Ć SELECTION I Stanko

Abadžić SELECTION

160/PB ABADŽ Nemam poruku, ne propitujem ništa, samo fotografiram. Stanko Abadžić

I don´t have a message, I don´t question anything, I just take photographs. Stanko Abadžić

Sinu Srdjanu. For my son Srdjan. Stanko Abadžić

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№ /300 IMPRESSUM

Nakladnik | Publisher Kadar36

www.kadar36.hr

Za nakladnika | Official Representative Max Juhasz

Urednik | Editor Stanko Abadžić

Predgovor | Introduction by Branka Hlevnjak Stanko Abadžić

Prijevod na engleski | English Translation 4/4 Damjan Lalović selection Grafičko-likovno oblikovanje i prijelom | Design & Layout Zoran Jelača

Tisak | Printed by Printera d.o.o

Godina izdanja | Year of Publication 2017.

Copyright: Stanko Abadžić and Kadar36

sabadzic.net.amis.hr [email protected]

ISBN 978-953-57655-9-2

CIP zapis je dostupan u računalnome katalogu Nacionalne i sveučilišne knjižnice u Zagrebu pod brojem 000947755. Stanko Abadžić – samo fotograf

ledam fotografije Stanka Abadžića i sve Fotografije Stanka Abadžića doista su Sjene hvata u uskim hodnicima, pro- fotografsku karijeru. Ako pod praškom smanjeni na najmanju mjeru, pretvara- vintage fotografije Stanko Abadžić, pono- Gmi se čine nekako bliskim i poznatim. izvanvremenske, duboko uronjene u pro- lazima, iza rešetaka, na stubištima. Izdu- školom razumijevamo neku vrstu roman- ju u oblike koji asociraju na sitne notne san na činjenicu da je staru školu izučio Kao svjetski putnikfotograf donosi on store, ljude i situacije kojima je poveznica žene niskim svjetlom kojim su objekti tike i nadrealističnu aranžiranost, svoj- bilješke u obilju duhovnosti sugerirane proučavajući vrhunska fotografska djela fotografije iz Pariza, Berlina, Istanbula, moćan osjećaj za svjetlo i tamu. Iz svje- obasjani, deformirane su u projekciji kat- stvenu Josefu Sudeku, najutjecajnijem bjelinom. Odmjerenost i suzdržanost dio iz monografija koje su mu došle pod ruku. Praga, Odese, Tunisa, Malte, Turske… tla, tame i sjena proizlazi motiv. Stanko kad do karikaturalnosti, katkad postaju predstavniku praške fotografije do naših su fotografove obrambene taktike izbje- Umjetnost, međutim, nije okinuti ili Izlaže ih u Argentini, Japanu, Sjedinje- Abadžić vreba svoj motiv, dulje ili kraće, ali ornamenti, katkad sugeriraju ljupkost ili dana, možemo opaziti upravo onaj odmak gavanja obilja urbanih informacija koje naslikati, kiparski oblikovati prizor, izre- nim Američkim Državama i drugdje, a ga naslućuje i kadrira u čvrstu fotografsku su temelj osobitog geometrijskog grafiz- kojim se Stanko Abadžić vrlo brzo udalja- ostaju izvan kadra i nisu predmet njegova zati ga virtualno iz širokog prostora u ko- sve onepodsjećaju na Cartier-Bressona cjelinu. Sve su njegove fotografije ikone ma. Stanko Abadžić fotograf je u stalnom vao od referentnih prethodnika i formirao interesa. Teško bi se za ijednu sliku Stan- jemu postojimo i prenijeti ga u odabrani svojom sočnom životnošću i na Edwarda koje opisuju prostore iz kojih su iznjedre- pokretu, zaljubljenik u život i obične lju- vlastiti put „u lovu na fotografiju”. Daleko ka Abadžića moglo reći da na njoj ima medij. Umjetnost je znatno viša kategorija Westona i njegov oštar i precizan