Letonji 11. Fotopub se osredotoa na majhne, intimne zgodbe, ki nas usmerjajo proti veliki sliki.

Izpostavlja posameznika znotraj sveta, v katerem ivimo. Ne trdimo, da bi bila intimna zgodba v fotografiji nekaj novega. Samo poglejte znano zgodbo Country Doctor (Podeelski zdravnik) W. Eugena Smitha iz leta 1948. Primer in navdih za mnoge fotografske pripovedovalce. V dananji dobi nas vznemirjajo nove prilonosti, ki nam jih nudi sodobna tehnologija. Na splet nalagamo fotografije, ki jih posnamemo z mobilnimi telefoni. Fotografiramo in snemamo v vsakem trenutku, nato pa nao zasebnost delimo s preostankom sveta. Bolj kot kadar koli prej izpostavljamo sebe in ostale Fotografija je iva. Bolj kot kadar koli do zdaj. Pojavljajo se udovite zgodbe. Letos se na Fotopubu predstavljajo fotografi, ki pri razkrivanju svojega pogleda na svet premorejo izjemno talentiranost. Fotografija s podpisom. Vnema Brende Ann Kenneally, da bi prikazala revino, enske in ljubezen v obdobju sedmih let, ki jih je preivela v mestu Troy v zvezni dravi New York, se je, denimo, razvila v impresivno zgodbo tirih posameznic. Dej-

stvo, da je z njimi ivela, ji je omogoilo, da se je z njimi tudi zbliala. Bistveno je, da si prislui zaupanje in spotovanje soljudi. Da si odprt in ranljiv. Justin Maxon z nami deli svoje notranje misli. Njegov boj z ivljenjem. Ti dve razstavi sta nastali s popolnoma razlinima pristopoma, vendar jima je skupno to, da se fotograf ni bal umestiti sebe v nastalo zgodbo. Tu, v Novem mestu, so sodelujoi na festivalu v zadnjih desetih letih poskuali poeti isto. Letos ne bo ni drugae. Pravzaprav gre za to, da raziskujemo nae notranje omejitve in jih kaemo svetu, ki nas obdaja, pri emer nam pomagajo najbolj nadarjeni mentorji. Zato je Fotopub tako intenziven. Uimo se tega, da je fotografija ve kot to, da skuamo prizor zgolj zaobjeti in fotografirati. Gre za nas. Gre za nae lastno zasebno oko. V imenu organizatorjev Fotopuba 2011 vas vabim na najbolj topel, intenziven ter zabaven fotografski festival na planetu. Chris de Bode, umetniki vodja festivala

zasebno oko/the private eye

The 11th edition of Fotopub is directing the focus on the intimate small tales guiding us towards the bigger picture. Exposing the individual within the world we live in. We dont claim that the intimate story in photography is new to us. Look at the famous story Country Doctor done by W. Eugene Smith in 1948. An inspiration for many photographic storytellers. In our era we are triggered by the new possibilities that technology is providing us. We upload pictures we take with our phones. We shoot and film in an instant and share all our private information with the rest of the world. More than ever before we are exposing ourselves and others... Photography is alive. More than ever. Wonderful stories appear. This year Fotopub is presenting the work done by photographers who reveal remarkable talent while showing their view of the world. Photography with a signature. For example Brenda Ann Kenneallys drive to show poverty, women and love over a period of seven years in Troy, New York, is an impressive tale of four individuals. Living with them enabled her to come so close. Its all about gaining trust and respect. Being open and vulnerable. Justin Maxon shares his inner thoughts with us. His struggle with life. These two exhibitions are created with a completely different approach but have in common that the photographer was not afraid to show him or herself within the story they captured. Here in Novo mesto the participants of the workshops tried to do the same over the past ten years. This year it will all happen again. Basically exploring the boundaries within ourselves to show the world around us with the help of top talented mentors we invited. It is why Fotopub is so intense. We learn that photography is more than trying to frame and shoot. Its about us. Its about our own private eye. On behalf of the organization of Fotopub 2011 I welcome you all to the most warm, intense, fun photo-festival on the planet. Chris de Bode, festival art director

dogodki/events
Vse festivalske razstave bodo na ogled med 25. julijem in 6. avgustom 2011. Natanne urnike razstavi preverite pri opisih posameznih razstav. All exhibitions are open from 25th July till 6th August 2011. Check opening times of the galleries in the section with exhibition information.

Veerna predavanja in multivizije Evening screenings

Mentorji Fotopubovih delavnic in gostje bodo vsak veer pripravili predavanja in predstavitve svojega dela. Vsa predavanja so odprta za iro javnost. Every evening Fotopub workshops mentors and guests will prepare lectures and presentations of their work. These lectures are open to the wider public.

Tribuna Tribune
etrtkova Tribuna nudi prostor in monost za razpravo o fotografiji in glede na to, da je Fotopub posveen dokumentarni fotografiji, se njene teme nanaajo na fotournalizem. Vsako leto poskuamo za javno razpravo najti aktualno in zanimivo temo. Letos se bomo v galeriji Simulaker pogovarjali o tem, ali fotografi vedno bolj postajajo avtorji. Kje tiijo razlogi za to in ali fotournalizem postaja bolj oseben? Bo spremenil obraz stroke ali gre le za trend? Pogovoru se bodo pridruili mentorji in posebni gostje, kot sta Ivana Tomanovi in Jean Christophe, prav tako pa tudi sodelujoi in obiskovalci. Thursday's Tribune is a space and opportunity to discuss photography and since Fotopub is oriented in documentary photography, the topics are from the field of photojournalism. Every year we try to find a current and interesting topic for this public discussion. This year in the gallery Simulaker we will talk about the photographer becoming more and more an author. What are the reasons for this and is photojournalism becoming more personal? Will it change the face of the trade or is it just a trend? Mentors will join the talk together with special guests like Ivana Tomanovi and Jean Christophe and off course the participants and visitors.

etrtkove fotografske zgodbe Thursday story telling

Prijeten ambient vrtov Dolenjskega muzeja v osrju Novega mesta bo kulisa za predstavitev fotografskih zgodb iz celega sveta. Vsi dogodki in razstave so brez vstopnin in so namenjeni najiremu obinstvu. The pleasant ambience of Museum Gardens in the heart of Novo mesto will be the backdrop for presentations of photo stories from all over the world. All events and exhibitions are admittance free and open to the wider audience.

