongres Združenih držav, da je
razglasil park Yosemite za zaščiteno naravno območje, kar še danes igra izjemno pomembno
vlogo pri ohranjanju biotske raznovrstnosti.
More than any other photographer, Watkins contributed to the building of the imagery of the American
West (a "new territory" par excellence), showing on one hand the presence of a blossoming, sometimes
virgin nature, and on the other, man's epic conquest of such places, which he wishes to exploit, and change
irreversibly. The artist's photographs have convinced the United States Congress to declare the Yosemite
Park as a protected natural area, which is still of great importance for the preservation of its natural
biodiversity.

MAMMOTH TREE GROVE HOTEL, Calaveras Co. California, 1865-70

122

EADWEARD MUYBRIDGE

(Kingston upon Thames, 1830 – Kingston upon Thames, 1904)
Zanimala ga je pokrajina in spremembe, ki jih je na njej pustila razvijajoča se industrija. Sodeloval
je na geografskih ekspedicijah v Srednji Ameriki, se nato posvetil predvsem preučevanju gibanja
živali s pomočjo kronograje in si tako prislužil naziv pionirja na področju fotograje gibanja.
Proslavil se je zlasti z znamenito serijo fotograj z naslovom The horse in motion, ki prikazuje
različne faze gibanja konja v galopu; to mu je uspelo s pomočjo štiriindvajsetih fotoaparatov,
razporejenih vzdolž poti, ki so se sprožili s pomočjo žice ob dotiku konjskega kopita.
He was interested in the landscape and the changes imposed on it by the rising industry. He participated in
several geographic expeditions in Central America, and later devoted himself to the study of the movement
of animals, using the method of chronophotography, which earned him the status of a pioneer of motion
photography. His most famous series is The Horse in Motion, a sequence of photographs depicting the
various phases in the movement of a galloping horse; made with the help of 24 cameras arranged along the
path, which were triggered by a piece of metal thread, when hit by the horses' hoofs.

DOLINA YOSEMITE / VALLEY OF THE YOSEMITE, California, 1880 ca.

123

WILLIAM HENRY JACKSON

(Keeseville, 1843 – New York, 1942)
V letu 1870 se je skupaj z geologom Ferdinandom Vandiveerjem Haydnom podal na ekspedicijo v
Wyoming, vzdolž reke Green River in vse do yellowstonskega jezerskega območja. Jacksonove
slike so prve objavljene fotograje, ki prikazujejo Yellowstone, in so v veliki meri pripomogle k
temu, da so slednjega marca 1872 razglasili za prvi ameriški narodni park. Je tudi prvi, ki je
fotograral prazgodovinska domovanja ameriških domorodcev v Mesa Verde v Koloradu.
Kasneje se je ustalil v Denverju in deloval kot krajinski komercialni fotograf, svoje fotograje je
objavljal tudi v obliki razglednic.
In 1870, Jackson accompanied geologist Ferdinand Vandiveer Hayden on an expedition across Wyoming,
along the Green River, and nally into the Yellowstone Lake area. His images were the rst published
photographs of Yellowstone and thus contributed to proclaiming it as the rst national park in the United
States in March 1872. Jackson was also the rst to photograph the prehistoric Native American dwellings in
Mesa Verde, Colorado. After settling in Denver, he worked as a commercial landscape photographer and
continued to publish his photographs as postcards.

ROYAL GORGE,
Grand Canyon of the Arkansas, 1880

CRATER OF GEYSER,
Yellowstone Park, California, 1872 ca.

124

TIMOTHY O'SULLIVAN

(New York, 1840 – New York, 1882)
Spada med pionirje vojne fotograje, med letoma 1861 in 1865 je dokumentiral ameriško
secesijsko vojno in zaslovel predvsem s podobami bojnih polj, posnetimi takoj po prenehanju
spopadov; povzemal je prizore, nabite z dramatičnostjo, tako zaradi prikaza podrobnosti padlih
kot tudi zaradi širokokotnih posnetkov, ki prikazujejo raztresena telesa do koder seže pogled.
Prva zbirka vojnih fotograj, Gardner's Photographic Sketch Book of the War, vsebuje tudi
štiriinštirideset njegovih fotograj.
Considered one of the pioneers of war photography, O'Sullivan documented the American War of Secession
between 1861 and 1865. Particularly famous are his images of battleelds, taken immediately after the
cessation of ghting, where he captures scenes of great dramatism, both in terms of the details of the fallen
ghters, as well as in terms of the wide shots depicting bodies scattered around almost as far as the eye can
reach. Forty-four of his photographs were published in Gardner's Photographic Sketch Book of the War, the
rst war photographs collection.

