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WHAT CAN WE LEARN FROM FOREIGN WORKERS? Anna Fabricius has been researching the changing cultural and personality-shaping role of work for years and is currently investigating the increasingly common transnational family relationships resulting from the global division of labour. She has been collaborating with workers from the Far East (Nepal, Myanmar Thailand, Philippines, India), like Insiyatul Urbayanti, who have been employed for shorter or longer periods in agriculture or in the manufacturing industry. The majority of them are young, poor men and women whose daily lives are charac-terised by restricted freedom of movement, strict daily schedules and low wages. There is a constant migration of labour between the poorer and richer regions of the world, and Hungary is also involved in this exchange both as host and exporter. The project titled "Home Is Where Work Is" addresses some of the most pressing issues of our time, where the discourse on human rights is accompanied by restrictive immigration regulations. In this respect, the title of the project carries several mean-ings. We can conceive of work as an instrument of power that forces people to leave their homes, determines their living spaces, their daily rhythms and their personal relationships. The title also addresses the insecurities of the transitory situation in which one cannot feel at home in their place of birth or in their place of work. Lastly, it refers to the dilemmas between moneymaking work and care work to maintain the family home, and thus to the tensions between the economy, society and the reproduction of culture. Тext: Judit Csatlós, Tibor Meszmann Translation: Dániel Sipos Graphic Design: Adrienn Császar Printing House: EPC ISBN: 978-615-02-1329-3 -
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NOVO!Dimensions: 45 x 30 cm + black frame All prints are printed on fine-art 100 % cotton paper -
…The images of neglect and the attributes of industrial civilisation, the pictures of the core of the first five-year plan reveal to me something else, a time which has entered the memory. And which can only be reached through dreams or art. I can see Trbovlje as the destination of all expeditions, as the constant flow of light, a Trbovlje which to us seemed endlessly vast and limitless. A Trbovlje without the feeling of claustrophobia, a Trbovlje existing in the sky of our childhood. A Trbovlje one cannot imagine featuring in the title of a novel – A Black Valley – but rather in another title – How Green Was My Valley. And this strong and clear vision is ensured by Živkovič’s photographs, with great persuasion reminding me of the verse I recently came across. I do not remember the name of the poet. The verse goes something like this: “Whoever has not smeared himself with mud / Cannot hope to reach the sky.” (Uroš Zupan)
Author: Antonio Živkovič Publisher: Self-published Year: 1999 Softcover, 30 pages 800 copies Language: english, slovene Dimensions: 30 x 24 cm ISBN: 961-6302-41-8 -
Živkovič grew up in the industrial town of Trbovlje, the centre of the mining industry in Slovenia, which significantly influenced his artistic endeavours. In his work h focuses on capturing places, stories, and motifs related to industrial towns. His oeuvre is characterised by poetic documentation of abandoned industrial landscapes. Author: Antonio Živkovič Publisher: Mestna galerija Ljubljana Year: 2009 Softcover, 104 pages 500 copies Language: english, slovene Dimensions: 24 x 24 cm ISBN: 978-961-6587-61-7 -
Antonio Živkovič (1962) graduated from the Faculty of Electrical Engineering in Ljubljana. Živkovič grew up in the industrial town of Trbovlje, the centre of the mining industry in Slovenia, which significantly influenced his artistic endeavours. In his work he focuses on capturing places, stories and motifs related to industrial towns. His oeuvre is characterised by poetic documentation of abandoned industrial landscapes. He has been working and exhibiting as a photographer since 1989. His body of work encompasses 16 series, which were exhibited at 28 solo shows and included in over 40 group exhibitions, both in Slovenia and abroad. He has exhibited at the Photonic Moments festival with the solo exhibition Traces of the Past (2010) and at the Photon Gallery in Ljubljana with the solo exhibitions Water Towers (2004), Industrial Interiors (2005) and Reconstructions (2007). In 2009, his monograph Black Valley was published, and in the same year the City Art Gallery in Ljubljana presented his retrospective exhibition Photographs 1998–2008. At the Idrija Municipal Museum he presented his exhibition Doors / Last Shift (2017). This work is part of a photographic folder or portfolio box with twenty prints by renowned Slovenian photographic artists from the 1970s to the present day, published on the occasion of the 20th anniversary of Photon Gallery. - The edition is 100 copies, the 40 x 50 cm photographs are printed on archival paper, the prints are signed and accompanied by certificates. -