19.00 otvoritev festivala & razstave: Henk Wildschut / galerija Simulaker 21.00 projekcija in predavanje: Botjan Pucelj / atrij kluba LokalPatriot 22.00 projekcija in predavanje: Chris de Bode / atrij kluba LokalPatriot

ponedeljek 25.7. monday torek 26.7. tuesday

19.00 festival & exhibition opening: Henk Wildschut / gallery Simulaker 21.00 screening and lecture: Botjan Pucelj / atrium of the LokalPatriot club 22.00 screening and lecture: Chris de Bode / atrium of the LokalPatriot club

19.00 otvoritev razstave: Brenda Ann Kenneally / Jakev dom 19.00 otvoritev intalacije: Uro Abram / Jakev dom 21.00 projekcija in predavanje: Espen Rasmussen / atrij kluba LokalPatriot 22.00 projekcija in predavanje: Jean Christophe / atrij kluba LokalPatriot

19.00 exhibition opening: Brenda Ann Kenneally / Jakev dom 19.00 installation opening: Uro Abram / Jakev dom 21.00 screening and lecture: Espen Rasmussen / atrium of the LokalPatriot club 22.00 screening and lecture: Jean Christophe / atrium of the LokalPatriot club

19.00 otvoritev razstave: Justin Maxon / atrij knjigarne Goga 21.00 projekcija in predavanje: Ivana Tomanovi / atrij kluba LokalPatriot 22.00 projekcija in predavanje: Ed Ou / atrij kluba LokalPatriot

sreda 27.7. wendesday

19.00 exhibition opening: Justin Maxon / atrium of the Goga bookstore 21.00 screening and lecture: Ivana Tomanovi / atrium of the LokalPatriot club 22.00 screening and lecture: Ed Ou / atrium of the LokalPatriot club

16.00 Tribuna / galerija Simulaker 19.00 otvoritev razstave: Jeana Christophe / bar pri Slonu 21.00 etrtkove fotografske zgodbe / vrtovi Dolenjskega muzeja (v primeru slabega deja bo dogodek izveden v Kulturnem centru Janez Trdina)

etrtek 28.7. thursday

16.00 Tribune / gallery Simulaker 19.00 exhibition opening: Jean Christophe / bar Slon 21.00 Thursday story telling / Dolenjski muzej gardens (in case of bad weather the event takes place in Janez Trdina Cultural Centre)

19.00 otvoritev razstave Botjan Pucelj / Franikanski samostan 21.00 projekcija in predavanje: Robert Knoth / atrij kluba LokalPatriot 21.30 projekcija in predavanje: Rebecca Harley & Mike Lusmore / atrij kluba LokalPatriot 22.00 projekcija in predavanje: Brenda Ann Kenneally / atrij kluba LokalPatriot

petek 29.7. friday

19.00 exhibition opening: Botjan Pucelj / Franciscan monastery 21.00 screening and lecture: Robert Knoth / atrium of the LokalPatriot club 21.30 screening and lecture: Rebecca Harley & Mike Lusmore / atrium of the LokalPatriot club 22.00 screening and lecture: Brenda Ann Kenneally / atrium of the LokalPatriot club

20.00 - Projekcija projektov ter podelitev diplom udeleencem / atrij kluba LokalPatriot

sobota 30.7. saturday

20.00 Final screening and diploma awarding / atrium of the LokalPatriot club

koledar/calendar
GLASBA V ATRIJU KLUBA LOKALPATRIOT MUSIC IN THE ATRIUM OF THE LOKALPATRIOT CLUB
Po napornem dnevu se prilee hladna pijaa, e je zraven e dobra glasba, je zabava neizbena. Vsak dan festivala bo po veernih predavanjih poskrbljeno za dobro glasbo z izbranimi DJ-ji in glasbenimi skupinami. Atrij kluba LokalPatriot: od ponedeljka do sobote, med 23:00 in 4:00 After a hard day's work we all need a drink and when we add music to it, a party is inevitable. After the evening lectures good music with special DJs and bands will be provided on every night of the festival. Atrium of the LokalPatriot club: Monday Saturday, 23:00 4:00.

KNJIGE V GOGI BOOKS IN GOGA

V knjigarni Goga je udeleencem delavnic na voljo poseben festivalski popust. Na razpolago bodo knjige letonjih mentorjev, pripravljena bo tudi razirjena ponudba literature o fotografiji. Popuste bo mono uveljavljati med 25. in 30. julijem Odpiralni as knjigarne: vsak delovnik med 9.00 in 19.00; ob sobotah med 9.00 in 13.00 During the festival participants of the workshops can obtain special festival discount when buying books. Books of this year's mentors shall be available, as well as some other monographies from the field of photography. Discounts available between 25 th in 30 th of July. Bookstore opening time: daily between 9.00 and 19.00; Saturdays between 9.00 and 13.00

FILMI V HOSTLU SITULA FILMS IN HOSTEL SITULA

V hostlu Situla si bo v asu festivala mo ogledati filme s podroja fotografije.
Ponedeljek, 25. 7., ob 21.00

During the festival Hostel Situla will host projections of selected films dedicated to photography.
Monday, 25. 7., at 21.00

War Photographer, reija: Christian Frei (vica 2001, 96') Dokumentarni film o vojni fotografiji Jamesa Nachtweya, ki velja za enega boljih vojnih fotografov v zgodovini.
Torek, 26. 7., ob 21:00

War Photographer, director: Christian Frei (Switzerland 2001, 96') Documentary about war photography of James Nachtwey, one of the best war photographers in history.
Tuesday, 26. 7., at 21:00

The Bang Bang Club, reija: Steven Silver (Kanada/Republika Juna Afrika, 2010, 106') Drama, posneta po resninih dogodkih, govori o tirih vojnih fotografih, ki dokumentirajo zadnje dneve apartheida v Juni Afriki
Sreda, 27. 7., ob 21.00

The Bang Bang Club, director: Steven Silver (Canada/Republic of South Africa, 2010, 106') Drama based on true story reveals a story of four war photographers that documented last days of Apartheid in the Republic of South Africa.
Wendesday, 27. 7., at 21.00

