Camera Austria International

141 | 2018

Price

€16 Add to cart

  • TOMÁŠ POSPISZYL
    Eva Koťátková: Über Verdauungsmechanismen
  • EVA KOT'ÁTKOVÁ
  • AVEEK SEN
    Moyra Davey: Far from Hot Baths
  • MOYRA DAVEY
  • AYŞE GÜLEÇ
    Cana Bilir-Meier Movements Between Archives— Decolonizing Disciplines
  • CANA BILIR-MEIER
  • KATHRIN SCHÖNEGG
    Peter Miller: Postboxes are darkrooms too
  • PETER MILLER

Preface

Throughout all of last year, we’ve devoted much thought to the archive as a compendium of documents, a space for analyzing history, an institution, and a form of cultural memory—in its aesthetics as well as its politics, as a material practice and as an idea. We’ve done this with an intensity that quite possibly still resonates and that influences, if not outright shapes, our inquiries into contemporary photographic practices, without this consideration having explicitly determined the contributions of the current issue.

Read more

Camera Austria International 141 | 2018
Preface

Throughout all of last year, we’ve devoted much thought to the archive as a compendium of documents, a space for analyzing history, an institution, and a form of cultural memory—in its aesthetics as well as its politics, as a material practice and as an idea. We’ve done this with an intensity that quite possibly still resonates and that influences, if not outright shapes, our inquiries into contemporary photographic practices, without this consideration having explicitly determined the contributions of the current issue.
Eva Kot’átková’s interest in educational systems and in education’s regulating function, which she juxtaposes with bodily functions, situates the (mostly childlike) individual on a borderline between naturalness and socially induced transformation, hence in a realm of knowledge and of the body as archives. As Tomáš Pospiszyl illustrates, her installations, collages, and films carry these ideas into performative modes of translation and transposition, that both demonstrate and subvert the strategies of imposing discipline.
For Aveek Sen, an investigation into Moyra Davey’s films “Hemlock Forest” (2016) and “Wedding Loop” (2017) leads him to a list °“of the quotations, references, and allusions that make up the layered texture of Davey’s films.” It’s not only the artist’s films that branch off into a kind of displaced archive, however; her “Hoardings,” which she has been enacting for a long time under a variety of titles, comprise a kind of private archive, a fluid archive in motion.
Cana Bilir-Meier’s works also address forms of the archive and carry the idea further to include questions on memory and critical representation, for instance when material from her family’s archive is combined with stories that have been orally passed on. In conjunction with found photo and film footage, Bilir-Meier’s works, based on “migrant-situated knowledge,” unfurl to tell tales taken out of the private context to demand attention for the suppressed and silenced parts of memory, as elucidated in a conversation between the artist and Ayşe Güleç.
Peter Miller scours the history of the medium of photography and of the proto-photographic and proto-cinematographic methods. In his practice, photography itself functions as an archive of possibilities to allow images to emerge or to conjure them from photography’s memory. For Kathrin Schönegg, the historic and discursive field around cinema’s earliest days, together with its illusions and optical tricks, its culture of the spectacle, provide the “box of tricks that Peter Miller draws from: his works explore the magic of the everyday and probe the world to find what is relevant in terms of film and photography.”
The respective politics relating to each of these fields of practice seem evident; they combine various forms of the archive with numerous ideas about the private and public spheres, the body, and history, as well as with varying forms of performance, montage, appropriation, rewriting, and renewed performance, which is why their lines of inquiry lead far beyond the archive.
We are very pleased that Christina Töpfer takes over as the magazine’s editor-in-chief with this issue. Töpfer has been an editor and author for Camera Austria International since 2013, and has long been involved with the thematic focus, form of inquiry, and cross-section of artistic positions that we’ve addressed since that time. The magazine will carry her signature in an even more pronounced way in the future, and will form an essential contribution to the recurring necessity of staking out a position in the vast field of contemporary photographic practice.

