CdRF invites Romanian artists working with photography and expanded image based practices to apply for a curated solo exhibition. This open call seeks to identify one outstanding emerging or mid career artist  whose work engages critically, imaginatively, and formally with the conditions of contemporary life in Romania today. Curated by  Marina Paulenka Organised by CdRF ( cdrf.ro ) Deadline for submissions: 15.03.2026 Exhibition period: 01.05.2026 – 28.05.2026 Artistic direction of the open call Rather than prescribing a single topic, this call is guided by a shared artistic orientation. We are looking for a practice that reflects on the present with intellectual depth, visual sensitivity, and ethical responsibility. We understand photography not simply as a tool of documentation, but as a space where power, memory, identity, and reality are negotiated and transformed. We are particularly interested in artists who address urgent contemporary issues in Romania, engaging with social, political, technological, ecological, and cultural transformations that shape everyday existence today. We encourage proposals that grapple with lived realities, structural inequalities, and the complex entanglements between the individual and society, including questions of power, belonging, and visibility . We are looking for work that reflects on histories of transformation, the legacies of post socialism, and the rapidly shifting landscapes of both urban and rural life , as well as the ongoing impact of migration, labour, and economic precarity . For this edition of the open call, we have a special interest in practices that critically examine how contemporary Romanian society is experienced and negotiated, from the reshaping of public and private spaces to the ways in which digital culture, surveillance, environmental change, and identity politics influence personal and collective life. We are open to diverse perspectives, ranging from intimate and personal approaches to more investigative, conceptual, or poetic strategies. We welcome submissions that challenge conventional definitions of photography and may incorporate mixed media, installation, moving image, sound, archival material, or digital formats, valuing experimentation, formal rigor, and thoughtful engagement with the medium. The selected artist will be invited to develop their project in close dialogue with the curator through a series of conversations in March and April . This collaborative process will support the conceptual development of the exhibition, the selection of works, and the overall curatorial framing, positioning the exhibition as both an artistic presentation and a space for reflection on contemporary Romanian society. About the curator Based in Berlin and originally from Croatia, Marina Paulenka  brings over 18 years of experience in artistic direction, curating, education, leadership, management, and cultural development—alongside her own artistic practice. Her work spans contemporary visual, digital, and performing arts, with a specialization in photography and new media. Across these roles and mediums, she consistently pushes boundaries, provokes critical dialogue, and engages with urgent global concerns. Her practice is shaped by intellectual rigor, a commitment to innovation, and a focus on intersectionality, experimentation, and the transformative potential of art. In 2008 she founded the Organ Vita Festival (Zagreb) and managed it until 2019 when she became the artistic director of the UNSEEN photography fair in Amsterdam. In recent years, Marina was the Founding Director of Fotografiska Berlin and established the artistic vision, institutional strategy and public identity of the museum. Drawing on her post-Yugoslav and Balkan heritage, Paulenka’s curatorial approach is rooted in rich cultural histories and complex socio-political realities. She engages deeply with feminism, identity, gender, human rights, and social justice,as well as the politics of the body, digital representation, and the sociocultural impact of cyberspace.  Her perspective is informed by non-Western epistemologies , and she actively centers voices from African, Asian, Latin American, Indigenous, and diasporic communities—foregrounding aesthetics and knowledge shaped by lived histories of resistance,displacement, and care. Working both locally and internationally, she builds bridges between diverse cultural contexts and imagined futures, and is interested in how knowledge is constructed at the intersection of art, science, spirituality, and technology. Who can apply This open call is addressed to: Romanian artists/residents of Romania working with photography or image based practices; Emerging or mid career practitioners; Artists whose work shows conceptual maturity and originality. What we offer A fully curated solo exhibition at CdRF; Curatorial mentorship and dialogue throughout the development process; Complete production and installation support, within the institution’s possibilities; Visibility through CdRF’s communication channels and network. How to apply Please submit the following in a single PDF file (in English): A short artist statement, maximum 500 words; A project proposal outlining the finalised body of work you wish to present, maximum 800 words; Visual documentation of your work, including 10 to 15 images or links to video if relevant; A brief CV including education, exhibitions and relevant projects. Submissions should be uploaded here. Submission deadline: 15.03.2026, 23:59 (EET) Selection process Applications will be reviewed by the curator and the CdRF team. Shortlisted artists may be invited for an online conversation before the final selection is made. The final selection will happen on March 20. We look forward to discovering bold, thoughtful, and visually compelling work that engages with the complexities of contemporary Romanian society and expands the possibilities of photography as a critical artistic practice. For further information, please contact: hello@cdrf.ro

