{"id":3435,"date":"2016-05-18T15:46:20","date_gmt":"2016-05-18T13:46:20","guid":{"rendered":"https:\/\/www.monikabulaj.com\/pl\/recensioni\/"},"modified":"2022-12-31T09:28:04","modified_gmt":"2022-12-31T08:28:04","slug":"recensioni","status":"publish","type":"page","link":"https:\/\/www.monikabulaj.com\/pl\/recensioni\/","title":{"rendered":"Recenzje"},"content":{"rendered":"

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Po raz pierwszy przyznana kobiecie, nagroda zosta\u0142a przyznana MB za jej prac\u0119 fotografki, reporter i dokumentalistki, za pokazanie skutk\u00f3w wojny, i badanie umys\u0142u cz\u0142owieka, jego g\u0142odu religijno\u015bci, czu\u0142o\u015bci i godno\u015bci.
MB czyni\u00a0niewidzialne\u00a0widzialnym, tworz\u0105c obraz jedno\u015bci ludzkiej rodziny.
W\u0142oska Narodowa Nagroda \u201cNonviolenza\u201d<\/em><\/p>\n

Za niestrudzone zg\u0142\u0119bianie obrazu. Jej praca fotograficzna nie jest zwyk\u0142\u0105 dokumentacj\u0105, lecz prawdziw\u0105 eksploracj\u0105 archetyp\u00f3w, podr\u00f3\u017cuj\u0105cych w duszy cz\u0142owieka.
Nagroda im. Bruce’a Chatwina „Absolute eyes”<\/em><\/p>\n

\u015awi\u0119te rozdro\u017ca<\/i> pod tym \u2013 jak i pod wieloma innymi wzgl\u0119dami \u2013 s\u0105 przedsi\u0119wzi\u0119ciem doprawdy unikatowym. Gdzie\u015b z pogranicza. Z rozdro\u017ca w\u0142a\u015bnie, gdzie w jednym kierunku by\u0142by teatr, w drugim \u2013 wyk\u0142ad performatywny, w trzecim \u2013 wystawa fotograficzna, w czwartym \u2013 koncert, w pi\u0105tym \u2013 spotkanie z Histori\u0105 i historiami. W programie przeczytamy, \u017ce \u201eto opowie\u015b\u0107 o w\u0119druj\u0105cych ludach, zagro\u017conych szale\u0144stwem cz\u0142owieka, o zwi\u0105zku z ziemi\u0105, rzek\u0105, drzewem, g\u00f3r\u0105, o to\u017csamo\u015bci i wygnaniu, przynale\u017cno\u015bci i wykluczeniu, o oazach spotka\u0144, obl\u0119\u017conych przez uzbrojone fanatyzmy, o utraconych ojczyznach dzisiejszych uciekinier\u00f3w, miejscach, gdzie r\u00f3\u017cni bogowie m\u00f3wi\u0105 tym samym j\u0119zykiem\u201d. Brzmi to wszystko poetycko, nieco nawet tajemniczo i tak, musz\u0119 przyzna\u0107, w rzeczywisto\u015bci wygl\u0105da, tylko \u017ce w wymiarze odbioru, a nie samej formy. Ta jest nad wyraz prosta, oszcz\u0119dna i pow\u015bci\u0105gliwa. Bu\u0142aj otwiera sw\u00f3j notatnik, swoj\u0105 Ksi\u0119g\u0119 zebranych opowie\u015bci. Siada po lewej stronie sceny przy pulpicie. \u015awiat\u0142a gasn\u0105 i wielki ekran z ty\u0142u staje si\u0119 czarno-bia\u0142ym od zdj\u0119\u0107. Jedno, po kilku sekundach kolejne. I jeszcze. I tak dalej. W odpowiednim rytmie, przy delikatnym wsparciu muzycznym Anny Zubrzycki oraz pie\u015bniarki i skrzypaczki Katarzyny Kapeli. <\/p>\n

