#Gelko

[peterlancaric]

Self-Portrait Autoportrét 2014 – 2015

Photography does not change only the way of perception and view but it is also an essential means for defining and understanding of who we really are. A series of photos Self‐portrait is a reflection of existence and identity and it is composed of specific individualities in author´s representation. The photos point at the existence of something “else” that is outside, beyond the edges of a photo. The series is a reaction to the phenomenon of the selfie.

Peter Lančarič _

Fotografia nemení len spôsob vnímania a videnia, ale mení aj to kým sme. Je zásadným spôsobom k definovaniu a pochopeniu kto vlastne sme. Séria fotografií „Autoportrét“je reflexia môjho bytia a identity vyskladaná z konkrétnych individualít v autorskej inscenácii. Situácie sú odpozorované a vlastné nie len mne ako autorovi, ale aj ľudom na fotografiách. Fotografie poukazujú na to že je ešte „niečo“ mimo, za hranicami (výrezom) fotografie. Séria je reakciou na fenomén selfie.

Peter Lančarič Next →

[neverchecking]

Ok here I have a wide Brain rote

Image the reader is a baby King Glock but instead of a king she a queen

And one of the link's found her and she actual like toothless or a dog

And is like mama where's you going wait for me

Sage in his frost bost atk outfit with his hair down reader queen geljock fallows him happy and is like leav my mom akin and then something happens during the blood moon she trun into half hylan and half gelko and is smiling up at Link with all 3 of her eyes beIN cute and saying my mom /dad sage would say dad or stay with mana

And he brings the reader to the other link and is basically the office clips of the dig

Sage holding kit gelok reader talking to the other links with eyes of primins

Safe: I only had y/n for a night and I would kill everyone in this world and groups then myself if somting happen to her

Reader just wagon her tail and ears her wig flapin as she a happy baby

Reader just imprinting on Sage lmao

THEY JUST WADDLING AFTER HIM WHILE HE GOES ABOUT HIS LIFE, AND THEN HE'S JUST HOLDING THE BABY GLEEOK AND EYEING THE OTHERS-

THIS HIM-

[fxviet102]

EU Capital lừa đảo? Hành vi, thủ đoạn của sàn EU Capital

Ngày càng nhiều các sàn giao dịch lừa đảo ra đời, do đó trader không có nhiều kinh nghiệm sẽ dễ dàng bị mất tiền. Bài viết hôm nay của Fx.com.vn sẽ thông tin đến bạn về cách thức sàn EU Capital lừa đảo khách hàng trong thời gian gần đây. Cùng tìm hiểu nhé! EU Capital là gì? EU Capital được một công ty cổ phần tên là Gelko Partners LTD có trụ sở chính tại Quần đảo Marshall sở hữu và quản lý. Địa…

[bronzewool]

I just remembered I bought a ton off adoptables last year to fill in the pirate roles on Lazarette’s ship, and now I need to decide what I should do with them. The designs are way too nice to just toss aside, but I can’t keep using their robotic designs. Should I re-purpose them into organics for this new rp?

Fetlock’s design could easily transition into a seahorse.

Gaba would be a crustacean of some kind. But I’m not quite sure what. Something that kills its prey in horrible ways I imagine.

Dragline would be a crab (I may keep the legs on her back or give her multiple arms)

Not sure about Caestus. Maybe a fish or mammal?

Cuirass is giving me horseshoe crab vibes.

For Tripwire I would go for something fast, like a swordfish or sailfish.

Krima would make a nice gator/croc.

Gelko is also giving off crustacean vibes (all the crab girls!)

Miss-no-name would be something big and strong.

I would need to drastically alter my robotic deer archivist into something aquatic, but I like the idea of keeping a robot assistant on wheels around.

And a Turbofox. Why did I buy turbofox again? (Oh yeah, Maelstrom decided she wanted a pet)]

Yeah, I got nothing for this one...