From April 4 until April 5 we're hosting the FotoMarket. The 10th edition! Not that it's a round number, but the thought excites us. We are consistent with the format that seems to deliver better and better experiences for everyone - participants and visitors. Therefore, we invite artists, individually or collectively, to sell their photos in any format. The important thing is that photography is the main intention. We want to see what you will bring: what images, in what formats, on what support, and at what prices. You can register until March 16 by email at hello@cdrf.ro . Images must be attached or with a download link. Insta links, portfolios or presentation sites do not help us. If we don't already know each other, please send us a presentation of yourself. Very important: we do not take commission from sales or participation fees. No entrance fee for visitors either. From previous editions:

The most recent exhibition by Bogdan Gîrbovan, curated by Diana Marincu, can be seen until July 10 at CdRF Galeria/ Popa Tatu 68. On June 9 and 13, starting at 6 PM, there will also be two guided tours with the artist. Bogdan Gîrbovan (b. 1981) is an artist who constantly seeks “images that don’t exist” in his photographs—those visual presences we overlook, we pass by without noticing, not because we don’t see them, but because we don’t know how to look at them. Often, we lack the tools to access perspectives that are sometimes uncomfortable, sometimes monotonous, requiring patience and time—sometimes inquisitive to the point of irritation, other times full of irony and flavor—through which the artist approaches his subjects. If in past photography series, Bogdan Gîrbovan explored social hierarchies and power relations or differences in social status within communities, this time we see a search placed in the increasingly well-defined trajectory of marginal roads and forgotten zones, a direction he had begun in the project Two Months Nowhere . There, the impulse of self-isolation from the visual noise of a large metropolis manifested fully, aiming to reset the artistic language of photography by disconnecting it from everyday aesthetic oversaturation. Time slowed down, the eye cleared, and identity lines clarified. In continuity with that approach, we can also "read" the current project, perhaps his boldest yet, Place / Living / Home , a series of new photographs—of which we see a representative selection here—acting as a synthesis of these three essential concepts. The photographs result from an almost performative act by the artist, who wanted to observe with his own eyes—and the eye of the camera—what “man’s best friend” sees from inside its kennel. What is the image seen through the opening of this shelter, and what does it mean to substitute the dog’s body with the artist’s? The three photographs monumentalize the original shelter, into which the artist squeezed himself, almost restoring the dignity and scale it deserves. Each “window” cutout of the dog’s shelter symbolizes a stage in human architectural development: from the circle as a solar rosette symbol, suggesting a necessary spiritual development, to the arch supporting the edges of a cross vault, and finally the “little house” symbol, drawn by every child asked to represent “home.” Perspective, horizon, expectation—all are notions we can either heighten or cancel through the image. It’s up to us. You have to think of an image that doesn’t exist. Interview with Bogdan Gîrbovan by Diana Marincu, on the occasion of the Place / Living / Home exhibition. --- Diana Marincu : Dear Bogdan, let’s take a look together at what you’re doing lately: this theme of “dwelling” runs through your entire body of work, but recently it has taken on a new dimension and a shift in perspective. Why did you crawl into a dog kennel, Bogdan? Bogdan Gîrbovan : As you already know, I didn’t just crawl into the dog kennel. I went into the pigsty, the duck coop, I climbed into the hen’s nest, I even rented a crane to look into a stork’s nest (though those are already man-made structures, built to help the birds not get lost in space and time). Then I stuck my hand into birds’ nests to see if I could somehow make another hole through which to look at what the bird sees from the riverbank. All this led to me finding a dog kennel with a hole in the back, a missing plank, and I thought, “Let’s look through that little gap.” So it was something born out of coincidence, a kind of research as an exercise in seeking through a mistake. When I bent down to see what the dog sees and looked through that ship porthole-like hole, the first photo came out—the one with the bones. I was fascinated by how the interior tells you something about the dog’s size or strength. And from all these multiple searches—which took me even to the cemetery, where I photographed pigeon nests that had found refuge there—this project was born. After taking that first photo from the kennel, I thought it was so powerful to get that close to man’s best friend in this way. And then I kept searching for kennels, though it was really difficult. I managed to photograph 12 kennels over 2 years. D.M.: You can definitely tell they’re carefully chosen and each one is different. Even though you were already interested in dwelling, this time there’s an added layer. It’s also about shelter, with a slightly different nuance—when we think about the refuge, the place you hide. B.G.: Yes, exactly. You’re hidden, sheltered, in a place to recharge, you’re protected. There’s also the connotation of a “fortress”; it’s a safe space, it’s also about belonging. And of course, that’s your place and no one else’s—except for a stray photographer, occasionally. (laughs) Every being has its own place, whether it’s a fish entering an old shell or a dog curling up in a kennel. From my point of view, I managed to synthesize this area: place / living / home . “Place” leads you to the physical construction side, “living” suggests shelter, and “home” seems to already be something aesthetic, comfortable. D.M.: Compared to your other series where you looked at living or housing, here you’re no longer just an