Camera Austria International

139 | 2017

Price

€16 Add to cart

  • JEFF DERKSEN
    For Sincerity. A Short Introduction to Sincerity’s Social and Aesthetic Possibilities
  • ALTHEA THAUBERGER
  • ANDREA STULTIENS
  • JORDAN ABEL
  • SABINE BITTER / HELMUT WEBER
  • LINA LEONORE MORAWETZ
    Abstract Events. A Conversation with Georg Deggerich
  • MARGARET RANDALL
  • AMELIE ZADEH
  • JOKE ROBAARD
  • DINA AL-KASSIM
    For Solidarity. Witnessing the Other’s Revolution

Preface

In the year 2014, we presented the exhibition “The Militant Image: Picturing What Is Already Going On, Or The Poetics of the Militant Image” together with Urban Subjects (Sabine Bitter, Jeff Derksen, and Helmut Weber), along with a publication of the same name. The focus here was on the militant image both as a condition of an image and an image of a condition. Tying into this collaborative research, we invited Urban Subjects to reflect, as guest editors, on a concept for an issue of the magazine Camera Austria International. After the most pressing questions were explored, a different term seemed more suitable for facilitating access to images, texts, and publics: sincerity. The idea of sincerity may seem a bit anachronistic or out of touch with the times, as if bound to a subjectivity that we are no longer really able to maintain. Yet sincerity still continues to traverse the aesthetic and the social, and it arises in quite unsuspecting places.

Read more

Camera Austria International 139 | 2017
Preface

In the year 2014, we presented the exhibition “The Militant Image: Picturing What Is Already Going On, Or The Poetics of the Militant Image” together with Urban Subjects (Sabine Bitter, Jeff Derksen, and Helmut Weber), along with a publication of the same name. The focus here was on the militant image both as a condition of an image and an image of a condition. Tying into this collaborative research, we invited Urban Subjects to reflect, as guest editors, on a concept for an issue of the magazine Camera Austria International. After the most pressing questions were explored, a different term seemed more suitable for facilitating access to images, texts, and publics: sincerity. The idea of sincerity may seem a bit anachronistic or out of touch with the times, as if bound to a subjectivity that we are no longer really able to maintain. Yet sincerity still continues to traverse the aesthetic and the social, and it arises in quite unsuspecting places.

It is not actually necessary to broach the much discussed subject of fake or alternative news in order to encounter the question of sincerity these days—since the 1990s it has been virulent, when the digital seemed to undermine any sense of credibility of the images, and since imagery has been marked by general suspicion. From this point on, the mechanisms for authenticating images have shifted, with their effects taking centre stage rather than the truth of that being rendered. Since then, images have not shown a sincere image, but rather performed it. However, they never perform it alone. Urban Subjects has consequently broadened their argument of the necessity of sincerity to include the areas of language and poetry, especially in the realm of resistive political practice and with an emphasis on its enmeshment with images and texts—particularly the practice of sincerity, which is not a quality, but actually a social state where images, texts, poetry, bodies, and actions are integrated or even able to make possible the presence of sincerity. In his introduction, Jeff Derksen traces the history of sincerity, while placing the artists selected for this publication in relation to this history and also in relation to one another.

The concept of sincerity compels us to consider, in its appealing simplicity but also fundamentally, our relationship to photographic images, whether they are tied into artistic practice or everyday cultural contexts: Why are we still inspired by photographs? Why do we look at them? What do we expect from them? These questions are also associated with a hope that sincerity might be able to produce, not only represent, sincere acts—that is, not only to render the image of a condition, but also to effectuate this state.

We are grateful to Urban Subjects for the collaborative exploration, already lasting for a very extended period, of how the visuality of photography interferes in our present day in ever new ways and in ever new spaces of agency—and for, with their contribution, turning the magazine Camera Austria International once again into a platform fostering topical reflection on photography.

After the review section was omitted from the previous issue, since devoted to the Camera Austria archive, we are now offering you an extensive overview of exhibitions held over the past six months.

Reinhard Braun and the Camera Austria Team
September 2017

Cover: Jordan Abel, page from: The Place of Scraps (Vancouver: Talonbooks, 2013).

