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JERSIC - Diskretni šarm miru

JERSIC - Diskretni šarm miru

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Published by Stane Jeršič
The latest series of photographs by Barbara Jakše and Stane Jeršič takes shape in the conscious and committed visualization of contemporary urban environments in various parts of the world that have been “branded” by the uniformity of globalization. Sensitively piercing the veils of the external appearance of urban life, the photographers enter a behind-the-scenes space of fragmentary scraps of life against which they place an emptied, almost sterile initial image, a kind of archetypal view of a recognizable microlocation, expanded in a panoramic photograph into a suggestive, almost metaphorical “psychological” portrait of spaces unoccupied by human beings but with clearly legible traces of their presence. The precise, highly aestheticized black-and-white images do not follow the individual identity of the chosen environment; rather, they try to capture the atmosphere of the tension of expectation: apparent oases of peace and adopted, organized security are also the settings for the constant latent danger of contemporary urban conflicts.
The latest series of photographs by Barbara Jakše and Stane Jeršič takes shape in the conscious and committed visualization of contemporary urban environments in various parts of the world that have been “branded” by the uniformity of globalization. Sensitively piercing the veils of the external appearance of urban life, the photographers enter a behind-the-scenes space of fragmentary scraps of life against which they place an emptied, almost sterile initial image, a kind of archetypal view of a recognizable microlocation, expanded in a panoramic photograph into a suggestive, almost metaphorical “psychological” portrait of spaces unoccupied by human beings but with clearly legible traces of their presence. The precise, highly aestheticized black-and-white images do not follow the individual identity of the chosen environment; rather, they try to capture the atmosphere of the tension of expectation: apparent oases of peace and adopted, organized security are also the settings for the constant latent danger of contemporary urban conflicts.

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Published by: Stane Jeršič on Jun 27, 2012
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06/19/2014

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The latest series
 of photographs by Barbara Jakše andStane Jerši
č
takes shape in the conscious and commit-ted visualization of contemporary urban environments invarious parts of the world that have been “branded” by theuniformity of globalization. Sensitively piercing the veils ofthe external appearance of urban life, the photographersenter a behind-the-scenes space of fragmentary scrapsof life against which they place an emptied, almost sterileinitial image, a kind of archetypal view of a recognizablemicrolocation, expanded in a panoramic photographinto a suggestive, almost metaphorical “psychological”portrait of spaces unoccupied by human beings but withclearly legible traces of their presence. The precise, highlyaestheticized black-and-white images do not follow the in-dividual identity of the chosen environment; rather, they tryto capture the atmosphere of the tension of expectation:apparent oases of peace and adopted, organized securityare also the settings for the constant latent danger ofcontemporary urban conflicts.
 Within the architectural frameworks
of Ljubljana,Vienna, San Francisco, Munich, Venice and the stigmatizedcity of Sarajevo, Jerši
č
and Jakše try to emphasize thedichotomy of human functioning in the environments of themodern world, in which the individuality of the human beingis drowned in generally accepted codes of the prescribedbehavior of the crowd. In a very subtle way, they drawattention to the unique identity crisis of the urban, byexposing the conflictbetweenarchitectureorbuildings– as the props of local recognizability, and the people who,in their efforts to accustom themselves to the demandsof time and space, ingenuously succumb to the patternsof global trends. As though real space were a prisoner ofthe current moment, as though there were no history butperhaps only news from yesterday or today, as thoughevery individual history had exhausted its motifs and founditself in an unending, empty present, shot through with afrenzied clutching at consumption, as rapid as possible.Figures blend with the environment, they disappear in it;they wrap themselves conformingly in its invisible threadsand, bonded with it, form the illusion of apparent sym-biosis, the discreet charm of peace in the hypertrophiedrhythm of everyday life.
The fragility
of the logic of the ordered, controlled stateof things is most clearly exposed by the photograph: as animage it does not exist in the real, vertiginous and sped-upconception of time. Torn from the context of real time,fettered in immobility and silence, it characterizes – farmore convincingly than the omnipresent, elusive electronicmoving image – the stereotype of the daily recycling ofglobalized patterns of living in the modern world.
Life in big cities, 
with the rapid accumulation of changingimages and the constant formation of new public spacesas key elements of urban strategies, does not truly bringstability. Quite the opposite, it causes fragmentation andloss of orientation. Photographic images can therefore bephotographs of anything: images of the clichéd spaces ofurban identity and images of overlooked, perhaps moreauthentic ephemeral environments; and of anyone: peoplewho are strangers to each other, who gather in groups,queues, passers-by who encounter each other in a momentthat has nothing to do with the past.
Except perhaps in Sarajevo.
In a city of unimaginablesuffering, collective hatred, mutual solidarity, doubtfulforgiveness and global indifference, in a city without pat-tern or model, with an authentic and re-established identity,in many ways imposed and falsified,andaconfusedlabyrinth of freshly dug graves. Or has a mirror of the truementality of the false prophets of the Western world beenset up here in the bosom of the future common, completeEurope, and the demarcation line of the New World Orderand its fragmented system of values been laid bare?
Stane Jerši
č
and Barbara Jakše
are not looking foranswers and a finalvisionoftheworld.Theyareprobablymerely asking themselves: Are modern urban environmentsreally forced into the production of a consumerist mentalityas the only pragmatic goal of social structure? Is the visualorder of the kind their camera is hunting merely an eter-nally repeating simulation of space in its global, imaginarydimension of a kind of artificiallyoverinvestedworld,inwhich there is no more space for the lucid thought of theindividual and the epiphany of the image/icon that inspires?
Marko Košan
 
