For half a century now, Zadar has host-ed the International Photography

Triennial Man and the Sea. The good repu-tation it enjoys today is the result of inten-sive work, but also sensitivity for varioussorts of adaptations. Most similar or evenlarger international exhibitions, born in thetimes of early post-war fascination with themedium of photography, have disappearedlong ago owing to their rigid conception.

In the 50s, most international salonswere organised by large and prominentphoto-clubs or national photographic asso-ciations. This type of organisation mostlywent together with motivating the member-ship and inviting them to exhibit, mostlythrough the network of photo-clubs. In thelate 40s and early 50s, the aim was toinclude in exhibitions as many authors(largely enthusiastic hobbyists) as possible.They were developing their creative poten-tial and gathering their experience byexhibiting in their clubs, achieving theirconfirmation and status through the systemof points, proscribed by the central photo-graphic association, the FIAP.1

Solo-exhibitions of photographers, heldin representative spaces and addressing abroader audience, were rather rare in the50s and mostly reserved for the mostprominent authors. The others could onlyhope that they would be given a chance toexhibit within the club premises or ininsignificant, half-public spaces. Speciali-sed photo-galleries were an exception, evenin global terms.

Outside of this evaluation system,there was the widespread traditional pho-tography of the crafts, as well as a consid-erable number of skilful professional pho-tographers, whose activity was limited tothe sphere of photojournalism. Only a fewspecialised photographers could build theircareers in the world of fashion and adver-tising photography.2

In those circumstances, the exhibitionsalons became, despite their many limita-tions, a significant factor in the relativelylarge wave of new creative photography.3

What was often obstructing photographiccreativity were the conservative juries,clinging to their criteria of old-fashionedphotographic pictorialism, which had exer-cised great influence on club photographyin the pre-war period. In the 50s, the ‘far-Eastern’ pictorialism came into fashionafter it had been launched at the famoussalons of eastern Asia, especially the one in

Gotovo pola stoljeÊa postojanja Meu-narodnog trijenala fotografije »ovjek i

more i ugled te manifestacije rezultat suintenzivna rada, ali i sluha za razliËite vrsteprilagodbi, jer se veÊina sliËnih, pa i obi-mom veÊih meunarodnih izloæbi nastalih uvrijeme prve poslijeratne fascinacije foto-grafskim medijem, zbog svoje rigidne kon-cepcije, davno ugasila.

Pedesetih godina glavninu meunarod-nih salona organizirali su ili veliki i istaknu-ti fotoklubovi ili nacionalna fotografska ud-ruæenja. Takav naËin organizacije najveÊimje dijelom vezan uz animiranje klupskogËlanstva i pozive za izlaganje uglavnom pre-ko mreæe fotoklubova. Kasnih Ëetrdesetih iranih pedesetih to je znaËilo izloæbama obu-hvatiti najveÊi dio kreativno potentnih auto-ra (dobrim dijelom zagrijanih hobista) kojisu fotografska iskustva stjecali u uvjetimaklupskih izloæbi, a priznanja i status siste-mom bodovanja propisanim od srediπnjegfotografskog udruæenja FIAP.1

Samostalne izloæbe fotografa u repre-zentativnim prostorima namijenjene πirojpublici pedesetih su godina bile rijetke,uglavnom rezervirane samo za najpromi-nentnije autore. Ostali su se pojedinaËnimnastupima mogli nadati tek u klupskimprostorijama ili manje znaËajnim polujav-nim prostorima. Specijalizirane fotogalerijebile su i u svjetskim razmjerima izuzetak.

Izvan ovog sustava vrednovanja s jedneje strane postojala πiroko rasprostranjenatradicionalna obrtniËka fotografija, a s drugeznatan broj vrsnih profesionalnih fotografaËije se djelovanje manifestiralo u sferi foto-æurnalizma. Tek rijetki specijalizirani foto-grafi zapoËinjali su graditi karijere u svijetumode i promotivne fotografije.2

U spomenutom kontekstu izloæbeni sa-loni bili su, unatoË svojim brojnim ograniËe-njima, znaËajan generator relativno πirokogzamaha nove kreativne fotografije.3 Limitfotografskoj kreativnosti Ëesto su predstav-ljali konzervativni æiriji optereÊeni kriterijimastaromodnog fotografskog piktorijalizmakoji je dominantno utjecao na klupsku fo-tografiju joπ u predratnom razdoblju. Pede-setih godina bio je pomodan ‘dalekoistoËni’piktorijalizam lansiran uglavnom na pozna-tim istoËnoazijskim salonima, posebno naonom u Hong Kongu, ali jedno vrijeme i nanatjeËaju koji je organizirao japanski listAsahi Shimbun iz Tokija. Ne manju pre-preku predstavljale su ideoloπke i politiËkebarijere u strogo podijeljenom svijetu hlad-noratovskog razdoblja. Pri tome su poznati

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antun travirka

meunarodni trijenale fotografijeËovjek i moreu zadruinternational photography triennal man andthe sea, zadar

od fotografskog salona

do suvremenog festivala

fotografije

from a salon to the modern

photography festival

t l

1. »ovjek i more, naslovnica kataloga / Man andthe Sea, front cover of the catalogue, 2004Foto / photo: Jacques Henri-Lartigue, Florette. Plaæa Monte-Carlo / Monte-Carlo Beach, 1953

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Hong Kong and for some time also the con-test organised by the Japanese journalAsahi Shimbun from Tokyo. An equally seri-ous obstacle consisted in ideological andpolitical barriers, characteristic for thestrictly segregated world of the Cold Warera. There were various ideologically co-loured examples of discrimination linked tocertain Eastern European salons, while theSoviet Photographic Association and thejournal Sovjetskoe foto were notorious fortheir absolute photographic censorship. Itwould be unfair though not to mention thatsuch cases were also known from the West,although they were rare.

