Posts Tagged ‘exhibition’
My dearest followers,
here is my newest video about the latest opening of the exhibition I had. It will be open for the whole year, until September 2017, which is cool, because the location is on my way to skylight Studio Pelikan, so next time that I will have a workshop I could bring the group to the exhibition.
Curator: Nina Sotelšek
Organiser: Krško Cultural Centre
Exhibition closes: September 2017
On more personal note, I thank you all for the kind thoughts of support you have send it to me. I am getting back on track, better then ever. Expect more videos to be published this week, more photographs to be made and expect the world to be saved! Because Topshit does happen!
Last week I was in Barcelona and in Vilassar de Dalt, in Catalonia, Spain. There was the festival of analogue photography, called Revela-T. I had two workshops and a demonstration, so some days I didn’t even had time to properly eat, whereas to do videos and photographs of the event, thus a short, but cute video. I hope you will like it. I recommend to visit it next year. I know I will! Next workshop is in Berlin. All my workshops are sold out, I will make a schedule for the autumn and winter, hopefully before the New Year’s Eve! (#joking)
Today is the 20th anniversary of the end of war in Bosnia and Herzegovina and I’m opening an exhibition “Tour de Dayton”
Today, 14th of December 2015, is the 20th anniversary of the end of the war in Bosnia and Herzegovina. The war ended in 1995 with a peace accord signed by Serbian, Croatian and Bosnian political leaders in Dayton, Ohio, USA. By this peace accord Bosnia and Herzegovina was devided into two ethnical entities, Republic Srbska and Federation of BiH. Locally this border is also named as Dayton border.
I decided to do a project about this border that never existed before, by documenting the border on a bicycle. I named the project Tour de Dayton. I cycled on this ethnical border and photographed Bosnian landscape and how it became a medium in the hands of new nationalistic politics and explore how this new nationalistic symbolism coexist with symbols of former Socialistic Federal Republic of Yugoslavia.
I decided to cycle on the border with my camera and heavy duty panoramic head Manfrotto 303 plus (video-log about the gear). Why cycling? Bicycle is the best transportation system for a travel photographer, no doubt about that, plus I wanted to physically endure the path, the road, the border. I must admit immediately, that I haven’t succeed it, I didn’t cycled trough all the border, but only about 500 km on two separate occasions.
The reason why I failed is of boring financial nature. Not that I couldn’t finance the project, it is cheap to cycle, but I received a commission I couldn’t say no and I had to return back home and do the job. You know, the curse of being an artist, a professional photographer and responsible father at the same time plus on top of everything being born with workaholic disability of only two hands!?!?
Therefore I never exhibited my project, but today is the 20th anniversary, so I’m making sort of guerrilla exhibition in one of the best galleries in Slovenia, Photon Gallery. My exhibition will be on the walls for only today and tomorrow, since they are opening a new show on Friday and I jumped for a day or two.
Is it worth it, an exhibition for a day? Absolutely! I consider myself a documentary photography and I have this ridicules drive that I need to document the environment, to express my feelings about it and by doing it to experience the life fully. At the bottom is a video-log on the project, from 2011.
So I invite you to the opening of my exhibition today, on Monday, 20th of December, 2015, at 19:00 in Gallery Photon, Ljubljana, Slovenia.
Gallery on my website www.borutpeterlin.com
Blog post from 22.5.2007
Before I left on the road I heard there were violent protest happening in the capital of Montenegro, so I’ve decided that I will make a reportage about that. The question was how will I do it? I can not compete with local photojournalists and I wasn’t interested in news photography, I’ve done that a lot, I wanted to do it differently. I had to think what kind of reportage will I make, how will I approach the subject, what will be the subject at all? Many important questions to be answered before picking up a camera.
Talking about the camera, I was reluctant to take my super digital camera Nikon D4 with me, it’s too heavy and too expensive and I wasn’t into news kind photojournalism anyway, so I decided to do the feature reportage with my 4×5″ camera. I’ve decided that I will not wait for the violent protest, those images will be in the news anyhow, I wanted to make a different kind of story, so I’ve made the following approach.
When I came home there was the hardest task, to write a story, to write a text! For all of my years as a photojournalist I always was working in a team with a journalist, but now I had to do all by myself. I was kind of confident, because I knew how am I going to do this story before I picked up a camera or ask a question, so I sit down to write the story at 8am and finished it at 4pm. The experience working with excellent journalists for magazines like The Observer, Colors Magazine, Corriere della Sera, Mladina and others, was very good foundation. Even the editor in chief of Mladina weekly, said I wrote a good text. I was really satisfied with the feature reportage that was published in Mladina weekly. You can read the full article from THIS link, but it’s in the proper language, so I apologise to English speakers.
Last but not least, I’ve showed the feature story to my friend at UK’s picture agency Panos Pictures and he found it excellent and published it on their blog as an example of a good feature story. HA!!!
Long forgotten love for photojournalism revived in me. I don’t want to do daily news, but I am interested in daily life, small stories, that are affected by the stories from the news. Plus I realised I can do a reportage with a slow view camera, better then with my ultrafast digital camera! And imagine that, I can also write!!!