reali- ne, s umanjenom pričom koju ti prostori de, u humanu jednostavnost i pripada- od toga da u fotografijama Stanka Abadži- pretjerivanja bilo koje vrste, ali očito je koju je teško dosegnuti; ona je traganje zam te senzualan i neposredan kontakt sadržavaju. Estetski dar koji Abadžić očito juću dobrohotnost svakidašnjice kojom ća ne osjećamo romantiku, ali ona nije cilj da ima smislenog racionaliziranja i brit- za smislom i pokušaj razumijevanja svi- s prostorom krajnje autorske odsutnosti. posjeduje stvara dojam da posvuda s la- ostvaruje estetski doživljaj dugovječnosti njegovih traganja. Ona je tek duboki eho kih svjetlosnih odnosa unutar probranog jeta, njegovih odnosa i proporcija; ona je Ne govorim to kako bih naglasila da je koćom bira one životne kompozicije koje zemaljske egzistencije. Zbog motiva koje njegova senzibiliteta, background forma- izbora motiva. postupak miješanja fizičkog i duhovnog Stanko Abadžić sljedbenik tih velikana će u fotografskom izričaju djelovati svo- bira po ključu uličnih i dvorišnih slika, lizma koji je sapet između vrlo egzaktne Svakako treba praviti razliku između u novu tvorevinu. Umjetnost je zadovo- fotografije, već da se potvrdi njegova jom bukom, napetošću, smijehom, igrom, sve su njegove fotografije dio jedne ima- i uvjerljive igre svjetla i sjene, humanih običnosti fotografskih motiva Stanka ljenje potrebe za cjelovitošću: kultivirati osobna snaga i uvjerljivost fotografa 21. glazbom ili dubokom kontemplativnom ginarne cjeline – bez obzira na to jesu motiva i mjesta duhovitih kontradiktor- Abadžića i banalnih motiva kojima se animalno te biti ili postati (možda i ostati) 6/7 stoljeća koji je prihvatio obje vrste fo- tišinom. Nije nimalo pretjerano reći da je li pronađeni na zagrebačkim, pariškim, nosti, malih apsurda, osamljenih mjesta služe konceptualni umjetnici kako bi izvr- čovjek. 6 | 7 tografskog promišljanja i unio ih u ori- Stanko Abadžić velik majstor motiva sa praškim, beogradskim ili ulicama neko- ili čiste svjetlosne ljepote. nuli likovne vrijednosti i opstruirali mo- U toj težnji fotografiji se dugo (od 1839. ginalnost svojega stvaralaštva. Motivi smislom za humor, grotesku, za intelek- ga drugog grada. Ljudi su posvuda ljudi, Fotografije Stanka Abadžića otkrivaju tiv. Fotografski koncept Stanka Abadžića do 1920-ih godina) osporavao umjetnički koje svojim objektivom traži i nalazi na tualne fotografske užitke i ljepotu u onom djeca su radost, mladost je opuštena. Na nam marginalna mjesta društvene zbilje i svjesno je i vješto, a opet, čini se, krajnje domet jer je nastala kao slikarski alat. U raznim mjestima prizori su trajne vrijed- izvornom, neokaljanom smislu. mjestima na kojima nam pokazuje stare njihovu poetsku narav. Umanjujući sadr- nepretenciozno, produhovljivanje margi- nadmetanju dviju likovnih vrsta koje se nosti i stoga ih lako možemo povezati sa Razmišljajući o fotografiji kao svje- običaje i zanate (primjerice urare), radi- žaj,naglašava doživljaj fotografskog skla- naliziranih prostora grada. No pitanje je bave dvodimenzionalnim sažimanjima spomenutim prethodnicima. Tu nagla- tlopisu, Stanko Abadžić ponajprije traži onice koje se gube iz života suvremenih da. Koliko god putovao, fotografije Stanka što