Entries

Exhibitions

Ingeborg Strobl: Flora
Arbeiterkammer Vienna
LUISA ZIAJA

Österreich. Fotografie 1970 – 2000 Albertina, Wien
Museum der Moderne Salzburg
MARGIT NEUHOLD

Ed van der Elsken: Camera in Love
Stedelijk Museum Amsterdam
Jeu de Paume, Paris
Fundación Mapfre, Madrid
TACO HIDDE BAKKER

Eiko Grimberg: The Pool
KV – Verein für Zeitgenössische Kunst Leipzig
AGNIESZKA ROGUSKI

Thomas Struth: Figure Ground
Haus der Kunst, Munich
CHRISTOPH SEHL

Viviane Sassen: Umbra
Deichtorhallen – Haus der Photographie, Hamburg
Fotografiska Museet, Stockholm
JENS ASTHOFF

Wolfgang Tillmans: 2017
Tate Modern, London
Wolfgang Tillmans
Fondation Beyeler, Basel
MARTIN HERBERT

Ericka Beckman: Game Mechanics
Secession, Vienna
FRANZ THALMAIR

Anna Artaker: The Pencil of Nature
tresor, Bank Austria Kunstforum, Vienna
WALTER SEIDL

Peggy Buth: Vom Nutzen der Angst
Arwed Messmer: RAF. No Evidence / Kein Beweis
Museum Folkwang, Essen
ARNE SCHMITT

57. Biennale d’Arte di Venezia
Venice, various venues
JÖRG SCHELLER

Bilingual Document. Reserves and Collections – An Other Mucem
Mucem, Marseille
MONIQUE DEREGIBUS and NICOLAS RUBY

Subjektiv
Malmö Konsthall
Kunstnernes Hus, Oslo
LAURA HATFIELD

Luke Willis Thompson: Autoportrait
Chisenhale Gallery, London
MERCEDES VICENTE

Marina Gržinić and Aina Šmid: Radical Contemporaneity
Kunstraum Lakeside, Klagenfurt
MIKA MARUYAMA

Tomáš Rafa: New Nationalisms
MoMA PS1, New York
ORIT GAT

Oh … Jakob Lena Knebl und die mumok Sammlung
Martin Beck: rumors and murmurs
watching sugar dissolve in a glass of water
mumok, Vienna
MAREN LÜBBKE-TIDOW

General Idea: Photographs (1969 – 1982)
MAMCO Geneva
MORITZ SCHEPER

Hanne Darboven: Kulturgeschichte 1880 – 1983
Dia:Chelsea, New York
Hanne Darboven: Korrespondenzen
Hamburger Bahnhof – Museum für Gegenwart, Berlin
MITCH SPEED

Akram Zaatari: Against Photography. An Annotated History of the Arab Image Foundation
MACBA, Barcelona
K21 Kunstsammlung Nordrhein-Westfalen, Düsseldorf
TEOBALDO LAGOS PRELLER

Beatriz González & José Alejandro Restrepo: Faire Face
Carré d’art – Musée d’art contemporain, Nîmes
In the framework of Rencontres de la photographie d’Arles 2017
GISLIND NABAKOWSKI

Everything is Getting Better: Unknown Knowns of Polish (Post)Colonialism
Savvy Contemporary, Berlin
JAKUB MAJMUREK

4th Project Biennial D-0 ARK Underground
Konjic
Tito’s Bunker
Württembergischer Kunstverein, Stuttgart
SABINE WEIER

How to Live Together
Kunsthalle Vienna
STEPHEN ZEPKE

documenta 14
Athens, various venues
Kassel, various venues
ANA TEIXEIRA PINTO

Imprint

Publisher: Reinhard Braun

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

Editors: Margit Neuhold, Christina Töpfer, Sabine Weier.

Translations: Dawn Michelle d’Atri, Nicholas Huckle, Amy Klement, Otmar Lichtenwörther, Lina Leonore Morawetz, Katrin Mundt, Sabine Weier.

English proofreading: Dawn Michelle d’Atri.

Acknowledgments: Jordan Abel, Dina Al-Kassim, Sabine Bitter, Anja Bogojević, Georg Deggerich, Jeff Derksen, Arno Gisinger, Liz Howard, Lena Leeb-Lundberg, Margarethe Makovec, Lina Leonore Morawetz, Tony Power, Amila Puzić, Margaret Randall, Joke Robaard, Ian Song, Kate Strain, Nina Strand, Talonbooks, Althea Thauberger, Helmut Weber, Amelie Zadeh.

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 978-3-902911-36-0
ISSN 1015 1915
GTIN 4 19 23106 1600 5 00139