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![Common Photographic Narratives](https://eng.inktrapbooks.com/wp-content/uploads/2024/02/IMGP1220.png)
Project brings together number of associations and institutions with purpose of conducting activities dedicated to photography in the 20th century, a medium most directly linked with development of modern society.
![fototxt ⁄6⁄](https://eng.inktrapbooks.com/wp-content/uploads/2023/06/IMG_20230515_0003.png)
In the focus of this edition are the art critics who followed the domestic photographic scene from the 1950s to the early 2000s and contributed their texts to understanding and…
![fototxt ⁄5⁄](https://eng.inktrapbooks.com/wp-content/uploads/2021/05/IMGP1214.png)
In this edition of fototxt, art historian and theorist Leonida Kovač writes about the collages of Nada Vrkljan-Križić, while art critic Darko Šimičić writes about those of Inka Švertasek.
![fototxt ⁄4⁄](https://eng.inktrapbooks.com/wp-content/uploads/2020/10/IMGP1215.png)
Four generations of photographers — Masha Bajc, Ana Opalić Ivan ica Privora Kurtel, Jadranka Fatur, Daniela Lushin, Erika Šmider and Slavka Pavic — were presented in this issue.
![fototxt ⁄3⁄](https://eng.inktrapbooks.com/wp-content/uploads/2020/04/IMGP1216.png)
The third issue of Fototxt is dedicated in its entirety to the avant—garde exhibition "Phony Smile. Language of photographic interpretation and aesthetic speculation".
![Davor Konjikušić — our house ⁄ naša kuća](https://eng.inktrapbooks.com/wp-content/uploads/2019/11/IMGP1212.png)
Davor Konjikušić combines photographs and his own diaries, creating an emotionally powerful artistic view of the world around us. All of the photographs were taken in Southeast Europe.
![fototxt ⁄2⁄](https://eng.inktrapbooks.com/wp-content/uploads/2019/10/IMGP1217.png)
FOTOTXT’s second issue introduces the works of four artists — Sandro Đukić, Peggy Buth, Ivan Petrović and Božena Končić Badurina
![fototxt ⁄1⁄](https://eng.inktrapbooks.com/wp-content/uploads/2019/07/IMGP1218.png)
under common theme of “our history” — three artistic poetics are assembled, three authors that the media of photography uses to refer to the often invisible mechanisms, “politics of sight”.
![Vlado Martek — Preparing for Photography ⁄ Pripremanje za fotografiju](https://eng.inktrapbooks.com/wp-content/uploads/2018/11/IMGP1213.png)
this publication is completely dedicated to Martek’s work in photography, presenting the medium as a conceptual form. It gathers works created in the period from the 1970s to today.
![Marko Ercegović — l.p,](https://eng.inktrapbooks.com/wp-content/uploads/2017/09/IMGP1207.png)
The monograph collects a series of photographs taken between 2006 and 2016, in some of the numerous business and office premises belonging to the domestic bureaucratic and administrative system.
![Ana Opalić — Brsalje](https://eng.inktrapbooks.com/wp-content/uploads/2017/09/IMGP1206_2.png)
a series of analog black-and-white photographs, showing always the same frame — the surfaces of the sea and the sky divided precisely by the horizon and framed by the rocks.
![Hana Miletić — Street Photography](https://eng.inktrapbooks.com/wp-content/uploads/2016/07/IMGP1210.png)
“Hana Miletić’s camera does not record what could be referred to as spectacle (for masses). Her view does not sting; it does not set rules nor makes judgment.”
![Bojan Mrđenović — Spa ⁄ Toplice](https://eng.inktrapbooks.com/wp-content/uploads/2016/06/IMGP1211.png)
“Mrđenović takes on an active position, position of the observer. He is not interested in giving us an embellished image of reality, but aims to provide certain kind of knowledge.”
![Hrvoje Slovenc — Croatian Rapsody: Borderlines ⁄ Hrvatska rapsodija: Pograničja](https://eng.inktrapbooks.com/wp-content/uploads/2016/06/IMGP1219.png)
“I find it difficult when looking at these works to avoid questions about the status of not just photography but representation more broadly in a post-postmodern world.”
⁄books by office for photography
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