Cikel fotografij Klavdija Slubana
Avtor fotografskega cikla je Klavdij Sluban. Fotografija, ki sem jo izbrala, je del cikla V Oklepajih, ki je nastajal od leta 1995 in imel prvo razstavo 2002. Cikel je nastal v mladoletniških zaporih, vzhodni Evropi ter Srednji in Južni Ameriki.
Slika 1: V oklepajih (https://koridor-ku.si/podobe/nekoc-nekje-tukaj/ )
Na sredini fotografije opazimo človeka, ki je s sprednjim delom obraza in rok naslonjen na steklo. Fotografija je črno-bela, črna je na sredini, potem se odtenki črne spreminjajo v sivo in ko potuješ proti koncu fotografije zopet v črno. V središču je moška postava v simetrični kompoziciji. Center je na sredini, fotografija se megli proti vsem kotom slike. Dlani moškega so razprte in naslonjene na steklo prav tako obe roki do komolca. Steklena pregrada je prestavljena po celotni fotografiji, steklo je zamegljeno in motno zato se osebe za ogledalom ne vidi jasno. Oseba je oblečena v črn pulover, ki ima na koncu rokava dve beli črti, ki asociirata na lisice, v katere so vklenjeni zaporniki ali pa gre zgolj za belo črto v patentu puloverja. Na vrhu fotografije so svetlejši odtenki, ki predstavljajo svetlobo, sklepam, da prihaja iz oken. Na steklu opazimo tudi madeže in odtise. Tema fotografije je posvetna, motiv je moška oseba.
Fotograf Klavdij Sluban je umetniški fotograf, ki svoja dela razstavlja v pomembnih muzejih in galerijah. Rodil se je 3. marca leta 1963 v Franciji. Svoje otroštvo je preživel v Livoldu pri svoji teti. Ko je dopolnil sedem let, je Livold zapustil in se preselil v Pariz k svojim staršem. S fotografijo se je srečal že v mladih letih, saj sta mu starša kupila fotoaparat, da bi imel občutek povezanosti. V Parizu je dokončal osnovno in srednjo šolo ter fakulteto. Nad fotografijo se je navdušil pri 14 letih. Diplomiral je iz anglo-ameriške književnosti, nato pa obiskoval ateljeje Georgesa Fèvrea v Parizu, da bi izpopolnil znanje o črno-beli fotografiji. Za nekaj časa se je preselil z družino v Rakitno, kjer je nastal ciklus portretov slovenskih pesnikov, ki se imenuje Srečanja. Po vrnitvi v Pariz se je celovito posvetil fotografiranju. Prepotoval je neprodušno omejene zapore za mladoletnike v Franciji, Rusiji, Ukrajini, Latviji, Moldaviji, Gruziji, Sloveniji, Srbiji, Irski, Gvatemali in Salvadorju. V zaporih je organiziral delavnice za zapornike. Potovanja, na katere se odpravlja večkrat na leto, trajajo po nekaj tednov. Iz njih prinaša fotografije, ki niso potopisne niti reportažne, ampak prepoznavne kot Slubanove. Te fotografije prikazujejo kontemplativno in meditativno vživljanje občutljivega subjekta v objekt, ki ga vidi skozi objektiv. Z njim poišče in najde človeka, del pokrajine, arhitekture, bodisi banalen predmet, in ne glede na to, ali gre za živo bitje ali stvar, vedno poskuša začutiti njihovo dušo. Šele ko jo ponotranji v sebi, jo zabeleži tudi z aparatom.(DK, Slovenska tiskovna agencija (2024).) Za Klavdija Slubana je značilna črno-bela fotografija, ki daje vtis klasičnosti in dramatičnosti. Njegovi cikli fotografij predvsem predstavljajo socialno angažiranost, saj predstavlja življenje v težkem socialnem okolju. Motivi slik, večinoma predstavljajo revščino, migracije, zapore in vojne. V ospredju so človeška figura posameznika ali skupine. Za njegove fotografije je značilen minimalizem, da se oko človeka osredotoči na glavni motiv fotografije in z njim sočustvuje. V Livoldu je nastal Livoldski cikel, ki je oseben, saj je fotografiral svoje najbližje in njegov ljubi kraj. V ciklu fotografije predstavljajo socialno temo, saj sem ob pogovoru z njegovo sorodnico izvedela, da je bilo njihovo življenje težko. Livoldski cikel je bil razstavljen v Šeškovem domu Kočevje. Dobil je nagrado Deklica s piščalko leta 2013 v Kočevju na področju umetnosti, humanističnih znanosti in kulture. V Franciji je dobil najbolj pomembno nagrado na podlagi fotografije Prix Niépce.
Fotografijo sem si izbrala, ker prikazuje temo o kateri se ne govori veliko. Fotografija me spominja na sliko Krik, ki jo je ustvaril ekspresionistični slikar Edvard Munch, le da je ta barvita in ne črno-bela. Obe umetnini imata v središču figuro človeka, ki imata široko odprta usta, zato se zdi kot da kričita. Fotografija, mi daje občutek strahu in groze, kar je zelo zanimivo. Navdušila me ni samo fotografija ampak tudi avtor, ki je s svojim ustvarjanjem prikazal skrito realnost. Njegova ideja in pogum, da je svoje delavnice delil z zaporniki mi je zelo fascinantna.
