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 Deadline extended: submissions until 24.03.2026 and announcing the winner on 30.03.2026 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.

Details Details Details Details Details Details 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

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About the project The "Photography Resource Center" project started from the desire to support the development and professionalization of the photographic community in Romania, at the moment there is a lack of community management and representation structures. Perhaps the biggest challenge of a freelance photographer is the fact that he has to be an artist, manager, salesman, PR and sometimes an accountant at the same time. In the case of amateur photographers, the challenge lies in the lack of finality of the artistic act and in the difficult process of entering the market. The public of events dedicated strictly to photography is a niche and relatively small one. Thus, the project proposes the creation of a photography resource center, which, in addition to a dedicated space, will offer educational programs, professional development programs, artistic events and products, and support services for professional photographers; the beneficiaries of the project will be the center's team, 2 visual artists, 158 professional and amateur photographers, 1215 event participants, 3 talented young people and 3 photographers from Norway. The role of the photography resource center is to connect photographers with each other, and photographers with other professionals in other fields. It also wants to be a nursery where amateur photographers can develop, to be able to take the step towards professionalization. Last but not least, the general objective is to become the most important photo resource center in Romania by developing a management structure for the community of photographers in Bucharest and in the country. The specific objectives aim at: The development of a photo resource center in Bucharest which, by the end of the project, will offer a comprehensive range of resources and services for Romanian photographers, thus contributing to the professionalization and artistic development of the community and Increasing the access of at least 158 photographers to professional development programs and at least 1215 people to artistic events by the end of the project, helping to increase access and diversify cultural products. The project activities include the development of the center in the first year of implementation (mentoring for the team, organizing the space and the program) and the organization in the second year of a series of programs and events including workshops, courses, masterclasses, exhibitions, etc. The center will provide the following resources: --Physical resources – library equipped with books and photo albums, computers with specific software for photo processing, workspaces and at least one fully equipped photo studio; --Resources to facilitate skills development – authorized courses, photography workshops, masterclasses and portfolio assessments, discussions and information transfer opportunities for professional and amateur photographers; --Resources for promoting photographers – exhibitions, author photography sales events and creative residencies. The partner from Norway - Morten Bruun - will be actively involved in the construction of the center and the services offered, providing lecturers and mentors from Norway, communicating the project in Norway and supporting the development of the center. The results of the project are 3 jobs, 1215 participants in cultural activities, 1 SME supported, 7 professionals with skills/expertise developed at the workplace, 22 contemporary art activities supported and the strengthening of bilateral collaboration. The Photography Resource Center project is financed by the EEA Grants 2014 - 2021 within the RO-CULTURE Program. ..... The EEA Grants represent the contribution of Iceland, Liechtenstein and Norway towards a green, competitive and inclusive Europe. There are two overall objectives: reduction of economic and social disparities in Europe, and to strengthen bilateral relations between the donor countries and 15 EU countries in Central and Southern Europe and the Baltics. The three donor countries cooperate closely with the EU through the Agreement on the European Economic Area (EEA). The donors have provided €3.3 billion through consecutive grant schemes between 1994 and 2014. For the period 2014-2021, the EEA Grants amount to €1.55 billion. More details are available on: www.eeagrants.org and www.eeagrants.ro . RO-CULTURE is implemented in Romania by the Ministry of Culture through the Project Management Unit. The Programme aims at strengthening social and economic development through cultural cooperation, cultural entrepreneurship and cultural heritage management. The total budget amounts to almost 34 million EUR. For more details access: www.ro-cultura.ro

Acest workshop se desfășoară sub forma unor sesiuni individuale de câte o oră, concepute pentru a te ajuta să clarifici ce vrei cu adevărat să exprimi prin fotografiile tale. Claudio a creat o experiență practică și interactivă, în care imaginile sunt manipulate fizic, mutate, comparate și ordonate, pentru a construi o narațiune vizuală coerentă. Bazată pe ascultare atentă și dialog, fiecare sesiune îți oferă spațiul necesar pentru a lucra concret la procesul de editare. Vei explora cum secvențierea, ritmul, pauzele și titlurile influențează felul în care imaginile tale sunt percepute. La final, vei pleca nu doar cu mai multă claritate asupra proiectului tău, ci și cu o metodă practică de editare și o înțelegere mai profundă a modului în care se construiește o poveste vizuală puternică. Ce vei învăța / face • îți vei clarifica ideile și intențiile din spatele proiectului fotografic; • vei lucra direct cu imaginile tale, mutându-le, comparându-le și reorganizându-le; • vei învăța metode practice de selecție și editare a fotografiilor; • vei înțelege cum secvențierea, ritmul și pauzele influențează desfășurarea unei povești; • vei pleca cu o direcție mai clară pentru proiectul tău și cu un proces pe care îl poți aplica și pe viitor. Program* • Duminică, 3 mai 2026, 10:00 – 13:20; • Luni, 4 mai 2026, 10:00 – 14:30. *fiecare participant se înscrie la o sesiune individuală de 1 oră Detalii workshop Acest workshop se adresează tuturor celor care lucrează la un proiect fotografic și vor să îl ducă mai departe. Este necesar să aduci minimum 20 de printuri de mici dimensiuni (10 × 13 cm) dintr-un proiect în curs de dezvoltare. Despre lector Claudio Composti este un curator independent și consilier artistic cu aproape treizeci de ani de experiență în fotografie și artă contemporană. Fondator al mc2gallery (Milano), a dezvoltat o practică curatorială care leagă cercetarea artistică, viziunea culturală și o înțelegere profundă a pieței de artă. Lucrează la nivel internațional cu muzee, galerii și colecții private și de corporație, oferind consultanță instituțiilor și companiilor cu privire la proiecte culturale și de colecție. Printre expozițiile recente se numără Quayola la Muzeul M7, Doha, și Céline Croze la PAC, Milano. Este invitat în mod regulat ca reviewer de portofoliii și talent scout pentru platforme internaționale importante, precum Les Rencontres de la Photographie d’Arles și Face à la Mer. Trăiește și lucrează între Milano și Paris.