Unlike other photography salons, theInternational Photography Exhibition had asomewhat bizarre beginning. Its foundationwas not linked to any photo-club, associa-tion, or gallery. In 1957, in the wave of var-ious newly established general and spe-cialised fairs, Zadar got the task to organisean International Fishermen’s Fair. Owing tothe visionary and energetic, though neversufficiently appreciated spirit of its manag-er, Marijan Ravkin, this trade event wasaccompanied by a noteworthy cultural pro-gramme. Thus, two expositions were organ-ised on August 4-18, 1957, which wouldwith time become the brand-mark of thevisual culture of Zadar: the InternationalPhotography Exhibition Man and the Seaand the painting exhibition known as theBlue Salon. Both of them were taking placein the formal setting of the new Faculty ofPhilosophy in Zadar, established a yearbefore. With the total of 641 photographsreceived from 163 authors coming from 21countries, from which the jury selected 91authors with 190 pieces, and consideringthe good quality of the exhibits, the exposi-tion looked promising from the very outset.4

The next exhibition was already appre-ciated as a high-ranking event in visualarts. It was set in the exhibition space ofthe Zadar Gallery of Arts and accompaniedby a fine catalogue with the reproductionsof the works exhibited. It featured 2759pieces by 825 authors from 43 countries5

and was now divided into two thematicunits, linked to the titular topic and the so-called free topic respectively.

In 1963, after a five years break, theorganisation of the exhibition was takenover by the Zadar Gallery of Arts and giventhe name of International PhotographyBiennial “Man and the Sea,” which con-tributed to its status. In terms of organisa-

razliËiti, ideoloπki optereÊeni, diskriminaci-jski primjeri nekih istoËnoeuropskih salona,kao i potpuna fotografska cenzura koju jeprimjenjivalo Sovjetsko fotografsko udruæe-nje i Ëasopis Sovjetskoe foto. Bili bismo ne-pravedni kada ne bismo rekli da je u ta vre-mena, iako rijetko, takvih primjera bilo i naZapadu.

Meunarodna izloæba fotografije imalaje, za razliku od ostalih fotografskih salona,pomalo bizaran poËetak. Osnivanje nije ve-zano ni uz kakav fotoklub, fotosavez ili gale-rijsku ustanovu. U doba osnivanja brojnihopÊih i specijaliziranih sajmova Zadar je1957. godine dobio organizaciju Meuna-rodnog sajma ribarstva pa je, zahvaljujuÊivizionarskom, æivahnom i nikada dovoljnoshvaÊenom duhu direktora sajma MarijanaRavkina, ta manifestacija dobila i svoj po-pratni, ali znaËajni kulturni prilog. Tako suod 4.-18. kolovoza 1957. u povodu sajmaorganizirane i dvije likovne manifestacije ko-je Êe s vremenom postati zaπtitnim znakomzadarske likovne kulture. To su Meunarod-na izloæba fotografije »ovjek i more i Izloæbaslikarstva Plavi salon. Obje su odræane usveËanim prostorima novog, godinu danaprije osnovanog Filozofskog fakulteta uZadru. S ukupno 641 primljenom fotografi-jom 163 autora iz 21 zemlje, od kojih je æi-ri za izlaganje izabrao 91 autora sa 190 ra-dova, a posebno zbog zadovoljavajuÊe kva-litete izloæaka, manifestacija je djelovalaobeÊavajuÊe.4

VeÊ je sljedeÊa izloæba dobila dignitetvisoko rangirane likovne manifestacije. Bilaje prireena u izloæbenim prostorima zadar-ske Galerije umjetnina, s pravim katalogomu kojem su reproducirana djela, a okupila je825 autora iz 43 zemlje s 2759 radova.5

Osim toga, podijeljena je na dvije tematskecjeline - naslovnu i tzv. slobodnu temu.

Nakon petogodiπnje stanke, 1963. go-dine organizaciju izloæbe, koja postaje Me-unarodni bijenale fotografije »ovjek i mo-re, preuzima zadarska Galerija umjetnina idaje joj puni dignitet. U organizacijskomsmislu ogroman doprinos uspjehu ove man-ifestacije6 daju znameniti zadarski fotografi,braÊa Ante i Zvonimir Brkan, od kojih jedrugi bio dugogodiπnji tajnik bijenala.

Od samog poËetka meunarodna izloæ-ba »ovjek i more uspjeπno se smjestila me-u izloæbene fotografske salone, izmeuostalog zbog atraktivne naslovne teme -»ovjek i more, ali i tzv. slobodne teme, kojaje dozvoljavala najraznovrsnije fotografskesadræaje i izraæajna sredstva. OpÊem prih-

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1 Sustav stupnjevanja za pojedini tip fotografske izloæbe ovisio je o njenom ugledu i znaËenju, a veÊ samo sudjelovanje na æiriranoj izloæbi donosilo je izvjestan broj bodova. Bodovi su se znatno uveÊavali ako bi autor na izloæbi bio nagraen pohvalom, a posebno medaljom. Zbroj bodova s vremenom bi donosio razliËite statuse ambiciozni-jim fotografima, dok su zvanja Majstor nacionalne fotografije, Artist FIAP-a ili Ekscelencija FIAP-a bila dostupna samo onima koji su zaista stekli visoku reputaciju na vaænim fotografskim izloæbama i meunarodnim fotografskim salonima. Takav je sustav znatno doprinosio fotografskim karijerama fotografa, od kojih su mnogi u ta vremena zahvalju-juÊi upravo takvoj vrsti afirmacije, zapoËinjali svoju profesionalnu karijeru - na primjer Lucien Clergue, Jeanloup Sieff, Mladen GrËeviÊ i mnogi drugi.

2 U tom je razdoblju fotografija tek zapoËinjala zamje-njivati modnu ili reklamnu ilustraciju (Ëak su tako znaËajni Ëasopisi poput Life-a ili Saturday Evening Post-a, koji su promovirali fotografiju, joπ do πezde-setih godina donosili reklame zahtjevnijih proizvoda,poput automobila, slikanih rukom, a tek rijetko upotrijebljena reklamna fotografija jedva se raspoz-navala od nametljivog “ameriËkog retuπa” raenog zraËnim kistom). Osim njih, postojao je velik broj fotografa amatera koji su medij koristili tek u svrhu puke registracije obiteljskog æivota. No, poslijeratna fotografska industrija poticala je upravo amatersko træiπte novim izumima, pojednostavljenim i jeftinijimmetodama snimanja, automatiziranim i instant-sustavima i novim stabilnijim i osjetljivijim fotoma-terijalima.