Just Plain Love, reija: Raphal O'Byrne (Francija, 2001, 70') Dokumentarec o francoskem fotografu Henriju Cartier Bressonu, oetu fotournalizma.
etrtek, 28. 7., ob 21.00

Just Plain Love, director: Raphal O'Byrne (France, 2001, 70') Documentary about french photographer Henri Cartier Bresson, the founder of photojournalism.
Thursday, 28. 7., at 21.00

Genius of Photography - I. in II. del, reija: Tim Kirby ( Velika Britanija, 2007) Uvodni del TV dokumentarne serije Genius of Photography prikazuje prve fotografske poskuse Henryja Foxa Talbota in Louis Daguerreja ter Kodak revolucijo. V drugem delu spoznamo dela Mana Raya, Dorothee Lange in Alexandra Rodchenka.
Petek, 29. 7., ob 21.00

Genius of Photography part I. and II., director: Tim Kirby (United Kingdom, 2007) First part of TV documentary series titled Genius of Photography is revealing early photography experiments of Henry Fox Talbot and Louis Daguerre, presenting the Kodak revolution as well. In the second part the viewer meets work of Man Ray, Dorothea Lange and Alexander Rodchenko.
Friday, 29. 7., at 21.00

Genius of Photography - III. in IV. del, reija: Tim Kirby ( Velika Britanija, 2007) Tretji del serije govori o delu dveh fotografov iz agencije Magnum (Robert Capa, W. Eugene Smith) ter o fotografiji med holokavstom. V etrtem delu serije spoznamo fotografijo v barvah.
Sobota, 30. 7., ob 21.00

Genius of Photography part III. and IV., director: Tim Kirby (United Kingdom, 2007) Third part is presenting two Magnum agency photographers, Robert Capa and W. Eugene Smith, as well as photography during the Holocaust era.
Saturday, 30. 7., at 21.00

Genius of Photography - V. in VI. del, reija: Tim Kirby ( Velika Britanija, 2007) Peti del serije prikazuje, kako fotografi usmerijo svoj objektiv v dom, druino, privatno ivljenje in vase. Zadnji del poleg digitalne revolucije govori o tudi tem, kako je fotografija postala del umetnikega trga.

Genius of Photography part V. and VI., director: Tim Kirby (United Kingdom, 2007) The fifth part of the series is dedicated to photography, focused in private sphere, family, home and the subjective of the author. The last part deals with the digital revolution in photography and photography within the contemporary art market.

Henk Wildschut

Zavetie/Shelter
V bliini pristania Calais je obmoje nekaj sto kvadratnih metrov, znano pod imenom dungla. Da bi prili sem, so prebivalci tega obmoja prepotovali dolgo pot, pa vendar njihovo potovanje e ni konano. Calais je namre zaetna toka za zadnji in najbolj oblegan prehod meje: tisoi ljudi iz Iraka, Afganistana, Pakistana, Eritreje, Somalije, Sudana in Nigerije so prili sem v iskanju boljega ivljenja v Veliki Britaniji, njihovi sanjski destinaciji. Med akanjem na prilonost za prekanje morja so si ljudje zgradili zasilna zavetia: otorom podobne strukture iz odpadlih materialov, nabranih v neposredni bliini. Celo v najboljem primeru je v teh strukturah teko prepoznati kulturno izroilo deel, iz katerih prihajajo njihovi stanovalci. Nain, kako se materializira ta temeljna loveka potreba po imeti streho na glavo, je osrednja rdea nit dokumentarnega fotografskega projekta, ki ga je Henk Wildschut zael leta 2005. Za potrebe projekta je avtor pogosto potoval v Calais, juno panijo, Dunkirk, Malto, Patras in Rim. Tako je za Wildschuta prisotnost tovrstnih zaveti naj si bo kjer koli v Evropi postala simbol bede. Medtem ko zavetia ne sporoajo veliko o poutju njihovih prebivalcev, pa vseeno odkrivajo vejo, temeljno zgodbo zgodbo o nasilju, strahovih, eljah, pogumu, alosti, napetosti. Zavetia v dokumentarnem smislu ne kaejo ni drugega kot lastno pojavnost. To neposredno upodabljanje izvira v moralni stiski fotografa: kako upodobiti humanitarni problem brez uporabe kliejev? Neposredna zgovornost podob v ciklu Shelter predstavlja povezovalni element, ki dojemljivemu gledalcu omogoa vivljanje v zgodbo, ob tem pa ponuja tudi pomenljivo alternativo plehki neizrazitosti sodobne fotografije. In the vicinity of the port of Calais there is an area of a few hundred square meters, known as the jungle. The inhabitants of this area have travelled many miles to come here and still their journey is not finished. Calais is the starting point for the last and most popular crossing: thousands have come from Iraq, Afghanistan, Pakistan, Eritrea, Somalia, Sudan and Nigeria in search of a better life in England, the destination of their dreams. While waiting for the chance to make the long crossing, they build makeshift shelters: tent-like structures of waste materials found in the immediate vicinity of the camp. Even in the best case, it is hard to recognize the cultural character of their country of origin in these structures. The way in which this basic necessity of life is given shape in the shelters is the leitmotif in the documentary photography project that Henk Wildschut started up late 2005 and for which he frequently travelled to Calais, southern Spain, Dunkirk, Malta, Patras and Rome. For Wildschut, the sight of the shelter - anywhere in Europe - became the symbol of misery. While shelters reveal little or nothing about the wellbeing of their residents, they still become models for the larger, underlying story - one full of violence, fear, desire, courage, sadness and anxiety. In a documentary sense, the shelters cannot pretend to be anything else than what they actually are. This indirect portrayal originates in the moral despair of the photographer: how to depict a humanitarian problem in images without clichs? The indirect eloquence of the images in Shelter is the connective factor that helps make the receptive viewer feel involved and offers a meaningful alternative to the platitude of photography.