Group exhibitions:
1988 – ŠKUC Gallery, Ljubljana1990 – RENCONTRES INTERNATIONALES de la PHOTOGRAPHIE,Arles1993 – SLOVENIA OPEN TO THE ART, gallery ZDSLU, Ljubljana1994 – TIVOLI Gallery, razstava DOS, Ljubljana1994 – ZDSLU Gallery – The Union of Slovene Fine Artists’ As-sociation, Ljubljana1994 – MELKWEG Collection, Amsterdam1997 – DIRECTLY FROM MY HEART, KUD France Prešeren,Ljubljana1997 – ANGELS, Melkweg, Amsterdam2001 – NUDES IN SLOVENIA, Jakopi
č
Gallery, Ljubljana2001 – EULOGY TO BEAUTY, Photofusion Photography Centre,London2002 – FARSETTIARTE, Casa d’aste e gallerie, Prato, Milano,Cortina2002 – MELKWEG, Melkweg, Amsterdam2004 – CANKARJEV DOM - GALLERY, Photography of the YearEmzin, Ljubljana2004 – BLOSSOMSTREET Gallery, FotoFest, Houston2004 – KRESIJA Gallery, Ljubljana2004 – PHOTON Gallery, Ljubljana2004 – MUSEUM OF CONTEMPORARY ART, The Centre for Fine ArtPhotography, Ft.Collins,Colorado2005 – CANKARJEV DOM - GALLERY, Photography of the YearEmzin, Ljubljana2005 – GORENJSKI MUZEJ, Kranj
 Awards and finalselections:
1987 – Camera Award, Amsterdam1994 – Epica Kodak Award, Paris1996 – Golden Drum, Portorose2004 – Photography of the Year Emzin. Ljubljana2004 – Ple
č
nik’s architecture, Ljubljana2004 – The Centre for Fine Art Photography, Ft. Collins2004 – Book of the Month (Identity of the Place I) in the selectionof Center Evropa, Ljubljana2005 – Photography of the Year Emzin. Ljubljana
One person exhibitions:
1988 – STISKARNA, Velenje1989 – GALERIE K61, Center of Photography, Amsterdam1989 – STEDELIJK MUSEUM, Schiedam - Rotterdam1990 – MUSEUM OF MODERN ART, Ljubljana1990 – CULTURAL CENTRE IVAN NAPOTNIK, Velenje1991 – FOTOGALERIE WIEN, Vienna1991 – VELENJE CASTLE Gallery, Velenje1991 – MUSEO KEN DAMY, Brescia1991 – IC MUSEUM OF MODERN ART, Ljubljana1991 – FOTOGALERIE 68, Hoensbroek1992 – KEN DAMY Photogallery, Milano1992 – GORENJE, Velenje1992 – MELKWEG Galerie, Amsterdam1993 – ROSAMILIA Photogallery, Salerno1993 – PRINZ Gallery, Kyoto1993 – ACCADEMIA DI FOTOGRAFIA, Bologna1993 – VELENJE CITY COUNCIL, Velenje1994 – SAVINOV LIKOVNI SALON, Žalec1995 – CANKARJEV DOM Gallery, Ljubljana1995 – GALLERY OF FINE ARTS, Slovenj Gradec1996 – MINCOVNA STATNIHO HRADU A ZAMKA,
Č
esky Krumlov1997 – CITY ART MUSEUM, European Cultural Month, Ljubljana2004 – CITY ART MUSEUM, Ljubljana2004 – CASTLE OF ROTENTURN, Municipality of Slovenj Gradec2004 – GALLERY OF FINE ARTS MARIBOR – University of Maribor,Maribor2004 – MUSEUM OF VELENJE - GALLERY, Velenje2005 – CULTURAL CENTRE OF NOVA GORICA, Municipality of NovaGorica2005 – GALLERY LEK, Ljubljana2005 – GALLERY STOLP, Maribor2005 – KOROTAN, Dunaj2005 – KRESIJA, Ljubljana2005 – KOROŠKI POKRAJINSKI MUZEJ, Slovenj Gradec2005 - CANKARJEV DOM, Ljubljana2005 – GORENJE, Velenje2005 – MUSEUM OF VELENJE - GALLERY, Velenje.
Their firstappearence