GORSKO JEZERO / ALPINE LAKE CERRO BLANCO MOUNTAINS COL.
Height of Peak over 14.000 feet. Lake 11.000 feet above sea-level, 1874

125

WESTON EDWARD

(Highland Park, 1886 – Carmel, 1958)
V dvajsetih letih je s fotograjami, ki jih je posnel v jeklarni ARMCO v Ohiu, izkazal izrazito
realistično estetiko. Med bivanjem v Mehiki je skupaj s Tino Modotti iskal načine za izražanje
preprostosti in jasnosti oblik v slikah. Leta 1927 naredi prve fotograje zelenjave, sadja in školjk,
za katere je značilna prenjena tehnika in izjemna pozornost na detajle. Leta 1933 skupaj z
Anselom Adamsom in drugimi fotogra ustanovi skupino F/64, v kasnejšem obdobju pa se
pozorneje posveti raziskovanju krajine in akta.
His photos taken at the Armco steel factory in Ohio during the 1920s, convey a highly realistic aesthetics.
During the period of his stay in Mexico, he was searching, together with Tina Modotti, for ways of
expressing the simplicity and linearity of forms in images. In 1927 he produced his rst shots of vegetables,
fruits, and seashells, reecting his sophisticated photographing technique, and his extremely sharp sense of
detail. In 1933 he co-founded the F / 64 group together with Ansel Adams and other photographers. His
later works focused on exploring landscapes and nudes.

EEL RIVER RANCH, 1937

126

LEE FRIEDLANDER

Leta 1934 v Aberdeenu (Washington, ZDA) rojeni umetnik živi in ustvarja v New Yorku. Kot
predstavnik ulične fotograje si je pridobil mednarodni sloves leta 1967, ko ga je kustos
newyorške MoME John Szarkowski uvrstil na zgodovinsko razstavo New Documents, ki je
proslavila avtorjev dokumentaristični stil, zlasti njegove urbane krajine. Je trikratni prejemnik
Guggenheimove štipendije, dobitnik nagrade fundacije Hasselblad in številnih drugih priznanj.
Born 1934 in Aberdeen, Washington, USA; lives and works in New York. This representative of American
street photography of the 1960’s gained international recognition in 1967, when the curator of New York's
MoMA, John Szarkowski, included him in the ground-breaking exhibition New Documents, which
celebrated the author's documentary style, especially in his urban landscapes. He received the Hasselblad
Award, and was a three-time winner of a Guggenheim Foundation Grant.

PUTNEY, Vermont, 1972

127

VITTORIO SELLA

(Biella, 1859 – Biella, 1943)
Fotograf in alpinist je strast do gora podedoval od strica Quintina Selle, ustanovitelja italijanske
planinske zveze. Opravil je več pomembnih vzponov v Alpah, vključno s prvim zimskim
vzponom na Matterhorn in Monte Roso, ter prvo zimsko prečkanje Mont Blanca. Še danes velja za
enega največjih gorskih fotografov v zgodovini.
A photographer and mountaineer, Sella inherited his passion for mountain-climbing from his uncle
Quintino Sella, founder of the Italian Alpine Association. His mountaineering record includes several
remarkable climbs in the Alps, including the rst winter climb of the Cervino and Monte Rosa, and the rst
winter crossing of Mont Blanc. He is still considered one of the greatest mountain photographers in history.

COLLE DONGUSORUN FROM THE GLACIER CIAT-KOGUTAI, 1889

128

MARIO GABINIO

(Torino, 1871 – Torino, 1938)
Posvečal se je predvsem gorski fotograji. Od leta 1890 je v sodelovanju z geologom Federicom
Saccom ustvarjal fotograje za likovno opremo raznih poljudnoznanstvenih besedil. Leta 1903
njegova dela dopolnijo publikacijo Carla Reynaudija, posvečeno Dolini Aoste, kasneje, leta 1934,
pa še delo Federica Sacca, posvečeno Alpam, skupaj s fotograjami avtorja knjige.

