„Almin Zrno knows exactly what he is doing. His photographic documentation of three exhibitions set up at the Vijećnica, exhibitions by three great artists, Jannis Kounellis, Edo Murtić and Braco Dimitrijević, is a parable about the siege and the war, their legacy and reconstruction that followed, told through the sensual zooming in and out from the building that in the consciousness of humanity sublimated the totality and senselessness of the planned destruction of Sarajevo. When a story such as his flows from the beginning to end smoothy, clearly and precisely, when the thousands of words emanating from each photograph tell with calm and dignity the cruel and magnificent accounts of human greatness and human misery, of rising from the ashes and the ever necessary hope that ultimately humanity will prevail, when the author gradually disappears from our mental horizon because we become so immersed in this message that it seems like our own, then we have entered the space of empathy, the commonality of emotion, thinking and intuition, and we know exactly what he means to tell us.“

Branko Franceschi

Art Historian, Director of the Museum of Fine Arts, Split

„Almin Zrno's monograph, through its pictorial content and inner dramaturgy and composition, appears like a fine, silent music of the old masters.“

mr. sci. Gradimir Gojer

Theater director, actor and author

Click HERE for promotional film about the monograph "Vijećnica"

„Since the goddess Aphrodite, nude photography-human body- represents a divine subject throughout the entire scope of visual arts. Almin's work is distinct due to its demonstration of courses and diversity of the author's contemplation on this subject. From the classic nudes that explicitely admire anatomy of the human body and tension that body hides until challenged by the artist to bespeak, sculptory firm and harmonious, to nudes in motion that, by floatation and softness of silhouette, suggest ease of movement and freedom of naked body as state of honesty and happiness. However, in expanse of that free movement, there appears an observation on the caughtness in the cruel entanglement of inhibition and suppresion. Hence the contrite hiddenness of intimacy under the traditional sheet, a very original idea that allows numerous symbolical meanings.“

mr. sci. Slobodan Samardžić- Sam

Photographer and former president of Association of Applied Artistis and Designers of Bosnia and Herzegovina

„Nude photography represents the most favored topic and a challenge for most photographers- the enigma of harmony and beauty of human body in its full strength and expressivity, in its mimetic and mimicrial secrecy and divinity; both in still shape and movement- dance or sport. Zrno always manages to demonstrate a new detail, movement or musculature; almost at all times through the passion of his own rapture and inspiration which he offers us in the synthetic accordance of eros of anatomy (life) as the antithesis of thanatos (death). Through various (set designed) visual structures of physical anatomy, the author in its own peculiar and expressive way portrays human body and strength in the body, aesthetics and the beauty natura naturae in exponentiated proportions of Da Vinci's code as the crucial aesthetics parameter of aesthetics itself- respectively, beautiful. It seems as he will never stop seeking for new point of views, facial axis, struggle of light over darkness, in addition to rich shades of black and white photography, that vary to the slightest details, almost invisible at first sight. Once again, as he did with the prefection of his previous anatomy cycles, Zrno enriched us with his original and fascinating coincidences of fitomical, litomical and antropomical paralels between natura naturans and personified perfection of the divine in the human body- natura naturatae.“

prof. dr. Besim Spahić

Professor at the Faculty of Political Sciences of University of Sarajevo

„One photograph from Srebrenica- photograph of a woman with stoned face- deprives the ability of speech to its viewer. That photograph, made by Almin Zrno, like no other photograph or discourse, reflects only the unspeakable about Srebrenica... The woman in the photograph is a living person- but everything we call life has abandoned her. She is just a mere remainder of ephemeral and material world. Even her clothes are materially literal, where forms of decoration and print dominate, just like the deep and tense lines dominate her utterly shriveled face. Her life has collapsed and immersed into her. Immersed are all the feelings, pain, thoughts and with them each sound and light of the outside world- that woman is no longer there. The viewer discovers horror, that becomes his own: „Woman with binded head scarf, with stoned face, has no eyes...“ In her, in her world, there is no light, it can no longer reach her. The entire world, the entire life, has collapsed and immersed, it faded inside that woman, her interior. Outside of her, the world is washed with Sun, the light. On her wrinkled face, the Sun leaves traces of light and creates rugged shadows. The woman's head is slightly leaned backwards, facing holiness of the sky, exposed to the Sun that will not help her this time. That numb movement abolished the time. Possible terrifying conclusion is the desire of this woman to dissappear, to vanish and be gone... As interpreted by the holy books about the unutterable, the World was created by light. The World that is dying on the face of this woman becomes blind and submerges into eternal darkness. The entire World has gathered into empty orbits of one woman from Srebrenica, and inside them lost its light.“

prof. dr. Fehim Hadžimuhamedović

Professor at the Academy of Fine Arts of University of Sarajevo

„It seems to me that – against this anthropological background – the treatment of the female body (which is in a deep connection with the anthropological principle of eros) in the photographic narration of Almin Zrno can be understood as the sublime apologia of eros that is materialised in the (un)transparent and (ir)resistible beauty of the female nude, in its relief and its plasticity. In brief: Zrno’s series of female nudes is itself highly cultivated, plastic and gentle, and (in the treatment of the form and dynamics of the nude, in the lighting, in soft and/or contrasting shades of light parties, in the almost pastel texture of surfaces, figures and backgrounds) represents the cultured apologia of eros as the sublimated=cultivated impulse that (being cultivated) ceases to be brachially instinctive energy and – thanks to its photographic treatment – resists the commonplace vulgarisations in media and pornographic kitsch, as well as all the Weltanschauung stigmatisation and enslavement of the human, and especially the female body, as an alleged domain of “sin” and objectification of diverse social and cultural repressive practices. Therefore, this Almin Zrno’s photographic series can be understood as an artistically strong and beautiful praise of eros.“

prof. dr. Sulejman Bosto

Professor at the Faculty of Philosophy of University of Sarajevo

© 2016. All images on this site belong to Almin Zrno. All work is protected by copyright.

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