[vklader]

Июльские добавления в чёрный список брокеров Tradixa, ICM Capital UK, UI Group , Cryptobull, Lab Finance, Finiko, 770invest, Vlom, UCT Holding, Lion Trade Online, Invest Aktive Millenium Capital Management, Gelko Partners , CXA Group, Chempio. Expand Dimension, Proud Market, SNP Brokers, Ctrust, trader-ait (Association of independent traders; Ассоциация Независимых Трейдеров), Axes, Dellytrade, Maxima Trade, NYSE 24, The Capital Hunter, TDI Partners, Markets.fm, TraderKing, Energy-markets, Ren Capital Global, QTM-Trade, SwipeCapital, MYteamFX, Tasbiw, Blue Tiger Finance, Nano Trade, InQuot, CryptoCapitalPro, Fxworldwides, GMseng, Global Maxis, Fxworldwides, Tradefxx, Credit Royal Group. Весь список: https://vklader.com/brokers-black-list/ https://www.instagram.com/p/CDUrt-NDTuq/?igshid=bja9yov3px2k

[lancaricstudio]

Reportáž Neservírujem ľudom to, čo by som sám nejedol Nádvorie magazín, Zima 2018, str. 25-43

[gelko]

Stylish product photography for Apimed

[kubiknapadov]

Happy new year - Kubik nápadov

[hoot-blog]

Ďalšia spolupráca s FREE TREES v HOOTe.

[peterlancaric]

They Create The World and Happines Tvoria svet a šťastie 2014

We can hardly classify Peter Laančarič´s photographic diptychs as typical portrait genres which paraphrase the classical methods of historical portrait painting and photography. The author seeks to grasp the inside of man through the current concept of imaging an identity of an individual and a group. The exhibited diptych represents an own interconnecting of multiple meanings. Partnerships, relationships and the individual scenes differ in colour, poses of the displayed characters, the symbolism of the gesture and the character of stereotypes. The author composes his stories in a specific family environment. The series of diptychs called “They create the world and happiness in their own kitchens” represents the author´s intent to study individual members of the families, mothers and daughters, mothers with a child, a mother and her son etc. In the context of the concept, the famous Descartes´ assertion “I think, therefore I am” comes to my mind and Peter Lančarič transforms this sentence in his photographs into “I love, therefore I am”. Peter Lančarič loves women…, he loves his mother…, and he loves photography…, through which he observes himself but also looks into the souls of his friends and people close to him. Peter Lančarič´s photographic images seem to transcend the real world. To capture something beyond the visible, the author uses an austere realism of visual sociology which respects the reality even though it also calculates with the inversion of the thought and the message for the audience. Lančarič is a precise observer, an “outsider” as well as an “insider”, who breaks the personal space of family secrets through the poetics of a simple (indexed) report. His direct photography penetrates into deeper levels and it metaphorically talks about a “human nudity”, about relationships, wounds, joyful and uneasy private intimacy. In his photographs, the author does not avoid the aesthetics typical for similar sociological concepts. The diptychs remind me of the known concept of portraits by August Sander. Like Sander, Lančarič uses the comparative analytical method which is close to the approaches of the cultural anthropology. He deprives the portrait subjects of an undue idealization. Unlike Sander, who arranges his portraits with an emphasis on their social role in the environment typical for them, Lančarič emphasizes family relationships and family environment. By his way of interpretation, he asks pressing questions about the importance and status of a family and family bonds. He asks questions like who is my family, my neighbour, why he is close to me and who bears the responsibility for whom. Current portrait dramatically changes the rules of the historical principles of interpreting the human face and imaging the man in their home environment. They are strategies challenging the ontological essence and anchor of being in a society. Peter Lančarič´s portraits represent a protest against this affiliation. Peter Lančarič believes in photography and he is patiently finding his way, truth and identity.