He was mainly devoted to photographing the alps and mountain villages. In 1890 he began collaborating
with geologist Federico Sacco, producing footage to accompany various popular science articles and texts.
In 1903, many of his images were published in a volume by Carlo Reynaudi dedicated to the Aosta Valley,
while later, in 1934, several Gabinio's photographs were also included in a book by Federico Sacco,
dedicated to the Alps, alongside Sacco's own images.

ŽIVLJENJE V HRIBIH / SONČNI ZAHOD NAD REKO PAD /
VITA DI MONTAGNA, 1930 ca. TRAMONTO SUL PO, 1930 ca.

129

MARIO GIACOMELLI

(Senigallia, 1925 – Senigallia, 2000)
Leta 1954 se na spodbudo Ferruccia Ferronija pridruži fotografski skupini »Misa« in v naslednjih
letih ustvari nekaj svojih najbolj znanih serij, kot so Lourdes (1957), Scanno (1957/59), Zingari
(1958), Loreto (1959), Pretini (1961/63) in La buona terra (1964/66). Tem sledijo krajinske
fotograje, ki so mu prinesle mednarodni sloves: kmetom proti plačilu ponudi, da s svojimi
traktorji na zemlji zarišejo določene sledi (avtor jih kasneje na fotograjah poudari) in na ta način
neposredno delujejo na fotograrano pokrajino.
In 1954 he joined the photographic collective Misa, promoted by Ferruccio Ferroni, creating over the
following years some of his most well-known series, including Lourdes (1957), Scanno (1957/59), Zingari
(1958), Loreto (1959), Pretini (1961/63), and La buona terra (1964/66). These were followed by a series of
landscapes, which would ultimately make him famous: he offered to pay the farmers to take their tractors and
create specic patterns on the soil with their tracks. In this way, they intervened directly with the
photographed landscape, while the photographer later accentuated their tracks in the printed works.
BREZ NASLOVA / SENZA TITOLO, 1960-’70
POKRAJINA / PAESAGGIO, 1970 ca.

130

WILHELM VON GLOEDEN

(Wismar, 1856 – Taormina, 1931)
Del življenja je preživel v Taormini v Italiji in tam posnel fotograje, s katerimi je zaslovel. Snemal
je akte sicilijanskih fantov v pastoralnem okolju, skupaj z amforami ali kostumi, ki se zgledujejo
po antični Grčiji in spominjajo na idilično lokacijo v antiki in utopijo. Za doseganje popolnosti
umetniških del je na inovativen način uporabljal fotografske ltre, izumil pa je tudi poseben
losjon za kožo, narejen iz mešanice mleka, oljčnega olja in glicerina, s katerim je prekril
nepravilnosti na koži.
He spent part of his life in Taormina, Italy, where he created the images that later made him famous: male
nudes in the Sicilian pastoral environment, photographed with amphoras or in costumes inspired by
ancient Greece, suggesting an idyllic antique setting, referring to Arcadia. The artistic perfection of his
works was achieved also through an innovative use of photographic lters, and the invention of a skin lotion,
which is a mixture of milk, olive oil and glycerin, used to conceal skin imperfections.

BREZ NASLOVA / SENZA TITOLO
(Moški in ženska od zadaj /

Uomo e donna di spalle), 1902

MLADA, SEDEČA SICILJANCA /
DUE GIOVANI SICILIANI SEDUTI, 1900 ca.

