Camera Austria International

115 | 2011

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  • KIRSTY BELL
    Hilary Lloyd: Paying Attention
  • HILARY LLOYD
  • CHRISTIAN HÖLLER
    Martin Beck: Isolated, Scattered, Broken. Martin Beck’s Engagement with US-­American Commune Culture
  • MARTIN BECK
  • JENS ASTHOFF
    Walead Beshty: Sensitive Material. How Walead Beshty Pushes the Boundaries of the Image
  • WALEAD BESHTY
  • FLORIAN EBNER
    Stefanie Seufert: Chance and Construct
  • STEFANIE SEUFERT
  • WALID SADEK
    A Time to See 3/4 The Next of Survivor Eyes

Preface

With our exhibition on the “Virtuosity of Thingness”, in autumn of 2010, it was our aim to join in discourse on forms of visual reduction within current photographic projects. What became apparent here was that a pictorial language begins to take shape, one which explicitly turns against narration and which, conversely, advocates the intrinsic value of materiality in photography: images of ephemeral phenomena and states that condense into a specific form in an alien and yet emblematic moment. The aim is not the disclosure or aestheticisation of reality but rather an exploration of the question concerning the relation between visibility and reality.
In the Camera Austria International issue at hand we would like to delve into this debate: the artists with their contributions present us with pictures that transcend purely factual perception and understanding. One expression of this new visual complexity is, for instance, the oeuvre of British artist Hilary Lloyd. In her installations, Lloyd combines static images with those evincing slight movement to form a portrait of her urban environment. Her “sketches of light and colour” are aptly described by Kirsty Bell as a “lesson in abstraction”—yet, here, one that follows a conception of abstraction which, in Lloyd’s works, is enrooted in a space between transparency and hermeneutics. It is precisely this tension that links Hilary Lloyd’s work with that of German artist Stefanie Seufert. In her compositions, Seufert likewise works on a “subtle (and often also ironic) disguising of a view of things that is only purportedly transparent”, as Florian Ebner notes. Jens Asthoff analyses the “signature of chance” of the approximation of the medium pursued by British artist Walead Beshty, an approach that the artist himself has already addressed in many of his texts. As Besthy explained during preparations for this issue: “I suppose that the way I think of my work is not as an ‘anti-figuration’, nor do I think of it as an attempt to move to the purity of a medium, but to use the implicit parameters of the photographic apparatus (and by this I mean the expanded sense, not machines, but more like Foucault’s dispositif, or Althusser’s notion of apparatus) as restrictions or rules in a game that the works themselves are reflections of … In the end, I see these parameters as inherently political, and social, more than simply a hermetic investigation of form or medium, but of the complex forces at work within all aesthetics, which participate in the construction of daily life.” Austrian artist Martin Beck investigates issues related to, among others, the emancipatory utopia of exhibitions as a format for communication. Christian Höller explores his strategy of exposing—rather than working through historical-political topics mimetically—aspects of communication and knowledge production: “His method is more that of ‘blasting’ historical artefacts and fragments out of a larger continuum perceived as coherent, so that the fragments appear more like prisms or lenses, through which our projections onto the past can pass and be refracted.”
Touched upon in this issue of Camera Austria International again is a treatment (which begs continual revision) of classical questions of representation to which photography remains committed—indeed, the point is to constantly redefine “what is photographic about the pictures as a space … between construction and chance, transparency and hermeneutics, concrete visibility and open significance” (Florian Ebner).
In the coming months we will be presenting our magazine at various fairs and festivals. We would be pleased to greet you at the Photo+Art Book Days in Hamburg, at the 4th Fotofestival in Mann­heim, Ludwigshafen, Heidelberg, at the PhotoBook fair and Frieze Art Fair in London, as well as at Paris Photo.