Jozef Sedlák _

Fotografické diptychy Petra Lančariča by sme ťažko zaradili medzi typické portrétne žánre, parafrázujúce klasické postupy historickej portrétnej maľby a fotografie. Autor sa snaží uchopiť vnútro človeka cez súčasný koncept zobrazovania identity jednotlivca a skupiny. Vystaveným diptychom je vlastné prepájanie viacerých významov. Partnerstvá, vzťahy a jednotlivé scény sa líšia farebnosťou, pózami zobrazovaných postáv, symbolikou gesta a charakterom stereotypov. Autor svoje príbehy komponuje do špecifického rodinného prostredia. Cyklus diptychov s názvom „Tvoria svet a šťastie vo vlastnej kuchyni“, reprezentuje autorov zámer skúmať jednotlivých členov rodiny, matky s dcérami, matky s diaťaťom, matky so synom a pod. V súvislosti s konceptom sa mi vynára slávny Descartov výrok „Myslím teda som“, ktorý Peter Lančarič premieňa vo svojich fotografiách na „Milujem teda som“. Peter Lančarič miluje ženy…, miluje svoju matku…, miluje fotografiu…, cez ktorú pozoruje sám seba, ale rovnako nazerá do duše svojich známych a blízkych ľudí. Fotografické obrazy Petra Lančariča zdanlivo neprekračujú reálny svet. Na zachytenie toho čo je za viditeľným, využíva autor strohý realizmus vizuálnej sociológie, ktorá síce realitu rešpektuje, ale zároveň kalkuluje s inverziou myšlienky a odkazmi pre diváka. Lančarič je precízny pozorovateľ „outsider“ rovnako „insider“, ktorý poetikou jednoduchého (indexového) záznamu, prelamuje osobný priestor rodinných tajomstiev. Jeho priama fotografia preniká do hlbších vrstiev a metaforicky rozpráva o “ľudskej nahote”, o vzťahoch, zraneniach, radostnej a ťaživej intimite súkromia. Vo fotografiách sa nevyhýba estetike typickej pre podobné sociologické koncepty. Diptychy mi pripomínajú známy koncept portrétov od Augusta Sandera. Podobne ako Sander, Lančarič využíva komparatívnu analytickú metódu, ktorá je blízka prístupom kultúrnej antropológie. Portretovaných zbavuje prehnanej idealizácie. Na rozdiel od Sandera, ktorý aranžuje portréty s dôrazom na ich sociálnu úlohu v prostredí pre nich typickom, Lančarič zdôrazňuje rodinné vzťahy a rodinné prosredie. Spôsobom interpretácie kladie naliehavé otázky na význam a status rodiny, rodinných väzieb. Pýta sa kto je moja rodina, moj blížny, prečo je mi blízky a kto má za koho niesť zotpovednosť. Súčasný portrét dramaticky mení pravidlá historickych princípov interpretácie ľudskej tváre a zobrazovania človeka v domácom prostredí. Sú to strategie spochybňujúce ontologickú podstatu a ukotvenie bytia v spoločenstve. Portréty Petra Lančariča sú protestom voči tejto príslušnosti. Peter Lančarič verí fotografii a trpezlivo hľadá svoju cestu, pravdu a identitu. Jozef Sedlák _ Práca poukazuje na kultúrne stereotypy dominujúce v zobrazovaní ženy. Stereotyp ženy a mýtus krásy interpretujem vkladaním hyperritualizovaných podôb ženskosti do sociálnej reality. Dochádza tak ku konfrontácií ideálov, stereotypov a skutočnej identity žien. Využil som techniky digitálnej fotografie na ľavej strane a analógovej fotografie na strane pravej. Vzniká tak zaujímavá dialektika charakteristická pre masovú spoločnosť postmodernej doby. Paradigmatický vzťah fotografií ukazuje rôzne stránky stereotypu modernej ženy. Peter Lančarič

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[volnestromy]

Free Trees - O vlkovi a čiernej ovci

Zas jeden zo spoločných výstupov s našim kamošom Gelkom z www.gelkoproduction.com . Spolu žijeme, spolu tvoríme v Kubiku.

[streetsportstrnava]

Na skateboarding netreba vela!!! Fotky tu. Video: Tomáš Giebel, foto: Gelko

[peterlancaric]

Turn Off The Lights Zhasni 2012 – 2015

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[peterlancaric]

