Nedokončana zgodba / Unfinished Story
print on matte foil
300 x 415 cm
Srdjan Živulović's year-long career at Slovenia's biggest newspaper Delo made it possible for him to visit locations like Kosovo, Iraq, Turkey, Romania, and Israel. On the last day of the Slovenian independence war he joins Reuters. Together with colleague Jože Suhadolnik they launch the Bobo agency to support the newspaper Republika. Through meticulous and planned work they create an impressive archive of event photographs. The photographers of Bobo become the official photographers for the president, the prime minister, and the foreign minister, and travel to accompany them around the world. By following the most current events, Srdjan Živulović is always in the front line, and the same happened with the “last” tide of refugees in Slovenia. His photograph of refugees walking along the river embankment near Brežice won him the Pulitzer Prize.
In 2016 he became the first Slovenian to win the prestigious Pulitzer prize together with a team of Reuters photographers documenting the European refugee crisis, for a photograph of refugees walking alongside a river embankment near Brežice.
Srdjan Živulović (1959) was first inspired to take on photography because of his father Dragan, who bought him his first camera. It has stuck with him ever since. To develop films, he had to walk a couple of miles from Šmartno to Litija, to get to Photo Zofi. His first secondary school choice was electro-technics, but he soon realized that he needed to choose a job that involves working with people. He switched to photography school, and graduated with the support from his mentor, teacher, and friend Vladka Kobal. During school he did internship at the photography department of the newspaper Delo. He got his first job as a photograph at the Slovenian Welding institute, and was officially employed by Delo in 1985. Under the mentorship of Joc Žnidaršič, he remained to work there until 1992. In 1989 he first sent one of his photographs to the Yugoslav photography contest held by Tanjug agency, and later won with the image titled Women fighting for workingman’s bread, which continued, iconically, to stir debate long after the time of the breakdown of the common state.