131



INDUSTRIJA / INDUSTRY

ALBERT RENGER-PATZSCH

(Würzburg, 1897 – Wamel bei Soest, 1966)
Po študiju kemije je med letoma 1921 in 1925 deloval kot direktor slikovnega arhiva Folkwang
Publishing Company v Hagnu in se kasneje pridružil gibanju »nova stvarnost«. Njegovo najbolj
znano stvaritev, fotografsko zbirko Die Welt ist schön (Svet je lep, 1928), lahko obravnavamo kot
neke vrste manifest: v nasprotju z likovno estetiko avtorja navdušujejo zlasti predmeti iz
vsakodnevnega življenja, strojna oprema, urbana in industrijska krajina, ki jih predstavlja na
ekstremno realističen način, pri tem pa uporablja močno, skoraj obsesivno osvetlitev, s katero
poudari vsako podrobnost.
After graduating in chemistry in Dresden, he worked as head of the Photographic Department of the
Folkwang Archives in Hagen, between 1921 and 1925. He is associated with the movement New
Objectivity. His best known work, the photography collection Die Welt ist schön (The World Is Beautiful,
1928) can be considered a sort of a manifesto: in contrast to visual aesthetics, the author was fascinated
especially by objects from the everyday life, such as machinery or urban and industrial landscapes, which he
presents extremely realistically, using a very strong, almost obsessive lighting that highlights every detail.

ROGO-WERKE, 1936

BREZ NASLOVA / UNTITLED
(Schubert & Salzer, Ingolstadt), 1950 ca.

PREDILNI STROJ / SPINNING MACHINE, 1950 ca.

134

WALKER EVANS

(Saint Louis, 1903 – New Haven, 1975)
Delal je za Farm Security Administration (FSA, Uprava za kmetijsko varnost) in med potovanjem
po državi s pomočjo socialne in dokumentarne fotograje dokumentiral posledice velike
depresije iz leta 1929. Ob koncu tridesetih in v začetku štiridesetih je pričel s fotograranjem ljudi
na newyorški podzemni železnici; fotograje so bile posnete na skrivaj s fotoaparatom, skritim
pod jakno, in 25 let kasneje objavljene v knjigi z naslovom Many Are Called. Med 1940 in 1960 je
deloval kot fotograf za številne revije, tudi za Time in Fortune.
He worked for the Farm Security Administration (FSA), documenting, throughout the nation, the effects of
the Great Depression of 1929 through social documentary photography. Between the end of the thirties and
the early forties, Walker decided to photograph people on the New York subway: photos were taken secretly,
with his camera hidden inside his jacket, and were published 25 years later in a book „Many Are Called“.
Between 1940 and 1960 he worked as a photographer for various magazines, including Time and Fortune.

CONTAINER CORPORATION LTD, 1950 ca.

135

BERND & HILLA BECHER

Bernhard Becher, imenovan Bernd (Siegen, 1931 – Rostock, 2007), in Hilla Becher, rojena Wobeser
(Potsdam, 1934 – Düsseldorf, 2015), sta bila nemški umetniški tandem, poznana predvsem po
svojem objektivnem črno-belem stilu, s katerim sta na tipološki način portretirala arhitekturne
stavbe. Nastopala sta kot pedagoga in promotorja »düsseldorfske šole« fotograje, iz katere
izhaja nekaj največjih imen sodobne fotograje, med njimi Andreas Gursky, Thomas Ruff in
Candida Höfer. Za svoje delo sta prejela številne nagrade, tudi zlatega leva na beneškem bienalu,
in nagrado fundacije Hasselblad.
Bernhard Becher, called Berndt (Siegen, 1931 – Rostock, 2007), and Hilla Becher, née Wobeser (Potsdam,
1934 – Düsseldorf, 2015), were a German artist duo, known especially for their objective black-and-white
style used to typologically portray the architecture of buildings. They were pedagogues, and promoters of
the so-called Dusseldorf School of photography, which produced some of the greatest names of
contemporary photography, including Andreas Gursky, Thomas Ruff, and Candida Höfer. They received
numerous awards for their work, including a Golden Lion at the Venice Biennial, as well as the Hasselblad
Award.

HOCHOFEN YOUNGSTOWN OHIO, USA, 1981

136

UGO MULAS

(Pozzolengo, 1928 – Milano, 1973)
S svetom umetnosti ga je povezoval privilegiran odnos, ustvarjal je reportaže o beneškem
bienalu in delu različnih umetnikov. Leta 1971 se posveti seriji Veriche, sestavljeni iz dvanajstih
del, ki vsako zase predstavljajo strukturno analizo tehničnih, jezikovnih in etičnih elementov
fotograje skozi kompleksen sistem podob, naslovov in posvetil.
He had a privileged relationship with the art world, producing numerous coverages of the Venice Biennal,
and documenting in general the work of many artists. Since 1971 he was committed to realizing the
remaining works from the series Veriche, composed ultimately of twelve works, which constitute a
structural analysis of the technical, linguistic, and ethical elements of photography through a complex
system of images, titles and dedications.

