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Event History
The international photo biennial Phodar aims to integrate Bulgarian photographic art into art processes at the world level. Having emerged in 1999, when photography was already recognized as one of the main modern art media, it traces time-relevant trends and has gained international authority.
What Makes this event different?
What distinguishes the Phodar Biennial from other competitions is our focus on photographic series. We aim to encourage young photographers to concentrate on developing cohesive projects, rather than isolated images. By promoting this approach, we hope to inspire deeper storytelling and a more comprehensive exploration of their chosen subjects.
Copyright Policy
All personal data is voluntary provided by a Participant and will be used by the Promotor solely for the purposes of administering the Competition or as otherwise set out/referred to in these Rules. Any personal data provided by a Participant will remain confidential to the Promoter and will not be disclosed to any third party without the Participant's prior consent, except that the Promoter reserves the right to use the information for the purposes of facilitating the Competition, as well as providing the Participant’s details to third parties (galleries, print houses and other relevant partners as mentioned in section Use of works) for the purposes of administering the Competition.
The 13th consecutive edition of the "Fodar" International Photo Festival Biennale is dedicated to the 25th anniversary of the establishment of the "Fodar" Foundation. Its theme is "Photographic Reality". It was provoked by the increasingly rapid democratization and wide distribution of the photographic image. If 30 years ago photography was the most accessible technology for creating images and its fields of application expanded exponentially, becoming a leader in the field of visual arts, today practically everyone who has a mobile phone takes pictures. The development of social networks gives a new impetus to the creation and distribution of photographic images. It is no exaggeration to say that especially for the younger generations, the creation of digital images, online communication and life on the web is replacing the physical existence. The problem has many dimensions and ramifications, and the authors have a wealth of material for interpretations. Does virtual reality come into conflict with physical reality, or do they go together to new unsuspected horizons? And isn't photographic reality a new language with its own rules, vocabulary, syntax? Where is and will be the place of artificial intelligence in this problem space? Of course, in addition to social, photographic reality also has its historical, informational and philosophical dimensions. This is the first topic that addresses so directly the problematic of the phenomenon of photography.