Prace fotograficzne Bu\u0142aj to nasycone emocjami mikronarracje. Pi\u0119kne jak dzie\u0142a holenderskich mistrz\u00f3w ze \u201ez\u0142otego wieku\u201d. Zarazem zmys\u0142owe i eteryczne. Pr\u00f3buj\u0105ce uchwyci\u0107 rzeczy najsubtelniejsze, czyli cz\u0142owieka w kontakcie z sacrum. Bu\u0142aj przy tym nie tyle komentuje kolejne fotografie, co towarzyszy nam w tej wyprawie przez religie i egzotyczne kraje, przez te \u201emiejsca nieoczywiste\u201d i \u201emiejsca-mosty\u201d, monastyry, wsie i plemiona. Jej uwagi bywaj\u0105 zabawne, sentymentalne, b\u0142yskotliwe, oryginalne i pi\u0119kne, a tak\u017ce wzruszaj\u0105ce, dotkliwe, g\u0142\u0119bokie i znacz\u0105ce. Wszystko to hipnotyzuje i upaja. Wprawia w niejaki trans. <\/p>\n

Na zdj\u0119ciach Bu\u0142aj najcz\u0119\u015bciej jest blisko, zadziwiaj\u0105co blisko ludzi, jakby by\u0142a przygl\u0105daj\u0105cym si\u0119 im wys\u0142annikiem tego innego wymiaru, w stron\u0119 kt\u00f3rego skierowane s\u0105 ich pro\u015bby i nadzieje. To prawdziwe wyzwanie, kt\u00f3re raz za razem podejmuje mimo licznych niebezpiecze\u0144stw, zniszczonego sprz\u0119tu, czyhaj\u0105cych ze wszystkich stron egzotycznych chor\u00f3b, wielogodzinnego, wielodniowego oczekiwania oraz i\u015bcie szpiegowskich rozgrywek. Dlaczego to robi? Bo \u201efotografia to przywilej\u201d \u2013 jak t\u0142umaczy\u0142a w rozmowie pospektaklowej, kt\u00f3ra okaza\u0142a si\u0119 by\u0107 nie mniej fascynuj\u0105c\u0105 ni\u017c sam pokaz. Bu\u0142aj jest przyk\u0142adem artystki w pe\u0142ni odpowiedzialnej, z bardzo osobistym poczuciem misji. Jest tw\u00f3rczyni\u0105 pozbawion\u0105 taniego patosu i ch\u0119ci epatowania, za to przyznaj\u0105c\u0105 ogromn\u0105 rol\u0119 wra\u017cliwo\u015bci etycznej i respektowaniu wyznaczonych granic. Kiedy m\u00f3wi o swoich bohaterach: \u201eDusz\u0119 bym da\u0142a, \u017ceby zrozumie\u0107, z czego si\u0119 \u015bmiej\u0105\u201d, jest w tym doszcz\u0119tnie rozbrajaj\u0105cy i godny podziwu \u0142adunek rzadko dzi\u015b spotykanej delikatno\u015bci i szczero\u015bci.\u00a0<\/span>Henryk Mazurkiewicz, „W\u0119dr\u00f3wki i rozdro\u017ca”<\/a>. Recenzja z rezydencji artystycznej\u00a0B\u0142a\u017anice. W\u0119drowanie –\u00a0dyrekcja artystyczna\u00a0Anny Zubrzycki \u00a0– w Muzeum Teatru im. Henryka Tomaszewskiego we Wroc\u0142awiu<\/em><\/p>\n

