The Talent: Stefan Djordjevic

I’ve known Stefan – or Steki to his friends – for a few years through mutual friends in Belgrade. I first met him at a screening of the Serbian film Tilva Roš, which was a dramatization of his real life experience growing up in the city of Bor, Serbia. In part because of his experience on set and becoming friends with the filmmakers, Stefan decided to go to film school and pursue cinematography and documentary photography. He recently showed me a short film he made in Bor, and it was enchanting.

“Journey” is a story about an engine driver who travels the same route for eight hours a day. He doesn’t see that route in the same way we experience it, because the imagination is the only thing he has in his monotonous surroundings.


Stefan Djordjevic was born in Bor, a copper mine town in Eastern Serbia, where he started in the skateboarding scene with couple of friends. Their story was documented in the feature movie called Tilva Roš, directed by Nikola Lezaic. He is currently studying cinematography on Faculty of Dramatic Arts. He always had a passion for documentary photography.

See more of Stefan Djordjevic’s work on his Instagram or Vimeo pages.

We receive a lot of submissions of projects to feature on dvafoto and we want to highlight some of the fantastic work we see. Please get in contact if you have a body of work you’d like to share.

Massimo Cristaldi’s Touch Ground

Massimo Cristaldi recently submitted his wonderful project Touch Ground to us at dvafoto and today we are featuring this work and a short interview with him about his project.

In 2013 alone, over 40,000 migrants braved the Mediterranean Sea in an attempt to reach Italy (and Europe). Many of these migrants ended up in Sicily and the surrounding islands. The route was a familiar one, as thousands of these people have previously traveled this route in years past during previous attempts. In “Touch Ground,” I photographed beaches, harbors, cliffs—the places where, in recent years, migrants have first reached the shores of Europe from their original homes in North Africa. The photographs form an exploration of the idea of “Terra Firma”, a coveted place, object of hopes, tragedies, happiness, disillusion, and sometimes, death. – Massimo Cristaldi’s introduction to Touch Ground

Have you made any news reportage of the immigration story in Italy?
Not really “news” reportage in the sense that I like to come back to a place after the happenings. I believe there are too many screaming photos of desperate people on those “hope boats” and, as often happens, we’re becoming indifferent to those images as they’re part now of the usual way of telling this immigration story. I would like to suggest to people a perspective of the sea from those who are coming to Italy, but still also show the perspective of those who live close to the sea. The limit between sea and earth gets a completely differently meaning on the basis of where you look at it.

How did you come to take this approach to documenting this large and important story about immigration?
In 2009 in Lampedusa I was blown away by what was happening. The traces of the arrival of immigrants were everywhere. So I started a long process of documenting the beaches, shores and the places where immigrants arrived. And started to take photographs of those places where there were many events, often fatalities, happened.

Is there something specific about landscape images at night that helps to tell your story?
Night is often the moment when they arrive. Night can be scary and the lights of the towns you see finally from the sea could mean a lot for who is on those boats.

Do you have a personal relationship to any of the communities where these boats have landed? Or with the sea?
Yes I do. I had long conversations with many immigrants that arrived to try to understand what they are feeling when arriving. What are those trips, what is the experience. Those conversations improved my idea of working on this project. The sea, on another hand, is magical for me. I love it. I was born in a city on the sea (Catania) and swim a lot. For me feeling the sea from a different perspective was a great experience.

Bio:
Massimo Cristaldi was born in Catania, Italy in 1970. After receiving a degree in Geology, he began managing international research projects. Art is the environment he grew up in and photography is the way he set his creative side free. The driving concern of his work is focused on traces that man and time carve over nature and things, representing effects and signs on “what remains”, with a particular interest to the “metaphor of the borders” (see more in the artist statement). He was awarded in many international photography competitions such as the International Photography Awards, the B&W Spider Awards, the Photography Masters Cup, the Travel Photographers Of the Year and the Prix de Photographie de Paris. Massimo has exhibited in Europe and in the US, in solo and group shows and at photography festivals. He is represented by galleries in Belgium, France, UK and Italy. He lives and works both in Catania and Rome. Massimo’s photographs are part of the permanent collection of the George Eastman House, International Museum of Photography and Film in Rochester, NY (USA).

Legal battles continue over ownership of Vivian Maier’s work

The legal case to determine whether Mr. Baille is Maier’s closest relative has now set in motion a process that Chicago officials say could take years and could result in Maier’s works’ being pulled from gallery inventories and museum shows until a determination is made.”
The Heir’s Not Apparent, New York Times

I wrote about the legal issues surrounding the rightful heir and owner of Vivian Maier‘s substantial body of work last year. The New York Times just published an overview of where the subject stands now, detailing a legal case filed in June 2014 which might force John Maloof and other owners of Maier’s negatives to cease publications and exhibitions of the work. In short, Virginia lawyer David C. Deal, himself a former photographer, thought that something wasn’t right in the way Maier’s copyright had been handled and searched for relatives of the nanny.

Screenshot of VivianMaier.com, the John Maloof collection
Screenshot of VivianMaier.com, the John Maloof collection

Maloof, owner of the largest collection of Maier’s negatives and prints (and producer and director of Finding Vivian Maier and countless exhibitions), had previously found a person in France who he’d thought was Maier’s closest living relative and agreed on an undisclosed settlement for the rights to the work. Deal believes he has found a closer relative of Maier’s, again in France, and now represents that person in a court case to determine whether or not he is the photographer’s closest heir. It’s a tangled case that will likely take years, but at the heart is a copyright issue.

The Vivian Maier industry (in the form of books, exhibitions, prints for sale, movies, television programs, and so on) is already worth millions of dollars. If this new possible heir is determined to be the rightful owner of the copyright, it could lead to substantial copyright infringement claims relating to most every instance of Vivian Maier’s work that has been seen in public. According to the New York Times, the state public administrator’s office in Cook County, Illinois, created an estate for Vivian Maier in July and warned Maloof and others selling the work that there may be future lawsuits over Maier’s work.

Hyperallergic also recently published a couple of articles regarding the legal issues surrounding Vivian Maier’s archive that are worth a read: Making Sense of the Legal Battle Over Vivian Maier’s Artworks and A Vivian Maier Collector Opens Up About Posthumous Printing, Maier’s Only Heir, and Her Legacy.