3 Valja napomenuti da su u vrijeme bujanja fotograf-skih salona dominantnu ulogu u svijetu vizualnih medija imali ilustrirani Ëasopisi. PojedinaËna fotografija ili fotoreportaæa postale su daleko persuazivnije od rijeËi, pa su magazini poput Life-a i Paris Match-a istovremeno utjecali na javno miπljenje, ali u znatnoj mjeri i na estetske parame-tre medija. IzdavaËka djelatnost bila je uglavnom ograniËena na relativno skromnu fotografsku ilus-traciju. Znatno rjea i skuplja bila su izdanja obogaÊena visokokvalitetnom fotografijom u bakro-tisku ili kvalitetnom offsetu. Samo najskuplje edicijemogle su osigurati kvalitetnu fotografsku reproduk-ciju u boji. U to su vrijeme na cijeni bili i tzv. fotografski godiπnjaci pojedinih udruæenja i izdavaËkih kuÊa. Na svoj su naËin i oni su znatno doprinosili formiranju specifiËnosti ukusa i fotografske estetike svoga vremena.

4 Podaci o izloæbi preuzeti su iz kataloga prireenog kao dio sajamske broπure: I. ribarska izloæba i fes-tival Zadar, Zadar, 1957., 35-53.

5 Meunarodni sajam ribarstva, II. meunarodna izloæba fotografije »ovjek i more (katalog), Zadar, 1958.

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vaÊanju i popularnosti svakako je doprino-sio umjetniËki liberalan æiri neosporno viso-ka ugleda,7 kao i opseæan i za ono doba iz-nimno bogato opremljen izloæbeni katalog.Za mnoge je, posebno fotografe iz IstoËneEurope, upravo katalog bio rijedak uvid usvijet suvremene fotografije.

Premda je manifestacija bila javna inatjeËajna u skladu s naËelima meunarod-ne organizacije fotoamaterskog pokreta -FIAP-a, nezavisni i profesionalni statusorganizatora omoguÊio je neutralan, nepris-tran, struËan i kreativan pristup organizacijiizloæbe, osloboen klupskog interesa, bo-dovne kalkulatorike ili utjecaja dræavne foto-grafske udruge. Vitalnost zadarske meuna-rodne izloæbe valja zahvaliti upravo organi-zatoru, koji je u razdobljima koja su za sa-lonsku fotografiju bila krizna, znao iznaÊinaËin da »ovjek i more osuvremeni i prila-godi novonastalim okolnostima, postupnoga modificirajuÊi, a nastojeÊi Ëuvati tradi-cionalne kvalitete.

©ezdesete godine joπ su bile znaËajnorazdoblje fotografskih salona. U drugoj po-lovini πezdesetih »ovjek i more biljeæi svojerekorde i po broju prijavljenih fotografija(gotovo 7000 pojedinaËnih fotografija), i pobroju autora (preko 2000), i po brojuzemalja sudionica (viπe od 60).8 Meu izla-gaËima su se naπla i najistaknutija imenatadaπnje autorske fotografije u svijetu. Takoje zlatnom medaljom za zbirku 1963. na-graen slavni francuski fotograf LucienClergue, a 1969. Jeanloup Sieff. Ipak, to jevrijeme sve znaËajnijih promjena fotograf-skog medija. Utjecaj fotoæurnalistiËke es-tetike priliËno se smanjio, Ëasopisi postajuspecijaliziraniji, a pojedine redakcije odlu-Ëuju se za specifiËne tipove fotografije. NiËubrojni kvalitetno opremljeni fotografski Ëa-sopisi, ali i mnoπtvo drugih specijaliziranihizdanja koja se zasnivaju na visokokvalitet-noj i profesionalnoj fotografiji (moda, dizajn,arhitektura, umjetnost). ©ezdesetih se godi-na pojavljuju i prve specijalizirane izdava-Ëke kuÊe koje se bave iskljuËivo promica-njem kreativne fotografije. Znatno podizan-je kvalitete jednobojnog i viπebojnog offsettiska, njegova sve πira primjena, evidentnopojeftinjenje tiskarskih troπkova, kao i noveegzaktnije metode fotografske pripremerezultirale su velikim promjenama u izgleduknjige. Novi tip ilustrirane knjige πiroke iraznovrsne tematike - fotomonografija -postaje sve prisutniji na træiπtu. U svijetu sepoËinju osnivati specijalizirane galerijskeustanove koje izlaæu iskljuËivo fotografiju, a

tion, a huge contribution to its success6

were two famous photographers of Zadar,brothers Antun and Zvonimir Brkan, ofwhom the latter was the Biennial’s secre-tary for many years.

From its very beginnings, the interna-tional exhibition Man and the Sea couldfind its place among the photographicsalons, not the least because of its appeal-ing titular topic, but also because of its so-called free topic, which allowed for variedphotographic contents and ways of expres-sion. The fact that the exhibition was uni-versally accepted and valued was, amongother things, the merit of its jury, whichwas liberal in terms of art, but also repre-sented an uncontested authority.7 Of greatsignificance was also the massive, for thosetimes exceptionally richly designed exhibi-tion catalogue. For many, especially forphotographers from Eastern Europe, thiscatalogue offered a rare view into the worldof contemporary photography.

Even though the event was public andorganised as a contest, conforming to theprinciples of the International Organisationof Photo-Amateurs - the FIAP, its indepen-dent and professional status allowed for aneutral, unbiased, competent, and creativeapproach to its organisation. Thus, it couldbe free from club-oriented interests, calcu-lations in terms of evaluation, or influencesof the state association of photographers. Itowed its vitality to its organisers, who knewhow to overcome periods of crisis by mod-ernising and adapting it to new circum-stances, in which they managed to modifyit gradually while still preserving its tradi-tional qualities.

The 60s were still a significant periodfor photography salons. In the late 60s, theMan and the Sea was at its pinnacle interms of received photographs (almost7000 individual pieces), the number ofauthors (more than 2000) and the numberof their countries of origin (more than 60).8

Among the featured photographers, therewere some of the most prominent namesfrom the field of art photography in theworld. In 1963, the golden medal for col-lections was awarded to the famous Frenchphotographer Lucien Clergue, and in 1969to Jeanloup Sieff. However, it was a periodof great changes in the photographic medi-um. The influence of the aesthetics of pho-tojournalism was declining, journals werebecoming more specialised, while certaineditorial boards opted for specific types of

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1 The grading system at various photography exhibi-tions depended on their reputation and significance,but participation at any exhibition with a jury grant-ed a certain number of points. These points were significantly multiplied if the author was awarded a distinction, and even more in case of a medal. The total of points would bring a certain status to the more ambitious photographers, while the titles of the Master of National Photography, The FIAP Artist,or the FIAP Excellency were accessible only to thosewho had won themselves a high esteem at photog-raphy exhibitions and international photography salons. This system greatly improved the status of certain photographers, and some of them started their professional careers in those times, precisely owing to this type of affirmation, e.g. Lucien Clergue, Jeanloup Sieff, Mladen GrËeviÊ, and others.