Je\u015bli odwag\u0105 reportera ma by\u0107 polowanie na horror i krew, podr\u00f3\u017cowanie w samochodzie pancernym, w he\u0142mie i kamizelce kuloodpornej, nara\u017caj\u0105c przy tym \u017cycie innych os\u00f3b (t\u0142umacza, kierowcy, \u015bwiadk\u00f3w), wtedy to, o czym m\u00f3wi\u0119, odwag\u0105 nie jest.
Lecz je\u015bli odwag\u0105 jest przenikanie w najtajniejsze obszary, gdzie nie \u015bmi\u0105 zapu\u015bci\u0107 nosa \u017co\u0142nierze, poruszanie si\u0119 samotnie i samowolnie, z daleka od medialnych stad, bior\u0105c tylko na siebie ryzyko i koszty wypraw, i dziel\u0105c z miejscow\u0105 ludno\u015bci\u0105 zwyczaje, codzienno\u015b\u0107, \u015brodki komunikacji; a zw\u0142aszcza je\u015bli odwag\u0105 jest prze\u0142amywanie stereotyp\u00f3w cennych dla biur prasowych i oferowanie niepokoj\u0105cej wizji \u015bwiata, alternatywnej wobec tezy o konflikcie cywilizacji, i udawanie si\u0119 na poszukiwanie „ostatnich\u201d, aby zebra\u0107 opowie\u015bci tych, kt\u00f3rych nikt nie s\u0142ucha – to nie znam osoby odwa\u017cniejszej od MB.
To w\u0142a\u015bnie w Afganistanie – gdzie bywa\u0142a wiele razy i we wszystkich porach roku, na pi\u0119ciotysi\u0119cznikach Hindukuszu i Pamiru i na pustyniach – MB wykazuje swoj\u0105 brawur\u0119 w sztuce opowiadania. Tym bardziej, \u017ce nie tworzy obraz\u00f3w towarzysz\u0105cych artyku\u0142om innych, lecz sama pisze swoje historie, bior\u0105c na siebie trud dw\u00f3ch poziom\u00f3w lektury.
Ta free lance matka trojga dzieci, uzbrojona tylko w Leik\u0119, ukryt\u0105 pod burk\u0105, podr\u00f3\u017cowa\u0142a na piechot\u0119, na koniu i jaku, na \u015bcie\u017ckach ubijanych przez m\u0119\u017cczyzn, dozuj\u0105c w m\u0105dry spos\u00f3b sztuk\u0119 mimikry i szacunek, empati\u0119 i zuchwa\u0142o\u015b\u0107. Uda\u0142o jej si\u0119 przenikn\u0105\u0107 przez check pointy talib\u00f3w na terytoriach plemiennych, gdzie nawet Armia Czerwona w przesz\u0142o\u015bci, a dzi\u015b NATO, nie odwa\u017cyli si\u0119 postawi\u0107 nogi.
MB nigdy nie zale\u017ca\u0142o na wykazywaniu si\u0119 odwag\u0105, ale to w\u0142a\u015bnie jej zdj\u0119cia Afganistanu, kraju ignorowanego przez media, okrutnego i \u0142agodnego, wystarczaj\u0105, by udowodni\u0107 jej umiej\u0119tno\u015b\u0107 wej\u015bcia na palcach do najbardziej intymnych przestrzeni zabronionych dla kobiet. Patrzy nie podgl\u0105daj\u0105c, bez voyeryzmu, z szacunkiem i wsp\u00f3\u0142czuciem dla cierpi\u0105cych, wydobywaj\u0105c szlachetno\u015b\u0107 i pi\u0119kno nawet w miejscach grozy.
MB swoj\u0105 obecno\u015bci\u0105 nie przemienia miejsc ale staje si\u0119 ich cz\u0119\u015bci\u0105, i mo\u017ce w\u0142a\u015bnie dlatego dociera do sytuacji i ludzi nieznanych reporterom wojennym.
Paolo Rumiz, korespondent specjalny, \u00abLa Repubblica\u00bb <\/em><\/p>\n

