1. April 18:30
Bartcelona Gallery
Čumićeva, 11000 Belgrade, Serbia

An artist originally from Chile, today living and working in Paris,
photographer, experimentator and one of the biggest stars of the
polaroid world, is coming to Belgrade Photo Month 2019, with his instant photography exhibition. Bringing with him a glamorous and nostalgic beauty of Polaroids, but also a unique creativity as Raul is not afraid of cutting the polaroid photographs, opening them, peeling them off and reassembling in a new piece of art. His work, detached from all the digital processes and trends of modern times, is often timeless in its aspects.

Raul Diaz, best known as RRRDIAZ, was born in Santiago de Chile in 1968 and miseducated in the United States through his adolescent years where he studied at the New York School of Visual Arts and eventually graduated from the Corcoran School of Arts in Washington with a Bachelors of Fine Arts degree in photography. In 1990 he moved to Paris, France and began his career as a fashion photographer where he became the assistant to big names in fashion photography like Mario Testino and JB Mondino. In 2009,
after a short but busy career in fashion photography, he decided to open En Face, a boutique-gallery devoted to instant photography. His store was the first store to sell Impossible Project film locally in Paris and he has hosted numerous exhibitions featuring artists from around the world at his gallery.

This exhibition is supported by Polaroid Impossible and it will include 2 workshops that will be done is the Bartcelona Gallery.
On 30/03 11-15h – Polaroid double exposure
On 31/03 11-15h – Polaroid light painting

March 30 at 5PM
Radisson Collection Hotel, Old Mill Belgrade
Bulevar Vojvode Mišića 15, 11000 Belgrade, Serbia

The exhibition will open on 30/3/2019 17h and will finish on 2/5/2019 19h

Verena Andrea Prenner accidentally met again her former neighbour who told her he has pictures that might interest her. Original photographs taken by the former researcher and hunter in Africa, Rudolf Grauer, during his expedition to Uganda and Congo-Kinshasa between 1904 and 1906.

A few months later, she was invited to realise a photographic project in Congo-Brazzaville.

In this work, still in progress, she wanted to refer to Grauer’s photographs and engage in a dialogue between the two perspectives, that of a former hunter and collector and her view, that of a sociologist.

In order to explore conditions, colors and light on site, she started making cyanotype prints. Cyanotype is one of the oldest photographic processes.
The paper is coated with a chemical solution sensitive to light and then
exposed to sunlight. The results are blue colour images. Blue, a very rare colour in the tropics.

Verena Andrea Prenner is sociologist and photographer born and raised in Austria. The last years she mainly spent in the Middle East working on various sociological and artistic projects. In her artistic work she focuses on humans and their social environment and combines sociological theories and field research with the medium of photography.

Exhibition by Бартcелона POP UP with the support by Radisson Collection Hotel, Old Mill Belgrade and Kulturforum Belgrad

March 29 at 8PM
X Vitamin
Studentski trg 11, 11000 Belgrade, Serbia

EROSTALGIA vs. PORNIVORA/ The erotic and porographic discourse in XXth (and XXIst) century
Author & curator Dušica Popović
Exhibited photographs from the collection of Miloš Jurišić
Part of Belgrade photo month

The exhibition titled EROSTALGIA vs. PORNIVORA problematizes the erotic and pornographic cultural content in mass, that is, nonartistic global culture primarily of the twentieth century with a short overview of the previous period and anticipation of the possible future cultural trends. The core of the exhibition presented in the catalogue essays discusses the topic through the prism of three (conditionally speaking) epochs: the period till the middle of the XIX century when the erotic and pornographic cultural contents were not so strictly demarcated; the period from the middle of the XIX century up to the seventies of the XX century when a tension and always ambivalent polarization between the terms and contents they refer to were present; and the period that came after the seventies of the last century and continues until the present when pornography has taken cultural primacy both in the literal and metaphoric sense. The material that illustrates the mentioned thesis will be the exhibited photographs of erotic or/and pornographic provenience from the collection of the collector and photographer of the Museum of Science and Technology Miloš Jurišić.

About author

Dušica Popović born 1981. in SFRJ. Graduated art history at Faculty of Philosophy, University of Belgrade. Writes art criticism and essays. Translates humanistic papers from english to serbocroatian language for The Third Programme of Radio Belgrade. Continuosly works on her own art movement titled otogrifism. Lives and works in Belgrade. Contact: otogriff@gmail.com

March 29 at 6PM u 18h
Železnički Muzej U Beogradu
Nemanjina 6, 11000 Belgrade, Serbia

Božidar Vitas was born on November 26th, 1939 in Belgrade, Dorćol area, where he still resides. He has been engaged in the “art of painting with light” since 1957. He has had 132 solo exhibitions (84 “art of light paintngs” – photo exhibitions, 15 slide shows and 33 light shows) throughout Serbia. He has also had two solo exhibitions in Thessaloniki, one in the city of Tajimio (Japan), seven in Frankfurt (Germany), two in Doboj, one in Trebinje and Višegrad (Republic of Srpska), one in Travnik (Bosnia and Herzegovina) and one in Perth (Australia). He has participated in 290 multi-artist exhibitions and art events, domestically and internationally, as well as 62 art gatherings
and workshops. Altogether, 3800 different photographs and 1300 different dias oeuvres have been presented. More than 300 art pieces are now part of national and foreign museums, galleries and private collections.

March 29th at 6 PM
Laufer Art
Svetozara Radića 4, 11000 Belgrade, Serbia

Selfie culture? Researching Identity through self-portraiture.

In the 1990s I earned a living as a subject in front of the camera. Years later, I radically shifted this orientation: I became the author of my own representation, gradually creating an extensive body of self-portraits. I have been doing this kind of work ever since, questioning always the position of the subject-woman with respect to the camera lens.

When I first began my work as a photographer, I drew inspiration from the work of Claude Cahun and Cindy Sherman among others, and I felt myself in good hands in this rather exclusive club of self-portraiture artists. Who could have imagined that 15 years later, “selfie” would become the word of the year in 2013 and that what seems like everyone in the world would be snapping away with a built-in camera-telephone turned around and aimed at themselves?

How the “self” actually figures in our increasingly “selfie culture” and what we as artists choose to put in our frames? Is there a difference of how do we present ourselves on social media and in art galleries? What does “perfection” mean? I ask about the distinction between art photography and contemporary selfies? In so doing, I evoke the explosive combination of anxiousness and celebration that comes from daring to realise abstract ideas with one’s own body, during the performance of the absolutely singular mixture of numbness and physical pain produced by the photo shoot as an experience of the process of creating art. What, if any, continuum can we draw between the image produced by that intense experience and
the quick image produced by an IPhone X and available filter work?

Susanne Junker

Sponsored by: Smokvica

On 30.3.2019 in UK Stari grad, in collaboration with Cedra Belgrade Susanne Junker will talk about her work with Marija Jovanovic and will present her book XXI Century Woman.