je banalno, a što nije. Životni motivi i reduciranjima prizora iz stvarnosti te šavam potragu za osobitim mjestima, za dokaze za ovu definiciju medija kojem europskih gradova, fotograf to čini istim Abadžića (u ovom izboru) nisu putopi- Stanka Abadžića to su ponajmanje. Nji- predočavanjem unutrašnjih ideja i vizija prostorima ulica i dvorišta, vrtova i liva- se predao: traga za sunčanim odsjajima- formalnim fotografskim elementima po sne reportaže, već autorova fotografska hova je vrijednost upravo porasla njego- fotografija je napokon dobila priznanje da, rijeka i jezera, obala i garaža, stubišta figura i arhitekture, dakle za stvarnošću i kojima prepoznajemo njegov senzibili- poezija. Raspon je pobuđenih osjećaja u vim izborom da postanu dio odabranog likovnih kritičara i teoretičara da je sa- i prolaza, namjerno zanemarujući onu njezinom sunčanom projekcijom. Na tlu, tet kojim plijeni pozornost i pruža uži- nijansiranju između kratkih zabavnih sli- fotografskog opusa. To je prije socijalna mostalni medij izražavanja. Pritom je po- često spominjanu fotografsku karakte- na zidu, na vodi, posvuda. U tom mu je tak gledanja. Mnoge će nam se fotografije ka, refleksivnih i meditativnih prostornih fotografija, a manje formalna. Fotografije kazala moć zrcaljenja stvarnosti, utjecaj ristiku–zaustavljanje vremena. Prostor je stvaralačkom traganju pogled više uprt u svidjeti na prvi pogled upravo zbog tog bilježaka. Iako autor zasigurno o svakoj Stanka Abadžića skladne su cjeline koji- na formiranje kritičke svijesti i snaženje Abadžićev glavni cilj. Zato luta gradovi- projekciju stvarnosti nego u samu stvar- visokog estetskog dometa, čak i bez dru- snimljenoj fotografiji može ispričati po- ma ne treba fotografski (filmski) niz da društvene savjesti. Stanko Abadžić, au- ma tražeći svoje „izgubljene” i posvuda nost. Mnoge bi fotografije mogao izvrnu- gog pogleda u kojem se pozorno iščitava neku priču (gdje je, kada i kako snimlje- dosegnu određenu vrijednost. One su, tor visokosenzibilizirane opažajne moći, rasute ili, točnije, posvuda prisutne mo- ti i sjeni dati primarnu (gornju) poziciju sadržaj slike. na), fotografije ne ističu priču, već nude kako bismo rekli, stara škola, potvrda iz- umije u vrlo organiziranoj formi djelovati tive. Bira ih pomno, ali dogodi se,kako a da se pritom ne uruši sustav osobitih Estetska vještina kojom Stanko Abadžić profinjenu likovnu poetiku. Vrhunac je te držljivosti medija koji se u 21. stoljeću uz angažirano. On je kritičar društva i kad sam kaže,da motivi biraju njega, kao u odnosa fotografske strukture građene nadmašuje mnoge fotografe proizlazi, čini poetike, dakako, u fotografijama u kojima milijunske fotografske amatere i diletan- mu to nije nakana jer fotografira mjesta Istanbulu, živom gradu kontrasta starog svjetlom i tamom, svjetlom i sjenama, mi se, više iz pariške nego iz praške ško- tamni obrisi stoje pred svečanim prosto- te održao na umjetničkoj razini. Upravo koja većina ljudi ne vidi tijekom svakod- i novog. grafikom različitih ritmova. le iako je upravo u Pragu započeo svoju rom sumaglica ili jakog svjetla i gdje se, tim izrazom, stara škola, objašnjava svoje nevnog nužno selektivnog promatranja. Stanko Abadžić – Just A Photographer