TOVARNA OLIVETTI V IVREI / LE OFFICINE OLIVETTI AD IVREA, 1956

137

PAOLO MONTI

(Novara, 1908 – Milano, 1982)
Sprva se je zanimal za amatersko fotograjo in se nato z njo začel ukvarjati še profesionalno.
Specializiral se je za področje urbane krajine. Leta 1947 je skupaj z Lucianom Scattolo, Ginom
Bologninijem in Giorgiom Brescianijem ustanovil fotografski krožek La Gondola, okoli katerega
so se zbirali najbolj uspešni amaterski fotogra iz štiridesetih let.
A photographer who moved from photo-amateurism, through professional photography, to specialist urban
landscape photography. In 1947 he founded, together with Luciano Scattola, Gino Bolognini, and Giorgio
Bresciani, a photographic club called La Gondola, around which the most famous amateur photographers of
the forties were gathered.

AMBROSOLI – MILANO, 1950 ca.

138

GABRIELE BASILICO

(Milano, 12. avgust 1944 – Milano, 13. februar 2013)
S fotograjo se je začel ukvarjati v začetku sedemdesetih let in se pri tem posvetil predvsem
dokumentiranju urbane pokrajine in milanskega predmestja; njegov prvi fotografski projekt je bil
»Milano, portreti tovarn«. Med letoma 1984 in 1985 je s projektom »Bord de mer« kot edini Italijan
sodeloval pri Mission Photographique de la DATAR, ki ga je francoska vlada zaupala skupini
mednarodnih fotografov, da bi dokumentirali spreminjajočo se pokrajino.
Became a photographer in the early nineteen-seventies, focusing mostly on documenting urban landscapes
and the Milan suburbs; his rst photographic project was Milan. Portraits of Factories. During 1984 and
1985 his project Bord de mer was the only Italian project in Mission Photographique de la DATAR,
entrusted by the French government to a group of international photographers, to document the changing
landscape.

ELEKTRARNA / CENTRALE ELETTRICA, 1970 -’80

MILANO, ANNI ’70

139

GILBERT FASTENAEKENS

Leta 1955 se je rodil v Bruslju, kjer živi in dela. Je predstavnik dokumentarnega fotografskega
sloga, znan zlasti po nočnih urbanih krajinah, posnetih med letoma 1980 in 1987. V letu 1984 se je
udeležil fotografske misije Datar, katere namen je bil dokumentirati francosko ozemlje; dela iz
tega časa so objavljena v publikacijah Nocturnes in Eseji za imaginarno arheologijo (Essai pour
une archeologie imaginaire). Leta 1986 je prejel Kodakovo nagrado fotografskih kritikov, leta
1993 pa je ustanovil založniško hišo ARP Editions in deluje kot njen urednik.
He was born in Brussels in 1955, where he lives and works. A representative of the documentary
photographic style, Fastenaekens is known especially for his night-time urban landscapes, taken between
1980 and 1987. In 1984, he participated in the Datar Photographic Mission, documenting the territory of
France. His work from this period was published in the books Nocturne and Essai pour une archeologie
imaginaire. In 1986, he was awarded the Kodak Prize by photography critics and in 1993, he founded the
ARP Editions and has since then been working as a publisher.