2 In this period, photography was only beginning to replace fashion or advertising drawing. Even the distinguished magazines promoting photography, such as Life or the Saturday Evening Post, were accompanying their advertisements of prominent products, such as cars, by hand-drawn illustra-tions, while the rarely used advertising photographywas barely distinguishable from the conspicuous “American retouch”, made by air-brush). Apart from those, there was a considerable number of amateur photographers who used their medium only for documenting family life. However, the post-war photo-industry particularly encouraged the amateur market by launching new inventions, sim-plified and cheaper methods of taking photographs, automatic and instant systems, and more stable and sensitive photo-materials.

3 It should be emphasised that, at the time when photography salons were flourishing, illustrated magazines played the dominant role in the world of visual media. Single photographs or features tendedto be far more persuasive than texts, so magazines such as Life and Paris Match could exert influence on public opinion, as well as on the aesthetic para-meters of the medium. Publishing activity was mostly limited to the relatively modest photo-illus-tration. Far more rare and expensive were editions furnished with photographs in copper print or high quality offset print. Only the most expensive edi-tions could include luxury photographic reproductionin colour. Highly appreciated in those times were also the so-called photo-almanacs, published by associations and publishing houses. In their own way, they significantly contributed to forming the taste and the photographic aesthetics of the time.

4 Data about the exhibition are taken over from the catalogue which formed part of the fair booklet: I. ribarska izloæba i festival Zadar [The 1st Fishermen’s Exhibition and Festival in Zadar], Zadar, 1957, 35-53.

.

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photography. A number of richly designedphotography journals were on the rise, aswell as numerous other specialised edi-tions, based on high-quality and profession-al photography (fashion, design, architec-ture, art). The 60s were also significant forthe establishment of specialised publishinghouses, devoted exclusively to the promo-tion of creative photography. Considerableimprovement in the quality of black-andwhite and colour offset printing, its wide-spread application, the evident fall of print-ing costs, as well as the new, more precisemethods of preparing photographs for print,resulted in great changes in the appearanceof books. The new type of illustrated booksdedicated to broad and varied topics - theso-called photo-monographs - was becom-ing increasingly present on the market.Galleries specialised for photography wereestablished all over the world, and even thegreat traditionalist museums finally beganto accept the photographic medium as ameans of artistic expression. The New YorkMuseum of Modern Art, progressive inmany respects, had had its department ofphotography before the World War II. In themid-50s, under the guidance of EduardSteichen, it organised an exhibition entitledThe Family of Man, which circled aroundthe world in a few years and exerted anenormous influence on global photography.During the 60s, MoMA was still the leadingcentre for promoting new views on photog-raphy. It should be mentioned that, as earlyas 1955, the Louvre Department ofDecorative Arts organised a retrospectivewith some 400 pieces by the most cele-brated French photographer, Henri CartierBresson. It was followed by other great pre-sentations of renowned photographers(whereby one should mention the very earlyexhibition of the Croatian photographerMladen GrËeviÊ, which took place in Parisin 1954).

At the turn of the 60s/70s, the numberof participants at international photographysalons began to decrease. The bulk of ama-teurs gathering at photo-clubs was nowlargely occupied with a new toy, the cine-ma camera, while those who were morepersistent, better educated in terms of pho-tography, or more creative remained faithfulto the photographic medium and the sys-tem of large collective exhibitions. It can beobserved that, in the course of the 60s,many successful and awarded individualsabandoned their photo-clubs, opting for

i veliki tradicionalni muzeji poËinju konaËnousvajati fotografski medij kao sredstvo um-jetniËkog izraza. Po mnogo Ëemu avangar-dan, Muzej moderne umjetnosti u NewYorku ima fotografski odjel joπ od predrat-nog razdoblja, a sredinom pedesetih godinapod vodstvom Eduarda Steichena organiziraizloæbu The Family of Man (Ljudska obitelj)koja je u nekoliko godina obiπla cijeli svijeti izvrπila velik utjecaj na fotografiju u svije-tu. ©ezdesetih je godina MoMA joπ uvijekvodeÊi centar za promoviranja novih pogle-da na fotografiju. Valja spomenuti da je veÊ1955. godine odjel za dekorativne umjet-nosti u Louvreu organizirao retrospektivu soko 400 radova najslavnijeg francuskog fo-tografa Henrija Cartiera Bressona, a potomu Parizu slijede i druge velike prezentacijeznamenitih fotografa (ovdje valja spomenutii vrlo ranu pariπku izloæbu hrvatskogfotografa Mladena GrËeviÊa 1954. godine).

Kako su πezdesete godine prelazile usedamdesete, to se broj sudionika meuna-rodnih fotografskih salona poËeo smanjiva-ti. Najπiri amaterski sloj koji se okupljao ufotoklubovima sada je bio uveliko zabavljennovom igraËkom, kinokamerom, dok oniuporniji, fotografski obrazovaniji i kreativnosposobniji, ostaju vjerni fotografskom medi-ju i sustavu velikih kolektivnih izloæbi. Moæese primijetiti da su se tijekom πezdesetihgodina iz fotoklubova izdvojili mnogi uspjeπ-ni i nagraivani pojedinci odluËivπi se zafotografiju kao profesiju u nekoj od traæenihspecijalnosti ili kao autorski fotografi. Takvipojedinci postupno odustaju od izlaganja natradicionalnim natjecateljskim salonima,dræeÊi ih tek preæivjelim oblicima fotograf-skog dokazivanja fotoamatera.

Manifestacija »ovjek i more suoËila ses krizom u kasnim sedamdesetim godina-ma, izmeu ostalog i zbog financijskih raz-loga. Stoga zadarski organizator od 1973.bijenale pretvara u trijenale. Osim toga, Ëla-novi æirija su prilikom izbora materijala i na-graivanja autora izdvajali radove koji sunosili u sebi svjeæinu nekih novih pogledana fotografiju. Kao πto je ranih πezdesetihgodina zadarski æiri imao sluha prepoznati inagraditi djela jednog Luciena Clergua ilitada joπ mladog Jeanloupa Sieffa, tako jesedamdesetih godina otkrio vrijedna djelafinske i belgijske fotografije, a posebno iz-vanredne fotografe baltiËkih zemalja.