Henk Wildschut (rojen leta 1967 v Harderwijku na Nizozemskem) je tudiral na haaki Kraljevi akademiji vizualnih umetnosti. Njegova dela so bila razstavljena v Amsterdamu, Haagu, Utrechtu, Bredi, anghaju, Pekingu, Lagosu in ostalih mestih. Sodeluje z mnogimi asopisi in revijami ter z raznimi oblikovalskimi in komunikacijskimi agencijami. Za Wildschuta kot fotografa so najbolj karakteristini njegovi dolgoroni projekti. Minevanje asa je pomemben element v intenziteti njegovega dela. Njegov cilj je, da bi s tem izpostavil razvoj brezupa subjekta. Svojo serijo Shelter je zael leta 2005. Kot rezultat tega projekta je leta 2010 izla istoimenska monografija. Henk Wildschut (b. 1967 in Harderwijk, the Netherlands) studied at the Royal Academy for the Visual Arts in The Hague. His work has been exhibited in Amsterdam, The Hague, Utrecht, Breda, Shanghai, Beijing, Lagos and other places. He does assignments for a variety of magazines and works for various design and communication agencies. However, his own long-term projects are more characteristic of Wildschut as a photographer. He regards the passage of time as an important element in the intensity of his work. His aim is to use this to expose the development or hopelessness of a subject. He began his Shelter series in 2005. In 2010, this resulted in the book with the same title.

www.simulaker.si | www.henkwildschut.com

Galerija Simulaker, Vrhoveva ulica 1

Otvoritev/Opening: pon/mon, 25. 7. @ 19.00 | Odprto/Open: tor/tue pet/fri: 12.00 20.00; sob/sat: 10.00 17.00; pon/mon & ned/sun: zaprto/closed

Brenda A. Kenneally

Dekleta iz severa, vezi mesta Collar/ Upstate Girls, the Threads of Collar City
Ljubim te Zadnjih dvajset let sem poroala o revini v Zdruenih dravah Amerike o revini kot simptomu nacionalnih ambicij ter integralnem delu industrijskega kapitalizma. Troy v dravi New York je mesto, ki me je obsedalo zadnjih sedem let. Ko sem v Troyu, imam sobo v YWCA, ki je zatoie za brezdomke in zlorabljene enske, kraj, kjer lahko druine z majhnim zaslukom prebivajo, dokler si ne najdejo stanovanja. enske iz YXCA me v mislih preganjajo: pripeljale so me do tega, da sem sem se zazrla globoko v ljubezen. Ljubezen kot tisto ivljenjsko silo, ki zajema energijo rojstva in smrti in ki lahko hkrati enskam z omejenimi dohodki predstavlja tudi unienje ali odreitev. enskam, ki sem jih spoznala in vzljubila, pomeni ljubezen potovanje: pobeg iz primea prihodnosti z omejenimi obljubami ali kratek odmik od teakega ivljenja, ki je e iztroeno. enske iz YWCA so v glavnem e izgubile svoje ljubezni: kot posledico smrti, zapuenosti ali izpetosti. Tem enskam predstavlja romantika najbolje zdravilo, pa eprav le v majhnih odmerkih neuresniene fantazije. Ko se pogovarjamo o najstnikih nosenostih, materah samohranilkah ali o feminizaciji revine, se redko dotaknemo dejstva, da tovrstne ukalupljene drubene oznake ignorirajo jedro ustvene podlage, ki pooseblja prisotnost enske na tem svetu. Ljubezen med revnimi druba upravii in obsodi kot moralni problem, izpostavi breme, ki ga nosenost predstavlja v javnosti, namesto da bi preuila oviro, ki jo enske skuajo premostiti. Ljubezen bi bila lahko najmoneja politina mo, ki jih poznamo.
Brenda Ann Kenneally

Brenda Ann Kenneally je zadnji dve dekadi fotografirala in poroala o amerikih druinah. Za svoje delo je med drugim prejela tipendijo W. Eugene Smith za humanistino fotografijo in tipendijo za kazensko pravosodje Soros. Podprla sta jo tudi sklad za dokumentarne prispevke Mother Jones ter fundacija Alicia Patterson. Za svojo knjigo Money, Power, Respect (Denar, mo, spotovanje) je leta 2006 prejela nagrado za najboljo fotournalistino knjigo pri Pictures of The Year. Zadnjih pet let se ukvarja z raziskovanjem polnoletnosti v postindustrijskih Zdruenih dravah Amerike. Za del tega projekta, Upstate Girls (Dekleta s Severa), je leta 2009 prejela World Press Photo Award v sekciji Daily Life. Leta 2006 je ob prvi obletnici orkana Katrina raziskovala ivljenjske pogoje druin s prizadetega obmoja. Za ta multimedijski prispevek je prejela nagrado Webby Award. Brenda Ann Kenneally has photographed and reported on American families over the past two decades, and has been, among others, recognized and supported by the W. Eugene Smith Grant in Humanistic Photography and the Soros Criminal Justice Fellowship. Her book Money, Power, Respect won the Best Photojournalism Book at Pictures of The Year in 2006. Kenneallys work for the past five years has been a look at coming of age in post-industrial America. An excerpt from this project, Upstate Girls, won the 2009 World Press Photo Award for Daily Life Series. In 2006, she investigated the living conditions of families on the Gulf Coast on the first anniversary of hurricane Katrina. The multimedia feature of Kenneallys reporting won a Webby Award.

I Love You For the past twenty years I have been reporting on poverty in the United States as a symptom of national ambition and an integral part of industrial capitalism. Troy, New York, is the City that I have been obsessed with over the past seven years. When I am in Troy, I have a room at the YWCA, the Y provides shelter for homeless and abused women and a place where low-income females can live until they can find apartments. The women at the YWCA haunt me and have driven me to look further into love as a life force straddling the energy of birth and death, destruction and redemption for women with limited physical resources. For the women that I have grown to know and love, love is akin to travel an escape from the grind of a future with limited promise or a weekend get away from a life of toil already misspent. Women at the YWCA tend to have lost their loves either through death or abandonment or attrition. To these women romance is the best medicine if only in small doses of unrealized fantasy. There is a discussion rarely had when speaking about teen pregnancy or single motherhood or the feminization of poverty. Such loft social terms ignore the very core of emotional footing that is a womans presence in the world. Love among the poor becomes legislated and is judged as a moral issue with the focus on the burden to the public from an ensuing pregnancy rather than examining the disadvantage a woman may have been trying to leverage. Love may be the most political force we know.
Brenda Ann Kenneally

