VID Financial Grant Prize 2021
Selected by VID Grant 2021 Jury Members:
Alessia Glaviano, Brand Visual Director, Vogue Italia
Anne Ruygt, FOMU Photography Museum, Antwerp, Belgium
Justyna Mielnikiewicz, MAPS Images, Independent documentary photographer, Georgia
Marko Drobnjakovic, Freelance Documentary Photographer, Serbia
Mohamed Somji, Director, Gulf Photo Plus, Dubai, UAE
Noelle Flores Théard, Senior Digital Photo Editor, The New Yorker, USA
Olivier Laurent, International Photo Editor, The Washington Post, USA
Sumeja Tulic, Writer and Photographer, Bosnia & Herzegovina/USA
Provided by VID Foundation for Photography
For more info click here
Dům umění, Ústí nad Labem CZ
January 28 – February 27, 2021
Curated by Adéla Machová
*The exhibition is the outcome of the student grant project Balkan Trail UJEP-SGS-2019-46-003-2 supported by the Grant Board of UJEP.
Najlon flea market
Text and photographs of one of the biggest flea markets in Serbia, in collaboration with Miljan Vuletić for BeforeAfter portal.
See more here.
3×3 portfolio review
Fotograf Festival Praha
October 13 2020, 14 CET
Due to Covid-19 held via Zoom
April 29 – May 27 2020
Due to Covid-19 pandemic held virtually at Armaturka Gallery, Ústí nad Labem CZ
Curated by Anna Vartecká, Jaroslav Polanecký
February 7 – 13 2020
Cultural station Svilara, Novi Sad SRB
Artists: Bojan Mrđenović, Kristin Trüb, Patrick Galbats, Miljan Vuletić, Antal Bánhegyesy
Curated by Marija Mandić
*The exhibition is the outcome of the student grant project UJEP-SGS-2019-46-003-2 supported by the Grant Board of UJEP.
May 31 – June 2 2019
Šaloun Villa, Prague CZ
Curated by Borut Vogelnik (IRWIN)
Artists: Margaux Chalazonitis, Clare Aimée, Miljan Vuletić, Urška Jenčič, Seon Hyun, Li Junyang, Marija Mandić
Appropriation was this year’s spring semester central theme at the “Šaloun Studio of the visiting artist” program.
Appropriating can be defined as borrowing images, thoughts, feelings, and even entire texts from other authors. “Nothing is more acceptable than to use the creations that are available for everybody. To copy them is not a crime; on the contrary, as Kvintilijan says, it is necessary to draw abundance and richness of expression exactly from them. We should not doubt that a big part of art consists of skillfully hidden imitations.”
Aren’t these premodern understanding still a part of contemporary art production? It is impossible to overlook the fact that they are inscribed in the very core of what the Academy as an institution stands for. Don’t we at least appreciate, and are often even proud of, the long tradition that connects our activities with the work of the constructivists, the renaissance masters, all the way back to Greek art and those even further in time? It is in fact the base that any institution is built upon.
It seems that both terms, appropriation and originality, do not exclude each other, but rather that one makes it possible for the other to come into being.
– Borut Vogelnik (IRWIN)