Паула Мур (Paula Muhr)
КРИТИЧКИ ОСВРТ НА ПЕТ ПОЗИЦИЈА У САВРЕМЕНОЈ СРПСКОЈ ФОТОГРАФИЈИ
A CRITICAL CONSIDERATION OF FIVE POSITIONS WITHIN CONTEMPORARY SERBIAN PHOTOGRAPHY
Зборник 2/2006 (Музеј примењене уметности), страна 75-89
77 ( 497. 11 ) ”2002/2006”
Текст се бави анализом пет ауторских позиција које се на локалној уметничкој сцени истичу специфичним, могло би се чак рећи, експерименталним односом према медију фотографије. Међутим, експериментално у овом контексту не подразумева преиспитивање чисто формалних одлика медија, него пре свега истражи
фотографија, идентитет, идеологија, код, нарација, ритуал, тереотип, типологија, вишезначност, жанр
The paper contextualises the works of five photographers (the author of the text being one of them) who belong to the generation that have recently graduated from various art academies in Belgrade. Common to all the selected authors is that they construct their works as complex structures. By rethinking not only the genre and aesthetic conventions, but also semantic potentials of the medium itself, they treat photography as a powerful discursive practice.
Aleksandrija Ajduković investigates dressing codes as indicators of social identity, yet also offers an alternative way of representing femininity. Whether she photographs women who, in a public context, wear clothes with wild cat motifs, or female pensioners, Ajduković interacts with ordinary women and encourages them to pose as fashion models.
Katarina Radović analyses the process of an average observer's identification with the images of women present in mass media. By applying the technique of mimicry, she carefully constructs various settings and then acts out and parodies a number of imaginary characters in front of the camera. Her work questions the ideological connotations of the dominant media images.
Goran Micevski, in his work Finnish Report, conflates fiction and factography. Documentary photographs made during his stay in Finland are integrated with the text in which he comments on his experience as a traveller, in order to effect a shift of perspective which challenges the traditional tourist gaze. Tijana Pakić strives to minimise the presence of the photo camera while documenting intimate moments of her family's everyday life. Even though all the images are unstaged, the author invests them with emphasised atmospheric and enigmatic quality by carefully choosing the scenes and reducing the background information to a minimum.
The starting point of Paula Muhr's series Tata is a traumatic situation created by her father, who had abandoned his family home, yet left most of his clothes behind. From time to time he comes back to the house to try on the clothes which he then takes with him. By approaching this ritual from an objective perspective, the author staged pseudo-fashion photographs of her father who, imitating professional models, posed at different locations around the house. The images are montaged with the father's highly subjective statements about himself.
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