Jakev dom, Sokolska ulica 1

Otvoritev/Opening: tor/tue, 26. 7. @ 19.00 | Odprto/Open: tor/tue pet/fri: 09.00 17.00; sob/sat: 09.00 13.00; | pon/mon & ned/sun: zaprto/closed
www.dolmuzej.com | www.brendakenneally.com

Uro Abram

Photo Viva (multivizija/multivision)

Projekt Photo Viva je zastavljen kot raziskovanje narativnih elementov nelinearne multimedije. Photo Viva dokumentira kiparski simpozij Forma Viva v Kostanjevici na Krki leta 2008. Cilj nelinearne predstavitve je spremeniti pasivnega gledalca v dejavnega, saj zgolj gledaleve odloitve vodijo do njemu lastne in edinstvene zgodbe, ki si jo sestavi sam. Photo Viva project is based on exploring natural elements of nonlinear multimedia. Photo Viva is documenting the sculpting symposium Forma Viva in Kostanjevica na Krki (2008). The goal of nonlinear presentation is to transform a passive viewer into an active one, since the viewers choices lead to his/her own and unique story, which he/she composes.
Uro Abram (1982) je bil rojen v Kostanjevici na Krki. Po zakljueni Srednji oli za fotografijo in oblikovanje v Ljubljani je dokonal olanje na Akademiji lepih umetnosti (FAMU) v Pragi. Poleg pedagokega dela (Atelje 2050, festival Fotopub) in sodelovanja z ve domaimi mediji je v preteklosti deloval tudi kot umetniki vodja v agenciji Pan ter na kostanjevikem festivalu Noster Nostri. Do sedaj je imel nekaj samostojnih razstav v Sloveniji in na ekem; v zadnjem asu je sodeloval tudi na ve skupinskih razstavah. ivi in dela med Kostanjevico na Krki in Ljubljano. Uro Abram (1982) comes from Kostanjevica na Krki. After he finished High school for design and photography in Ljubljana, he studied at The Academy of Fine Arts in Prague (FAMU). Besides pedagogical work (Atelje 2050, Fotopub festival) and collaborations with Slovene media, he also worked as an art director at Pan Agency and at Noster Nostri festival in Kostanjevica na Krki. He had a few solo exhibitions in Slovenia and Czech Republic and lately he has exhibited at a lot of group exhibitions. He currently lives and works between Kostanjevica na Krki and Ljubljana. www.dolmuzej.com | www.abramphotography.com

Jakev dom, Sokolska ulica 1

Otvoritev/Opening: tor/tue, 26. 7. @ 19.00 | Odprto/Open: tor/tue pet/fri: 09.00 17.00; sob/sat: 09.00 13.00; | pon/mon & ned/sun: zaprto/closed

Justin Maxon

Umiri se dihaj samo to ivljenje/ Slow Down Breathe Only this Life
Uvod Midva kot jaz, kot mi: pokopljemo mrtve, kot pokopljemo svoje notranje demone. Pozabljene in tevilne. Mnoina pokopalia v nai glavi. Kraji, ki se jih izogibamo, spomini, ki jih zapustimo. Pozabiti ne pomeni razumeti, pobeg ni nikoli reitev. Nekega dne bomo morali plaati raun. Ta dan je zame e napoil. Kot niti spomina, ki so poloene nad strune sedanjosti, to delo prepleta in plete moj zemljevid vraanja na svoje mesto. Dati pogled nevidenim stvarem; ne hodim ve oslepljen, spotikajo se na poti, ki je zastrta s sencami moje preteklosti. Kot je poveevalno steklo pot soncu, hoem, da to delo pomaga osvetliti moje senne prekinitve. Ne dvomim, da lu, ki ari v notranjosti, odseva navzven in pomaga pregnati sence, ki se oklepajo delkov v drugih ljudeh. Naj midva kot jaz, kot mi ta trenutek razirimo lu. Projekt 1: Moja odvisnost, moje plailo Kot najstnik sem bil ujet v krog zlorabe substanc. Ta tema moje preteklosti me e vedno podzavestno razira. V poizkusu, da bi to premagal in skanaliziral spomine lastne preteklosti, uporabljam izkunje z odvisnostjo drugih posameznikov, ki ivijo v predelu Tenderloin v San Franciscu. Gre za abstraktno reprezentacijo mojih izkuenj: brskanje po boleih spominih, zakopanih in pozabljenih med ruevinami, kjer sem jih zapustil nedolgo nazaj. Projekt 2: Umiri se ... dihaj ... samo to ivljenje Ta projekt govori o mojem prehosu iz poti kaosa na tisto, ki vodi v zdravljenje. Zadnje desetletje je bilo moje ivljenje megleno gibanje, medtem ko sem beal pred notranjimi fantomi. Znael sem se med svetovi: obiskovalec vsega, kar me obkroa, tujec lastnemu ivljenju. Izgubljen sem bil v vrtincu misli, poskual dati smisel vsemu zvitemu in zavozlanemu. Spoznal sem, da se blia kriie, odloitev, ki jo bom moral sprejeti. Izbral sem pot, ki je zavila nazaj vame in v meni spletla razdrobljene koke nazaj na pravo mesto.
Justin Maxon

Justin Maxon (1983) se je rodil v malem mestu v severni Kaliforniji v ZDA. S svojim delom pogosto raziskuje zapleteno povezavo med lovekim bojem in ohranjanjem. V zadnjih delih se pomika k raziskovanju bolj osebnih tem, pri emer njegove podobe postajajo abstraktna reprezentacija njegove lastne preteklosti. Maxon je za svoje foografije prejel mnogo nagrad, kot so World Press Photo, UNICEF Images of the Year, POYi in NPPA's Best of Photojournalism. Leta 2008 je na Lucie Awards prejel nagrado v kategoriji Deeper Perspective Photographer of the Year, PDN pa ga je isto leto uvrstil med 30 mladih fotografov, na katere moramo biti pozorni. Sodeloval je z znanimi asopisi in revijami, kot so TIME, Newsweek, Mother Jones Magazine, Fader Magazine, AARP Bulletin, The Wall Street Journal, The New York Times ter NPR. Justin Maxon (1983) was born in a small town in northern California. His work often explores the complex link between human struggle and perseverance. Of recent, his work has shifted towards exploring more private issues; where his imagery has become an abstract representation of his own past. Maxon has received numerous awards for his photography, from competitions like World Press Photo, UNICEF Images of the Year, POYi, and NPPA's Best of Photojournalism. He won the Deeper Perspective Photographer of the Year at the 2008 Lucie Awards, the same year he was named one of PDNs 30 Emerging Photographers to Watch. He has worked on feature assignments for publications that include TIME, Newsweek, Mother Jones Magazine, Fader Magazine, AARP Bulletin, The Wall Street Journal, The New York Times, and NPR.