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NOVO!Dimensions: 45 x 26 cm + black frameAll prints are printed on fine-art 100 % cotton paper -
The Back to Black project is set up as an international project in which Photon joins the global trend of reviving interest in black-and-white, analog and the so-called hybrid photography, and especially in contemporary, creative use of old photographic techniques. In modern times, these are often associated with the use of contemporary technologies, which expand the creative field of application and bring original solutions even in today’s mostly digital time. This research is in terms of content focused on representing different approaches of contemporary artists to the medium which was not long ago predicted to go extinct. There has been an incredible turnaround in recent years as the popularity of analog and black-and-white photography has begun to revive. Analog photography, that was thought as obsolete, is experiencing a renaissance, especially among young people. Wide and renewed interest in analog photography can be seen especially on social media, where large communities with millions of followers have sprung up in the last few years. Also in the field of artistic photography, where the practice of hybrid photography has already prevailed in the last two decades, this trend is well adopted, especially among young photographic artists. Today, they use all the technologies and tools available, and the works are a combination of the latest technologies and the oldest photographic techniques. A part of this rich practice, which is so hearty enriched and re-thought with photographic history, can also be seen in this exhibition and catalog. Editor: Špela Pipan Author of the texts: Dejan Sluga Participating artists: Balázs Deim, Alessandra D’intino, Jošt Dolinšek, Lena Feitl, Elí Joteva, Reiner Riedler, Peter Koštrun, Roberto Kusterle, Borut Peterlin, Eva Petrič, Herman Pivk Design: Jure Legac Translators: Melita Silič, Deja Bečaj Publisher: Photon – Center za sodobno fotografijo Year: 2022 Softcover, 47 pages Edition: 200 copies Language: English, Slovene Dimensions: 18 x 18 cm -
Belgrade Raw is a photo collective founded in 2009 with the idea to explore social, urban and political aspects of city life through the photographic medium. They actively record everyday Belgrade and the state of its community. Belgrade Raw exhibited their work on various occasions, as solo shows in galleries or as part of local and international festivals. They organized a photo fair for five years in a row, while in the period of four consecutive years they have initiated a series of workshops dedicated solely to documentary photography, entitled serbia raw. The collective also published the serbia raw photo book, in which they assembled all the materials produced by the participants in 13 serbian cities. To mark the collective’s 15th birthday, they created a fanzine that they released during their exhibition ‘Two Days Three Nights‘ at Prostor Gallery in Novi Sad, Serbia. Members of the belgrade raw collective are: Darko Stanimirović, Nemanja Knežević, Luka Knežević – strika, Milovan Milenković, Andrej Filev, Aleksandra Mihajlović, Mane Radmanović, Dušan Rajić, Jelena Mijić, and Saša Trifunović. 40 pages 18,5 x 27,5 cm digital print Full color on glossy coated paper 180gr -
Bojan Salaj (1964) has been active as an art photographer since the 1990s, producing various original projects. He was employed as a photographer at the National Gallery in Ljubljana between 1994 and 2018, and is therefore the author of many photographs of Slovenian cultural heritage in the field of visual art. He lives and works in Ljubljana. His artistic focus is centred on questioning the representation of photography in mass media, on the iconography of power structures, as well as on the models related to construction of historical and national cultural identity. His approach is highly conceptual and follows objectivist principles. As part of the Photonic Moments festival, he presented his solo exhibition Interiors – Correspondences at the National Gallery of Slovenia (2014) and later at the Makina Gallery in Pula (2016) under the title Correspondences. His works were also included in the group exhibition Aftermath. Changing Cultural Landscape in the Kolovičevi dvori Gallery in Zagreb (2013), in the exhibition City Perspectives (2008) and Insights (2014) in the Photon Gallery. This work is part of a photographic folder or portfolio box with twenty prints by renowned Slovenian photographic artists from the 1970s to the present day, published on the occasion of the 20th anniversary of Photon Gallery. - The edition is 100 copies, the 40 x 50 cm photographs are printed on archival paper, the prints are signed and accompanied by certificates.