Katarina Zoja Pogelšek, 3. b (šolsko leto 2024/2025)
VIRI IN LITERATURA:
- ŽEKŠ, M (2024). Nekoč nekje tukaj. Dostopno 25. 10. 2024 na: https://koridor-ku.si/podobe/nekoc-nekje-tukaj/#
- (brez avtorja). (2024). Klavdij Sluban. Dostopno 25. 10. 2024 na: https://sl.wikipedia.org/wiki/Klavdij_Sluban
- (brez avtorja).(2013). Deklica s piščalko 2013. Dostopno 14. 11. 2024 na: https://www.kocevje.si/post/202321
- (Avtor z inicialkami DK). (2024). Klavdij Sluban/Vrhunci neštetih potovanj in prehojenih kilometrov. Dostopno 13. 11. 2024 na: https://www.mladina.si/231468/klavdij-sluban-vrhunci-nestetih-potovanj-in-prehojenih-kilometrov/
A cycle of photos by Klavdij Sluban
The author of the photographic cycle is Klavdij Sluban. The photo I chose is part of the cycle V oklepajih (In Brackets). The cycle had been worked on since 1995 and had its first exhibition in 2002. The cycle originated in juvenile prisons in Eastern Europe, and Central as well as South America.
Figure 1: V oklepajih. (Source: https://koridor-ku.si/podobe/nekoc-nekje-tukaj/ )
In the middle of the photo is a human figure, with the front of his face and hands leaning against the glass. The photo is monochromatic, with black in the middle; the shades of black then change to grey. As you travel towards the ends of the photo, they fade again to black. In the centre there is a male figure in a symmetrical composition. The photo is blurred towards all corners of the picture. The man’s palms are open, and he is leaning against the glass with both hands all the way down to the elbows. The glass barrier is placed in the foreground of the entire photo; the glass is foggy and hazy, so the person behind the mirror is not clearly visible. The person is wearing a black sweater with a white line at the end of the sleeves, which can be associated with the handcuffs with which the prisoners are restrained; or it is simply a white stripe in the patent of the sweater. At the top of the photo the shades are brighter, representing the light. I imagine it shining down from the windows. We also see stains and fingerprints on the glass. The subject of the photograph is secular and the motif is a male person.
Figure 2: Klavdij Sluban (Source: https://www.mladina.si/163682/klavdij-sluban-umetniski-fotograf/ )
Klavdij Sluban is an art photographer who exhibits his work in important museums and galleries. He was born on 3 March 1963 in France. He spent his childhood in Livold near Kočevje with his aunt. When he was seven, he left Livold and moved to Paris with his parents. He was introduced to photography at a young age as his parents bought him a camera to give them a sense of connection. He completed the primary and secondary schools and later college in Paris. He became interested in photography at the age of 14. He graduated in Anglo-American literature and then visited the studios of Georges Fèvrea in Paris to perfect his knowledge of black and white photography. For some time, he moved with his family to Rakitno, where he created a cycle of portraits of Slovenian poets called Meetings. After returning to Paris, he devoted himself to photography. He has travelled to France, Russia, Ukraine, Latvia, Moldova, Georgia, Slovenia, Serbia, Ireland, Guatemala and El Salvador. He organised workshops for prisoners in detention. The trips, on which he embarks several times a year, last for a few weeks. From them he brings photographs that are neither travelogue nor reportage, but recognisable as Sluban’s. These photographs depict the contemplative and meditative experience of the sensitive subject in the objects seen through the lens. With it, he searches for and finds a person, a part of a landscape, architecture, a mundane object; and regardless of whether it is a living being or a thing, he always tries to feel their soul. It’s only when he’s inside himself that he records it with his camera. Klavdij Sluban is characterised by black and white photography, which gives the impression of classicism and drama. His photo cycles present primarily social engagement, as they depict life in a difficult social environment. The motifs of the paintings mostly represent poverty, migration, imprisonment and war. A human figure, an individual or a group is placed in the foreground. His photographs are also characterised by minimalism to focus the human eye on the main subject of the photograph. The Livold Cycle was created in the village of Livold, which is very personal, because he photographed his nearest and dearest and “his beloved place”. This series of photographs represents a social theme; when I spoke to his relative, I learnt that their life was difficult. The Livold Cycle was exhibited in Kočevje Regional Museum. In 2013 he received the Girl with a Whistle award for his achievements in the field of art humanities and culture, which was presented to him in Kočevje. In 2000 he won the Prix Niepce, the most important French prize for photography. In 2009 he received one of the most prestigious awards given by European publishers, the European Publishers Award for Photography.
I chose this photo because it shows a topic that is not discussed much. The picture reminds me of The Scream created by the expressionist painter Edvard Munch, only that it is colourful, not black and white. Both artists depict a figure of a man in the centre with his mouth wide open, so they seem to be screaming. The photo gives me a sense of fear and horror, which is very interesting. I was impressed not only by the photograph, but also by its author, who shows a hidden reality with his creation. His idea and his courage to share his workshops with prisoners is very fascinating.
Katarina Zoja Pogelšek, 3. b (School Year 2024/2025)