Godine 1979. umire Zvonimir Brkan, ai njegov brat Ante, optereÊen boleπÊu i godi-nama, prestaje aktivno sudjelovati u organi-zaciji trijenala. OdluËivπi se za postupnu re-

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6 VeÊ 1963. godine na izloæbu je pristiglo 4378 rado-va 1366 autora iz 45 zemalja. Vidi: 3. meunarodni bijenale fotografije »ovjek i more (katalog), Zadar, 1963.

7 U raznim sastavima su se, meu ostalima, izmje-njivali Antun i Zvonimir Brkan, Toπo Dabac, Nikola VuËemiloviÊ, Janez KocijanËiË, Nenad Gattin, i drugi.

8 "... Meunarodna izloæba fotografije »ovjek i more unajkraÊe vrijeme postala je poznata kao jedna od najveÊih meunarodnih izloæbi fotografije takvog tipa u svjetskim relacijama. Ta je izloæba u πezde-setim godinama snaæno utjecala na razvoj izloæbenekreativne fotografije u Hrvatskoj. OpÊenito, biti za-stupljen na toj izloæbi smatralo se velikim uspjehomsvakog pojedinca". VLADKO LOZI∆, Fotoamaterski pokret u Hrvatskoj (prilozi za povjesnicu), Zagreb, 2003., 74.

9 ANTUN TRAVIRKA, Predgovor, u: 12. meunarodni trijenale fotografije »ovjek i more (katalog), Zadar, 1986., 9.

l

5 International Fishermen’s Fair, II. meunarodna izloæba fotografije »ovjek i more [The 2nd International Photography Exhibition Man and the Sea] (exhibition catalogue), Zadar, 1958

6 In 1963, the exhibition received as many as 4378 photographs by 1366 autors from 45 countries. See: 3. meunarodni biennale fotografije »ovjek i more [The 3rd International Photography Biennial Man and the Sea] (exhibition catalogue ), Zadar, 1963.

7 In various combinations, the jury included Antun and Zvonimir Brkan, Toπo Dabac, Nikola VuËemiloviÊ, Janez KocijanËiË, Nenad Gattin, and others.

8 “... The International Photography Exhibition Man and the Sea became famous within the shortest possible time as one of the greatest international photography exhibitions of this type, even in global terms. In the 60s, this exhibition made a strong impact on the development of creative photography in Croatia. Generally speaking, to exhibit there was considered a great success for any photographer.” VLADKO LOZI∆, Fotoamaterski pokret u Hrvatskoj (prilozi za povjesnicu) [Amateur photography in Croatia], Zagreb, 2003, 74.

2. »ovjek i more, naslovnica kataloga / Man andthe Sea, front cover of the catalogue, 19633. »ovjek i more, naslovnica kataloga / Man andthe Sea, front cover of the catalogue, 1969

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organizaciju, Galerija umjetnina se na mojprijedlog naposljetku odluËila za autorskipristup trijenalu. Tako je veÊ XII. meuna-rodni trijenale 1986. godine organiziran kaopozivna autorska izloæba s eminentnim ime-nima meunarodne fotografije razliËitih iËesto divergentnih stavova. Izloæba je okupi-la preko 500 djela pedesetak autora, meukojima su se posebno isticali LucienClergue, Jean Dieuzaide, Klaus Frahm,Ralph Gibson, John Hedgecoe, MarcRiboud, Karin Szekessy, Wolfgang Volz idrugi, a meu domaÊim autorima MarijaBraut i Mladen GrËeviÊ. Ranije orijentiraniskljuËivo na crnobijelu fotografiju, od te go-dine trijenale ravnopravno zastupa i fotogra-fiju u boji.

U predgovoru kataloga tada samzapisao: “Procjenjivanje kvalitete fotografijedanas ... se prvenstveno bazira na sadræajui namjeri. »ak i kada se ne moæe preciznodeterminirati odreeni sadræaj ili namjera,vrijednost fotografskog djela se oËituje u ne-kom specifiËnom aspektu koji moæemo defi-nirati kao ‘viziju’. Promatramo, dakle, pr-venstveno ‘sliku’, a ne metodu racionalnogmiπljenja. Suvremena metoda interpretacijefotografije udovoljava preteæno apstraktnomËinu gledanja na sadræaj onog πto je snim-ljeno. Od posebnog je znaËaja uvjerljivo inenametljivo opaæanje, jedinstvena ‘vizija’koja sadræi u sebi smisao ‘potpisa’ autora, aposebno osjeÊaj ‘prisutnosti’, uzajamnostizmeu snimljenog i snimatelja, svojevrsnaprojekcija osobe snimatelja na predmet sni-manja, pri Ëemu on biva osvijetljen i oslobo-en, umjesto da ga snimatelj apsorbira sna-gom svoje liËnosti.”9 Takav naËin iπËitavan-ja fotografije omoguÊio je da se na jednakointenzivan naËin spoznaju razliËite vrijed-nosti - od povijesno ranih razdoblja fotogra-fije, preko Ëitavog spektra razliËitih stilskihopredjeljenja nastalih tijekom ovog stoljeÊa,pa sve do eksperimentalnih ostvarenja Ëijaje temeljna svrha ispitivanje ekstremnih pa-rametara medija i granica njegove izraæajno-sti. Metode novog pristupa fotografiji omo-guÊile su daleko bolju spoznaju πirine i zna-Ëenja fotografskog medija u suvremenom æi-votu. NauËile su nas cijeniti cijeli niz sasvimzapostavljenih tematika i aspekata fotografi-je, i to posebno onih koji bitno odstupaju odklasiËnog pojma ‘umjetniËke’ ili novijeg ‘au-torske’ fotografije.

Druga faza preoblikovanja zadarskogtrijenala zapoËela je 1989. godine, voenaidejom mjesta s viπe razliËitih fotografskihdogaanja koja obuhvaÊaju aktualno stanje

photography as profession and specialisingin some profitable branch, or establishingthemselves as art photographers. Suchindividuals gradually gave up exhibiting atthe traditional, competitive salons, viewingthem as mere relics of photographic forma-tion for photo-amateurs.

