Archives, Re-Assemblances, and Surveys
158 pages, ger./engl./cro.
28,5 cm x 22,5 cm
b/w and colour ilustrations
hardcover, thread-stitching, cloth binding
Edition Camera Austria
catalogue accompanying the exhibition »Archives, Re-Assemblances and Surveys«
with a preface by Reinhard Braun and texts by Maren Lübbke-Tidow and Sandra Križić-Roban
This catalogue accompanies the correspondent exhibition »Archives, Re-Assemblances and Surveys« taking place at Galerija Klovicevi dvori/Zagreb (10.9. – 2.11.2014).
Quite a few Austrian artists make use of photography beyond taking pictures and thereby establish an eminently conceptual, experimental, and processual approach to the medium. What is central to these strategies is not primarily producing images but linking for the most part found pictures, or documenting complex processes or action contexts. Archives, history, spaces, travels, politics, and discourses play a role in this—photography as a cultural technique and as a cultural artifact that constructs a representation. In a remarkable and at international level exceptional manner, the work with photography done by many Austrian artists is marked by this analytical working method. For a generation of artists born as from the 1960s, this is a matter-of-course way to deal with a medium that can no longer be understood as primarily picturing and documenting.
fter conceptual Croatian photography as from the1960s was presented in a Camera Austria exhibition between March and June 2013—»ZERO POINT OF MEANING«— this exhibition project attempts to open up a space of resonance for the question of the conceptual discussed in the exhibition. With this in mind, this exhibition project does not aim at giving a summary of current positions but will pay particular attention to photography as a field of possible cultural courses of action. This field can be described by interventions and (visual) scopes of action, by questioning what is constructed and produced by the images—collisions of different visibilities, meaning, and visual contexts. In this sense, it is about transitions between text and (photographic) image, between the documentary and the conceptual, the visual and its meaning, and between fiction and materiality of representation.
Doppelseite aus / Doublepages from Archives, Re-Assemblances, and Surveys . S. / pp. 54-55.
Sabine Bitter & Helmut Weber, GENERAL
MEETING 9:15 pm (Back to power politics
Like good revolutionaries), aus / from:
Events Are Always Original, 2010.
Courtesy: ERSTE Stiftung, Wien.
Heidrun Holzfeind, Still aus / from: Forms in relation to life / Filmische Fragmente über die Wiener Werkbundsiedlung, 2014.
Michael Höpfner, aus / from: after five and a half days the trail peters out (2004-2012), 2012.
Krüger & Pardeller, Hit the Grid, 2009.
Doppelseite aus / Doublepages from Archives, Re-Assemblances, and Surveys . S. / pp. 84-85.
Christian Mayer, Putting in time (04/17/85),
2014 . Courtesy: Galerie Nagel Draxler, Berlin.
Karina Nimmerfall, aus / from:
Index of Livability, 2011.
Doppelseite aus / Doublepages from Archives, Re-Assemblances, and Surveys . S. / pp. 102-103.
Nicole Six & Paul Petritsch, 24-Stunden-Belichtung, Nr. 19, 2010.
Doppelseite aus / Doublepages from Archives, Re-Assemblances, and Surveys . S. / pp. 106-107.
Michael Strasser, aus / from: Square One, 1–6, 2014.
Anita Witek, Surface treatment, 2014. Installationsansicht / installation view: This Page Intentionally Left Blank, Akbank Sanat, Istanbul, 2014.
Doppelseite aus / Doublepages from Archives, Re-Assemblances, and Surveys . S. / pp. 126-127.