Monika jest niezwyk\u0142\u0105 badaczk\u0105 pograniczy, tych prawdziwych, kt\u00f3re istniej\u0105 w \u015bwiecie uwa\u017caj\u0105cym si\u0105 za globalny i otwarty, a kt\u00f3ry przesun\u0105\u0142 swoje granice z przestrzeni do serc.
Monika nie przychodzi z fotografii lecz ze s\u0142owa. M\u00f3wi\u0105 o tym: studia filologii, teatr, jej pisanie, ale te\u017c i jej fotografie. I mo\u017ce tylko ona, kobieta dotrzymuj\u0105ca s\u0142owa i w s\u0142owie mieszkaj\u0105ca, mog\u0142a b\u0142\u0105dzi\u0107 po tak malowniczym kraju (tak w\u0142a\u015bnie: skazanym na malowniczo\u015b\u0107, jak malownicza mo\u017ce by\u0107 wojna). Mo\u017ce tylko ona mog\u0142a ws\u0142uchiwa\u0107 si\u0119 w st\u0142umione j\u0119zyki innych, studiuj\u0105c ich st\u0142umione gesty, by w ko\u0144cu wr\u00f3ci\u0107 do Europy bez obraz\u00f3w toczonej w Afganistanie wojny, a za to z emocjonaln\u0105 map\u0105 przebytych dr\u00f3g, poharatanych przez niewidzialne i nieprzekraczalne granice, kraju zmasakrowanego przez zaciek\u0142e i brutalne wojny, kt\u00f3re ludzie prowadz\u0105 przeciw samym sobie: m\u0119\u017cczyzni przeciw kobietom, doro\u015bli przeciw dzieciom, wierz\u0105cy przeciw niewierz\u0105cym, wierz\u0105cy przeciw wierz\u0105cym.
Nie przeszkadza mi Caravaggio czy Vermeer, kt\u00f3ry kie\u0142kuje to tu to tam w jej fotografiach. S\u0105 obrazowym antydotum na malowniczo\u015b\u0107, i na pseudorealizm fotografii World Press Photo. I s\u0105 te\u017c paradoksaln\u0105 kpin\u0105, ze strony Moniki, wobec imperatywu stylu, oraz ostrze\u017ceniem dla tych, kt\u00f3rzy w jej zdj\u0119ciach widzie\u0107 b\u0119d\u0105 tylko poci\u0105gni\u0119cia p\u0119dzlem \u015bwiat\u0142a.
Dzie\u0142o Moniki o Afganistanie, jak i to poprzednie, i niezwyk\u0142e, o Europie Wschodniej , jest chyba najbardziej „polityczn\u0105\u201d opowie\u015bci\u0105 o wsp\u00f3\u0142czesnym \u015bwiecie, jak\u0105 zdarzy\u0142o mi si\u0119 zobaczy\u0107 od d\u0142u\u017cszego czasu.
W Afganistanie, jak i gdzie indziej, Monika szuka tego, co powien m\u0119drzec nazwa\u0142” milczeniem przegranych „, by je pokaza\u0107 „zw\u0105tpieniu zwyci\u0119zc\u00f3w „.
\u2026
Na planecie konflikt\u00f3w asymetrycznych, jedynymi twardymi granicami s\u0105 te, kt\u00f3re dziel\u0105 widzialne od niewidzialnego. I je\u015bli Monika tytu\u0142uje „Innym Afganistanem” swoj\u0105 wystaw\u0119 w Pa\u0142acu Dod\u017c\u00f3w w Wenecji, owoc dw\u00f3ch lat patrzenia przez obiektyw swojej leiki na kraj najbardziej ogl\u0105dany i najmniej widziany przez geopolityk\u0119, to jest w tym z pewno\u015bci\u0105 prowokacja: jest tylko jeden Afganistan, ale nie ten, o kt\u00f3rym opowiadaj\u0105 media.
Nie wida\u0107 wojny, ale ona jest wsz\u0119dzie w fotografii Moniki, jak endemiczna torbiel zaszy\u0142a si\u0119 w ka\u017cdym akcie publicznym i prywatnym, w ka\u017cdym ge\u015bcie Afga\u0144czyk\u00f3w, kt\u00f3rym wykszta\u0142ci\u0142a stan umys\u0142u, zaprojektowa\u0142a otoczenie, wyregulowa\u0142a codzienne nawyki.
Michele Smargiassi, krytyk fotografii, \u00abLa Repubblica\u00bb<\/em><\/p>\n

One of the most respected photographers and documentary makers in the world, Monika Bulaj, polyglot and tireless traveller, has been criss-crossing the roads of Western Europe, Central Asia and the Middle East for years. She journeys in search of faces, people, landscapes, stories and meanings.
She travels, constantly unearthing, discovering, where others would not dare. As Monika Bulaj approaches the wonderful world of Afghanistan there emerges a detachment between the attentive observer and the involvement of anyone sharing the common human condition. Her photos are anything but impartial; they belong to a world that her magic, for a few hours, makes our own.
Enzo Bianchi, \u00abLa Stampa\u00bb<\/em><\/p>\n