The Stairs On a Street Corner Schody na rohu ulice 2013

Peter Lančarič is only entering the artistic scene of photography but we can already feel that he is an author for whom the photography is very vital. Even though he may appear as an introvert, the imaginary “stairs” represent the entrance into his life which he opens in front of us without any doubts. He does so not because he wants to, but because he has to. And so, I do not even know how, I undoubtedly came up those stairs on a street corner and suddenly I was standing inside. At that time, the owner of those rooms was somehow uncertain, sad and cheerful at the same time. He was changing. He was gaining a new identity. There is no better moment for creating than the one when an artist experiences a crisis. Peter´s energy connects here with a mature photographic expression. And that is the moment when he wins you, as the audience, by his directness and talking openly about experience and feelings of a young person. The exhibited cycle is the first solo exhibition of Peter Lančarič and I believe that this is just a gingerly beginning of all that he plans for us. This diarylike, intimate and black‐and‐white insight into his life is about finding himself through a relationship with the other person. The change in angles in the photos opens a different world. We gain the feeling that in the volatility of these parallel worlds we are with Peter at the right place. Working with nudity is not superficial in his work. Through a kind of stripping, the author shows us his anxieties and quiet intersections with the environment. Nostalgia and aesthetics are only an accompaniment of his photos, since they serve him for interpreting visual parables and stories from his sub‐conscience. He uses a destruction of communication. His space is cold, full of estrangement, but sentimental at the same time. In his pictures, Lančarič at times associates with the work of Nan Goldin, but with his image poetics and searching for a relationships philosophy he is closer to the imagery of Francesca Woodman. Peter´s work gives us a message about how alienated and, at the same time, close the two people can be in one room. I do not know what it is, whether it is the magic of analogue photos, or the crisis in the relationship with another person which the author experienced. However, the transformation occurred incredibly fast..

Petra Cepková

_

Peter Lančarič ešte len vstupuje na umeleckú scénu fotografie, no už teraz možeme cítiť, že je autorom, pre ktorého je fotografia veľmi potrebnou k životu. I keď sa nám môže zdať ako introvert, imaginárne “schody” sú vstupom do jeho sveta, ktorý pred nami otvára bez akýchkoľvek pochybností. Robí tak, nie preto, že chce, ale preto, lebo musí. A tak ani neviem ako, celkom nepochybne som vyšla po tých schodoch na rohu ulice, a zrazu som stála vo vnútri. Majiteľ tých izieb bol vtedy akýsi neistý, smutný i veselý v jednej chvíli. Menil sa. Získaval novú identitu. Neexistuje lepšia chvíľa pre tvorbu, ako keď umelec prežíva krízu. Petrova energia sa tu spojila s vyspelou fotografickou rečou. A to je ten moment, keď si Vás ako divákov získa bezprostrednosťou a otvoreným rozprávaním o prežívaní a pocitoch mladého človeka. Vystavený cyklus je prvou autorskou výstavou Petra Lančariča, a verím tomu, že toto je iba opatrný začiatok toho všetkého, čo na nás chystá. Tento denníkový, intímny a čiernobiely pohľad do jeho života je o hľadaní seba samého cez vzťah k tomu druhému. Zmena uhlov v záberoch otvára iný svet. Máme pocit, že v prchavosti týchto paralelných svetov sme s Petrom na správnom mieste. Práca s nahotou nie je v jeho tvorbe prvoplánovou, prostredníctvom akéhosi obnažovania nám autor ukazuje svoje úzkosti a tiché prieniky s prostredím. Nostalgia a estetika sú iba sprievodným javom jeho fotografii, slúžia mu totiž na tlmočenie vizuálnych podobenstiev a príbehov z podvedomia. Využíva deštrukciu komunikácie, jeho priestor je chladný a plný odcudzenia, no sentimentálny zároveň. Lančarič vo svojich fotografiách miestami asociuje tvorbu Nan Goldin, ale poetikou obrazu a pátraním po filozofii vzťahov je bližší skôr metaforike Francescy Woodman. Petrova tvorba nám odovzdáva správu o tom, ako veľmi si môžu byť cudzí a zároveň blízki dvaja ľudia v jednom priestore. Neviem čím to je. Či je to čarom analógovej fotografie, alebo krízou vzťahu k druhému človeku, ktorými autor prešiel. Premena však nastala neuveriteľne rýchlo.