Abadžić vidi sretne ljude u malim radi- Na fotografijama Stanka Abadžića oda- fija kao takva ne zanima. Njega, to jest look at Stanko Abadžić’s photographs and Stanko Abadžić’s photographs are truly out causing a collapse of the system of dis- onicama, oronule zidove, trošne barake, svud izvire ljepota i ona se ne mora nužno njih obojicu, zanima život. I somehow they all seem intimate and famil- extra-temporal, deeply immersed in spaces, tinctive relations of photographic structure zapuštena dvorišta i suvremene agresivne poklapati s predmetom gledanja. Njihova Kao digresiju, spomenut ću svoje isku- iar. As a globetrotter-photographer, he brings people and situations linked by the common constructed by light and dark, light and shad- reklame i murale koji su svojim predi- je dodatna vrijednost izvrsna fotogenič- stvo s direktorom jednog velikog poduze- photographs from Paris, Berlin, Istanbul, thread of a powerful sensibility for light and ows, the graphics of different rhythms. menzioniranim porukama pojeli ljude, nost motiva koja, dakako,dolazi od auto- ća koji je, nakon što je razgledao izložbu Prague, Odessa, Tunisia, Malta, Turkey... He dark. It is from light, dark and shadow that He captures shadows in narrow corridors, podcijenjene u njihovim stvarnim mje- rove predispozicije za estetiku. Sve drugo, fotografija ulaznog prostora, okolnih zi- puts them on display in Argentina, Japan, the a motif comes forth. Stanko Abadžić prowls passageways, behind bars, in staircases. Elon- rama, oglase koji zajedno sa sprej-(ne) i puno više od prirodnog dara, autorov dova i dvorišta poduzeća, ljutito upitao United States of America and elsewhere, and upon his motif, however long it takes, but gated by the low light the objects are bathed kulturom dodatno pretvaraju gradove u je neprestani nemir, njegova putovanja, tko mu podmeće takve svinjarije! Nije they all call to mind Cartier-Bresson by be- he senses it and frames it into a compact in, they are sometimes so deformed in pro- cirkus. Zato je nostalgija, koja se često zavirivanje u intimu gradskih prostora iza prepoznao mjesta kojima svakog dana ing vibrantly true to life, and Edward West- photographic whole. All his photographs jection as to become caricatures, sometimes pripisuje fotografijama Stanka Abadžića, čega stoji znatiželja. Znatiželja je pokretač prolazi jer ih nije gledao tim očima. Dru- on with his crisp and precise realism, as well are icons describing the spaces which they they become ornaments, sometimes they of- relativan pojam. On je nadasve fotograf lutanja po onim mjestima koja nisu na- gim riječima, Stanko Abadžić je fotograf as the sensual and immediate contact with spring up from, along with the minimised fer a suggestion of loveliness or provide a stvarnosti, one malo podalje od centra dohvat oku, već su iza i pokraj. koji promatra „drugim očima”. On vidi the space of utmost authorial absence. This story comprised in those spaces. The aes- basis for a special geometrised graphism. i reprezentativnosti, u kojoj su radnici Stanko Abadžić ostaje vjeran crno-bije- mjesta na kojima se igraju djeca, na ko- is not meant to imply that Stanko Abadžić is thetic flair that Abadžić is clearly endowed Stanko Abadžić is a photographer in constant i gospoda, otmjeni i sirotinja, građani i loj fotografiji kako bi naglasio odnos svje- jima se miješaju siromaštvo i ponos, ot- a follower of said greats of photography, but with creates the impression that he singles movement, enamoured with life and with or- seljaci Istoka i Zapada – samo ljudi, foto- tla i tame koristeći se prednošću nadrea- mjenost i agresija, ljubav i čežnja, starost to confirm his personal strength and cogen- out with ease everywhere the true-to-life dinary people, with human simplicity and grafski ravnopravni. Fotograf im posve- lizma koji sadržava crno-bijela fotografija. i mladost, ali i ona mjesta na koja odlaze cy of a 21st-century photographer who has compositions which affect us through the the attendant benevolence of the everyday, 8/9 ćuje jednaku pozornost ako mu kontekst U tim relacijama pojačava se efekt poetike strpljivi ribari, zaneseni biciklisti, na koji- condensed internally both kinds of photo- photographic mode of expression with their whereby he creates an aesthetic impression of 8 | 9 odgovara ne ulazeći u društvene probleme proizišle iz običnih i posve umanjenih ma svirači sviraju slučajnim prolaznicima, graphic reflection and incorporated them noise, tension, laughter, play, music or deep longevity of earthly existence. Due to motifs i međuljudske odnose, prikazujući svijet scena iz života i uvećanih doživljaja. Oni a sunce posvuda šara svoje slike i šali se s in the originality of his opus. The motifs contemplative silence. It is no