Camera Austria International

120 | 2012

Price

16Add to cart

  • KIRSTY BELL
    Monika Sosnowska: Life through the Eye of Architecture
  • MONIKA SOSNOWSKA
  • RAIMAR STANGE
    John Smith: Urban Images with and against Sound
  • JOHN SMITH
  • PAUL INGENDAAY
    Hans Haacke: “The more human world of my dreams” The Conceptual Art of Hans Haacke Outlives the Remnants of the Spanish Real-Estate Boom: On the Installation “Castles in the sky”, 2012
  • HANS HAACKE
  • T. J. DEMOS
    Renzo Martens in conversation with T. J. Demos: Institutional Critique Ultimately Is Beneficial to Only Some Areas of the World
  • RENZO MARTENS
  • JAN VERWOERT
    Image as Witness 4/4 Picture Makers vs Body Snatchers

Editorial

Recent years have seen a sustained privatisation of public space, a fact that has once again advanced to the focus of public perception, for instance through the Occupy Movement. This has inspired us to introduce to you, in the current issue of Camera Austria International, four positions—by artists taking disparate approaches and paths in their artwork—which explore forms of urban building politics and the effects on city residents.The films of British artist John Smith, for instance, frequently revolve around architecture and built-up environments. Although they do not directly address current issues of gentrification, these films (some of which were already shot in the 1970s) deal with questions of (dictated) change pertaining both to urban space and to specific formations within society, and consequently often to questions of memory and loss. The functions of building and the needs and interests of the individuals using this space are frequently counterposed, thus making the urban space appear dysfunctional.The photographic working archive of Monika Sosnowska serves the artist as an “extra memory” for her sculptural endeavours—her work that is “steeped in Poland’s psycho-architectural legacy ”. The photographer shows the effects of the new internationalism and the economic liberalisation found in Warsaw after the dissolution of the People’s Republic of Poland: “Throughout Sosnowska’s archive, a triangular contingency is apparent, between the man-made, nature and people. They work on each other like physical forces, creating and constantly modifying the lived environment” (Kirsty Bell). On the occasion of his large retrospective at Museo Reina Sofía in Madrid, the German conceptual artist Hans Haacke created a work by the name of “Castles in the sky” (2012) thematising the Spanish real-estate catastrophe. In the outskirts of Madrid, he found an agglomeration of half-constructed buildings—landscapes of ruins that belong to everyday visual life in Spain and represent an expression of the burst real-estate bubble that has brought an entire country to the brink of ruin. “Hans Haacke’s installation takes on exemplary significance in this context, for his multimedia penetration of Ensanche de Vallecas exposes the attributes typical of the voracious urbanism of the Spanish boom.” (Paul Ingendaay).“If we feel art should fully embrace the terms and conditions of its own existence, it may be good to inquire where art has a bigger impact on social reality. Is it at the sites where critical artistic interventions take place or at the sites of art’s public reception, in the galleries, museums, and at biennials where these pieces are subsequently shown, discussed, and sold?” Seizing upon this question, the Institute for Human Activities (IHA), initiated by the Belgian artist Renzo Martens, founded a five-year gentrification programme located 800 kilometres up the Congo River from Kinshasa. T.J. Demos was on site and carried on a conversation with Martens about his provocative project. In the process of shaping the programme it became clear that “this system will constitute the mandate of the art and the value of its criticality”, for “institutional critique ultimately is beneficial to only some areas of the world”, as Renzo Martens has noted.This edition of Camera Austria International concludes Jan ­Verwoert’s four-part column “Image as Witness”, where he exposes “visions of the future” that promise happiness in display windows of real-estate agencies, among other places, as forms of snatching the soul since they feign normality within society. His column therefore congenially compliments the four monographic artistic contributions touching on the themes of dreams, debt crisis, and contemporary depression.