observer. You’re an actor. You place a double lens: what the dog sees on one hand, and what the camera lens sees on the other. It feels to me like at that moment, you practically replace the dog’s body—you identify with its perspective. B.G.: Yes, because I’ve always felt like a loyal dog. I realized that everyone around me is playing a role, and mine is to be faithful to the very end, just like a dog that never snaps. D.M.: This identification of yours with the subject intrigues me, because you’re no longer that observer-photographer—you’re almost a performer. I imagine the working process, where you get inside the dog kennel, and it already becomes a much broader project than what we strictly see in the photo. It’s something you activated physically, with your body—something latent. B.G.: Yes, with the owners’ permission, I basically rented the dog’s house for a second. Just for a second, I lived there and enjoyed the dog’s home. I didn’t criticize it because, being a dog, I liked them all. (smiles) But I don’t have any making-of photos, because doing this whole searching route alone—with drills and gear on my back—I focused entirely on that one photo, and I couldn’t film myself. It was really hard to explain to the owners what I was doing—that I needed to remove the back of the kennel—and to convince them of my approach. I remember with the 10/1 project, too—there’s always this intense emotion when you enter a new home, when you take your shoes off and feel a little humble. Then you start to notice the smells. Then you observe the light, then the landscape visible through the window—or the dog’s porthole—and you’re so overwhelmed that every other concern disappears. And that’s when I feel best. D.M.: Well, it's better that there's no making-of, we imagine the whole process ourselves. You don't always need to see everything. I know there's this incredible thirst to see it all, but not everything has to be translated into images—that’s where the artistic act comes in. Each of your projects has something emblematic, iconic. That’s a unique quality of the image, one that’s been increasingly lost due to its democratization. Very few people still seek this symbolic quality of the image. And its potential to become somehow universal. B.G.: I know, I kept telling everyone: “Guys, you need to think of an image that doesn’t exist.” I know that sounds impossible. When I was explaining an unrealized project to a curator, she said: “I don’t believe it, that image doesn’t exist!” Exactly, it doesn’t—**I** create it; from today on, it exists. D.M.: That’s exactly what I think is truly a conquest of photographic art—not the capture of existing views, but the capture of images that don’t exist. B.G.: Exactly, yes, yes. A friend told me: “Bogdan, I swear, it’s really simple—you got into a doghouse, you took a picture, but a new line appeared in my brain. I never thought about anything like that in my life.” It’s like telling someone: “Look, you have a nose. You don’t see it because it’s so close to your eyes, but it’s there, and it’s beautiful, and it smells, and it does a lot of work.” That’s kind of how this guy felt when he saw the doghouses. So yes, I want images that don’t exist. D.M.: But what did you learn beyond the image you created? What did you find out about the relationship with space, with architecture, about the size of a person in relation to all these things—about what it’s like to think small, not just big? Because this obsession with scale haunts us all—we all want to think big. What’s it like to think and place yourself in a space that actually makes you small? B.G.: The feeling is overwhelming. Every time I entered a doghouse, I’d sit with the owner next to me—the person who built it—and it was very strange because everyone around us, neighbors, friends, would gather and laugh, while I was focusing on constructing the “smallness” I needed to get inside. And they’d laugh about how stupid the artists from Bucharest are. I came across a doghouse in Transylvania that was big and spacious—the owner told me he respects animals a lot, and even if the dog isn’t that big, the house is. Then I went somewhere in the Predeal–Brașov area where the owner had made a kind of enclosure, large and imposing. Of course, the architectures differ—people in the south don’t really care, they just nail together some old windows, with the mindset that “this’ll do,” while the others buy materials and use screws. The ones from the first category are very hard to repair after we take them apart. Everything from farther north was of higher quality—OSB boards, you could tell people had bought decent materials to build the doghouse. You know how I felt inside? Like in high school when I did speleology. I felt a bit scared because the first sensation is claustrophobia, and the strongest impression is the smell; then you start thinking about what you see—you’re happy if it’s something nice, and you get sad if it’s just a fence. When you enter the doghouse, it’s like trying on a medieval bracelet very carefully so you don’t break it. Now I’m making the prints in such a way that there’s space, so you’re not stressed, you can look calmly and know that you can be there anytime. D.M.: It’s a redimensioning that allows you to breathe more freely, right? B.G.: Yes, I overemphasized them. D.M.: But speaking of what you see—you were saying that in some cases you enjoyed what you saw through the kennel opening, taking the dog’s perspective, while at other times you were disappointed. Tell me, how much does what we see out the window every day matter? B.G.: It definitely matters. I don’t know to what extent it matters for dogs; the dog is a free animal, it’s outside all day and retreats at night. But even so, it seems grotesque to place the kennel against a wall or facing a fence—it feels a bit inhuman to me. Some are lucky, some are not. D.M.: And for us, humans, how much does this matter? It’s said that everything we see from an early age builds our entire visual universe. B.G.: I think it’s a complex cognitive issue, but since the brain