\u00abMonika Bulaj\u2019s\u00a0 journey in the spiritual lands of \u00a0yiddishkeit and in the residual and re-born territories of Chassidism, accomplished over and over again in these times of ours, of atrocious dictatorship, \u00a0of money and global coarseness, is almost a miracle. Her narrative unravels with marvelous and overwhelming human accents, just beyond the borders \u00a0of the conformist skin of ours, lost and arrogant Westerns. After eighty years we find in the pages of \u201cPeople of God\u201d the \u201cjournalistic\u201d pace and the literary passion of the great Joseph Roth of \u201cJuden auf Wandershaft\u201d, the mythical reportage that spoke about the Ostjudentum, living and throbbing in the frame of a heartbreaking and melancholic twilight, just on the border of its extinction.\u00a0 \u2026 As a rhabdomancer, Monika can catch in an image, in a word, the spiritual relentless energy that comes out from the \u201crest\u201d, from the vital density of the few who survived the hurbn, the annihilation of all Jews perpetrated by the Nazis and cowardly accepted by Europe. The ecstatic,\u00a0 laic, and unrelenting\u00a0 fibrillation\u00a0 that one guesses in Bulaj\u2019s \u00a0performances, both shots and words, stems from a powerful energy, the dybbuk of Polish Hebraism made into ashes, which still possesses her.\u00bb
Moni Ovadia, excerpts from the introduction to the book „Genti di Dio”<\/em><\/p>\n

\u00abIf you suspect that the ancient faith does not lie in the choked squares, the marble cathedrals or the great metropolis, but rather in the periphery, in the forgotten villages on the farthest borders of the empire, then you should visit the work of Monika Bulaj\u201d.\u00bb
Paolo Rumiz, \u00abLa Repubblica\u00bb, Rome<\/em><\/p>\n

\u00abIn \u201cPeople of God\u201d the importance of the photographic and narrative re-visitation of \u00a0Central and Eastern Europe in search of minor religions is first of all in the skill to\u00a0 communicate with fresh immediacy the tragic aspects of that history\u2026 and in the strength of the sensitive photographer and curious writer who \u00a0finds in small details the true substance of any situation.\u00bb
Lorenzo Cremonesi, \u00a0\u00abIl Corriere della Sera\u00bb, Milan<\/em><\/p>\n

\u00abLes photos de Monika Bulaj ont l\u2019odeur de la terre humide, de l\u2019encens sacr\u00e9, elles transmettent la lueur des cierges, refl\u00e8tent la clart\u00e9 du ciel de la Pannonie. Et aujourdhui Monika s\u2019affirme dans le monde de la photo artistique.\u00bb..
Gauillame Prebois, \u00abLe Soir\u00bb, Bruxelles<\/em><\/p>\n

\u00abThese faces remind us of Andrej Tarkovskij\u2019s movies \u00a0or Caravaggio\u2019s paintings. Young and old men of these regions wear a blanket of light. In their eyes a sparkle of nostalgic desire still glitters, despite the hardness of their lives. These men are looking for something, and they probably acknowledged the photographer as one of them. They are men of desire and knowledge, they keep secrets, they \u00a0sing effusively the joys of life, \u00a0and in their quest to go \u00a0beyond the religious borders they look\u00a0 a bit as \u201cGod\u2019s folly\u201d. Monika Bulaj not only went looking for them, but has also shown them to us. Whoever watches her photographs, will wonder for sure how long this rooted and deep devotion is going to last, and how long these small people of God will live.\u00bb
Annette Krauss, \u00abDonaukurier\u00bb, Munich<\/em><\/p>\n

\u00abMonika Bulaj is a \u201clight hunter\u201d. Rather than being\u00a0 interested in the boundaries among different cultures, she is focused on the spaces where what was impossible to blend has actually blended.\u00a0 Hers are simply provocations to those who believe in solid and established\u00a0 truths. She thinks that respect means to work without flash, because she is looking for the light, even when there is only shadow, and the details and\u00a0 outlines\u00a0 are blurred. This is how she creates her images that suggest action\u00a0 and motion.\u00bb
Christiane Schlotzer, \u00abSuddeutsche Zeitung\u00bb, Munich<\/em><\/p>\n

