Camera Austria International

137 | 2017

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  • SUMESH SHARMA
    Aurélien Froment: Artist of a Vocabulary
  • AURÉLIEN FROMENT
  • SUSANNE HOLSCHBACH
    Erin Shirreff: Passagen
  • ERIN SHIRREFF
  • BENJAMIN HIRTE
    Christian Kosmas Mayer: Bekanntschaften
  • CHRISTIAN KOSMAS MAYER
  • AURÉLIE VERDIER
    Haris Epaminonda: Zonen der Erinnerung
  • HARIS EPAMINONDA

Preface

During a period of difficult and confusing societal and cultural transformation, where the question of differentiation between the truth and the real appears to be made ever more impossible, it may well be important to move the gaze from the centre towards the peripheries—as we already did in the previous issues. We must depart from the desire to see, to recognize, and to understand, or we need to redouble our efforts to mediate the visual aspect of imagery in a “system of documentation” (Douglas Huebler) in order to be able to foreshadow the origins of these transformations and their undreamt consequences.

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Camera Austria International 137 | 2017
Preface

During a period of difficult and confusing societal and cultural transformation, where the question of differentiation between the truth and the real appears to be made ever more impossible, it may well be important to move the gaze from the centre towards the peripheries—as we already did in the previous issues. We must depart from the desire to see, to recognize, and to understand, or we need to redouble our efforts to mediate the visual aspect of imagery in a “system of documentation” (Douglas Huebler) in order to be able to foreshadow the origins of these transformations and their undreamt consequences.
In several recent projects, this unease at witnessing the end of representation alongside a crisis of sovereignty plays a role, the disappearance of the intellectual from the public sphere and making room for a kind of intellectual DIY existence and its viral televisionary and networking performance—a crisis where images, in many respects, are more than simply just involved. The closer the images come to the events, the less we see in them, as Hito Steyerl has already noted. By contrast, in everyday life we must also recognize that the “protocol of iconization” of images, as Ariella Azoulay
terms it, continues to be in a position to assert its validity: to see what is visible, to label the images according to what they represent, and to identify what they seem to represent—while (mis)understanding both as a kind of description of reality. So where does the question of the peripheries of the images lead, their margins, their passages from one image to another one, or from imagery to the domain of things, artefacts, narration, incidents, history, or even politics?
According to Aurélie Verdier, the photographs by Haris Epaminonda institute a poetic metamorphosis of interstices and touch an exteriority shot through by disappearance or erasure, engendering zones of memory in a stance of watchfulness, always open—the construction of transitions between “crystals of historical unreadability”. In the work of Erin Shireff, too, we find a tension between parts and the (absent) whole, as Susanne Holschbach describes it, where photography acts as a hinge between the various project indices, as a trace of the connection and disconnection of different points of reference. In the work of Christian Kosmas Mayer, this transitional trace is likewise evident. Initially, writes Benjamin Hirte, we come upon a situation that is ostensibly readable. And then the appendix is opened up, revealing moments of the enigmatic, which remain tied to stories, to history. Sumesh Sharma describes the practice of Aurélien Froment as both spanning and expanding genres, extending the reach of conceptualism beyond popular theoretical positions like post-Internet art. His films in particular are made in cooperation with locals and often navigate the precarious field of postcolonial representation.
Discernible in the strategies employed by the artists featured in this issue, therefore, are cues to constructing places for these images within the crisis of representation. However, in these places they assume functions through which they not only show or perhaps even show least, but rather occupy and mark transitions—transitions between scattered and suppressed crystals of unreadability, between inventions, milieus, memories, both found and fabricated. The images—both moving and static—thus traversing unsettled spaces of form and meaning that can only become visible along this transitionary spaces. Periphery and margin are situated within these transitory spaces within the production of visibility and invisibility itself, where alertness and diligence are necessary for recognizing which of the two not only caters to the real, but rather, still, gives a hint of the possibility of truth.