Petra Cepková

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[peterlancaric]

The Archeology of Time Archeológia času 2015 – 2016

Workshop AKMF / FMK, pictorial mapping of Slovak rural environment, south Zemplín

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[peterlancaric]

Images of Roma Identity Obrazy rómskej identity 2014

There was a cheerful mood in the house. Singing, dancing, uncontainable energy, human warmth, openness and children´s joy. In the room which serves as a living room and a bedroom for a large household, there was an unplanned gipsy festivity going on… Those days were intensive, full of feelings, experience, perceiving of human destinies and mutual sharing. Experiences that are hard to be described in words. The issue of the Romany identity resonated so deeply in Lančarič that through his photos he provides an intimate and subjective visual statement of a Romany family from Hybe, a village in Liptov. This statement metaphorically captures their existence in their own world. Nevertheless, his visual feeling does not need to be described. Every photographer reflects themselves through their photographs. Peter Lančarič is a person who perceives things in depth. He entered the world – intimate space of a Romany family which was strange to him at first but, in a sense, it became close to him. At first sight, the photographs radiate the feeling of quiet melancholy, emptiness and gloominess, the feelings which accompany these people, either consciously or unconsciously, through their lives. Lančarič, as a receptive young photographer, managed not only to feel these people and get close to them but also to express the compassion and sympathy through the staged portraits. The curtain hanging directly from the window of the Hybe´s personage metaphorically represents the coexistence of all the residents of the Hybe village in Liptov regardless of their ethnicities. I cannot tell, whether my subjective perceptions were recalled only by Peter´s photographs or also by the fact, that we shared these intensive moments…

Andrea Boldišová _

V dome bolo veselo. Spevy, tance, neobsiahnuteľná energia, bezprostredné teplo ľudí, otvorenosť a detská radosť. V miestnosti, ktorá slúži ako obývačka aj spálňa pre početnú domácnosť, sa konala neplánovaná cigánska veselica… Boli to intenzívne dni plné pocitov, prežívaní, vnímania ľudských osudov a spoločného zdieľania. Zážitky, ktoré slovami ťažko opísať. Otázka rómskej identity v Lančaričovi zarezonovala natoľko, že svojimi fotografiami poskytuje intímnu a subjektívnu obrazovú výpoveď rómskej rodiny v liptovskej obci Hybe, ktorá metaforicky zachytáva ich bytie vo vlastnom svete. Neukazuje však ani radosť, ani bezstarostnosť. Jeho vizuálne cítenie napriek tomu nie je potrebné definovať. Každý fotograf svojou tvorbou zrkadlí sámého seba. Peter Lančarič je človek, ktorý vníma veci do hĺbky. Vstúpil do sveta - intímneho priestoru rómskej rodiny, ktorá sa mu z cudzej, stala v určitom zmysle blízkou. Z fotografii na prvý pohľad cítiť tichú melanchóliu, prázdnotu a bezútešnosť, pocity, ktoré týchto ľudí či už vedome, alebo nevedome sprevádzajú vlastným životom. Ako vnímavému mladému fotografovi sa Lančaričovi podarilo nie len precítiť týchto ľudí a priblížiť sa k nim, ale prostredníctvom inscenovaných portrétov prejaviť súcit a pochopenie. Záclona zvesená priamo z okna hybskej fary metaforicky predstavuje spolužitie všetkých obyvateľov liptovskej dediny Hybe bez ohľadu na ich etnickú príslušnosť. Nevedno, či moje subjektívne vnemy boli vyvolané iba Petrovými fotografiami alebo skutočnosťou, že sme tieto intenzívne okamihy zdieľali spoločne…

Andrea Boldišová

The topic of the photographs is the coexistence of the residents in Hybe village, in Liptov. At first, they welcomed us with certain mistrust and by looking at us from behind mostly traditional and bobbin lace curtains or draperies which are characteristic for this region. The curtain became a kind of poetic metaphor of being in one´s world. The portrayed Roma people are paradoxically set on the street and near their houses. This public space belongs to all the residents of the village equally. On one hand, the staged portraits of the people behind curtains outdoors represent the people preserving their privacy, identity and subtlety and on the other hand by their witting posing they open themselves to the surroundings. The curtain which was used came from the local parsonage. It was symbolically unhooked from there and it represents an imaginary connection of all the residents of Hybe village regardless of their ethnicities.

Peter Lančarič

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