Intro We, as in I, as in Us: burry our dead as we bury our inner demons. Forgotten and in numbers. Mass graveyards inside our mind. Places we avoid, memories we abandon. Forgetting is not understanding, escape is never resolution. One day we will have to pay reckoning. That day is here for me. This work is intertwined, as threads of memory are layered over strings of the present, weaving my own road-map back into place. To give sight to the things unseen; so I am no longer walking blindly, stumbling over a path obscured by the shadows of my past Like a magnifying glass is conduit to the sun, I want this work to help shine light into those shaded recesses. Undoubtedly, the light that flames inside shines outward helping dispel the shadows that cling to the fractures in others. Lets us, as in I, as in we, spread our light now. Project 1: My Addiction My Reckoning As a teenager, I was trapped in a cycle of substance abuse. This darkness in my past still plagues me subconsciously. Attempting to overcome this, I am using peoples experiences with addiction, in the Tenderloin of San Francisco, to channel recollections of my past. This is an abstract representation of my experiences: searching through painful memories buried and forgotten among the wreckage I left behind not so long ago. Project 2: Slow DownBreatheOnly this Life This project is about my transition from a path of chaos to one of healing. For the past decade, my life has been a blur of movement; as I have been running away from phantoms within. I found myself in a space between worlds: a visitor to everything around me, a stranger to my own life. I have been lost inside a maze of thoughts, attempting to make sense of everything twisted and tangled. I realized a crossroads was approaching, a choice to be made. I took the route that curved back into me, threading the fractured parts of myself back into place. Justin Maxon

atrij knjigarne Goga/Goga bookstore atrium, Glavni trg 6

Otvoritev/Opening: sre/wed, 27. 7. @ 19.00 | Odprto/Open: pon/mon pet/fri: 09.00 19.00; sob/sat: 09.00 13.00; | ned/sun: zaprto/closed

Jean Cristophe

Notranje razseljevanje, identiteta in novi narodi/ Internal Displacement, Identity and New Nations
Projekt Notranje razseljevanje, identiteta in novi narodi dokumentira identiteto, narodnost in vpliven koncept novega nacionalizma med ljudmi, njihovo rodno dravo in novim teritorijem. Izbrana mesta so v Evropi, razdeljena med regiji Kavkaz in Balkan. Namen je iriti, a tudi iveti vizijo prihodnosti teh ljudi, njihove identitete in prostora novega sveta, ne pa neposredno izpostavljati posledice povojnih konfliktov ali drugih sporov, povezanih z njihovim poloajem. Enoletni projekt je neprekinjena pripoved, osnovana na fotografskem dokumentiranju notranje razseljenih in njihove identitete. Tema identitete je podrobno raziskana, odseva aktualno razpravo o pripadnosti dravi, kulturi in jeziku. Te posebnosti odpirajo vpraanja drugim oblikam migracij in kultur. Tisto, kar ostaja zelo zanimivo, so generacije, ki se znajdejo na kriiu. Zdi se, kot da se ne znajo vrniti v dravo, iz katere izvirajo, a hkrati ne znajo pripadati deeli, kjer ivijo. eprav obasno govorijo isti jezik, to ne pomeni, da delijo tudi enako mero povezanosti s teritorijem, ki si ga delijo s svojimi novimi vrstniki. Vsi kmalu ozavestijo dejstvo, da njihova situacija vznemirja ravnovesje. Brez zastave, ki bi ji bili vdani, zemlje, za katero bi se borili, in strani, za katero bi navijali, imajo teavo s poistovetenjem. Ampak kdo namesto njih, ali pa namesto nas, pravzaprav odloa o tem, kdo smo? Glede na to, da sem preivel veliko asa na terenu, sem razvil iskren vizualni dnevnik. Kljub temu da sem bil zelo prisoten in blizu, sem obdral distanco in ostal tiho. Svoj delo sem privzel v skladu z dejstvom, da je situacija zelo obutljiva. Ta prispevek ne bo detajl, ki ustreza dananji situaciji, temve trenutek v asu, ki je pomemben tako danes kot jutri.
Jean Christophe

Jean Christophe se je leta 1974 rodil v Franciji in od svojega osmega leta delno ivi v New Yorku. Leta 1998 je zakljuil MFA iz fotografije na praki filmski akademiji performativnih umetnosti (FAMU). Po tem ko si je prisluil nekaj izkuenj na podroju snemanja filmov, se je leta 2006 vrnil k dokumentarni fotografiji in zael dolgoroen projekt o tranzicijskih dravah nekdanjega vzhodnega bloka. Za ljubljanski Muzej zaasnih umetnosti ( The Museum of Transitory Art) je ustvaril dokumentarec o samomorih v Sloveniji, za tem pa ga je leta 2009 zaloba Kodansha Publishing iz Tokia povabila k sodelovanju pri knjigi This Day of Change ( Ta dan spremembe). Jean Christophe was born in France in 1974 and has been a part-time New Yorker since the age of eight. In 1998 he completed an MFA in photography from Pragues Flm Academy of Performing Arts (FAMU). After obtaining some experience in the field of filmmaking, he turned his attention back to documentary photography in 2006 and began a long-term project about transitional states in the Eastern Bloc. After being a recipient at the Ljubljanas Museum of Transitory Art where Jean Christophe produced a feature documentary on suicide in Slovenia, Kodansha publishing in Tokyo invited him to be aparticipant for the book project This Day of Change in 2009.