The Man and the Sea faced a crisis inthe late 70s, not the least for financial rea-sons. Therefore, the organiser transformedthe biennial into a triennial in 1973. Still, inchoosing the material and assigning awards,the jury favoured those pieces which wereemanating freshness through some newviews on photography. Just like the Zadarjury had the sensibility in the 60s to recog-nise and award the work of Lucien Clergueor young Jeanloupe Sieff, thus in the 70s itdiscovered valuable authors of Finnish andBelgian provenance, especially the excellentphotographers from the Baltic.

In 1979, Zvonimir Brkan died, whilehis brother Antun, struck with illness andold age, was no longer able to participateactively in organising the Triennial. In needof gradual reorganisation, the Gallery of Artseventually opted for my proposal and decid-ed to invite specific authors to the Triennial.Thus, the 12th International Triennial, heldin 1986, was already organised as an exhi-bition featuring a limited number of eminentartists from the international scene of pho-tography, characterised by different andoften diverging attitudes. The exhibition fea-tured more than 500 pieces by some fiftyauthors, among which one should especial-ly note Lucien Clergue, Jean Dieuzaide,Klaus Frahm, Ralph Gibson, JohnHedgecoe, Marc Riboud, Karin Szekessy,and Wolfgang Volz, among Croatian authorsMarija Braut and Mladen GrËeviÊ. Thoughformerly oriented exclusively towards black-and-white photography, the Triennial wasnow paying equal attention to the colourphotography.

In the preface to the catalogue of1986, I wrote: “The assessment of thequality of photography today ... is primarilybased upon its content and intention. Evenwhen its content and intention cannot bedetermined with precision, the value of awork of photography can be read fromsome specific aspect, which we mightdefine as the ‘vision’. Therefore, we primar-ily observe the ‘image’, not the method ofreasoning. The modern method of interpret-ing photography largely tends to look at thecontent of what has been photographed.

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But what is especially important is convinc-ing and unobtrusive perception, the unique‘vision’ containing the sense of the author’s‘signature’. It is particularly the feeling of‘presence’, of mutuality between the pho-tographed and the photographer, some sortof projection of the photographer’s personupon the object of photography, in whichthe latter is exposed to light and liberatedinstead of being absorbed by the power ofthe photographer’s personality.”9 This wayof interpreting photography made it possi-ble to recognise various values with equalintensity - from the early periods of photog-raphy, across the entire range of differentstylistic orientations appearing in thecourse of the twentieth century, to theachievements of experimental photography,the basic aim of which is to explore theextreme parameters of the medium and thelimits of its expressiveness. The methodsrelated to this new approach to photogra-phy allow for much better insights into thescope and the significance of the photo-graphic medium in modern life. We havelearned to appreciate a number of entirelyforgotten topics and aspects of photogra-phy, especially those which are at a con-siderable variance with the classical notionof ‘art’ photography.

The second phase in reshaping theTriennial of Zadar began in 1989, guidedby the idea of creating a place with severalevents linked to photography, which wouldreflect the actual state of the genre, featur-ing retrospective exhibitions and the pre-sentation of specific historical topics. Thus,the 13th Triennial consisted of three sepa-rate exhibitions. The first was entitled TheAdriatic on Old Photographs and organisedby historian of photography Nada GrËeviÊ inorder to commemorate the 150th anniver-sary of the invention of photography; thesecond was a retrospective of the doyen ofthe Zadar School of Photography, AnteBrkan; while the third, ContemporaryLithuanian Photography, had to be cancel-led because of the political crisis in the Bal-tic preceding the disintegration of the SovietUnion. In its reduced form, the 13th Trien-nial could only indicate how a more com-plex exhibition of photography, consistingof several thematic units, could look like.

The 14th International PhotographyTriennial was organised in 1992, with aconception that corresponded to the war sit-uation in Croatia. It featured the critical ret-rospectives of Zvonimir Brkan, famous pho-

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fotografije, retrospektivne izloæbe, kao i pre-zentaciju pojedinih povijesnih tema. Takosu XIII. trijenale Ëinile tri razliËite izloæbe:Jadran u staroj fotografiji povjesniËarkefotografije Nade GrËeviÊ, prireene u Ëast150. obljetnice izuma fotografije, zatim re-trospektiva doajena zadarske fotografskeπkole Ante Brkana, dok je Suvremena lit-vanska fotografija otkazana zbog politiËkekrize na Baltiku neposredno prije slomaSovjetskog Saveza. XIII. trijenale u reducira-nom obliku tek je dao naslutiti moguÊi iz-gled jedne kompleksnije fotografske prired-be s viπe tematskih cjelina.

XIV. meunarodni trijenale fotografijeorganiziran je 1992. godine, koncipiran uskladu s uvjetima koji su vladali u vrijemeDomovinskog rata. Prireene su kritiËke ret-rospektive znamenitog zadarskog majstorafotografije Zvonimira Brkana i prerano umr-log zagrebaËkog fotografa Nenada Gattina,koji se specijalizirao za snimanje arhitekturei skulpture. TreÊa izloæba Hrvatski Jadran -gradovi i spomenici prezentirala je zbirku odoko 450 fotografija glasovite firentinskefotografske kuÊe Alinari, koja se Ëuva uZadru. Ovakvom koncepcijom trijenale jeoËuvao meunarodni karakter unatoË rat-nim uvjetima, no do njegove izloæbene reali-zacije doπlo je tek 1995. godine,10 nakonosloboenja Hrvatske.