SIDÈRURGIE, ROMBARS, 1984

140

OLIVO BARBIERI

Rojen leta 1954 v Carpiju (MO) v Italiji, kjer živi in dela. V zgodnjem raziskovalnem delu se
osredotoča na umetno razsvetljavo v evropskih in azijskih mestih. Od leta 1989 redno potuje na
vzhod, predvsem na Kitajsko. Leta 2003 začne projekt Site Specic (fotograje in lmi), v katerega
je vključenih več kot 40 mest; na to temo Aperture (New York, 2013) izda tudi knjigo Site Specic
03_13. V letih 1993, 1995, 1997 in 2011 sodeluje na beneškem bienalu. Razstavljal je v številnih
pomembnih muzejih, med njimi so MoMA v San Franciscu, Centre Pompidou in Tate Modern.
Born 1954 in Carpi (MO), Italy where he lives and works. His early research work focused on articial
lighting in European and Asian cities. Since 1989 he has travelled regularly to the East, mostly to China. In
2003 he initiated the project Site Specic (photographs and lms), with over 40 participating cities. A book
on the project, entitled Site Specic 03_13, was published in 2013 by Aperture (New York). In 1993, 1995,
1997, and 2011, he participated in the Venice Bienniale, and exhibited in numerous other important
museums, including the Museum of Modern Art in San Francisco, Centre Pompidou, and Tate Modern.

SOUTHAMPTON, ENGLAND, 1987

141

GUIDO GUIDI

Rojen je leta 1941 v Ceseni, kjer živi in ustvarja. Od konca šestdesetih let se posveča raziskovanju
pokrajine in njenih transformacij, hkrati pa tudi jeziku fotograje. Leta 1989 skupaj s Paolom
Costantinijem in Williamom Guerrierijem v Rubieri začne projekt Linea di Conne. Znan je zlasti
po seriji raziskovalno obarvanih del, ki se med drugim dotikajo vprašanja nenačrtovanih gradenj
v Romagni, vzdolž državne avtoceste Romea, ali v Porto Margheri; odlikujeta pa ga predvsem
zanj značilen nenavaden barvni slog in pogled na pokrajino, ki se skozi umetnikove oči razkriva
kot marginalna in ne spektakularna.
Born 1941 in Cesena; lives and works in Cesena, Italy. Since the late sixties his eld of research has revolved
around the landscape and its transformations, as well as around the language of photography. In 1989, he
initiates the project Linea di Conne in Rubiera, Italy, together with Paolo Costantini and William
Guerrieri. He is famous for his series of research works, concerned, for example, with the issue of unplanned
settlements in Romagna, alongside the Romea state highway, or in Porto Marghera. His works are
characterized by his peculiar chromatic style, and a view of the landscape as marginal, rather than
spectacular.

OD RIMINI NORD / DA RIMINI NORD, 1980 ca.

142

LEWIS BALTZ

(Newport Beach, 1945 – Pariz, 2014)
Sodeloval je na zgodovinski razstavi New Topographics: Photographs of a Man-Altered Landscape
(1975), ki se je odvijala v George Eastman House pod kuratorstvom Williama Jenkinsa, na njej pa
so razstavljali še drugi izvirni fotogra, kot so Bernd in Hilla Becher, Robert Adams, Joe Deal,
Nicholas Nixon in Stephen Shore. Objavil je več knjig, med njimi »The New Industrial Parks«,
»San Quentin Point«, »Candlestick Point« in »Nevada«, ki vse po vrsti pričajo o škodi, ki jo je
povzročil človek s svojo destruktivno tehnologijo.
He participated in the landmark exhibition New Topographics: Photographs of a Man-Altered Landscape
(1975), curated by William Jenkins at the George Eastman House, which featured other prominent
photographers such as Bernd and Hilla Becher, Robert Adams, Joe Deal, Nicholas Nixon, and Stephen
Shore. Author of several books, among them "The New Industrial Parks", "San Quentin Point",
"Candlestick Point", and "Nevada", all of which testify to the damage caused by man with his destructive
technology.

DUŠE #1 / ANIME #01 (IZ / DA PLENTY), 2003

143

MARCO ZANTA

Rodil se je v Trevisu leta 1962, tam živi in ustvarja. S fotograjo se je začel ukvarjati v osemdesetih
letih prejšnjega stoletja in se osredotočil zlasti na predstavitev urbanih območij. Izdal je več
monograj, med njimi Rumore Rosso (Rdeči hrup, Charta, 2000) in UrbanEurope (Contrasto,
2008); njegova dela so bila predstavljena v različnih galerijah in mednarodnih inštitucijah, med
drugim v Kanadskem centru za arhitekturo v Montrealu, v bruseljskem Espace Contretype, na
milanskem trienalu, v marsejskem Maison de l'Architecture in na beneškem umetnostnem
bienalu.
Born 1962 in Treviso; lives and works in Treviso, Italy. Marco Zanta has been a photographer since the mid-
1980s. His work focuses on the representation of urban spaces. He has published several monographs,
including Rumore Rosso (Red Noise, Charta, 2000), and UrbanEurope (Contrast, 2008), and presented his
works in various galleries and international institutions, including C.C.A. of Montreal, Espace Contretype
of Brussels, the Milan Triennal, Maison de l'Architecture in Marseille, and the Venice Biennial.

