Exhibition: Marijan Szabo – PHOTOGRAPHY

Marijan Szabo
PHOTOGRAPHY
Dom hrvatske fotografije
November 22 – December 11, 2016

szabo-pozivnica

Before the invention of photography the past was quite different than it is in this day and age. Many questions and answers related to the existence of this mechanically produced image in the first half of the 19th century can be roughly reduced to a few topics.

The main question is whether the photographic image can produce a work of art. The next question refers to the so-called pure photography and the other one that is not. Then, if the photographic image cannot be art, what is it then. And if the photographic image has produced art, what kind of art, an art separate and special or is it just a part of that generated contingent of images that have been recognized as art regardless of the medium in which they have been realised.

In this context, we can look back in time for a moment upon the photographic work of Marijan Szabo. First of all, it is a historical fact that the name of this photographer is associated with the Zagreb school of photography and its inseparable Fotoklub Zagreb which was founded as a club for amateur photographers in 1892.

It seems as if there is no dilemma within this context as to whether the photographic images are works of art, because the basic assumption is that membership in the club, exhibitions, diplomas and awards are also an alibi for separating the photographic image from the banal and uncreative towards one that has no particular value apart from that of technological correctness. The club is therefore an oasis within which exotic products are grown and in which it becomes desirable to nurture a certain similarity, a so-called school.

Thus, for example, Marijan Szabo arrives at the waterfall in Jajce in 1930 and compositionally places it in the middle of his format. His club colleague William Herrnstein records the same waterfall by moving the frame a little to the left and thus getting another variant, but the technology of photo imaging and the subsequent postproduction in both images are the same: aestheticization and variations become, in effect, a characteristic. All this takes place in the context of examples of photographic production in Europe and partly in America (see Camerawork and Pictorialism), but especially in the context of a certain romanticism of the 1930s (landscapes, folklore), the New Reality (Neue Sachlichkeit) and distant echoes of the radical movements of the Russian avant-garde and the experiment of Bauhaus. The photographic images of Marijan Szabo should be regarded within this context. The charm of these images lies in the enthusiasm towards the landscape that allows a high aestheticization of the image, which in turn becomes largely an independent work of art. This applies to all of his photographic works, when he marvels at the so-called bird’s eye angles or in his later works of the 1960s when he discovers informel characteristics of landscapes. His work ranges from the so-called school and current trends in Western art to the photography which ultimately, on a foggy Winter morning in 1966, near the end of his life, offers quite subjectively the image of a landscape as a personal farewell to the world.

Vladimir Gudac

Marijan Szabo rođen je 21. rujna 1913., a član Fotokluba Zagreb postaje već 1929., pa je kao takav bio jedan od najmlađih obnovitelja i vodećih članova Kluba. Fotografijom se počeo baviti kao srednjoškolac, što će imati presudan utjecaj na njegov daljnji život u kojem se  fotografijom bavi profesionalno. Marijan Szabo jedan je od osnivača Zagrebačke škole fotografije, važan je akter stvaranja umjetničke fotografske scene u bivšoj Jugoslaviji i Hrvatskoj  i  zaslužan je za priznanje statusa fotografije kao čiste umjetnosti. Nepoznat široj publici izlagao je zadnji put samostalno prije pedeset godina u Beču. Umro je u Zagrebu 17. prosinca 1967. u pedeset i četvrtoj godini života. Marjana Szabu karakterizira osobna percepcija koja ga odvaja od tradicionalizma toga doba. Szabova su preokupacija ljudi u pejzažima. Služio se neobičnim kutevima snimanja kako bi izbjegao konvencionalne načine promatranja. Koristi nizove i elemente krovova, stepenica i predmeta kako bi stvorio apstraktne konstruktivističke forme. Svjetlo mu je glavni element slike s kojim gradi geometriju i dubinsku perspektivu slike. Duhovnost mu je važnija od tehnicizma slike. Istraživački koncept izložbe nepoznatih radova vraća Szabu na umjetničku scenu, ali i postavlja pitanje zbog čega umjetnici padaju u zaborav. Projekt aktualizira pomalo zaboravljenog fotografskog umjetnika te ga samostalnom izložbom predstavlja stručnoj i široj javnosti. Projekt je doprinos očuvanju hrvatske kulturne baštine i razvoju hrvatske fotografije. Skupljati fotografsku zbirku u hrvatskom netržišnom likovnom okruženju nije lak izazov. Osim velikoga znanja o fotografskoj građi i materijalnih sredstava potrebna je i velika strast za fotografskom umjetnošću. Petar Smiljanić, kolekcionar suvremene umjetnosti i fotografije, ustupio nam je fotografije iz vlastite zbirke za ovu izložbu. Bez njegove podrške ova izložba ne bi bila moguća. Stoga mu se Dom hrvatske fotografije posebno zahvaljuje. Hrvatski dom fotografije programski se bavi isključivo medijem fotografije. Izlagat će i zastupati pretežito hrvatske i inozemne stare majstori fotografske umjetnosti 19. i 20. stoljeća koji su utrli put širokom prihvaćanju fotografije kao nezavisnog i ravnopravnog medija sa svim ostalima umjetničkim medijima. Hrvatski dom fotografije bit će otvoren i za mlađe autore te etablirane umjetnike koji koriste eksperimentalnu, tradicionalnu i digitalnu fotografiju.

Programski cilj galerije jest kreiranje ravnoteže i dijaloga sa širokim spektrom fotografskih žanrova i tehnika. Hrvatski dom fotografije – Croatian House of Photography – djeluje u  izložbenom prostoru Kluba HDLU-a, a pokrenut je s ciljem kontinuiranog unaprjeđenja i proširenja izlagačke djelatnosti Hrvatskog društva likovnih umjetnika. Hrvatski dom fotografije službeno je otvoren 7. travnja 2014., a otvorio ga je u sklopu svoje izložbe slavni Peter Lindbergh.

Fedor Vučemilović

The realization of the exhibition was financially supported by the Ministry of Culture of the Republic of Croatia.

GALLERIES OPENING HOURS

Wednesday to Friday: 11.00 AM – 7.00 PM
Saturday and Sunday: 10.00 AM – 18.00 PM
Closed on Mondays, Tuesdays and holidays
* EXCEPTION: Galleries will be closed for visitors on Thursday, Dec 1 and Friday, Dec 2, and will stay open on Monday, Nov 28 and Tuesday, Nov 29.

Dom HDLU
Trg žrtava fašizma 16
10000 Zagreb

Info

WORKING HOURS OF NIKOLA TESLA – MIND FROM THE FUTURE EXHIBITION

MONDAY – SUNDAY, 9am – 9pm
*except 25.12.2017 and 1.1.2018

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