The Different Same triptych that will be exhibited at Wet Plate Collodion Juried Show in Mariani Gallery, Northern Colorado, USA
This work is a triptych. It’s a study of a medium of photography, so I’ve photographed the same tree in two different occasions. The scenery is like that only when the river Krka floods and red alarm for floodings is declared and that was on two occasions in the 2014 year. This three images were from three different glass plates. An ambrotype and two different negatives. Just look closely and you will notice how different this images are really. I’ve made a video on the first occasion and you can find it on the bottom of the post. I also came up with few new solutions how to frame glass plates, especially very heavy plates like 3+3 mm glass plates size 30x40cm (12×16″). The details are described in captions.
Anyway, what I love with the photography of 19th Century is that a photographer had about fifty processes and it’s variations how to make a photography and each of the processes had it’s aesthetic characteristic. Today digital photography is so standardized that a photographer have only one way how to exhibit a photograph, that’s an inkjet print.
And my triptych, entitled The Different Same is all about that. Like the famous photograph: Identical Twins, Roselle, New Jersey, 1967, by photographer Diane Arbus it appears at the first glance the same image, only when you look closer, you see that the three images are very much different and they are different because I – the author – decided to make it so. To interpret the reality as I please. Photography was never an objective medium. If I quote Susan Sontag (from heart), a photograph can only provide an evidence that something did happen, that something was happening in front of the lens. What has happened is an interpretation left to the photographer and the viewwer. Of if I may quote already mentioned Diane Arbus, “A picture is a secret about a secret, the more it tells you the less you know.”
Let me invite you to the event. The exhibition will be on display in the Mariani Gallery from January 20 – March 4, 2015. A Closing Reception and Award Ceremony will be held on Wednesday, March 4 from 4 – 6 pm. Juror Quinn Jacobson will give a lecture and gallery talk during the day. The address is University of Northern Colorado, Mariani Gallery, 501 20th St, Greeley CO 80639, USA.
With the project I’m trying to document the state of bankrupt companies with emphasis on the things that workers left behind. I’m known as a portrait photographer and although this time there are no people on my images, the human presence is very evident. I hope you will enjoy the video and hope to see you at the opening!
Dearest readers, one more thing. This is the 1000th blog post on my blog! I’ve been blogging since September 2006 and here we are at the 1000th post! A lot of things changed in this time and I’m happy I was blogging about it. I was thinking hard how to mark this anniversary. Due to the occasion, let’s call this week an artist to artist week. If you send me something that you’ve done I’ll send you back something that I’ve done. It’ll probably be a gelatin print, but who knows… If you make a good marmalade, I’ll exchange a print for a jar of marmalade. Or for whatever, just please keep in mind that the offer stands only for a week, so if you are really up for “Creation 4 Creation” deal, please send me before 7th of October 2013 on the address Cviblje 40, 8350 Dolenjske Toplice, Slovenia, EU. And don’t forget to write your address 😉
On Tuesday I’m opening an exhibition that will probably be my best show until now. In November I was invited to have a show in Gallery Krka in Novo mesto and I thought I’ll have enough time to do nice wet plate collodion plates until the end of April, but winter was lasting until day before yesterday and I was forced to make wetplate images in harsh conditions. I had an extensive help from my mentor Miša Keskenović and Mark Osterman, the world authority in alternative processes. Let me quote Mark Osterman: “Remember that no photographer in their right mind would have been making images in that severe cold in the old days..so you are doing ok. :-)”. Topshit compliment indeed!
OK, I had a date of the opening of the show. I knew I wanted to do landscape photography from the beginning, which was not the smartest decision in winter time, but I also knew I don’t want to go for usual mainstream aesthetic, let’s call it national geographic kind of aesthetic or even Ansel Adams aesthetic if you want. I mention Ansel Adams, because he’s a huge influence to me, but I live in different times, I don’t want, can not and I’m not competent enough to replicate his perfection of his art. On other hand I also didn’t want to make shitty collodion plates, that would later be scanned and digitally fixed, printed as inkjets and call it an Art, that’s for sure! I mentioned before how I got inspired to do wet plate collodion process on the exhibition by Sally Mann in London’s Photographer’s Gallery. In her images I saw a huge potential to be explored, a huge vain of gold to be dig, so I was aiming for technical brilliance, but to somehow capture enchanting beauty of Sally Mann’s work. Mission imposible, I know.
Second resolution was, that I need to dig in art history and grow roots deep down there. One of my first tintype landscapes was of frozen river Krka at -17C in year 20012. Last time that river Krka got frozen it was some 85 years ago and at the time young painter Božidar Jakac painted the scene that astonished me as a child. Jakac later became a renown painter in Yugoslavia. I want to make a hommage to his work.
The title of the exhibition is “You remained a part of the landscape, it’s beauties and it’s pain”, that’s a verse of Tone Pavček engraved on his grave.
I’ll make a video podcast about my show, but let me share an image from the show, illustrating what I wrote above. It’s a cyanotype print from a wet plate collodion negative format 10×12″ (25x30cm). Print was toned with tanin from green tea. I took this image like 100 meters from my house and left my dog to guard the camera 🙂 Because it was a huge contrast between dark trees and white snow, I dodged the plate while exposing. The exposure was 6 minutes at aperture f/16 and 2,5 minutes I was holding a black velvet in front of the lens. Of course I was moving the velvet so it’s not visible. I used Vageeswari 10×12″ camera with a Rodenstock bistagmat lens from year about 1907 and it covers format 18×24 cm, but I wanted to have vignetting effect, so I put it on a camera format 25x30cm (10×12″).
See you on Tuesday 23.4.2013 in Gallery Krka, upravna stavba Krka d.d., Novo mesto, Slovenia, EU, at 19.00.