exaggeration selected according to the criterion of street stvarnijim nego što bismo možda željeli. polaze od smiraja i dosežu uzvišenost i nama uvjeravajući nas da smo svi samo he seeks and finds in various places with whatsoever to affirm that Stanko Abadžić is and courtyard images, all of his photographs Razočaran globalizacijom kojom velike svečanost običnog dana. Točnije, riječ je glumci s određenim ulogama, osvijetljeni his lens are scenes of lasting value, which a great master of motifs with a sense of hu- are part of an imaginary whole – whether korporacije posvuda jednako kroje sliku najčešće o svečanostima jutra. Autor voli reflektorima zemaljske pozornice. is why they readily evoke the above-men- mour, of the grotesque, of intellectual pho- the motifs are found in the streets of Zagreb, gradova, pa oni tako gube identitet, autor jutra, doba rađanja dana, kada boje još Autor se rado vraća na stara mjesta tioned predecessors. I stress here the quest tographic delights and of beauty in the orig- Prague, Paris, Belgrade, or of some other city. na periferiji traži ljudskost i toplinu. nisu jake, a prostori su okupani nekom vr- na kojima, dakako, nailazi na nove, pro- for special places, for spaces of streets and inal, immaculate sense. Everywhere people are people, children are Besprijekornom formalnom čistoćom stom nevinosti novog i nepredvidivog, još mijenjene motive i time svojim fotogra- courtyards, gardens and meadows, rivers Contemplating photography as light-­ joy, youth is relaxed. In the places where he crno-bijelo-sive game Stanko Abadžić su sneni i poluprazni. Boja bi zasigurno fijama dodaje dokumentarno obilježje. and lakes, shores and garages, staircases and writing, Stanko Abadžić seeks, above all, evi- shows us old customs and crafts (for instance, iznosi na površinu svu težinu i dubinu promijenila Abadžićev fotografski kon- Međutim, mijena i prolaznost izazov su za passageways, deliberately ignoring the fre- dence in support of this definition of the me- clockmakers), workshops vanishing from the motiva. Fotografije, kao uvijek, otkriva- cept pomno izgrađene sugestivnosti. Teh- svakog umjetnika jer tu negdje leži tajna quently mentioned photographic character- dium he is devoted to: he seeks the sun-re- life of modern European cities, the photogra- ju autorov pogled na svijet. On je ovdje nološku, pak, fotografsku stranu izradbe razotkrivanja. istic of – arresting time. Space is Abadžić’s flections of figures and architecture, i.e. he pher does this using the same formal pho- empatičan, lucidan i lirski. U toj kombi- crno-bijelih fotografija prepustio je, kaže, Ali Abadžić fotografira bez pretenzija main goal. For this reason, he roams cities is looking for reality and its projection by tographic elements that enable us to recog- naciji dolazi do izražaja autorova savršena svojem davnom i vjernom češkom surad- da propitkuje, bez opterećenja kakav će searching for his “lost” and widely scattered, the sun. On the ground, on a wall, on water, nize his sensibility, which captivates our at- izbrušenost forme koja je cool. Između niku koji neupitno pridonosi visokoj kva- biti ishod, bez poruka. Fotografira radi or, more precisely, omnipresent motifs. He everywhere. In this creative quest, his gaze tention and offers the pleasure of observing. prividne objektivnosti prostora koji teži liteti Abadžićevih crno-bijelih fotografija, fotografije i to ga raduje, a radost raste picks them out with care, but at times, says is focused on the projection of reality more We will like many photographs at first glance određenom fotografskom savršenstvu, što tehnike koja zahtijeva vrsnog majstora. kada se dijeli s drugima. he, the motifs pick him out, for instance in than on reality itself. He could turn many precisely due to this high aesthetic level, even znači doseg profinjene hladnoće, stoji du- Sudeći po tomu, Stanko Abadžić, kao i Istanbul, the sparkling city of contrast be- photographs upside down and accord the without a second glance in which one atten- boka proživljenost, radost, pa i oda životu. Cartier-Bresson, može reći da ga fotogra- Branka Hlevnjak tween the old and the new. shadow the primary (upper) position with- tively delves into the contents of the image. It seems to me the Paris school of photogra- dark contours stand before the solemn space being proud of the fact that he mastered the workshops, decrepit walls, run-down huts, beauty springs forth everywhere, and it does the craft. Based on this, Stanko Abadžić, like phy deserves more credit for Stanko Abadžić’s of mists or strong light, and where, reduced to old school by studying the top-quality photo- untended courtyards and present-day aggres- not necessarily coincide with the object of ob- Cartier-Bresson, can