Reinhard Braun
and the Camera Austria Team
March 2017

Cover: Haris Epaminonda, Untitled #12 b/h, 2015. Papier collage, 26.7 × 19.5 cm. Courtesy: the artist and Casey Kaplan, New York.

Entries

Forum

Presented by the editors:
Jenna Westra
Mafalda Rakoš
Lisa Zalud
Maj Hasager
Mateusz Skóra
Aleksandra Kubos

Exhibitions

Eric Baudelaire: The Music of Ramón Raquello and his Orchestra
Witte de With, Rotterdam
JENS MAIER-ROTHE

Joachim Koester: In the Face of Overwhelming Forces
Camden Art Centre, London
FRANCESCA LAURA CAVALLO

Learning Laboratories: Architecture, Instructional Technology, and the Social Production of Pedagogical Space Around 1970
BAK, Utrecht
MAARTEN VAN DEN DRIESSCHE

Necessità dei volti – A Dialogical Procedure and Selections from a Provisional Archive
nGbK, Berlin
SABINE WEIER

Mathieu Kleyebe Abonnenc: Mefloquine Dreams
MMK Frankfurt am Main
MORITZ SCHEPER

Dokument:Fiktion
Museum der Moderne Salzburg, Rupertinum
Räume schaffen. Aus den Sammlungen
Museum der Moderne Salzburg, Mönchsberg
WALTER SEIDL

My sweet little lamb (Everything we see could also be otherwise)
Various venues, Zagreb
The Showroom, London
MARGIT NEUHOLD

Wade Guyton
MAMCO, Geneva
JÖRG SCHELLER

Roman Schramm
Barlach Halle K, Hamburg
Kunsthaus Jesteburg
JENS ASTHOFF

Candida Höfer: Nach Berlin
n. b. k., Berlin
REBECCA WILTON

Cory Arcangel and Olia Lialina: Asymmetrical Response
Western Front, Vancouver
The Kitchen, New York
ORIT GAT

Anna-Sophie Berger: Places to fight and to make up
mumok, Vienna
CHRISTIAN HÖLLER

Julian Röder: Recht und Raum
Haus am Waldsee, Berlin
MITCH SPEED

Books

Allan Sekula: Photography Against the Grain. Essays and Photo Works 1973–1983
MACK, London 2016
EIKO GRIMBERG

Ted Serios: Serien
Textem Verlag, Hamburg 2016
DIRCK MÖLLMANN

Francesca Catastini: The Modern Spirit Is Vivisective
AnzenbergerEdition, Vienna 2016
by TACO HIDDE BAKKER

Leere Seiten
Ed Ruscha: Nine Swimming Pools (and a broken glass)
Eigenverlag 1968
Christopher Williams: Printed in Germany
Verlag der Buchhandlung Walther König, Köln 2014
Paul Graham: Paris 11-15th November, 2015
MACK, London 2016
JAN WENZEL

Imprint

Publisher: Reinhard Braun

Owner: Verein CAMERA AUSTRIA. Labor für Fotografie und Theorie.
Lendkai 1, 8020 Graz, Österreich

Editors: Margit Neuhold, Sabine Weier.

Translations: Dawn Michelle d’Atri, Nicholas Huckle, Wilfried Prantner, Andrea Scrima.

English proofreading: Dawn Michelle d’Atri, Andrea Scrima.

Acknowledgments: Yasmine Eid-Sabbagh, Jackie Beckwith, Haris Epaminonda, Bart Feberwee, Aurélien Froment, Maj Hasager, Aleksandra Kubos, Christian Kosmas Mayer, Maren Lübbke-Tidow, Kelly McCosh, Marina Paulenka, Eva Maria Ocherbauer, Mafalda Rakoš, Jenny Schäfer, Dubravka Sekulić, Walter Seidl, Erin Shirreff, Mateusz Skóra, Jenna Westra, Lisa Zalud.

Copyright © 2017
No parts of this magazine may be reproduced without publisher’s permission.
Camera Austria International does not assume any responsibility for submitted texts and original materials.

ISBN 978-3-902911-32-2
ISSN 1015 1915
GTIN 4 19 23106 1600 5 00137