The project Internal Displacement, Identity and New Nations documents identity, ethnicity and the growing concept of new nationalism between its people, country of origin and their new territory. The locations chosen for this photographic documentary are in Europe, split between the regions of The Caucasus and the Balkans. The objective is to share, live their vision of tomorrow, identity and place in their new world rather than the direct effects of post-war conflicts, or other contentions regarding their predicament. This one year project is an on-going treated theme based on my photographic documentary on the internally displaced. The theme of identity is greatly studied and reflects on the existing debate of belonging to a land, a culture as well as to a language. These particularities provide questions to other forms of migrations and cultures. What remains of great interest are the generations who find themselves at a crossroad. They seemunable to return to their land of origin and unable to belong to their adopted country. Though they may share the same language at times they do not necessarily share the same affinity for the territory they share with their new counterparts. Everyone quickly becomes conscious that their situation causes ripples in their equilibrium. Without a flag to adhere to, a land to fight for, and camp to root for it is increasingly difficult to find oneself in someone else. Then again who judges for them or for us who we are? Considering I had spent a great deal of time alone on the field I developed a sincere visual diary. My presence, although close, kept a respected distance and thus I remained silent. The sensitive element of the situation being very delicate, I adopted my documentary accordingly. This feature will be not as piece to fit current situations of those regions, but rather a passage in time relevant today and tomorrow. Jean Christophe
www.jeanchristophe.org

bar pri Slonu, Rozmanova ulica 22

Otvoritev/Opening: et/thu, 28. 7. @ 19.00 | Odprto/Open: pon/mon et/thu: 07.00 23.30; pet/fri: 07.00 02.00; sob/sat: 18.00 00.30; | ned/sun: zaprto/closed

Botjan Pucelj

Fotko/Fotko
Cvetko Tramte je doma iz Breke vasi na Dolenjskem, kjer je sam ostal na domaiji. Pred 31 leti je dobil papirje za fotografsko obrt, takoj naslednji dan, ko so pokopali Kardelja, ker mu jih istega dne zaradi njegovega pogreba niso hoteli izdati. Najprej se je zaposlil v Industriji motornih vozil za leto in pol, potem pa v Tovarni Krka. Tam je tudi zael fotografirati. Po mestu in regiji je bil poznan kot Fotko. Tako so ga zaeli klicati otroci na Mestnih njivah. Kasneje si je ta vzdevek dal narediti kot svoj prepoznavni znak. Ljudje pravijo, da je bil drugaen. O njem so kroile razne govorice, ki pa so ostale le gostilnika obrekovanja in mestni trai. Nihe ga osebno ni poznal, so pa ga videvali po celi Dolenjski. Od kraja sm velik slikou. Tut 143 filmu na enu letu. Tu govorim za takrat 30 let nazaj, ve kulk je tu 143 filmu, zdej je sm par filmou na letu. Pogrebov sm rekordnu velik slikov po tri na teden al pa dva na dan. Od pogreba dobim velik dnarja. Nikoli ni niesar prebral o fotografiranju, tudi poznal ni nikogar. Prvi fotoaparat je kupil, ko je bil star nekaj ez 20, ruskega Zorki 4. Ko sva konala pogovor, sem ga prosil, da narediva eno fotografijo pred hio, enako tako, kot je on poprej fotografiral mene. Postavil sem ga na hini prag, nastavil kompozicijo in ga prosil, e se lahko nasmeje. Nemam se za kej nasmejat. Lej kam sm pru. Sej n nemam ad vleja.
Botjan Pucelj, el sem v Klagenfurt, pridem takoj: Cvetko Tramte - Fotko portret fotografa (odlomki), objavljeno v reviji Fotografija (2010, t. 45/46)

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Cvetko Tramte comes from Breka vas in Dolenjska, where he lives alone. 31 years ago he received papers for photographic trade a day after they buried Kardelj, because they wouldnt give them to him on the day of his funeral. At first he got a job at motor-vehicle industry for a year and a half, then at the Krka factory. It was there that he started taking photos. He is known as Fotko in the city as well as throughout the region. He got this nick name from children who lived in the region of Novo mesto called Mestne njive. Later he used that name as his brand name. People say that he has always been different. There were many rumors about him, but they remained a local gossip. Nobody knew him personally, but he was seen all over Dolenjska. At first I took a lot of photos. As much as 143 rolls a year. That was 30 years ago, you know how many rolls that was, 143? Now I only use a few rolls a year. I took photos at a lot of funerals, three per week, sometimes two in a single day. I get a lot of money from funerals. He never read anything about photography and he didnt know anyone. He bought his first camera when he was a bit over 20 years old, a Russian Zorki 4. When we finished the interview, I asked him, if I could take a photo of him in front of the house, the same as he took of me. I placed him in front of the house, composed everything and asked him, if he could smile. I have nothing to smile about. Look what Ive become. I have nothing left of my life.
Botjan Pucelj, I went to Klagenfurt, Ill be right back: Cvetko Tramte - Fotko A portrait of a photographer (extracts), published in magazine Fotografija (2010, no. 45/46)

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Botjan Pucelj (1979, Novo mesto) deluje na podroju dokumentarne fotografije. Njegovi projekti se lotevajo kritinih tem, ki jih naplavlja sodobna druba, kot tudi tem, ki beijo iz naega vidnega obzorja in bodo kmalu postale le hrepene spomin. Od leta 2007 ima status samostojnega kulturnega ustvarjalca. Izdal je dve monografiji (Babi, /*cf., Ljubljana, 2005; Osem taktov pavze, Zaloba Goga, Novo mesto, 2009) in knjigo umetnika loveko kraljestvo, Zavod P.A.R.A.S.I.T.E, Ljubljana, 2008 - soavtor Anja Rebolj. ivi in ustvarja na Dolenjskem. Botjan Pucelj (1979, Novo mesto) works in the field of documentary photography. His projects deal with critical themes caused by modern society as well as themes that are escaping our horizon and will soon become nothing more but a yearning memory. Since 2007 he has been an independent cultural worker. He published two monographs (Babi, /*cf., Ljubljana, 2005; Osem taktov pavze, Goga, Novo mesto, 2009) and an artist book loveko kraljestvo, P.A.R.A.S.I.T.E Institute, Ljubljana, 2008 co-author Anja Rebolj. He lives and works in Dolenjska.