is still insufficiently studied, everything is open to interpretation. Here, buildings and houses are constructed according to roads, and never has it been a priority what a person sees out the window. Only now are we starting to ask: but what do you see out your window? Do you enjoy what’s happening beyond your window? We feel lucky even if we see an industrial landscape—I mean, you tell your friends, look, a Berlin-style view—we enjoy the smokestacks still standing like mammoths that you can see from your window on the 10th floor in Dristor (editor’s note: a neighborhood in Bucharest). D.M.: The outside represents the world. B.G.: I asked dog owners why they placed the kennels like that: “Well, damn, I just put it like that.” I’m interested in majorities, not in the minority that sleeps with their dog in bed in the city—that’s why I traveled to small towns and villages. D.M.: Let’s go back to the photos on display. Why did you turn the photograph into an object for exhibition? These oversized, monumental objects that also emit light—you turned them into lightboxes. Why? B.G.: Because the first impression, when you enter such a small and claustrophobic space like a dog’s kennel, is the overwhelming sensation of light coming at you from the front—almost irritating, because it’s also very hard to photograph that setting. I had to shoot contre-jour, use technical tricks to balance the interior and exterior, and that’s why I want the light to come toward the viewer, to overwhelm them just like I felt inside that tiny kennel. I turned them into large and luxurious objects because, if I’ve been a faithful dog, I deserve a good bone to chew on. (laughs) D.M.: So it’s basically a translation of the working experience. B.G.: I gathered and accumulated all the energies and feelings I had and tried to create an object that’s close to the state I was in. I made them luminous because the light constantly blinded me and it was very hard to photograph them—and the result was such a pleasing image. D.M.: There’s a nice contrast between the povera-style aesthetic of the kennel and the elegance of the object. B.G.: Some people told me I should have made them out of broken wood, to match the image, but I wanted contrast. If I were photographing a gold jewel and wanted to highlight it, I’d put it in an old wooden box and make a poor lightbox. But when I see a poor dog kennel, I want to keep it like an icon, in a precious frame. D.M.: The kennel becomes a cathedral. B.G.: Exactly—it has to overwhelm you. D.M.: I told you—it’s like a synthesis of humanity’s architectural achievements over time, especially with the symbolic shapes cut into the little house. B.G.: Yes, you opened my mind with the circle, the oval, and the little house—they’re gorgeous like that. D.M.: There you can also see this conquest of space by humans, who have always wanted to build and innovate. But we’re returning to simple formulas that have been around for centuries—to the symbols of dwelling and something timeless. We’re returning to basic forms. B.G.: Yes, survival is minimal. You know, I look a lot at Japanese culture, and I read bits here and there, and everything boils down to very simple things: gardening, food, and fresh air. I transformed myself based on each dog’s little house. D.M.: How does the project continue? B.G.: Now I’m going to look more at birds, but I want to take a short break from Place / Dwelling / Home. Next, I want to focus on what is truly invisible—on underground waters. This is a new project about desertification in the south, about water scarcity. I’ll go in July, when nothing moves. Photography loves things that don’t move. D.M.: I also like an image that teaches you how to breathe. It doesn’t hound you. B.G.: I’m still looking for something I noticed last summer: that in July, shadows are under the objects—you don’t see any shadow. I’m going into wells searching for the shadow beneath the earth—that’s what I’ll do this summer. --- Bogdan Gîrbovan  (b. 1981, Drobeta-Turnu Severin) graduated from the Bucharest University of Arts with the photo series 10/1 , which became his most well-known work—ten interior landscapes capturing the distinct characteristics of the same built space, at different floors—a series that still has viral resonance online. His photography explores imagery that escapes the aesthetic oversaturation of contemporary visuals, analyzes categories through personal narratives, and investigates the transitional relationship between nature and humans. His projects, including Uniforms and Garments , RAPI , 5\@14 , and Two Months Nowhere , have been exhibited in Bucharest, Lodz, Timișoara, Krakow, Paris, Madrid, Zurich, Prague, Venice, Istanbul, and Chicago. His photographs have been published in Punctum , NYArts Magazine , Fotografija , IDEA , Post Photography , and National Geographic . He is the author of two artist books: RAPI (2017), in collaboration with Michele Bressan, and Categories (published in collaboration with Galeria Posibilă in 2019). Diana Marincu  is a curator and art critic, currently artistic director of the Art Encounters Foundation in Timișoara, and a board member of IKT since 2025. Between 2012–2018, she collaborated with Plan B Foundation in Cluj and with Fabrica de Pensule. Between 2015 and 2017, she co-curated, alongside Anca Verona Mihuleț, the six-part curatorial project The White Dot and the Black Cube , held at the National Museum of Contemporary Art in Bucharest. In 2017, together with Ami Barak, she curated the second edition of the Art Encounters Biennial, titled Life – A User’s Manual . For the Romania–France Season in 2018–2019, she curated two exhibitions in France, accompanied by catalogues, at MUCEM in Marseille and FRAC des Pays de la Loire. Through her work with the Art Encounters Foundation, Diana Marincu aims to explore links between neighboring artistic scenes in the region, build artistic connections based on cooperation/co-production, and support young generations of artists. Photo * Sorin Florea Strategic partners:  Mobius Gallery & Art Encounters Foundation.

