Knez Mihailova 6/III, Beograd +38163615788


Wind, Sand and Stars

"This project is research of my own identity as a western woman investigating this foreignness that makes up half my bloodline. I grew up in Norway, with my Norwegian mother, without knowing my Algerian father and family. I was there as a child, but life happened, and my mother and I never went back. My next trip was as 29-year-old women. I was lucky and got to meet my 99-year-old grandmother a year before she passed away. learned that my grandmother is Kabyl, Berber. I learned that I have a huge family that I did not know about. I don’t speak Arabic or French, which make me very sad. I learned that is good to follow your dreams, because one day might be to late.

As a stranger, with a feeling of being on the outside, I have walked the streets of Algiers and the desert of Algeria trying to connect. I have documented everything from the city to long walks in the desert and the life of my family. I have been interested in the smaller details such as street signs in Arabic, a cactus growing through the fence, people in the streets and the silence of the desert, reading and absorbing the life of my Amsigh ancestors. Trying to connect and understand. These photos are attempts to absorb the nuances of Algeria. They are my first steps into a culture that feels like it should be part of me, but which I do not yet know. This project is made as a visual diary."

Linda Bournane Engelberth is a Norwegian/Algerian artist based in Oslo and Berlin. She holds a advanced craft certificate in photography and a BA in History of Art. Her work focuses on identity through personal and subjective narratives, as well as rural communities which are in flux.  Her most recent exhibition include Die Haus der Photographie, Deichtorhallen, Hamburg, Fotogalerie Wien, Vienna and Noplace, Oslo, among several other exhibitions in Norway, the US and Europe. From 2011-2013 she was selected for the Norwegian Journal of Photography, a program supporting ten independent photographers in Norway. Her work was selected for the European Photo Exhibition Award 2014. She is represented by the VII Photo Agency, located in New York.

AUSTRIA / 2012 / Palms & Penguins / © Ursula Roeck


"The taboo draws a protective boundary against the shameful affect of our innermost fantasies and, when it is exceeded internal or social boundaries, it brings about a gain in pleasure. Isolated from these circumstances, a hidden spectacle is staged among the initiated. The naked fetish acts as a pure representation of intimate ideas. Detached from the stereotypical context, the pure image of the subject of the taboo reveals itself in its liberated aesthetics.

The BDSM scene always presented itself to me as serious, wicked and dark red.

One day I got in touch with the scene and was heavily pregnant, which didn't stop me from going to 3 game parties to get a taste of it. First I observed the scenery without a camera, so I immersed myself in the BDSM scene and didn't look for models in social networks. I also gave something of myself, even when I didn't play along. I was allowed to do my field studies.

Codes for a “secret language”, specially furnished play apartments on the upper floor of a single-family house, spooky torture cellars on the lowest floor of a rental house, the Austrianwilderness and a small, old wooden house in the forest. Before that I had no idea how, what, where, who liked to do it with whom and disguised as what. Dogs, pigs, bird cages, variable transformers - a dream of costumes, props and rooms for a photographer. Colorful, playful, fantastic! Funny and not serious!

Yes, you have to be exhibitionistic, but I thank my protagonists most sincerely for their humor and openness!


In the footsteps of Angela

Carine Van Gerven is an art photographer. Eye-catching creativity is the theme of her artistic life.

When she was a child, she drew animated films on large rolls of wallpaper. From the very beginning, she won art competitions for children, created exceptional photographs and organized her own exhibitions together with her sister. She wrote fairy tales and songs.

The next step was admission to the local art academy "Kunstacademie Noord-Limburg" (Belgium) where she could use her energy and creativity.

After high school, she continued her studies of painting and monumental art of painting at the vocational school "Provinciaal Hoger Kunstinstituut" in Hasselt (Belgium). She graduated with honors for her thesis, a large mural, and was appointed a teacher of art education.

In addition to teaching, she has built a personal career through regular exhibitions at various cultural centers.
She escaped from the hard everyday life and visited Japan where she met the culture of burial. Dealing with this topic of conversation helped her cope with her own process of death. These visits inspired her urn creations "Urne Facetten", which won the award for funeral photographs and enabled her to leave this difficult period behind. Concept and layering occupy an increasingly prominent place in her work.

