Camera Austria International 150/151
Release of the double issue on September 9, 2020.
With contributions by: Basel Abbas & Ruanne Abou-Rahme, Ibrahim Ahmed and Nadine Nour El Din, Akinbode Akinbiyi, Rheim Alkadhi, Basma al-Sharif, Ariella Aïsha Azoulay, Marina Ballo Charmet, Abdul Sharif Baruwa, Daniel Bauer, Dannielle Bowman, Rashayla Marie Brown, Jean-François Chevrier, Sara Deraedt, Adama Delphine Fawundu, Veronika Gahmel, Rami George, Ariel Goldberg, Julia Grosse, Fatima Guariota, Yasmina Haddad, Fields Harrington, David Johnson, Liz Johnson Artur, Ron Jude, NIC Kay, Aglaia Konrad, Deana Lawson, Ulrich Loock, Andrea Lumplecker, Keli Safia Maksud, Susanne Miggitsch, N.N., Christian Nyampeta, Nayare Soledad Otorongx, Iki Yos Piña, Narváez Funes, Barbara Proschak, Jorge Ribalta, Marion Rohrleitner, Michal Raz-Russo, Rijin Sahakian, Niama Sandy, Adania Shibli, Ahlam Shibli, Anna Shteynshleyger, Nadir Souirgi, Corinne Spencer, Adam Szymczyk, James Welling, Jeffrey Whetstone, Stanley Wolukau-Wanambwa
The instability currently seizing the entire realm of art and culture has impacted our work as well. Due to temporarily closed exhibition spaces all over the world, and the related postponement and restructuring of agendas, the situation for art magazines has also become rather unpredictable. This in turn influences one’s ability to critically accompany and write about art.
In view of the fundamental situation caused by the pandemic, we have decided to release the upcoming edition of Camera Austria International on September 9, 2020, rather than in the summer, as would normally have been the case. This special dual edition is marked by the twofold number 150/151. We are taking this double anniversary—the 150th issue of the magazine and the 40th anniversary of the magazine’s founding—as an occasion to invite individuals from Camera Austria’s network, but also beyond, to reflect on “What’s at Stake / What’s Missing?” What is indeed at stake today when considering the medium of photography in the context of its shifted conditions of production, its modalities within society, or the many forms of its distribution and reception, all of which essentially influence artistic practice as well? This polyphonic act of taking stock—aiming less to celebrate the presence of photography in the contemporary art field and more to challenge it—is accompanied by an expanded (and twice as extensive) review section, which focuses on exhibitions and publications that our authors found relevant in the spring and summer of 2020.