Petnaesto izdanje trijenala odræano je1998. uz uvjerenje organizatora da Êe no-vom prezentacijom pobuditi interes za foto-grafiju u regiji, a novosteËenim referencamaosigurati daljnji napredak u smislu orga-niziranja intenzivne, raznovrsne i dinamiËnemeunarodne fotografske manifestacije uovom dijelu Europe. Te smo godine, premamojoj zamisli, izloæbu nazvali Prema festi-valu fotografije. Odræano je ukupno devet iz-loæbi, uz ostalo i Od bitke pod Visom doSzent Isztvana, izbor iz goleme i izuzetnovrijedne kolekcije fotografija austrougarskeratne mornarice koja se Ëuva u Povijesnommuzeju u Puli i obuhvaÊa originalna djelaod 1860-ih do jeseni 1918. godine, temat-ski i povijesno vezana uz trijenale. Joπ jednaizloæba povijesnog karaktera prikazala jecjelovitu fotografsku dokumentaciju o svimfazama izgradnje, opremanja i probnih voæ-nji Titanica iz brodogradiliπta Harland andWolf, ukljuËujuÊi i njegov ispraÊaj na prvo iposljednje putovanje iz luke Southampton.Materijal je pronaen u Ulster Folk andTransport Museumu u Belfastu i za potrebetrijenala je s originalnih ploËa kopirano iotkupljeno preko 50 fotografija velikog for-

tographer from Zadar, and Nenad Gattin,Zagreb photographer whose prematuredeath interrupted his career specialised inphotographing architecture and sculpture.The third exhibition, entitled The CroatianAdriatic - Towns and Monuments, presen-ted a collection of some 450 photographsby the famous publisher of photographyfrom Florence, Alinari, which is preserved inZadar. With such conception, the Triennialpreserved its international character despitethe war, but its realisation in terms ofexhibiting foreign artists had to wait until1995,10 when Croatia was liberated.

The 15th Triennial took place in 1998.Its organisers firmly believed that the newpresentation would succeed in awakeningthe interest for photography in the region,while the newly won credentials wouldensure the continuation of this intense, va-ried, and dynamic event. In that year, ac-cording to my idea, the Triennial was enti-tled Towards a Festival of Photography. Itconsisted of nine exhibitions, among whichthere was one called From the Battle of Visto Szent István, a selection from the hugeand exceptionally valuable collection ofphotographs made by the Austro-HungarianNavy and preserved at the HistoricalMuseum of Pula. It covered original piecesfrom the 1860s to the autumn of 1918,thematically and historically linked to theTriennial. Another historical exhibition pre-sented the integral photographic documen-tation of all phases of building, furnishing,and testing the Titanic, shot at the Harlandand Wolf shipyard, including the embarkingupon its first and only journey from theSouthampton Port. The material was foundat the Ulster Folk and Transport Museum inBelfast and more than 50 large-format pho-tographs were copied from the originalplates and bought for the purpose of theTriennial. The exhibition entitled The Worldof Fishermen featured three authors of life-photography from the 50s: celebratedFrench photographers Jean Dieuzaide andMarc Riboud (the latter having been themanager of Magnum for years), and Josip©pralja from Zadar. Beside the thematic ex-hibition The Family of Man by MladenGrËeviÊ and the solo exhibitions of famousphotographers Ralph Gibson, FrancoFontana, and Lucien Clergue, we also or-ganised an exhibition entitled Man and theSea by Ivo Pervan, while current art pho-tography was represented by the diaries ofBoris CvjetanoviÊ.

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10 U jesen 1992. u jeku kraÊeg primirja promoviran je opseæan i bogato ilustriran katalog izloæbe (200 stranica, 120 reprodukcija).

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9 ANTUN TRAVIRKA, Preface, in: 12th International Photography Triennial Man and the Sea, (exhibi-tion catalogue ), Zadar, 1986, 9.

10 In the autumn of 1992, during a brief armistice, theextensive and richly illustrated exhibition catalogue was presented to the public (200 pages, 120 repro-ductions).

4. »ovjek i more, naslovnica kataloga / Man andthe Sea, front cover of the catalogue, 1976

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The 16th and 17th Triennial Man andthe Sea continued on the same course, withfive exhibitions each. The solo exhibitionsof Petar Dabac, Damir FabijaniÊ, and thefamous Austrian photographer ManfredWillmann took place in 2001. They werefollowed by the Mediteraneo of Italian pho-tographer Mimmo Jodice and an exhibitionof photographs by Æarko KneæeviÊ fromZadar. At the latest Triennial of 2004, themain selector was Æelimir KoπËeviÊ, a theo-rist of photography from Zagreb. Accordingto his idea, we have organised an exhibitionentitled Continental Breakfast, which pre-sented impressions of the sea by variousphotographers from the continental regionsof Central and Eastern Europe. A significantchoice was that of the renowned andsocially engaged American photographerAllan Sekula, who presented his ecologystudy Black Tide and his sociologically ori-ented Highway to China. The third choiceof KoπËeviÊ was the Island of Zlata VuceliÊ.The photography curator at the Gallery ofArts, Karmen Travirka MarËina, preparedan exhibition of Stipe SuraÊ, a successfulyoung photographer from Zadar. The authorof this text presented one of the most cele-brated French photographers of the twenti-eth century, Jacques Henri Lartigue. Theexhibition Côte d’Azure by J. H. Lartiguefeatured all his shots made throughout the1970s and presented his subjective per-ception of people, events, and atmospherein the classy resorts of France.

Today, approaching the fiftiethanniversary of the Triennial, which will takeplace in 2007, we believe that the profes-sional presentation of photography ingallery space as realised in the exhibitionMan and the Sea is on the right track. Thevariety of events linked to photography andthe intensive rhythm of exhibitions has con-tributed to its liveliness and awakened theinterest of both audience and critics, whichencourages us in our intention to establisha high quality, wide-ranging, and originalfestival of photography in Zadar. The exam-ples of successful festivals in neighbouringItaly, such as the International PhotographyFestival in Sicily, the one in Tuscany, or theone in San Marino, fill us with confidenceand perseverance.

In the future, the intense and variedevents linked to photography, which takeplace in Zadar during the summer months,should include not only exhibitions, but alsopublic lectures, workshops of photography

mata. Izloæba Svijet ribara obuhvatila jefotografije triju autora life-fotografije iz 50-ih godina: slavnih francuskih fotografaJeana Dieuzaida i Marca Ribouda (dugogo-diπnjeg direktora Magnuma) te ZadraninaJosipa ©pralje. Uz monografske izloæbe Po-rodica Ëovjeka Mladena GrËeviÊa te izloæbeznamenitih fotografa Ralpha Gibsona,Franca Fontane i Luciena Clergua, priree-na je i izloæba »ovjek i more Ive Pervana,dok je aktualna autorska fotografija pred-stavljena dnevnicima Borisa CvjetanoviÊa.