Little Saturday

"Who am I? I am Nemanja Ledenski, born in 1990 in Subotica. I present to you a series of photographs, taken in the past four years, entitled" Little Saturday (Subotica) ".
The photo series makes up the daily lives of people (and dogs) on the street.
I like to show ordinary things weird.
I look for details, emotions, moments and humor in the subjects, which I combine with the play of shadows and light.
Photos are taken accidentally, suddenly and in unexpected moments, as is the case with street photography.

Good light to all!"


Jean-Marc Caimi and Valentina Piccinni have been collaborating since 2013 on documentary and personal projects. They focus on contemporary topics, with a special focus on the human aspect of each story. Their photos are regularly published in the media around the world: The Guardian, Der Spiegel, Politico, Le Monde, L’espresso, Internazionale, Vired, GQ, Newsweek, The Sunday Times and many others. They have won several awards such as the PHmuseum Of Humanity Grant 2020, the Sony World Photography Award 2019 in the “Discovery” category, the Istanbul Photo Book Award 2018, the Gomma Grant 2016 for Best Black and White Documentary.

They exhibit their works throughout Europe and Asia in galleries and festivals, such as the Biennale Fur Aktelle Fotografie (Mannheim), Delhi Photo Festival, Lumik Festival (Hanover), Fotoleggendo, Phest, Voies Off. So far, they have published five books, including a trilogy on cities in transition consisting of "Gule Gule" about Istanbul, "Forcella" about Naples and "RHOME" about Rome.

"RHOME" was shortlisted at PHotoESPANA - Best Photo Book of the Year 2019. "Gule Gule" received a special award at the Kassel Dummi Book Award 2019 and was a finalist at the Luma Rencontres Dummi Book Award in Arles, as in the shortlist at Arles Author Book Award 2020 and Prix Nadar 2020.

At Vizualizator 2021, the audience will have the opportunity to get acquainted with one of their most intriguing projects - the exhibition of photographs "RHOME", which represents a journey through the multiple microcosm of Rome, away from the stereotypical and tourist image. This project of the Italian duo reveals the most intimate and surprising sides of the city: the people, places and situations that make up the dense connective tissue of this city.

Close to freedom

I'm a researcher. And a photographer.
I'm naive - I accept what they tell me.
And curious - I photograph what you keep quiet about.
I love animals. I admire their innocence, unconditional love and trust without expectations. I envy them for their peace and freedom from (self) imposed restrictions, prejudices, fears. I believe that I would consider myself a good enough person only if I could see the world through the eyes of a deer, or a dog, or a horse...

I explore why people leave the right path and how to help them get back on it. What are the feelings of an animal in people who are excluded from society due to various life circumstances, closed, deprived, left to their own thoughts and conscience, whose everyday life is gloomy and whose future is uncertain. People they have lost trust in and who have lost trust in others... Would you trust me and share with me how they experience rapprochement with animals? Would they allow me to record fragments of their feelings and share them with the world? If the proximity of animals brings us closer to laughter, will I myself reach the point when I stop being a notebook, voice recorder, camera and I am the only one left... And if that happens, what is it that will stay? And how to proceed with that? The challenge - striving for rapprochement which means freedom... Fear - of freedom which means vulnerability... And the beauty of facing it...


Photo workshop Art Natura Art and the Photo Association of Serbia launched a series of exhibitions that in the first four years are thematically related to one of the elements of NATURE (fire, earth, air and water) which in ancient philosophy, science and medicine represented the elements of space. realizes the apparent or essential existence of all existing things and of which those things consist.

The same concept of Nature existed in the ancient East (India, China.. especially in the esoteric context). The Greek version influenced European philosophical thought, science and culture throughout the Middle Ages and the Renaissance.

After THREE realized exhibitions (1st WATER; 2nd EARTH and 3rd FIRE), photos were chosen for the last element of Nature: AIR.

Reality (from) construction or construction of reality?

This radical change in the urban environment is essentially the embodiment of the current leading vision of the future. Waiting and wondering, the citizens are watching, whether with apprehension or admiration, the birth of this announcer of the promised future. Uncertainty, disbelief, memory of the painful past, but also hope participate in creating an individual vision of this construction project for every citizen of Belgrade. All eyes are on it, but can just looking at this emerging urban landscape show anything that would indicate what kind of future awaits us?

