Camera Austria International

107 | 2009

Price

16Add to cart

  • BEATRICE VON BISMARCK
    Peggy Buth. Desire in Representation.
  • PEGGY BUTH
  • MAREN LÜBBKE-TIDOW
    A conversation with Artur Żmijewski
  • ARTUR ŻMIJEWSKI
  • THILO KOENIG
    Atlante Italiano. A State-commissioned Project on the Trail of DATAR
  • ATLANTE ITALIANO
  • ALICE CREISCHER, ANDREAS SIEKMANN
    Outstanding Questions. On the Relationship of Image Production, Hegemony and Violence IV

Editorial

The contributions in this issue of Camera Austria No. 107 each take a different approach in exploring the significance of the photographic/ filmic document and the relevance of the concept of realism for artistic work today. Based on three years of research on the Royal Museum for Central Africa in Belgian Tervuren, that opened in 1907, Peggy Buth developed the two-volume artist’s book “Desire in Representation” in 2008. The material that Buth compiled for the spread of images in this issue comprises her own photographic documentation of the museum, archive images and documents, excerpts from travel reports and adventure novels, that the artist weaves together to create a picture of colonial representation. In photographic sequences, an illustrated text collage, and an extensive index, on different narrative layers she traces structures of desire in which the colonisers’ projections of the “other” become entangled, as Beatrice von Bismarck explains in her accompanying essay.
In a conversation with Maren Lübbke-Tidow Artur Żmijewski discusses his new video work “Democracies”. Camera Austria will present “Democracies” as a contribution on the topic of “All the Same”, the theme of the 2009 steirischer herbst festival. In this series of documentary films of political statements of will in Europe, Israel and Palestine the artist examines the concept of freedom that is so central to an understanding of democracy. Żmijewski’s radical realism is reflected in his position as participating observer. The uncommented, unbiased representation of the documentary material requires the observer to take a critical view of the political development of European democracies. Again and again Żmijewski uses his artistic interventions to induce the observer to take a direct political stance,  with co-operation being a defining aspect of his artistic practice. With his cover design for this issue, Żmijewski makes reference to a current film project by Yael Bartana,  that the Israeli artist carried out in Warsaw. The “Jewish Renaissance Movement in Poland” proclaimed in the film is currently the subject of extremely controversial discussion in the public arena of politics in Poland.

Full text

Camera Austria International 107 | 2009
Editorial

The contributions in this issue of Camera Austria No. 107 each take a different approach in exploring the significance of the photographic/ filmic document and the relevance of the concept of realism for artistic work today. Based on three years of research on the Royal Museum for Central Africa in Belgian Tervuren, that opened in 1907, Peggy Buth developed the two-volume artist’s book “Desire in Representation” in 2008. The material that Buth compiled for the spread of images in this issue comprises her own photographic documentation of the museum, archive images and documents, excerpts from travel reports and adventure novels, that the artist weaves together to create a picture of colonial representation. In photographic sequences, an illustrated text collage, and an extensive index, on different narrative layers she traces structures of desire in which the colonisers’ projections of the “other” become entangled, as Beatrice von Bismarck explains in her accompanying essay.
In a conversation with Maren Lübbke-Tidow Artur Żmijewski discusses his new video work “Democracies”. Camera Austria will present “Democracies” as a contribution on the topic of “All the Same”, the theme of the 2009 steirischer herbst festival. In this series of documentary films of political statements of will in Europe, Israel and Palestine the artist examines the concept of freedom that is so central to an understanding of democracy. Żmijewski’s radical realism is reflected in his position as participating observer. The uncommented, unbiased representation of the documentary material requires the observer to take a critical view of the political development of European democracies. Again and again Żmijewski uses his artistic interventions to induce the observer to take a direct political stance,  with co-operation being a defining aspect of his artistic practice. With his cover design for this issue, Żmijewski makes reference to a current film project by Yael Bartana,  that the Israeli artist carried out in Warsaw. The “Jewish Renaissance Movement in Poland” proclaimed in the film is currently the subject of extremely controversial discussion in the public arena of politics in Poland.
Since we published “Penisola. Appunti per un Viaggio in Italia / Notes on a Journey through Italy” in 1984, a contribution curated by Luigi Ghirri, the special relationship of Italian photo artists to changes in their country’s landscape has been a recurrent focus of interest in this magazine. In this issue Thilo Koenig discusses the photography project “Atlante Italiano” by the Direzione per l’Arte e l’Architettura Contemporanee (DARC) of Rome’s ministry of culture. The project explores the condition of the landscape and such phenomena as the industrialisation of contiguous areas, agglomerations, illegal building, and tourist resort sprawl. In this context I would like to mention Robert Adams’ comment on our June issue: “No. 106 improved my spirit … What cheers me is to see how many of the photographers you have found appear to be concerned first with the world and only afterwards with aesthetics. Not that lasting work can be done without attention to aesthetics … it’s just not, as we know, the place to start”.
Particular thanks – also on behalf of Daniela Billner and Tanja Gassler, who edited this issue – are due to the artists and authors for their willingness to cooperate on the Camera Austriaproject. But our translators – first and foremost Dawn Michelle d’Atri, Wilfried Prantner and Richard Watts – also play a truly invaluable role in the success of these contributions. Their commitment and ongoing cooperation goes far beyond translation work as such: It is they who make the actual exchange possible between all those involved in this project, hailing, as they do, from a wide range of cultural and linguistic fields.

