Are we aware of historical and social layers that we invariably encounter?
Do the perceived scenes influence our awareness of the place, history, and ourselves? In the context of theory, nature is anyway seen as a result of cultural cognition, as a place that feeds our imagination, constructed according to the laws frequently adopted in relation to urban space. Therefore, for this occasion I have selected works showing nature, i.e. urban spaces almost regularly devoid of people (who in this construction are not a scene-defining factor), shots radiating an uncertainty, a "story" neither visible nor explicated that can but does not have to be told.
The photographs by SofijaSilvia (Silvia Potočki) are experienced both as individual scenes and series; like thoughts written down in a diary they attempt to visualize the experiences and memories connected with the place where the artist resides or where she comes from. A series of photographs by Karina Nimmerfall are real and fictive places used in the course of shooting the hit TV-series CSI; they examine the strategy of the depiction and the credibility of media (photography, TV) with whose terms we unconditionally comply. Chrystel Lebas investigates whether landscapes contain a psychological meaning in relation to historical events, stories, fairy-tales, and memories from the childhood, and how narrative elements can be enclosed into an image already devoid of human presence in an extremely delicate moment between day and night. Guy Moreton’s photographic approach depends on the rhythm of his steps, while he discloses and maybe enhances the nature of a place, landscape or thoughts. Inspired by W.G. Sebald’s melancholic wanderings, the author does not continue the idea of the Sebaldian view, but he attempts to unite his fragmented memories and parallel journeys. Through "pictures", Markéta Othová tries to disclose and make accessible her personal vision whose final goal are not the photographs as such, but their installation which inconspicuously but persistently enhances them into micro-worlds and micro-stories. In her Zone series, Aleksandra Vajd tackles the actual questions of the search for identity, explicitly connected with a particular geographic area that we call our homeland or nation-bound space. Ana Opalić "is looking for nothing", taking photographs during the quest that in its ideal variant gives answers to the existing, but unspoken questions. By assembling and combining the emerging scenes, Mirjana Vodopija creates images that become objects of longing – these are places we cannot return to or where we can satisfy the yearning for the experienced times.
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