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Franikanski samostan/Franciscan monastery, Franikanski trg 1

Otvoritev/Opening: pet/fri, 29. 7. @ 19.00 | Odprto/Open: pon/mon ned/sun: 09.00 19.00

www.bostjanpucelj.com

Fotografska izkunja 2011

Fotografska izkunja je projekt, pri katerem Slovenija sodeluje e trinajsto leto. V vseh teh letih so mladi ljubitelji fotografije obeleili tevilne teme in s tem pripomogli k prepoznavanju nae naravne in kulturne dediine. Tema letonjega nateaja so bili zgodovinski parki in vrtovi, tematika, ki v naem prostoru velja za najmanj raziskano podroje nepremine kulturne dediine. Spomenikovarstvena stroka belei dvaintirideset parkov in vrtov, najvekrat so ti del obsenih arhitekturnih zasnov, kot so srednjeveki samostani, renesanno-baroni gradovi in dvorci ter meanske vile. Stanje teh je na alost slabo in le redki med njimi so bili obnovljeni. Pisni in drugi viri, ki bi nam pomagali pri rekonstrukciji, se niso ohranili, vzroke za takno stanje pa lahko iemo tudi v dejstvu, da so te arhitekturne zasnove in njim pripadajoi parki in vrtovi nastali v doloenem zgodovinskem obdobju in da so sasoma zaradi drubenih sprememb ta poslopja izgubila svojo funkcijo. Tudi bogato rastlinje, ki je neko obdajalo te preudovite parke in vrtove, je propadlo in izgubilo ivljenje. In ravno zato je e toliko bolj pomembno, da dananja generacija mladih in generacije za njimi ozaveajo, spodbujajo in beleijo nae naravno bogastvo, opozarjajo na morebitne izgube in se uijo o pomembnosti varovanja in ohranjanja tovrstnih spomenikov. Izbor letonjih nagrajenih fotografij so koki te zgodbe, so dejstva, ki govorijo o tem, da je treba narediti e veliko. Ura Likar, umetnostna zgodovinarka Photographic experience is a project in which Slovenia is participating for thirteen years. In all these years, young photographers celebrated a number of themes, contributing to the recognition of our natural and cultural heritage. The theme of this years competition was historic parks and gardens, theme, which in our country is the least studied area of immovable cultural heritage. In Slovenia there are forty-two parks and gardens, which are often part of comprehensive architectural designs, such as medieval monasteries, renaissance baroque castles and mansions and middle-class villas. The situation of those monuments is, unfortunately, poor and very few of thaem have been restored. Written and other resources that would help us in the reconstruction are not preserved. The reasons for this situation can be also found in the fact that the architectural design and its associated parks and gardens were made during the given historical period and that over time, due to social modifications, this buildings have lost their function. Even the rich vegetation that once surrounded this beautiful parks and gardens fell and lost their lives. And that just makes it even more important that todays young generation and the generations behind them raise, promote and record our natural wealth, attention to possible losses and learn about the importance of protecting and preserving these monuments. The selection of this years winning photos are pieces of the story, the fact that talks about a lot that remains to be done. Ura Likar, art historian

Mario upan, Park Tivoli, 2011.

Sodelujoi/Participants
Petra Hleb David Jake Domen Jake Urka Kavi Ema Koncilija Ana Skobe Mario upan

atrij kluba Lokalpatriot/atrium of the LokalPatriot club, Glavni trg 11 (vhod skozi Franikanski trg/Entrance thru Franikanski trg)

Odprto/Open: pon/mon sob/sat: 07.00 03.00; ned/sun: 09.00 22.00

zemljevid/map
1 Galerija/Gallery Simulaker 2 Jakev dom 3 Hostel Situla (info toka/info point) 4 atrij knjigarne Goga/Goga bookstore atrium 5 atrij kluba Lokalpatriot/atrium of the LokalPatriot club 6 Bar Pri Slonu/Slon bar
6 1 3 4 5 9 8 2 7

7 Franikanski samostan/Franciscan monastery 8 vrtovi Dolenjskega muzeja/Dolenjski muzej gardens 9 parkiranje/parking

sodelujoi/ participants
Uro Abram (SLO) Jean Christophe (B) Rebecca Harley (UK)
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Ref. No. 13 633 710 Rev. 00

Zavod LokalPatriot je del skupine DN: Drutvo novomekih tudentov, LokalPatriot, Zaloba Goga in Mladinski hotel Situla./Institution LokalPatriot is a part of the DN group: Student Society of Novo mesto, LokalPatriot, Publishing House Goga and Youth Hostel Situla. Umetniki vodja Festivala Fotopub/Fotopub Festival Art Director: Chris de Bode Umetniki svet/Art board: Arne Hodali, Meta Krese, Borut Peterlin Direktor Zavoda LokalPatriot/LokalPatriot Director: Andrej Krtinc Tehnina ekipa/Technical Support: Matja Brulc, Maid Hadihasanovi, Jure Kastelic, Botjan Pucelj Duan Smodej, Jure vent Odnosi z javnostmi/Public Relations: Ura Likar Spletna stran/Website: Matev Mihali Grafino oblikovanje/Graphic Design: Jure uln, Artisan Animacija/Animation: Toma Grdin Urednik kataloga/Catalogue Editor: Matja Brulc Vodja kluba LokalPatriot/Club LokalPatriot Manager: Jernej ulc Info toka/Info Desk (@ Hostel Situla): Mojca imc Prevodi/Translations: Nina Vidrih Lektoriranje/Proofreading: Nina Vidrih, Nina tampohar

Festival Fotopub je del Novomekih poletnih veerov 2011.

Natisnjeno na 100% recikliran papir.

Hahnemhle FineArt GmbH, Hahnestr. 5, D-37586 Dassel, Germany www.hahnemuehle.com/harmanbyhahnemuehle dfa@hahnemuehle.de Distributer za Slovenijo: Luminus d.o.o. Novo mesto T: 07 33.72.540 / info@luminus.si / www.luminus.si

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Distributer za Slovenijo: Luminus d.o.o. Novo mesto T: 07 33.72.540 info@luminus.si www.luminus.si

S PODPORO

Mike Lusmore (UK) Justin Maxon (USA) Ed Ou (CAN) Borut Peterlin (SLO)

PARTNERJI

Botjan Pucelj (SLO) Espen Rasmussen (NOR) Vilma Samulionyte (LTU)

MEDIJSKI POKROVITELJI

OTVORITVENE POGOSTITVE

Ivana Tomanovi (SRB) Henk Wildschut (NL)

Produkcija/Production: Zavod LokalPatriot