Detalii Curs intro fotografie China și Japonia Detalii Open Call for a Solo Exhibition at CdRF, Bucharest Details Open call for FotoMarket April 2026 Details Atelier fotografie de stradă Detalii Curs proiect foto Detalii Detalii NEWS Open Call for a Solo Exhibition at CdRF, Bucharest CdRF invites Romanian artists working with photography and expanded image based practices to apply for a curated solo exhibition. This open call seeks to identify one outstanding emerging or mid career artist whose work engages critically, imaginatively, and formally with the conditions of contemporary life in Romania today. Open call for FotoMarket April 2026 From April 4 until April 5 we're hosting the FotoMarket. The 10th edition! Not that it's a round number, but the thought excites us. We are consistent with the format that seems to deliver better and better experiences for everyone - participants and visitors. Therefore, we invite artists, individually or collectively, to sell their photos in any format. The important thing is that photography is the main intention. We want to see what you will bring: what images, in what for Place / Living / Home The most recent exhibition by Bogdan Gîrbovan, curated by Diana Marincu, can be seen until July 10 at CdRF Galeria/ Popa Tatu 68. On June... 1 2 3 4 5

co-fondator și management educațional Andreea Leu La bază psiholog cu studii și în pedagogie, cu o experiență de 15 de ani în consultanță în fonduri nerambursabile și interesată de legătura dintre imagine și memorie, Andreea a creat CdRF pentru a sprijini dezvoltarea parcursului profesional și artistic al fotografilor din România. Read More director galeria CdRF și coordonator artistic Sorin Florea Este curator, artist vizual și are experiență în management cultural. Spune despre sine că "este un creator de povești care trebuie spuse" iar proiectele sale artistice au înclinare în zona de explorare culturală și antropologică. A expus la MARe, MNȚRplusC și la SR Gallery (Bruxelles). Read More comunicare și design grafic Diana Băicioiu Pasionată de Tyler the Creator, graphic design și artă, Diana crează identitatea vizuală CdRF, sprijină organizarea evenimentelor CdRF și gestionează biblioteca CdRF. Read More coordonator arhive și DAM Alex Molovata După o carieră îndelungată în fotojurnalism și editor foto, în ultimii ani s-a specializat pe organizarea arhivelor de fotografie și utilizarea tehnologiilor DAM. Alex gestionează și arhivează tot conținutul vizual creat de CdRF și implementează soluțiile de digital asset management. Read More lector tehnică și proiecte Andrei Păcuraru Este fotograf de la 16 ani și lector de fotografie de pe la 20. În cariera sa, Andrei a jonglat cu succes între multiple tipuri de fotografie comercială și de ceva timp, a ales să se concentreze pe artistic. Este foarte interesat de explorarea tehnicii fotografice ca mijloc de exprimare artistică. Read More lector istoria fotografiei Cristina Irian Este research-based artist, cercetătoare și curatoare, activă în domeniul colecțiilor, arhivelor fotografice și proiectelor multimedia, cu un doctorat în arte vizuale. Practica sa artistică pune accent pe obiecte ale memoriei și integrează materiale fotografice în lucrări de artă contemporană, cu care a participat îm peste 50 de expoziții Read More lector fotografie de studio Ionuț Staicu Este un fotograf cu experiență de peste 20 de ani în publicitate, modă, și fotografie de produs. Cariera sa a început în liceu, iar pasiunea s-a transformat într-o estetică rafinată ce îmbină naturalul cu poezia luminii. În ultimii ani, Ionuț s-a concentrat pe fotografia de food, corporate și still life. Read More lector stil personal Natan Dvir Este profesor, artist și fotograf editorial. În prezent, Natan este directorul educațional al Centrului pentru Fotografie din Houston (HCP), iar în trecut a fost director asociat la Centrul Internațional de Fotografie (ICP). Lucrările sale personale se concentrează pe aspectele umane ale problemelor culturale, sociale și politice. Read More lector fotografie de stradă și portofoliu Toma Hurduc A studiat imagine la UNATC. Toma lucrează des cu tehnici analog și diverse forme de print și prezentare. Prin fotografia sa chestionează percepția umană asupra realității, a fricii, a anxietății, a efemeralității și construcția memoriei. A avut expoziții solo și colective atât în țară cât și în străinătate. Read More co-fondator și management financiar Ion Borșan Ion are o amplă experiență în management și în PR, este pasionat de istorie, gastronomie și cultură. În fotografie, a pornit de la organizarea unor ateliere prin care arăta istoriile Bucureștiului și a ajuns la crearea și dezvoltarea Centrului de Resurse în Fotografie. Read More coordonator comunicare și spațiu CdRF Alexandru Borșan De peste 20 de ani se ocupă cu strategii de comunicare, dezvoltare de branduri și PR. Pasionat de ski și de artă, Alex este cel care organizează evenimentele CdRF, care pune în aplicare planul de comunicare CdRF și cel care îți poate povesti