Maren Lübbke-Tidow, Reinhard Braun
September 2011

Entries

Forum

Presented by the editors:

GEORG PETERMICHL

KATRIN KAMRAU

ANASTASIA TAILAKOVA

HORST STEIN

DINA LITOVSKY

DIANA ARTUS

Exhibitions

Rosa Barba: Stage Archive
MART, Rovereto / Fondazione Galleria Civica, Trento
Clemens von Wedemeyer: The Repetition Festival Show
Fondazione Galleria Civica – Centro di ­Ricerca sulla Contemporaneità di Trento
Kunsthal Charlottenborg, Copenhagen
Project Arts Centre, Dublin
GABRIELE FRANCESCO SASSONE

Serious Games. Krieg – Medien – Kunst
Mathildenhöhe Darmstadt
ESTHER RUELFS

Paul Pfeiffer
Sammlung Götz, München
ANNETT BUSCH

PHotoEspaña 2011
Madrid
ALBERTO MARTÍN

Non Conforme.
Les 42e Rencontres d’Arles Photographie
Arles
GISLIND NABAKOWSKI

A Revolutionary Project. Cuba from Walker Evans to Now
J. Paul Getty Museum, Los Angeles
SANDRA WAGNER

Beziehungsarbeit – Kunst und Institution
Künstlerhaus Wien
RAINER BELLENBAUM

Vermessung der Welt. Heterotopien und Wissensräume in der Kunst
Kunsthaus Graz
MANISHA JOTHADY

ILLUMInations. 54. Biennale di Venezia
Arsenale, Padiglione Centrale, Venice
KIRSTY BELL

Ken Lum
Vancouver Art Gallery
CLINT BURNHAM

How to Work (More for) Less
Kunsthalle Basel
MARGIT NEUHOLD

Sibylle Bergemann: Polaroids
C/O Berlin
REINHILD FELDHAUS

Photomonth in Krakow 2011
Alias
The Bunkier Sztuki Contemporary Art ­Gallery, Krakow
History in Art
Museum of Contemporary Art in Krakow
SUSANNE NEUBURGER

Taryn Simon: A Living Man Decleared Dead and Other Chapters
Tate Modern, London
Neue Nationalgalerie, Berlin
Gagosian Gallery, New York
Almine Rech Gallery, Paris
PAOLO MAGAGNOLI

Books

Poor Man’s Expression. Technology, ­Experimental Film, Conceptual Art
Sternberg Press, Berlin / New York 2011
TABEA METZEL

Petar Dabac: Not Guilty
Galerija Klovicevi dvori, Zagreb 2011
SANDRA KRIŽIĆ ROBAN

Zdenek Tmej: The Alphabet of Spiritual Emptiness
TACO HIDDE BAKKER

Images

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Imprint

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

Editor-in-chief: Maren Lübbke-Tidow (V.i.S.d.P.)
Editors: Tanja Gassler, Margit Neuhold

Translators: Dawn Michelle d’Atri, Aileen Derieg, Andy Jelčić, Michael Turnbull, Anne Pitz, Wilfried Prantner, Josephine Watson
German proofreading: Daniela Billner
English proofreading: Dawn Michelle d’Atri, Aileen Derieg

Dank / Acknowledgements:
Diana Artus, Jens Asthoff, Martin Beck, Kirsty Bell, Walead Beshty, Daniela Billner, Matthew P.  Carson (ICP Library, New York), TJ Demos, Florian Ebner, Richard Frary, Galerie Neu (Berlin), Elisabeth Hirsch (Artist Space, New York), Christian Höller, Anton Holzer, Katrin Kamrau, Annette Kelm, Dina Litovsky, Hilary Lloyd, John Ryan Moore (Studio Walead Beshty), Georg Petermichl, Stefanie Seufert, Horst Stein, Alessandro Rabottini, Augustin Rebetez, Andrew Roth, Walid Sadek, Gabriele Francesco Sassone, Michael Schmidt, Sabine Spilles, Anastasia Tailakova, Gigiotto Del Vecchio, Andreas Viliani, Clemens von Wedemeyer, Jan Wenzel, Florian Zeyfang, Tobias Zielony

Copyright © 2011
Alle Rechte vorbehalten. Nachdruck nur mit vorheriger Genehmigung des Verlags. / All rights reserved. No parts of this magazine may be reproduced without publisher’s permission.

Für übermittelte Manuskripte und Originalvorlagen wird keine Haftung übernommen. / Camera Austria International does not assume any responsibility for submitted texts and original materials.

ISBN     978-3-900508-89-0
ISSN     1015 1915