Reinhard Braun
and the Camera Austria Team
March 2018

Cover: Moyra Davey, Emma / Hazel 2, 2017. Silver gelatin print, 60.7 × 50.4 cm. Courtesy: the artist and Galerie Buchholz, Cologne / Berlin / New York.

Entries

Forum

Presented by Elisabeth Neudörfl:
Rebecca Racine Ramershoven
Claudius Dorner
Julius Barghop
Elena Kruglova
David Richard Müller
Paula Hildebrand

Exhibitions

Olivier Foulon: Hard Return
Temporary Gallery, Köln
MORITZ SCHEPER

New Bauhaus Chicago: Experiment Fotografie und Film
Bauhaus-Archiv, Berlin
CAROLIN FÖRSTER

Shahryar Nashat: The Cold Horizontals
Kunsthalle Basel
MARIE HIMMERICH

Olga Chernysheva: Chandeliers in the Forest
Secession, Wien
MARGIT NEUHOLD

Lala Meredith-Vula: Wisdom Today and Forever
Muzeu Kombëtar i Fotografisë Marubi, Shkodër
ARNISO ZEQO

In Rebellion: Female Narratives in the Arab World
IVAM Institut Valencià d’Art Modern, Valencia
LAURA VALLÉS

Rayyane Tabet: Bruchstücke / Fragments
Kunstverein in Hamburg
JENS MAIER-ROTHE

Andrea Stultiens: Ebifananyi
FOMU Fotomuseum provincie Antwerpen
TACO HIDDE BAKKER

Edmund Clark: In Place of Hate
Ikon Gallery, Birmingham
ORIT GAT

disintegrate!
3. Berliner Herbstsalon
Maxim Gorki Theater and various venues, Berlin
SABINE WEIER

John Akomfrah: Purple
The Curve, Barbican, London
MATTHEW SHAUL

Cyrill Lachauer: What Do You Want Here
Berlinische Galerie, Berlin
MITCH SPEED

Raum und Fotografie
Museum der Moderne Salzburg
CHRISTINA TÖPFER

Jochen Lempert / Peter Piller: Fotografie neu ordnen. Vögel
MKG Museum für Kunst und Gewerbe Hamburg
Jochen Lempert: Honeyguides
Sprengel Museum Hannover
RADEK KROLCZYK

Michael Schmidt: Waffenruhe
Volksbühne Berlin
MAREN LÜBBKE-TIDOW

Books

Betrachter der BetrachterInnen, oder:
Zweimal durchs Museum
Thomas Struth: Making Time
Schirmer/Mosel, Munich 2007
David Prudhomme: Einmal durch den Louvre
Reprodukt, Berlin 2013
JAN WENZEL

Georg Gatsas: Signal the Future
cpress, Zürich; Loose Joints, London 2017
JUNE DREVET

SCHAUBUCH: Skulptur – Aglaia Konrad
Roma Publications, Amsterdam 2017
TINA SCHULZ

Stephan Keppel: Flat Finish
Fw:Books, Amsterdam 2017
EIKO GRIMBERG

Imprint

Publisher: Reinhard Braun

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

Editor-in-Chief: Christina Töpfer.
Editors: Margit Neuhold, Sabine Weier.

Translations: Dawn Michelle d’Atri, Amy Klement, Martin Mutschler, Bert Rebhandl, Andrea Scrima, Karel Urban.

English Proofreading: Dawn Michelle d’Atri.

Acknowledgments: Barbara Augustinović,  Julius Barghop, Cana Bilir-Meier, Dina Blauhorn, Moyra Davey, Claudius Dorner, Ivo Faber, Ayşe Güleç, Taco Hidde Bakker, Paula Hildebrand, Eva Kot’átková, Elena Kruglova, Nicolas Linnert, Maren Lübbke-Tidow, Peter Miller, David Richard Müller, Elisabeth Neudörfl, Tomáš Pospiszyl, Rebecca Racine Ramershoven, Kathrin Schönegg, Aveek Sen, Moritz Wegwerth.

Copyright © 2018
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 978-3-902911-42-1
ISSN 1015 1915
GTIN 4 19 23106 1600 5 00141