Bachrach & Krištofić: Dvostruka igra

Bachrach & Krištofić: Double Game

If we set ourselves the task of understanding the meaning of photography (pre-doomed to the uncertainty that accompanies our intention), we will inevitably face the importance of the context that reflects on creativity, its urban and social environment, situations, interventions and various levels of participation. The thesis on the interpretation of the context in terms of the background, the environment in which the work is created and within the framework that is understood, and which is structured from various events and circumstances that conditioned them, assumes that the visual space is its indispensable part, structured on the basis of aesthetic laws - and freedoms - that have left their traces within the context.
Aware of the fact that there is no homogeneous context, I am interested in elements of stories that are unsaid (but not unspeakable), that is, that are not finished said, which we try to figure out ourselves. Many critics attach a similar meaning to the context, knowing the extent to which works of art today do not speak for themselves, but are perceived "as signs that inform the observer" about politics and culture, about other signs with which they establish relationships, because anyway nothing is universal, equally applicable everywhere. Pictures are "mediators between the world and man", they have become "screens [that] instead of representing, distort the world".1
Photography has long been considered a type of popular creation and consumption rather than a carefully articulated view of the world whose aesthetic criteria are equated with traditional {fine) arts.2 This opinion developed from the belief that photography distances the photographer, as a creator, from the process in which the camera is responsible for a large part of the creative process. Can we allow the camera's independence and self-sufficiency, that is, a certain level of uncertainty resulting from the fact that it is impossible to fully control the camera and that a part of the event will be left to unexpected circumstances? Are we able to recognize these circumstances in each individual case and archive them in accordance with generally applicable rules, if such observations exist?
Throughout history, photography has been the subject of many debates, of divided opinions by some who gave it documentary value and objectivity (which, according to some opinions, "automatically" nullified its artistic quality) and others who consider it "an artistic expression as objective and subjective as any other artistic medium".