Mother\u2019s Camera
\n<\/strong>1990. – 1992.<\/strong><\/h3>\nOpening and artist talk on Tuesday, 1 September 2015, at 7 p.m.<\/strong><\/p>\nThe exhibition is open until Monday, 21 September, from Monday to Friday, from 4 p.m. to 8 p.m., or by appointment (telephone, e-mail).<\/p>\n
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![\"montrouge4](\"https:\/\/croatian-photography.com\/wp-content\/uploads\/2015\/08\/montrouge4-copie.jpg\")
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The Gallery Kri\u017ei\u0107 Roban (1999 \u2013 2007) was opened for eight years at \u010cani\u0107eva 6. After several years and numerous changes, a new exhibition space was created at the same address where the exhibitions produced and organized by the Office for Photography are going to be featured.<\/p>\n
Our first exhibition presents \u017darko Vijatovi\u0107, a photographer who has been living and working in Paris for over two decades. The selection from the series Mother\u2019s Camera<\/em> consists of the photographs shot by a Kodak Brownie Hawkeye camera, used by the author’s mother. It is a simple box camera which, in the 1950s America, cost just a few dollars. Vijatovi\u0107 used the film format 120 (6\u00d76 cm) for the series made between 1990 and 1992. The exhibited photographs were shot in Zagreb and Montrouge.<\/p>\nMother’s photographs have functioned as akind of a trigger; they helped him to discover an idiosyncrasy which intrigued him and led him to question the expressive abilities of a device which consists only of a box, one lens, and one exposure.<\/p>\n
If not only for the camera and film, the captured scenes refer to the past, but whose past \u2013 the artist’s or his mother’s? The late afternoon lights which in the flickering shadows break through to the surface of the table, the view from the window and the unusual perspectives of a reflection in the windowpane contribute to the estrangement of the scene; these elements are complemented by the seemingly strict compositional relationships based on geometry.<\/p>\n
The outdated technology mediates just a portion of their story. The scenes connect the lines of sight \u2013 the mother’s from long ago and \u017darko’s, more recently; they serve as a safe haven for the relationship about which we don’t learn much; they are traces of something \u201cwhose existence has somewhat preceded ours\u201d (R. Barthes).<\/p>\n
Thinking about the scenes witnessed by someone else, Vijatovi\u0107 positions his mother\u2019s photographs as a starting point from which he embarks onto his further exploration of the medium.<\/p>\n
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The exhibition is open until Monday, 21 September, from Monday to Friday, from 4 p.m. to 8 p.m., or by appointment (telephone, e-mail).<\/p>\n
<\/p>\n
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<\/p>\n
The Gallery Kri\u017ei\u0107 Roban (1999 \u2013 2007) was opened for eight years at \u010cani\u0107eva 6. After several years and numerous changes, a new exhibition space was created at the same address where the exhibitions produced and organized by the Office for Photography are going to be featured.<\/p>\n
Our first exhibition presents \u017darko Vijatovi\u0107, a photographer who has been living and working in Paris for over two decades. The selection from the series Mother\u2019s Camera<\/em> consists of the photographs shot by a Kodak Brownie Hawkeye camera, used by the author’s mother. It is a simple box camera which, in the 1950s America, cost just a few dollars. Vijatovi\u0107 used the film format 120 (6\u00d76 cm) for the series made between 1990 and 1992. The exhibited photographs were shot in Zagreb and Montrouge.<\/p>\n Mother’s photographs have functioned as akind of a trigger; they helped him to discover an idiosyncrasy which intrigued him and led him to question the expressive abilities of a device which consists only of a box, one lens, and one exposure.<\/p>\n If not only for the camera and film, the captured scenes refer to the past, but whose past \u2013 the artist’s or his mother’s? The late afternoon lights which in the flickering shadows break through to the surface of the table, the view from the window and the unusual perspectives of a reflection in the windowpane contribute to the estrangement of the scene; these elements are complemented by the seemingly strict compositional relationships based on geometry.<\/p>\n The outdated technology mediates just a portion of their story. The scenes connect the lines of sight \u2013 the mother’s from long ago and \u017darko’s, more recently; they serve as a safe haven for the relationship about which we don’t learn much; they are traces of something \u201cwhose existence has somewhat preceded ours\u201d (R. Barthes).<\/p>\n Thinking about the scenes witnessed by someone else, Vijatovi\u0107 positions his mother\u2019s photographs as a starting point from which he embarks onto his further exploration of the medium.<\/p>\n <\/p>\n