ore despre noile cafele de la cafeneaua CdRF. Read More asistent educațional și artistic Daria Radu Proaspăt întoarsă în țară de la studii în fotografie și cu o aplecare spre curatoriat dar și spre jurnalism cultural, Daria este cea mai nouă membră a echipei, fiind implicată în tot ceea ce înseamnă CdRF. Read More IT și administrativ Ștefan Trăsnea Make this yours. Click here to edit the text and include any relevant information. Read More lector narațiune în fotografie Cornel Lazia Este doctor în cinematografie și media, lector la UNATC, est artist expus național și internațional, fotograf cu experiență pe zona comercială de peste 20 ani – modă, reclame, coperți albume de muzică, corporate etc. Read More lector fotografie documentară Ioana Moldovan Este fotojurnalistă independentă, fotografă documentaristă, scriitoare și autoare publicată. Lucrările sale au fost în The New York Times, BBC, The Guardian, Bloomberg, printre altele. Fotografiile Ioanei au câștigat premii, au ilustrat cărți, au fost prezentate în numeroase expoziții naționale și internaționale. Read More lector fotografie analog și developare Matei Dumitru A creat °isopatrusute, laboratorul dedicat fotografiei pe film. Cu un fond în cinematografie, pe Matei îl preocupă să creeze o punte între creativ și practic; prin laboratorul și cunoștințele sale el oferă fotografilor mijloace tehnice și susținere în a-și aduce proiectele la realitate. Read More lector teoria fotografiei și storytelling Panos Kasimis Este un fotograf independent cu patru decenii de experiență. Lucrează la proiecte personale care se transformă în cărți și expoziții, dar și pentru reviste, instituții și publicații independente. Opera sa explorează comportamentul social și fizicalitatea contactului uman cu mediul urban/natural. Read More lector fotografie de stradă Greg Mo Este un fotograf specializat în fotografia de stradă și practici conceptuale. Stabilit în Cambodgia, munca sa explorează viața cotidiană, spațiile sociale și narațiunile urbane într-o manieră surreală. Seria sa „Tonle Soap” a fost expusă la Les Rencontres d’Arles (2023) și la Angkor Photo Festival (2025). Read More Echipa CdRF Echipa educațională Artiști Galeria CdRF PAC Ruuca Mărgescu Toma Hurduc Barista/ Events Raluca Dobre Angelica Maria Parteneri și colaboratori Rezo Agency/ Wiktoria Michałkiewicz Robert Capa Contemporary Photography Center Landskrona Foto Growing Pains Nitja Centre for Contemporary Art °isopatrusute Kodex Studio 82 Reptilianul CdRF's mission is the internationalization of Romanian photography; long-tem, we want Romanian photographers and their photographs to have a greater presence, higher value and better visibility in international markets. We strongly believe that this can be achieved through education, direct support for photographers, collaboration and audience development. We are here to develop the necessary framework for photography and you, our students, clients, participants and friends, to fill this framework with your vision. After reading about us, we invite you to meet us at Popa Tatu 68. Sorin Florea Sorin Florea is a photographer and artist with a focus on geographical, cultural and anthropological exploration; he describes himself as a “creator of stories that need to be told”. His works, although they are approached through photography, are not limited to photography but often use video and sound. He has exhibited video and photo works at MARe, MNTRplusC in Bucharest and SR Gallery in Brussels. At CdRF you will see Sorin coordinating our gallery. moldovan Ioana Moldovan She photographs both from behind the front line and inside a small rural community; she is a journalist, documentary photographer and author of reports, albums and articles. If you ask her what photojournalism is she'll tell you it's all about storytelling, feelingas and empathy and about drawing attention to an issue over and over again. Her reports have been published by The New York Times, ESPN, Al Jazeera English, Huffington Post, BBC, Der Spiegel, Open Society Foundation, Libération, Deutsche Welle, LensCulture, Radio France Internationale, Slate.fr, Decât O Revistă and Dilema. She received awards such as The Bill Eppridge Memorial Award for excellence and truth in photojournalism or "Women of courage" (US Embassy, Bucharest) for outstanding activity in highlighting the truth through photojournalism. Ioana has joined the creation of CdRF since its beginnings, collaborating with the rest of the team to lay the foundations of the educational component of the center. You will meet Ioana as a lecturer at courses and workshops or at CdRF events. We also invite you to see the shop section where you can buy a limited edition print of hers. lazia-cornel Cornel Lazia He photographs people, spaces, suspended cities, studies the interaction and influences between cinematography and photography, and teaches at UNATC; he successfully balances commercial photography with artistic, personal photography. He started as a DOP for visual projects