say that he is not inter- aesthetic skill, which ranks him above many the utmost, they transform into shapes resem- graphic works in the monographs that were sive advertisements and murals which, in their servation. Their additional value is the excel- ested in photography as such. He is – i.e. they photographers, than the Prague school, bling tiny musical notation in the abundance accessible to him. messages blown out of all proportion, have lent photogenic quality of the motifs, which, both are – interested in life. though it is indeed in Prague that his career of of spirituality indicated by whiteness. Moder- Art, however, is not taking a shot of a scene consumed the people, undervalued in their naturally, stems from the author’s predispo- As an aside, I would like to evoke the ex- photographer started. If by the Prague school ation and restraint are part of the photogra- or painting it, shaping it in the sculptural fash- true proportions, displays which, in combina- sition for aesthetics. All else, and much more perience I had with a manager of a major we refer to some sort of romanticism and sur- pher’s defence tactics of avoiding the abun- ion, virtually cutting it out of the wide space tion with spray-(non-)culture, contribute even than natural talent, is the author’s incessant company after he saw an exhibition of pho- realistic arrangement typical of Josef Sudek, dance of urban information that remains out- we exist in and transferring it into the se- more to turning cities into a circus. This is why unrest, his travels, his glimpses into the inti- tographs of the company building’s entrance, the most influential representative of Prague side the frame and is not the object of his in- lected medium. Art is a much higher cate- nostalgia, which is often ascribed to Stanko macy of city spaces, underpinned by curios- surrounding walls and courtyard. He asked photography to this day, we can discern pre- terest. One could hardly say there is exag- gory which is difficult to reach; it is a quest Abadžić’s photographs, is a relative concept. ity. Curiosity is the impetus for wandering angrily who tried to set him up with such a cisely the shift whereby Stanko Abadžić very geration of any kind in any given image of for meaning and an attempt at understand- He is above all a photographer of reality, the in places that are not immediately accessible dirty trick! He failed to recognize the plac- quickly distanced himself from referential Stanko Abadžić, but plainly there is meaning- ing the world, its relations and proportions; one somewhat removed from the centre and to the eye, that are beyond and contiguous. es he walked by every day, for he did not predecessors and paved his own way “in the ful rationalisation and poignant light relations it is a practice of mixing the physical and the from representativeness, in which workers Stanko Abadžić remains faithful to black see them that way. In other words, Stanko hunt for photography”. To say that no roman- within the select range of motifs. spiritual into a new creation. Art is satisfac- and gentlemen, the high-class and the poor, and white photography in order to emphasise Abadžić is a photographer who “sees differ- ticism can be felt in the photographs of Stanko One must definitely distinguish between tion of the need for wholeness: to cultivate city-dwellers and peasants of the East and the the relation between light and dark, making ently”. He sees places where children play, Abadžić is far from true, but it is not the aim the ordinariness of Stanko Abadžić’s pho- the animal aspect, to be or become (perhaps West – are just people, photographically equal. use of the advantage of surrealism encom- where poverty and pride, elegance and ag- 10/11 of his search. It is but a profound echo of his tographic motifs and the banal motifs used even remain) human. The photographer pays them the same atten- passed in black and white photography. In gression, love and longing, old age and youth 10 | 11 sensibility, a background to formalism con- by conceptual artists in order to inverse the In this aspiration, photography had long tion if the context suits him, staying out of so- these relations, there is an intensified effect are intertwined, but also places where patient strained between the very exact and cogent visual-art values and obstruct the motif. The been denied (from 1839 to the 1920s) the cial problems and human interrelations, por- of poetics derived from ordinary and fully fishermen or daydreaming cyclists go, where play of light and shadow, human motifs and photographic concept of Stanko Abadžić artistic level because it came into being as a traying the world as more real than we may minimised scenes from life, and from max- musicians