Christine Frisinghelli
September 2009

Contributions

Forum

MANUELA BARCZEWSKI

KATIA KLOSE

DANIELA FRIEBEL

AYANA V JACKSON

ALFONS PRESSNITZ

WAYNE BARRAR

TIMOTHEUS TOMICEK

MEIKE FISCHER

Exhibitions

Islands + Ghettos
Stadtmuseum Graz
ULRICH TRAGATSCHNIG

Sabine Bitter / Helmut Weber.
Landesgalerie Linz
MAREN RICHTER

Thomas Ruff
Kunsthalle Wien
MARIE RÖBL

Fotografie und das Unsichtbare
Albertina, Wien
HERBERT JUSTNIK

Subversive Praktiken
Württembergischen Kunstverein, Stuttgart
REINHARD BRAUN

Erzen Shkololli
DAAD-Galerie, Berlin
MAREN LÜBBKE-TIDOW

53. Biennale di Venezia
KIRSTY BELL

Traces
Foto Colectania, Barcelona
ALBERTO MARTíN

Jochen Lempert
Culturgest, Lissabon
RUI GONCALVES CEPEDA

Antun Maracic
HDLU, Zagreb
SANDRA KRIZIC ROBAN

Les Rencontres d’Arles
LUCIA PESAPANE

Harun Farocki / Rodney Graham
Jeu de Paume, Paris
CHRIS SHARP

Transphotographiques
Lille
MIRIAM ROSEN

The Death of the Audience
Secession, Wien
SABETH BUCHMANN

Depot und Plattform: Bildarchive im Postfotografischen Zeitalter
Museum für Angewandte Kunst, Köln
HERBERT JUSTNIK

Depot und Plattform: Bildarchive im Postfotografischen Zeitalter
Museum für Angewandte Kunst, Köln
DANIEL TERKL

Books

David Campany: Photography and Cinema
Reaktion Books, London 2008
TACO HIDDE BAKKER

John Heartfield: Zeitausschnitte. Fotomontagen 1918 – 1938
Hatje Cantz Verlag, Ostfildern 2009
PETER KUNITZKY

Nicolas Bourriaud: The Radicant, New York 2009
MARGIT NEUHOLD

Daniel Maier-Reimer: Journeys
GFLK Surveys, Hamburg 2009
JENS ASTHOFF

SchwarzWeißAufnahme. Fotografien von Arno und Alice Schmidt aus drei Jahrzehnten
Arno Schmidt Stiftung, Barfgeld. Suhrkamp Verlag, Frankfurt a.M. 2009
GISLIND NABAKOWSKI

Walter Seidl: DISplay
Fotohof edition, Salzburg 2008
SILVIA EIBLMAYR

Imprint

Publisher: Manfred Willmann. Owner: Verein CAMERA AUSTRIA, Labor für Fotografie und Theorie.
All: Lendkai 1, A-8020 Graz.

Editors: Christine Frisinghelli, Daniela Billner, Tanja Gassler
Editor News section: Heidi Oswald

Copy editing: Marie Röbl
English lectorate: Dawn Michelle d’Atri
Translations: Dawn Michelle d’Atri, Andy Jelcic, Emilia Ligniti, Wilfried Prantner, Josephine Watson, Richard Watts