and from 1998 until now has continued as a professional photographer. His love for music led him into album photography - you've probably seen his photos if you owned any of the albums "După Blocuri" (BUG Mafia), "În haine noi" (Vank) or, more recently, "Echilibru" (Om la lună). You've also seen his photos in Elle, Cosmopolitan or Harper's Bazaar; you've probably seen them in the advertisements in the city. At the same time, Cornel was and is interested in borders and their visual dialogue, among his latest exhibitions are "Horizon Tales" (Art Yourself Gallery, 2019), "Intersections in the Creative District" (Cartierul Creativ, 2019) together with Horațiu Șovăială, "Monolith, an Expression of Viewing" (Creart Gallery, 2019) or "Contact" (Art Yourself Gallery 2018). Cornel has been with us since the Walk & Shoot days and has sincerely supported the establishment of CdRF. You will meet him as a lecturer at courses and workshops and if you want a "Lazia" at home, we invite you to browse to the shop section. Andrei Păcuraru He photographs points, lines, shapes and geometries; he has a special inclination for photographic technique and composition. He has been a photographer for over 15 years, a lecturer and a member of the National Association for Contemporary Visual Arts. Self-taught, he formed his style through commercial photography, photojournalism and conceptual photography. His works have been exhibited both in Romania and abroad. He is currently the custodian of the PAC Collection, a personal archive started in 2006 that contains over 10,000 unpublished photographs. He does not necessarily like to present his photographs online, so his images can be seen illustrating books, on their covers or in exhibitions. Last but not least, Andrei thinks in series and projects; he always finds the common thread, he is honest and extremely captivating. An expert in photographic technique, he explains the process of photography like no one else. Andrei was part of the core team in the construction of the center and you can meet him at courses and workshops as a lecturer but also at CdRF events. PAC Bulboaca Adrian Bulboacă He photographs artists, shows, trains, train stations and moments that evoke emotions; he is one of the most famous theater photographers in Romania. You see a Bulboacă almost every time you look at posters with theater shows. He started by photographing his fellow actors of his generation and continued until he exceeded a thousand theater, dance and performance shows photographed. For many years he has been the official photographer of several theater festivals, the TIFF festival or cultural events in Romania. Lately he has discovered his passion for running and when he is not photographing, he prepares for or participates in marathons. Adi is the kind of photographer for whom no sacrifice is too great, in the sense that, if he is in a new place, he gives up activities such as socializing or sleeping to explore with his camera in hand. He believes his role is to give back to the community and truly sees the importance of the role of the teacher, the guide, the mentor. Adi has enthusiastically joined the center and you will be able to meet him at CdRF at classes and workshops, but also at our events. We also invite you to see his photos and get a limited edition print . Ionut Staicu He photographs fashion, beauty, artists and, more recently, products; he is passionate about analog photography and a studio expert. Ionuț started in 1999 as a fashion photographer, over time collaborating with all the profile Romanian magazines and modeling agencies. In addition to fashion pictorials, he is passionate about the performance sector and has photographed entire series of artists, especially from theater and dance; he was Adi Bulboacă's mentor, still sharing the same studio. He feels at ease when he has the camera in his hand, knows how important teamwork is and is very generous with information when teaching. In recent years, he has moved to product photography and creates visual stories for clients. He likes the border between photo and video, often using elements of movement in photography. Ionuț completed the core team of the center, structuring practice sessions in the studio and preparing the room for developing analog photographs. You will meet him during the center's courses or workshops, but also at CdRF events. ionut-staicu Cristina Irian She takes photographs, but more than that, she researches and analyzes photographs; she is passionate about archival and anthropological photography, being constantly involved in interdisciplinary projects. She received her doctorate at UNARTE, in History and Theory of Art. She studied visual anthropology in Bucharest, SNSPA and Perugia, at the Universita’ degli Studi UniPg, as well as comparative local development at the Universita’ degli Studi di Trento. She founded the Omnia Photo association with Cristian Bassa and Dorin Delureanu with the aim of promoting contemporary and historical photography