play to random passers-by, and the places of witty contradictions, small absurd- seems to be a conscious and skilful, yet thor- painters’ tool. In the competition between two want him to. Disappointed in the globalisa- imised experiences. They start from sunset sun scrawls its images everywhere and jokes ities, lonesome places or pure beauty of light. oughly unpretentious spiritualization of the visual-art branches engaging with two-dimen- tion through which big corporations create and reach the exaltedness and celebration with us, persuading us that we are all mere Stanko Abadžić’s photographs reveal to us marginalised city spaces. It is, however, ques- sional condensing and reducing of scenes from a uniform image of cities everywhere, thus of an ordinary day. More precisely, in most actors with specific roles in the spotlights of the marginal loci of social reality and their tionable what is banal and what is not. The reality and with representing the inner ideas depriving them of their identity, the author cases they are morning celebrations. The au- the earthly stage. poetic nature. In minimising the contents, true-to-life motifs of Stanko Abadžić are as- and visions, photography finally gained rec- seeks humanity and warmth on the periphery. thor loves mornings, the time when the day is The author gladly revisits old places, where he stresses the experience of photographic suredly least banal of all. Their value is indeed ognition of visual-art critics and theorists as By means of an impeccable formal pu- born, when colours are not yet rich, and the he, naturally, comes across new and changed harmony. However much he travels, Stanko increased by his choice to make them part of an autonomous medium of expression. In the rity of the black-white-gray gamut, Stanko spaces are bathed in some sort of innocence motifs, thereby adding a documentary char- Abadžić’s photographs (in this selection) the select photographic opus. It is social rath- process, it demonstrated its power to mirror Abadžić brings to the surface all the weight of the new and unpredictable, they are still acter to his photographs. Still, change and are not travel-reports, but the author’s pho- er than formal photography. Stanko Abadžić’s reality, its influence on the forming of criti- and depth of a motif. As always, the photo- sleepy and half-empty. Colour would surely transience are a challenge to every artist, for tographic poetry. The range of incited feel- photographs are harmonious wholes which cal awareness and the strengthening of social graphs uncover the author’s worldview. He is alter Abadžić’s photographic concept of care- thereabouts lies the secret of revelation. ings consists of nuances between short amus- need no photographic (filmic) sequence to at- conscience. Stanko Abadžić, an author with a empathic, lucid and lyrical here. This combi- fully constructed suggestiveness. On the oth- But Abadžić takes photographs without ing images, reflexive and meditative spatial tain a certain value. We may say they are old- highly sensibilised power of perception, is ca- nation throws into vivid relief the photogra- er hand, he says that he leaves the technolog- aspiring to question, unconcerned with the notes. Although the author can surely re- school, a confirmation of endurance of the pable of committed activity in a very organ- pher’s perfect mastery of form which is cool. ical, photographic aspect of the making of outcome, with no message whatsoever. He count a story or two about each taken pho- medium that remains at the artistic level in ised form. He is a critic of society even when Between an apparent objectivity of space as- black and white photographs to his long-time, takes photographs for photography’s sake, tograph (where, when and how it was taken), the 21st century with millions of photograph- it is not his intention, since he takes photo- piring to a certain photographic perfection, faithful Czech collaborator, who undoubted- this fills him with joy, and joy is magnified they do not emphasise the story, but offer a ic amateurs and dilettantes. Stanko Abadžić graphs of places that most people do not see which signifies the reach of subtle coldness, ly contributes to the high quality of Abadžić’s when shared with others. subtle visual-art poetics. Naturally, the poet- makes use precisely of that expression, old in their everyday, necessarily selective obser- there is profound experiencing, joy, even an black and white photographs, the technique ics reaches its climax in photographs where school, to explain his vintage photographs, vation. Abadžić sees happy people in small ode to life. In Stanko Abadžić’s photographs, which requires an accomplished master of Branka Hlevnjak 12/13 12 | 13