Acest masterclass intensiv de 3 ore, susținut de curatoarea și directoarea artistică Marina Paulenka, oferă fotografilor emergenți și mid-career o perspectivă concentrată asupra practicii profesionale, prezentării și dezvoltării carierei. Participanții vor dobândi strategii practice pentru prezentarea, promovarea și poziționarea lucrărilor în galerii, festivaluri și alte contexte. Combinând teoria cu recomandări aplicate, sesiunea ajută participanții să își clarifice modul de prezentare a lucrărilor și să își construiască un parcurs de interacțiune cu instituții, festivaluri și oportunități de finanțare internaționale. Ce vei învăța / face • cum să pregătești și să editezi un portofoliu profesional pentru contexte diferite; • vei explora abordări conceptuale și formate de prezentare expozițională; • cum să construiești un artist statement, cv și o prezență online coerentă; • vei identifica oportunități de finanțare, granturi, premii și vizibilitate; • vei comunica eficient practica ta către curatori, jurii și public. Detalii masterclass Deschis artiștilor emergenți și mid-career care lucrează cu fotografia. Maximum 15 participanți. Despre lector Stabilită la Berlin și originară din Croația, Marina Paulenka are peste 18 ani de experiență în direcție artistică, curatoriat, educație și dezvoltare culturală, alături de propria practică artistică. Activitatea sa include artele vizuale, digitale și performative, cu accent pe fotografie și new media. În 2008 a fondat Organ Vida Festival (Zagreb), pe care l-a condus până în 2019, când a devenit director artistic al UNSEEN (Amsterdam). În 2022 a devenit director fondator al Fotografiska Berlin, definind viziunea artistică și identitatea publică a instituției. Abordarea sa curatorială, influențată de contextul balcanic, tratează teme precum feminismul, identitatea, drepturile omului și cultura digitală. Susține perspective globale diverse și explorează modul în care cunoașterea se formează la intersecția dintre artă, știință și tehnologie.

Acest workshop te ghidează pas cu pas prin deciziile esențiale și etapele practice necesare pentru a transforma un proiect fotografic într-o publicație coerentă și bine realizată. Vei învăța cum să îți rafinezi conceptul, să selectezi imaginile potrivite și să alegi un format care reflectă atât viziunea ta artistică, cât și realitățile producției. Sesiunea abordează și modul în care poți colabora cu edituri sau tipografii, dar și opțiunile disponibile dacă alegi să îți publici cartea independent. La final, vei pleca cu o direcție clară, instrumente concrete pentru planificare și producție și cunoștințele necesare pentru a-ți duce proiectul mai departe. Ce vei învăța / face • îți vei defini scopul și viziunea proiectului editorial; • vei înțelege designul de carte: layout, materiale și tipar; • vei explora procesele de producție și aspectele tehnice; • vei învăța despre contracte editoriale și finanțare; • vei compara experiența cu o editură vs. autopublicarea; • vei primi feedback personalizat într-o sesiune individuală. Program Modul 1: Definirea proiectului Concept, intenție, structură narativă, public Modul 2: Materializarea proiectului Design, producție, tipar, publicare, finanțare, distribuție Modul 3: Sesiuni individuale (9 sloturi disponibile a câte 10 min) Feedback personalizat pentru proiectul tău Detalii workshop Deschis tuturor celor interesați de realizarea unei cărți foto. Maximum 15 participanți. Despre lector Gilles Cargueray sprijină fotografi și branduri în proiectele lor fotografice. Se adaptează fiecărui proiect, respectând valorile, viziunile și direcțiile artistice ale fiecărui fotograf și instituție. Principalii fotografi cu care lucrează sunt Édouard Elias și Line Brusegan, iar branduri Leica Camera France, Leica Camera AG, Fondation des Treilles, Initial LABO, Imprimerie Escourbiac, les Grands Ateliers de France. De asemenea, sprijină și consiliază fotografi tineri în timpul review-urilor de portofolii de la Les Rencontres d’Arles, Visa pour l’Image – Perpignan, Circulation, Photoday. Expertiza sa constă în dezvoltarea unui proiect complet în viziunea fotografului, de la producție, post-producție, editare și expoziție.