Work on the urban revitalization project called "Belgrade on Water" began in 2015. Modern buildings, luxury, the tallest tower and the largest shopping center in the region, as planned, should bring Belgrade closer to world capitals. Announced as a key investment that will usher Serbia into a new era of economic prosperity, this project has divided citizens' opinions. Driven by curiosity and a desire to see the reasons for and against more objectively, I found myself in the middle of demolition and construction of dimensions unknown to me until then. What will it look like in the end, will it ever be finished, who is financing all this - I did not find the answers to these questions there. We know from the available legal documents that the land was allocated free of charge and that the city infrastructure bears the burden of this project. Photographs always show the past, they are a kind of selective memory, for the past five years I have photographed the events on and around the construction site in the hope that through photography I will understand what is actually happening there. Seeking an answer to the question why the same images provoke opposite reactions in people, I start from the assumption that there must be some invisible elements within the interpretation. This paper is an attempt to understand how "Belgrade on Water" has become a place of great disagreement among people's opinions and to reveal the invisible layers of meaning that influence the formation of opinions.


Have you followed previous editions of VIZUALIZATOR? If so, we are sure you have heard of the Press Photo Serbia exhibition, as it has become a trademark of the Festival. However, the Press Photo Serbia competition itself has been announced for much longer than the Festival exists! Namely, at this year's ninth edition of the Festival, Press Photo Serbia will celebrate its twenty-third birthday. Before you give us birthday cards, read the text to the end.

Press Photo Serbia is a national annual competition for the best photography in the Serbian media, which includes announcing the competition itself, a large number of responses to it, judging by an international jury and the most interesting part: forming an exhibition of winning photos and awarding the best photographers.

We proudly point out that this is the oldest competition of its kind in the Balkans and at the same time the only one that works on the affirmation and presentation of the greatest achievements of Serbian media and documentary photography. The competition promotes high professional, ethical and aesthetic standards in media photography. He encourages research and independent work of photographers and photographic dealing with topics of social importance, distancing himself from the daily political and sensationalist. It propagates the author's work, strengthens the author's awareness of photographers and points out their responsibility towards the audience, thus developing the audience. At the same time, it develops critical awareness, providing insight into the possibility of contemporary photojournalism as an integral part of contemporary visual arts. Therefore, it affirms bold steps and contemporary trends in media photography, as well as encourages authors to exhibit activities and achieve a stronger connection with the audience.

The project brings together experts, renowned world and domestic photographers and photography theorists, on the common task of judging the competition. In that way, the exhibition itself is formed, so that from the received 1500 works, the expert jury selects 100 works within several categories and presents them in a large format.

The exhibition of award-winning works functions as a connector between the audience and the photographer. Many Serbian photographers have a career in foreign media, which is why the national competition is the only way for the public, both wider and professional, to come into contact with their works. On the other hand, the recognition in the Press Photo Serbia competition, a future international reference, enables the presentation of works outside the borders of Serbia, gaining new engagements and developing the potential of all photographers.

We expect you!

ONLINE exhibition Nina Mangalanayagam

The tangled web of belonging

From November 29 until December 12 on Vizualizator website

The tangled web of belonging reflects on the complexity arising when a mixed heritagesubject is included in an image of whiteness.

The tangled web of belonging raises awareness of the mixed subject in photography and in Europe; the subject who is both white and black, but at the same time neither black nor white. The mixed subject shifts positions in a Europe that has a self-image as white and experiences a unique position of in betweenness. Nina addresses the confrontation that arises when attempting to find belonging within a ‘white’ society, with her mother. It is from this position that this series is speaking from. From the experience of being both Swedish and Sri Lankan, but at the same time neither fully Swedish nor Sri Lankan. This work challenges binaries of black and white, which is currently used as polarizing identities. Instead this work proposes that that some people inhabit both identities and this position can be used to break down simplified categories of race.

The images are from a body of work combining still lives, portraits and nature into a metaphorical mix, highlighting the entanglement of narratives, myths, control and hybridity. They were initially commissioned and published by Raking Leaves for a book called A-Z of conflict. Nina has worked on this topic in a series of other works, and also completed a PhD by practice at University of Westminster in 2015. Nina currently run the BA in Photography at HDK-Valand, Gothenburg, which is the only undergraduate photography specific education in Scandinavia.

We expect you!