XVI. i XVII. trijenale »ovjek i more nas-tavili su istim putem, s po pet izloæbi. Godi-ne 2001. prikazane su monografske izloæbePetra Dabca, Damira FabijaniÊa i znameni-tog Austrijanca Manfreda Willmanna. Slije-dila je izloæba Mediteraneo”talijanskog foto-grafa Mimma Jodicea te samostalna izloæbazadarskog autora Æarka KneæeviÊa. Na po-sljednjem trijenalu 2004. glavni je izbornikbio Æelimir KoπËeviÊ, teoretiËar fotografije izZagreba. Po njegovoj je zamisli realiziranaizloæba Kontinentalni doruËak koja je uklju-Ëivala doæivljaj mora viπe autora iz konti-nentalnog dijela Srednje i IstoËne Europe.ZnaËajan je bio i njegov izbor poznatogameriËkog angaæiranog fotografa AllanaSekule koji se predstavio ekoloπkom studi-jom Crna plima i socioloπki orijentiranomtemom Autoput za Kinu. TreÊi KoπËeviÊevizbor bila je izloæba Otok Zlate VuceliÊ. Kus-tosica za fotografiju Galerije umjetnina Kar-men Travirka MarËina priredila je izloæbuuspjeπnog mladog zadarskog fotografa StipeSuraÊa. Autor ovih redaka predstavio jejednog od najpoznatijih francuskih fotografa20. stoljeÊa, Jacquesa Henrija Lartiguea.Izloæba Azurna obala J. H. Lartiguea obuh-vatila je snimke nastale tijekom gotovo 70godina, autorove subjektivne percepcije lju-di, dogaaja i ugoaja mondenih francuskihljetovaliπta.

NalazeÊi se pred jubilarnim pedesetimtrijenalom koji Êe se odræati 2007. godine,miπljenja smo da je struËno utemeljen gale-rijski aspekt prezentacije fotografije realizi-ran kroz manifestaciju »ovjek i more na pra-vom putu. Raznovrsnost fotografskih doga-anja i intenzivan ritam smjenjivanja izloæbipridonio je æivosti i poveÊao interes publikei kritike, πto sve nas i dalje ohrabruje u za-misli da u Zadru ostvarimo kvalitetan, raz-novrstan i relevantan festival fotografije kojineÊe biti niËija kopija. Primjeri uspjeπnihfestivala u susjednoj Italiji, kao πto su Me-unarodni fotografski festival na Siciliji,Toskanski fotofestival ili Meunarodni foto-

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grafski susreti u San Marinu ohrabruju nasu naπim razmiπljanjima.

Intenzivna i raznovrsna fotografska do-gaanja u Zadru tijekom ljetnih mjeseci,osim izloæbi bi obuhvaÊala i predavanja, fo-tografske radionice poznatih umjetnika, ljet-ne πkole fotografije, susrete, druæenja i raz-mjenu iskustava, kao i intenziviranje foto-izdavaπtva. Miπljenja sam da bi organizaci-ja ovakve priredbe mogla u buduÊnosti nad-rasti danaπnjeg organizatora, Galeriju um-jetnina, koja bi mogla ostati nositeljemznaËajnih aktivnosti, ali uz koju je potrebanËitav niz drugih zainteresiranih sudionika,prvenstveno u gradu Zadru, a zatim i uHrvatskoj. Zamisao o pravom ljetnom festi-valu fotografije u Zadru neÊe biti moguÊe upotpunosti ostvariti ukoliko se na razinigrada ne pronau i osposobe novi izloæbeniprostori, kao i prostori podobni za foto-grafske radionice, meunarodne susrete isliËno. Festival Êe moÊi biti potpuno ost-variv tek ako uz sve druge uvjete za njegabude istinski zainteresirana i turistiËka pri-vreda. Ona Êe ga trebati dostojno promovi-rati i uklopiti u ljetnu kulturnu ponudu gra-da i Hrvatske, a kroz njega vidjeti i jasnukorist za sebe. Za festival treba biti zain-teresirana i πira zajednica, koja ga treba vid-jeti kao mjesto prezentiranja i dokazivanjahrvatske kulture, ali i najπire recepcije raz-novrsnih kulturnih utjecaja u integriranomeuropskom kulturnom prostoru. Dræim da seupornim radom moæe postupno doÊi dovrhunske kvalitete ovakve priredbe u Zadru.Dvomilenijska kulturna baπtina, mnoπtvospomenika najviπe vrijednosti, civilizacijskidodiri i kontinuitet, Ëudesne zbirke, SveuËi-liπte u ekspanziji i najave novog prosperite-ta grada, uz iznimno bogatu i sjajnu foto-grafsku tradiciju, predstavljaju optimalneuvjete za tu nakanu. t

directed by renowned artists, summerschools of photography, meetings, and dia-logues in order to exchange experiences, aswell as intense publishing activity. I believethat the organisation of the festival couldeventually outperform its organiser, theGallery of Arts, which could remain the car-rier of its most important activities, butalong with other interested institutions fromZadar and Croatia. The idea of a real sum-mer festival in Zadar cannot be realised inits entirety unless new exhibition space isfound, one that would be suitable for work-shops, international meetings, etc. The fes-tival will only be realised if it can awakenthe interest of tourist economy, whichshould promote it adequately and incorpo-rate it in its summer offer. Moreover, Croa-tian public should acknowledge the Trien-nial as a place of promotion and assertionof Croatian culture, as well as of receptionof various cultural influences across theEuropean cultural space as a whole. I be-lieve that hard work can bring us to achievesupreme quality in organising such an eventin Zadar. The town’s cultural heritage oftwo millennia, its cultural relations andcontinuity, its marvellous art collections, itsgrowing University, and the promises ofnew prosperity, combined with an exquisitetradition of photography, create optimal cir-cumstances for realising our intention. l

prijevod / translation: Marina Miladinov

≥ Antun Travirka - povjesniËar umjetnosti,dugogodiπnji kustos i voditelj Galerije umjet-nina u Zadru. Viπi predavaË na Odsjeku zapovijest umjetnosti u Zadru. Objavio dvade-setak knjiga i priredio brojne izloæbe uzemlji i inozemstvu.

Antun Travirka - art historian and curator,for many years the manager of the Galleryof Art, Zadar. Senior lecturer at the De-partment of Art History in Zadar. Publishedaround twenty books and organized numer-ous exhibitons in Croatia and abroad.

5. »ovjek i more, naslovnica kataloga / Man andthe Sea, front cover of the catalogue, 19866. »ovjek i more, naslovnica kataloga / Man andthe Sea, front cover of the catalogue, 2001

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