in the international photography environ-ment was in 1987, followed by the firstinternationalonepersonexhibition in Gallery K61- Centre of photography Amsterdam,1989and Stedelijk Museum Rotterdam - Schiedam. In the next fewyears they published several books. 1990, Illusion of Words, thesephotographs were exhibited in Museum of Modern Art in Ljubljanaand Fotogalerie Wien. The next projects, Pictures from Life andPhotography were exhibited throughout Europe, Japan and USA( Rencontres Internationales de la Photographie – Arles, Melkweg– Amsterdam, Prinz – Kyoto, Museo Ken Damy – Brescia, Photofu-sion Photography Centre London, Blossomstreet Gallery – FotoFestHouston etc.)
Then,
they started to explore the meaning of space under thetitle, Life is a mirror of a Place (1995) and continued with Identityof the Place (2003). The firstwasexhibitedintheframeofculturalevents, Ljubljana – European Cultural Month, 1997 and the second,as the part of selected group exhibition, in Museum of Contempo-rary Art, Ft Collins, 2004, USA.
One person exhibition
titled Identity of the Place I–Slovenia NewStar of Europe is exhibited in City Art Museum Ljubljana in July2004.
The photographs
of Barbara Jakše and Stane Jerši
č
form a partof well-known public and private collections as are BibliothequeNationale de Paris (14 photographs), Museum of Modern Art inLjubljana (1), City Art Museum Ljubljana (2), Bert Hartkamp Collec-tion ( 6), GIP Tokyo (4), Museo Ken Damy (10) and were presentedin many international magazines as are VIS a VIS InternationaleParis, Progresso FotograficoMilano,FotoMagazinFrankfurt,Mars magazine of Musum of Modern Art Ljubljana, as well as theirphotographs were included in auction of Bonham’s for the time ofthe photographic festival Photo-London 2004.
Lectures
2005 – San Francisco State Universityat journalism department of Ken Kobre
 World-wide presentations in different publications:
Anthology nude, Asahi Press (Tokyo)Fotopratica (Milano)Focus (Tokyo)Foto (Amsterdam)Fotomagazin (Frankfurt)Graphis Annual (Zurich)Il Fotografo Professionalista (Milano)Konica Photo (Tokyo)Minolta Mirror (Osaka)M*ars, Moderna galerija (Ljubljana)Progresso Fotografico(Milano)VIS a VIS international (Paris)Shukan Shincho (Tokyo)Slovenska kronika XX. stoletja, Nova Revija (Ljubljana)Werk & Kultur (Vienna)Camera Austria (Graz)
Collections:
Fotogalerie WienArtotheek Holland, AmsterdamBert Hartkamp collection, AmsterdamBibliotheque Nationale de France, ParisGIP, Goro International Press, TokyoMelkweeg, AmsterdamCity Art Museum, LjubljanaMuseum of Modern Art, LjubljanaMuseo Ken Damy, BresciaGallery for Fine Arts, Slovenj GradecPrinz, KyotoCarinthian Regional Museum, Slovenj Gradec
Books:
1990 – ILLUSION OF WORDS1991 – VOICES1991 – PICTURES FROM LIFE2004 – IDENTITY OF THE PLACE I – Slovenia New Star of Europe2005 – THE DISCREET CHARM OF PEACE

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