and developing the photography audience. Cristina always has at least one old photograph with her that she can talk about with enthusiasm for hours; she is the one who can give you a lot of details about an unknown family just by looking at a photo taken at the beginning of the last century. She successfully moves through multiple roles – from researcher, to artist or teacher. She joined us to continue promoting archival photography, to continue sharing her knowledge of photography with the public, and to support our efforts to internationalize Romanian photography. You will meet Cristina as a lecturer at the center's courses or workshops and at CdRF events. irian Alex Molovata He manages teams of photographers, organizes photography archives, curates exhibitions and photo albums, teaches photography since 1997 and is a photographer; moreover, he is a passionate and experienced photo editor. For Alex, photography is present in every minute of his life and photographs are his community. He started as a photojournalist at Jurnalul Național and developed there until 2007 as manager of the digital team. He continued as a digital manager at Intact and in recent years specialized in the organization of photo archives and the use of DAM/MAM technologies. In CdRF, he will coordinate all the visual content, manage everything that means photography and promote the center's products. You will meet Alex at the center and if you need expertise in organizing workflow and archives, take a look at center services to benefit from his advice and help. Andreea Irina Leu CEO and co-founder She has been photographing since she was 11 but she is not a photographer; she is just hopelessly in love with photography. For her, photography means memories and history, it means moments captured forever. The day job, for the last 20 years is a very technical one that combines consulting on non-reimbursable funds with research and management. She also likes to create stories (through writing or photos, doesn't matter). CdRF is a natural continuation of the Walk&Shoot photography workshops, which encompases all her professional experience accumulated over time . You can meet Andreea at the center, at CdRF events or as a stylist at makeup and hairstyle workshops (she has also done this for the past 20 years). CONTRIBUTORS tamas-crisbasan Cristian Crisbășan https://www.facebook.com/cristian.crisbasan Cristian Crisbășan is not the photographer who looks for "beautiful things". Often looking to step out of his comfort zone, his portraits and nudes are honest and provocative. "The New Erotic Photography" and "The Big Book of Pussy" (published by TASCHEN) are just two art albums in which his photographs have been published. We invite you to take one limited edition print signed by him. Hajdu Tamás https://hajdutamas.blogspot.com Hajdu Tamás is a veterinarian and photographer in Baia Mare, Romania. His photography is ironic and playful, but at the same time dramatic. Over time he had several exhibitions, won a series of photo contests and his photos were included in Romanian and international photo magazines. In the past we did a photo workshop together and we will repeat the experience as soon as possible. Until then we invite you to view his photos and choose one limited edition print signed by him. Kodex http://kodex.ro We consider them the best for printing and photo framing. All prints in our store are made at them, all prints for CdRF exhibitions are made at them. We recommend them with confidence. Opera Studio http://operastudio.ro Among the most luminous and welcoming photography studios we've entered. It is shared by Adrian Bulboacă and Ionuț Staicu, and it is neighbouring with unteatru (one of the main independent theaters in Romania). At Opera Studio we will host some of our meetings and the practical parts of courses or workshops that require a well-equipped, equipped and spacious studio.

Services We live in fast-paced times, and our lives are excessively documented visually, online and in social media. The digital world is growing, and the amount of photographic material produced is increasing. How do we proceed with the photographic material already produced? How do we keep it, how do we easily search for a certain photo taken in the past? Moreover, how do we manage and protect the archives stored over the years on analog media? Whether it's archiving and storing your photos, or needing creative input in compiling or evaluating your image portfolio, the CdRF team will advise you. Choose one of the services below or write to us directly if the aspect you want to clarify with us is not listed yet. As soon as our space (link to the Space page) will be set up, you will find our other services here - appointments for access to our small photo studio or to the library with well-chosen titles, from legendary photo albums to international editorial news. Leave us your email address, we'll give you a sign when we're ready! Nothing to book right now. Check back soon.