BREZ NASLOVA / SENZA TITOLO, 2000

144

LEWIS HINE

(Oshkosh, Wisconsin, 1874 – Dobbs Ferry, New York, 1940)
Rodil se je leta 1874 v Oshkoshu in je eden prvih fotografov, ki uporablja fotograje kot sredstvo
družbenega protesta. Med letoma 1904 in 1909 dokumentira prihode imigrantov, neustrezna
prenatrpana bivališča in zavzetje tovarn in trgovin. V letu 1908 postane uradni fotograf
organizacije National Child Labor Committee, ki skrbi za nadzor nad izkoriščanjem otroške
delovne sile v težki industriji, predvsem v rudnikih in tovarnah, ter izpostavlja nevzdržne
pogoje. Leta 1918 na prošnjo mednarodnega Rdečega križa odpotuje v Evropo, da bi posnel stanje
v državah starega kontinenta, ki jih je opustošila prva svetovna vojna.

Born 1874 in Oshkosh, Hine is one of the rst photographers who used his camera as a tool for social reform.
Between 1904 and 1909, he recorded the arrival of immigrants, their overcrowded and unhealthy housing
conditions, and the occupation of factories and shops. In 1908, he became the ofcial photographer of the
National Child Labor Committee, an organization created to combat child labor in heavy industry, such as
mines and factories, underlining their intolerable conditions. In 1918 he traveled to Europe to document, at
the request of the International Red Cross, the situation of the countries of the Old Continent devastated by
the First World War.

OTROCI - DELAVCI / CHILD LABOURERS, 1910 ITALIJANSKA PRISELJENKA / IMMIGRANTE ITALIENNE
À L'ATELIER DE HULL HOUSE, 1910

HOLLAND MANUFACTURING COMPANY, 1908-09

145

AUGUST SANDER

(Herdorf, 1876 – Köln, 1964)
Bil je eden najpomembnejših portretnih fotografov dvajsetega stoletja. Njegova prva knjiga
Antlitz der Zeit (Obrazi našega časa), izdana leta 1929 in v obdobju nacizma označena za sporno,
je kolektivni portret nemške družbe. Dela, objavljena v tej knjigi, so bila kasneje vključena v
monografsko publikacijo Menschen des 20. Jahrhunderts (Ljudje 20. stoletja), ki zajema 60
portretov in želi prikazati izsek družbe v Weimarski republiki. Sander je želel skozi izčrpen
prikaz vseh poklicev, obrti in družbenih razredov dokumentirati družbeno strukturo Nemčije po
prvi svetovni vojni ter tako ustvariti univerzalni portret človeštva.
He was one of the most important portrait photographers of the twentieth century. His rst book Antlitz der
Zeit (Face of Our Time), published in 1929, and labeled as highly controversial during the Nazi period, is a
collective portrait of the German society. The works published in this book were subsequently included in
the monographic publication Menschen des 20 Jahrhunderts (People of the 20th Century), which contains a
series of 60 portraits, and aims to point to a cross-section of the society of the Republic of Weimar. Sander
tried to document the social structure of Germany in the post-war years through a comprehensive
presentation of all the trades, professions, and social classes, creating a universal portrait of humanity.