\u00a0\u00abMonika Bulaj\u2019s thirteen travel reports are reflections of the\u00a0 same light\u2026 Yet, \u00a0what strikes us the most, are the expressions and gestures of everyday life, the universality of extraordinary and very unusual traditions at first sight, the richness of humanity shining through landscapes, persons, and tales. What\u2019s more, the reflections of that light keep shining all the time, in spite of the abyss of evil: a photogram, a single word can accomplish the Bible commandment of memory, can re-present what has never passed away because it belongs to the future of the human kind itself.\u00bb
Father Enzo Bianchi, \u00abLa Stampa\u00bb, Turin<\/em><\/p>\n

\u00abThe book \u201cPeople of God\u201d is an atlas of differences, woven with different tales. The photographic gallery is a story in the story, made of faces, expressions, flashes, landscapes, interiors, that speak of the technical eclecticism\u00a0 of photography and of its research, which aims at offering the visual perception of richness and\u00a0 astonishment that are part of each diversity,\u00a0 especially today, when so many people take into account the ethnic origin along with the cultural and religious differences, and show\u00a0 growing suspects, if not clear\u00a0hostility.\u00bb
Pietro Spirito, \u00abIl Piccolo\u00bb, Trieste<\/em><\/p>\n

\u00abPatience and impatience, a meditative persistence, and sometimes a very paced rhythm.\u00a0 In some of her photographs a sort of indetermination prevails and \u00a0underlies passion and restlessness, for instance when the latter are chosen as reasons\u00a0 to dance and to\u00a0 play. There is nothing still here, nothing nostalgic. Everything is always on the go. Isn\u2019t disappearance a kind of motion as well?\u00bb
Carl-Wilhelm Macke, \u00abZur Debatte\u00bb, Munich<\/em><\/p>\n

\u00abHer work si an important opportunity to understand that we are not the only Europeans, there are also cultural and religious minorities that for decades the wall that divided east from west until 1989 prevented us from knowing.\u00bb.
Vittorio Bonanni, \u00abLiberazione\u00bb, Rome<\/em><\/p>\n

\u00abThe light, all interior, explodes in a sequence of midnight blue, red or golden yellow. The faces \u2013 aged nuns chanting litanies, young women carrying food to the funeral procession, brides showing a sacred icon in order to be accepted into the community \u2013 express amazement or diffidence. Bulaj\u2019s lens rediscovers the apocalyptic fervour that contaminated north-eastern Poland in the early decades of the last century and transposes it in the wheaten colours and the light that accelerates the race of the ecstatic barefoot women through the ripened grain\u00bb..
Geraldina Colotti, \u00abAlias\/Il Manifesto\u00bb, Rome<\/em><\/p>\n

\u00abYou, who are so lucky to enjoy and admire these photos let yourselves be carried away by these journeys \u00a0between darkness and\u00a0 light\u00bb.
Lanfranco Colombo, Galleria Diaframma, Milan<\/em><\/p>\n

\u00a0\u00abIf justice belonged to this world, \u201cPeople of God\u201d would be a textbook in every school of the world. Thanks to a moving and elegant writing style, and to dozens and dozens of photographs, this book confirms how people of different ethnic origin, nationality, and religion can and do live together.\u00a0\u2026 The faces worn by\u00a0time, endless and without a beginning, caught behind windows that look as if they have never been opened, behind dusty glass panels which, if broken, are never replaced; \u2026. the villages lost in remote and distant regions, almost crystallized by ice and snow\u2026\u00bb\u00bb
Alessandro Marrongiu, \u00abLiberal\u00bb, Turin<\/em><\/p>\n

\u00abBulaj combines photography and writings; she blends them in a new form of communication even in her new language, Italian. Strong prose, imaginative, with a fantastic realism. She fills mountains of notebooks with microscopic observations. Inside yet another image\u00bb.
Paolo Rumiz, \u00abLa Repubblica\u00bb<\/em><\/p>\n

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