Branka Nedimovic

Branka Nedimović

2011-02-04T13:39:00.000-08:00

Guide

2011-01-25T14:18:00.000-08:00

Opacity

2011-01-25T13:13:00.000-08:00

"Ce n'est pas la nature morte “ - “This is not still life”

2010-12-04T09:47:00.000-08:00

Through the observation of the world by visual content of the ancient

Japanese paper art (Origami) and canons of the contemporary art

practice, sculpture comes in the direct contact with photography;

more precisely it represents reality, per-condition to designate a

photo. Directing and positioning few origami figurines in the natural

environment can be interpreted depending on our affiliations and

perception capabilities. Making a contact with the observer these

photos represents a lot of ecological, existential and issues related to

the human perception. By analyzing, in this case a photo, through the

manner of famous Belgium surrealist Rene Magritte, I am using the

same approach to the visual content in order to provoke observers

conditional reality perception that surround him and give strength to

the percipient in order to became too sensitive to his surrounding

and aware of the visual game and representation language.

Serial of photography under the title “Ce n'est pas la nature morte” –

“This is not still life” emphasizes the question of double representation, the one where the piece of paper becomes a bird surrogate,

and where the photography represents the same one.

In the way the observer is lead through the world of fantasy and reality.

For example: if a child would have been observing one of the exhibited

photographs where, realistically speaking, represented examples of

modeled paper are having animal characteristics, I can solemnly

declare that anyone, not only a child,would react as if there was a real

animal creature in front. But if we let ourselves to scan the

photography, we could certainly notice differences and consume the

same content later on.

The very name “This is not a still life” doesn't exclude possibility to

becoming one. Nature and natural wealth on the planet Earth, has

changed drastically, and getting more and more discriminated each

day,where the human carelessness contributed a lot.The same nature

is today rebelling and represents huge danger for alive and still world

(flora and fauna) and for the human kind as well.

Floods and fires are happening all over our planet causing abnormal

damage to the inhabitants that are left without running water and

basic life comestibles, homes etc.

When I was

2009-10-08T05:19:00.000-07:00

When I was Shepherdess.

When I was Shoemaker.

When I was Greek.

When I was Soldier.

When I was Poulterer.

When I was theater actress.

When I was prostitute.

This project explores identities on cultural, traditional, national and social level. It is also about what we think we are, what we could be, what we wish we are and what we are actually.

Photography is always about the past (closer or further), even if it represent specific frozen moment it helps us to travel through the time and choice to see reality that could be the last life and maybe to be present - future one. Actually it is a karmic game I'm playing with my self and with my camera. Scene I chose to shoot representing self portraits, directed with desire to be like someone particularly or pretending to be someone ales. Throe my imagination closely connected with reality it’s more like I’m creating a dream in witch I have different rules, goals, ideology and stands. Among all portraits where pictures are representing me, they also showing possibilities that we choose in our life and our profession. The reason why I pick those professions to represent my self and my interest to them is because I newer have opportunity to be for example a prostitute, soldier, shoemaker, theater actress, Greek or any of those identities I made. So be part of the specific identities feel and experience them was very important act for me in a way to determine me, my personal and professional identity. I find my way throe photography directing and starring roles and learn how to express my feelings about who I could be (depending on different life situations) and who I’m really am.

When I was Butcher.

When I was homeless.

When I was a saleswoman.

Location: Zitiste 09'

Paradox

2009-09-08T15:50:00.000-07:00

Since the advent of small digital cameras, the image of the world has changed a great deal. New technologies add to a specific appearance of photographs, and since the medium of photography directly appropriates the real world, in these photographs the appearance and the meaning make an irreplaceable totality. Like in the case of William Eggleston, the reality is here no more than just a pretext for taking photographic pictures, whereas the meaning is concealed in a personal and generational identity.

These photographs are snapshots of ephemeral moments that extend much further than the momentary. They communicate among themselves on the level of a narrative, thus building a micro-world of a social environment that cannot necessarily be described as either filthy or neat.

Even though Branka Nedimovic’s photographs evidently document the generation of Serbian youth of the first decade of the 21st century, in the search of their cultural identity, they are definitely more than a mere document: more stylized and more personal, in their repetition and alternation, they contain the image of the world that subsists, that regenerates itself over and over again.