VOJAKI ANGLEŠKIH OKUPACIJSKIH SIL / SOLDATEN DER ENGLISCHEN BESATZUNGSTRUPPEN, 1924

146

SEBASTIÃO SALGADO

Leta 1944 v Aimorésu rojeni umetnik živi in dela v Parizu. Po študiju ekonomije in statistike se je v
začetku sedemdesetih pričel ukvarjati s fotografskim novinarstvom. Zaslovel je z delom Workers
(Delavci), ki je bilo objavljeno leta 1993 in vsebuje okoli 350 fotograj, ki skupaj tvorijo ogromen
mozaik na temo izkoriščanja in zičnega dela. Kasneje je svojo pozornost usmeril na področje
človeških migracij in leta 2000 izdal publikacijo Migrations: Humanity in Transition (Migracije:
človeštvo na prehodu).
Born 1944 in Aimorés, Brazil; lives and works in Paris, France. After studying economics and statistics, he
was drawn to photographic journalism at the beginning of the 1970s. The work that made him famous,
Workers (1993), collects about 350 photographs that constitute a colossal fresco, dedicated to workers'
exploitation and manual labor around the world. He later focused his attention on the topic of human
migration, publishing Migrations: Humanity in Transition in 2000.

SIERRA PELADA, 1980 ca.

147

BORIS MIKHAILOV

Rodil se je v Harkovu v Ukrajini leta 1938, živi in dela v Berlinu. V času sovjetskega režima je bil
zaposlen kot inženir v eni od tovarn v Harkovu in se hkrati posvečal svoji strasti do fotograje;
svoja dela je razstavljal že v šestdesetih letih. Ko so agenti KGB-ja odkrili nekaj golih posnetkov
njegove žene in ga obtožili distribucije pornograje, je moral zapustiti svoje delovno mesto. Med
opravljanjem priložnostnih del je svoj prosti čas izkoristil za nadaljnjo raziskovanje. V svojih
fotografskih serijah se Mikhailov posveča različnim družbenim vprašanjem na podlagi
konkretnih primerov, ki kažejo na stanje v družbi in na spremembe, ki jih je povzročila
perestrojka.
Born in Kharkiv in the Ukraine in 1938; lives and works in Berlin. During the Soviet regime, while working
as an engineer in a Kharkiv factory, he also pursued his passion for photography, with his rst exhibitions
dating back to the 1960s. After KGB agents discovered some nude shots of his wife, he was accused of
distributing pornography, and was dismissed from his employment. Forced to survive on casual jobs, he
used his extra time to carry on with his research. In his photographic series, Mikhailov addressed various
social issues, using concrete examples to point to the state of the society, and to the changes caused by
perestroika.
BREZ NASLOVA / UNTITLED (iz serije / from “BY THE GROUND”), 1991

BREZ NASLOVA / UNTITLED (iz serije / from “BY THE GROUND”), 1991

148

HIBRIDNO / HYBRID

WILLIAM EGGLESTON

Živi in dela v Memphisu, kjer se je rodil leta 1939. Kot pionir barvne fotograje je leta 1974 prejel
Guggenheimovo štipendijo in s prejetim denarjem posnel serijo z naslovom Los Alamos, saj je
ravno obiskal območje jedrskih poskusov v New Mexicu. Sestavljajo jo podobe s potovanj po
Mississippiju, New Orleansu in južni Kaliforniji. Dokončno se je uveljavil z razstavo v Muzeju
moderne umetnosti v New Yorku leta 1976. V razstavnem katalogu (William Eggleston's Guide)
pripoveduje o svojem prvem srečanju s tedanjim direktorjem muzeja, Johnom Szarkowskim, o
svojih strahovih pa tudi o svoji nameri, da osvobodi barvno fotograjo od številnih predsodkov,
ki jih je bila deležna v tistih časih.
Born 1939 in Memphis, USA; lives and works in Memphis. This pioneer of color photography was awarded
a Guggenheim Fellowship grant in 1974. With the money he received he created a series of works titled Los
Alamos, since he had recently visited the nuclear test site in New Mexico. The images were created during
his travels across Mississippi, New Orleans, and Southern California. He nally established himself as a
full-edged artist with an exhibition at the Museum of Modern Art in New York in 1976. In the exhibition
catalog, titled William Eggleston's Guide, the photographer recounts his rst meeting with the then
museum director, John Szarzowsky, revealing his initial fears, but also his idea of liberating color
photography of the many prejudices still associated with it in those times.

BREZ NASLOVA / UNTITLED, 1970

150