Vrbnik, 2010. 16/17 16 | 17

Lisabon, 2015. Budapest, 2015. 22/23 22 | 23

Berlin, 2008. Rovinj, 2012. 24/25 24 | 25

Prague, 2000. Prague, 2002. 30/31 30 | 31

Buenos Aires, 2017. Baška, 1998. 36/37 36 | 37

Tallinn, 2010. Odessa, 2016. 38/39 38 | 39

Berlin, 2012. Istanbul, 2009. 40/41 40 | 41

Paris, 2010. 44/45 44 | 45

Istanbul, 2010. Paris, 2010. 48/49 48 | 49

Vrbnik, 2005. Prague, 2002. 56/57 56 | 57

Zagreb, 2010. Belgrade, 2014. 64/65 64 | 65

Istanbul, 2010. Prague, 2002. 66/67 66 | 67

Karlovac, 2016. Lisabon, 2015. 68/69 68 | 69

Venezia, 2016. Odessa, 2016. 72/73 72 | 73

Odessa, 2016. 74/75 74 | 75

Prague, 2002. Prague, 2001. 76/77 76 | 77

Budapest, 2015. St. Petersburg, 2010. 78/79 78 | 79

Prague, 2000. Budapest, 2015. 92/93 92 | 93

Paris, 2010. Paris, 2010. 96/97 96 | 97

Odessa, 2016. 98/99 98 | 99

Paris, 2010. Paris, 2010. 102/103 102 | 103

Lisabon, 2015. 106/107 106 | 107

Lisabon, 2015. Paris, 2010. 110/111 110 | 111

Lisabon, 2015. Marmaris, 2012. 114/115 114 | 115

Marmaris, 2012. 120/121 120 | 121

Šibenik, 2008. Rovinj, 2012. 122/123 122 | 123

Istanbul, 2014. 126/127 126 | 127

Zagreb, 2010. Zagreb, 2014. 128/129 128 | 129

Budapest, 2014. Berin, 2009. 130/131 130 | 131

Paris, 2010. 132/133 132 | 133

Istra, 2017. Baška, 2010. 134/135 134 | 135

Prague, 2002.

Odessa, 2016. 144/145 144 | 145

Lisabon, 2015. 148/149 148 | 149

Zagreb, 2016. Zagreb, 2014. 150/151 150 | 151

Zagreb, 2016. Prague, 2000. 154/155 154 | 155

Berlin, 2012. Zagreb, 2016. 156/157 156 | 157

Zagreb, 2012. Baška, 1998. Posebna zahvala/Special thanks

Trvtko Maras Rajko Grlić Tomislav Kovačić Bruce Lindsey Aleksandar Trbovich Tony Nadj Boris Zabukovec Claudio Ruggeri Tomislav Tompa Zebić Wilfried Gebhard Tony Mamic Brian Rasić Karmen Orlić Boris Božić Boris Lešić Janez Kukec Mezek Karel Kresta 162/PB Dejan Sluga Jaap Bleeker Helena Bulaja Madunić Tony Karnezis Edina Zuko Emil Azinovic Mehmet Taylener Saša Poldan Walter and Kristina Dario Jurjević Anna Kel Kristina Uzelac Adolf Zika Hrvoje Fila Neo Orbis d.o.o Egon Hungerbühler Otto Marx Art Studio Azinović d.o.o.