Text by Vesna Mićović

Photoneedlepoint

2009-09-08T15:31:00.000-07:00

Iphigenia, Zitiste, 2006

I'm interested in the phenomenon, which include everything available to our civilization (unlike the past) when it was not so many pictures. Under the picture I mean everything in our environment (advertising, newspapers, reproductions, calendars, etc.).. This includes drawn and painted images of their reproduction, but due to circumstances and the culture in which we live those are mostly reproductions or kitsch images. Appropriation tapestries as well as finished products, without trying to manipulate, I trying to present part of reality through the family, environment, expectations, traditional education in which girls are expected to link tapestries.

Boat, Zitiste, 2007

In this project, I accept expectations and value system, but also change in accordance with personal beliefs and begin to tie needlepoint using photos as a unique and close to me media.I wanted to work on the subject that is close to me, because the Gobelins were present in my sight over the period of my growing up.

Mill, Zitiste, 2006

Girl, Zitiste, 2006

Superstition

2009-09-08T14:59:00.000-07:00

Life in the twenty-first century requires strong arguments regarding the interpretation of these mystical and similar phenomena throughout history, as the presence of mass media, written and printed, scientific explanations and accessibility of these facilities. Photographs in the form of a series called> Superstitions <, visually represent the mystical contents, some of the many superstitious that took place in the interior of an infinite space, is actually a phenomenon which appears inevitable in any culture.
Through this series of photos trying to catch the thread of which is associated with a certain belief. Some of the many kinds of belief in supernatural forces, fate and the like. Reconstruction of these beliefs and personal interaction, each scene bringing the conflict with several of the situation for themselves need to attract a certain outcome. In this way, trying to figure out their own doubts in the magical value. The question that arises is certainly what the human suggestions accepted as a valid fact in his conviction?
Behind the belief that things are real only after we learn that we agree with their reality. It is from this viewpoint derives logic arguments claims that photos with features realistic representation of reality introduces a new element in the mystical content that breaks them, and it is as problematic beliefs in some different and magical world , secondary present in the culture of a nation.
Year: 2005

" The Disappeared"

2009-09-06T14:57:00.000-07:00

At the time of the great crisis in Serbia, one journalist of a local television asked a fellow peasant at a market about how he lived. The peasant answered: “How? Like Lenin, neither alive, nor buried“. What he intended to point out was that there is nothing worse than being neither here nor there, neither alive nor dead, and when you are dead not to be even buried.

As human beings, we are all more or less the same in biological terms. We live and die, though we do it in miscellaneous ways. But, when we die, our bodies start decomposing into physical elements, which makes us all the same again. This series of photographs is about one of the greatest fears of the humankind – the fear of death and the unknown. Our own death will always remain a riddle to us, but the death of others, especially those with whom we are associated, seems the gravest tragedy.

No circumstance has a more devastating effect on a family and friends than the unknown whereabouts of the loved ones. These photographs are portraits of the people of unidentified backgrounds, officially proclaimed as disappeared. They were randomly taken from the internet and enlarged in print (as the original files allowed) to the point when their features “disappear“ turning into mere pixels. Here they may stand as symbols of the state Serbia was going through in its recent history.
Year: 2008

Text by Katarina Radović

Human City shelter

2009-09-04T10:37:00.000-07:00

Every day we are in practice of looking to make sense of the world. We looking to communicate, to have influence of someone and to be influenced.House or flat are human main surrounding, architecture that provides us intimacy and different way of identity. Furniture or other house element’s are create or buy for a reason, or to fit in the background so we can see one big abstract painting in a center. The practice of looking is hypnotized by cultural point; it’s a gesture depending on which it has influence. Good are associated with the most unlikely objects or environments in order to provoke an emotional attachment or even to simply capture the viewer’s attention. A photographer may propose a body or a thing or a place as an object of desire, with the express intention of exciting the viewer. Everything is transformed into an object of desire bit vine human and his surrounding. These images invite storytelling and speculation and encourage our natural human tendency to fill in, to elaborate.

For more photos follow this link: HCS