Maren Lübbke-Tidow
Reinhard Braun
December 2012

Contributions

Forum

Presented by the editors:

EMANUEL MATHIAS

DRAGANA JURIŠIC

BEN KREWINKEL

IEVA BALTADUONYTE

SALVI DANÉS

DIONYSIS KOURIS

Exhibitions

How Much Fascism?
BAK, Utrecht
Extra City, Antwerp
STEFAAN VERVOORT

Rise and Fall of Apartheid: Photography and the Bureaucracy of Everyday Life
ICP, New York
TACO HIDDE BAKKER

Truth is concrete: steirischer herbst
Various venues, Graz
JAKUB MAJMUREK

Der Alchimist. Heinz Hajek-Halke: ­Lichtgrafisches Spätwerk
Akademie der Künste, Berlin
ESTELLE BLASCHKE

Counter-Production
Generali Foundation, Wien
CHRISTIAN HÖLLER

Newtopia – The State of Human Rights
Various venues, Mechelen
BRITTA PETERS

Jo Ractliffe: As Terras do Fim do Mundo
Fotohof, Salzburg
SABINE WINKLER

Liverpool Biennial 2012
Various venues, Liverpool
FATOS ÜSTEK

Time, Place, and the Camera: Photographs at Work
The Kosova Art Gallery, Priština
SUZANA MILEVSKA

Everything Was Moving: Photography from the 60s and 70s
Barbican Art Gallery, London
PAOLO MAGAGNOLI

Materializing “Six Years”: Lucy R. ­Lippard and the Emergence of Conceptual Art
Brooklyn Art Museum, New York
GERHARD FROMMEL

Markéta Othová / Ed Atkins
Bonner Kunstverein
VANESSA JOAN MÜLLER

Körper als Protest
Albertina, Wien
REBEKKA REUTER

Geschlossene Gesellschaft. Künstlerische Fotografie in der DDR 1949 – 1989
Berlinische Galerie
CAROLIN FÖRSTER

Kairo. Offene Stadt. Neue Bilder einer andauernden Revolution
Museum für Photographie Braunschweig
Festivalzentrum des Europäischen Monats der Fotografie am Pariser Platz, Berlin
Museum Folkwang, Essen
FLORIAN MALZACHER

Dokumentarische Methoden in der Kunst
Symposium der dfi und der KHM, Köln
ELISABETH NEUDÖRFL

Michael Strasser: Solitaire
Serdica
DIRCK MÖLLMANN

Books

Luis Jacob: Album
Art Metropole, Toronto / Walther König, Köln a.o.
JAN WENZEL

Wolfgang Tillmans: Neue Welt
Taschen, Cologne, 2012
MARTIN HERBERT

Steve Edwards: Martha Rosler: The ­Bowery in two inadequate descriptive ­systems
Afterall Books, One Work Series, London, 2012 
JORGE RIBALTA

Paul Sietsema: interviews on films and works
Sternberg Press, Berlin/New York, 2012
NAOKO KALTSCHMIDT

Heinz Cibulka: Im Takt von Hell und Dunkel
Verlag der Bibliothek der Provinz, Weitra, 2012
GISELA STEINLECHNER

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: Margit Neuhold, Rebecca Wilton
Translators: Dawn Michelle d’Atri, Wilfried Prantner
German proofreading: Daniela Billner, Christina Töpfer
English proofreading: Dawn Michelle d’Atri

Dank / Acknowledgments:
Jens Asthoff, Rachel Baum, Taco Hidde ­Bakker, bobsairport, Anja Casser, ­Sebastian Cichocki, Phil ­Collins, ­Helmut Draxler, Yilmaz Dziewior, Katja ­Eydel, Kata Fohl, Lenja Gathmann, G.R.A.M. ­(Martin Behr, Günther Holler-Schuster), ­Peter Hein, Urte Helduser, Martin Herbert, Anke Hoffmann, ­Felix ­Hoffmann, Ruth Horak, Nataša Ilić, Birte Kaufmann, Valérie Leray, Ulrike ­Matzer, Anna Meyer, Gislind ­Nabakowski, ­Stefan ­Panhans, Britta Peters, ­Mario ­Pfeifer, Krzysztof ­Pijarksi, Karin Rebbert, ­Katia Reich, Kathrin ­Rhomberg, Julian ­Röder, ­Julia ­Gwendolyn Schneider, Karol ­Sienkiewicz, ­Raimar Stange, Timm Starl, Margarete ­Szeless, Thomas D. Trummer, Raimar Stange, Jens Ullrich, Jan ­Verwoert, Jan Wenzel, Leifur Orrason ­Wilberg, ­Michael Wetzel, Christine Würmell

Copyright © 2012
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 978-3-900508-92-0
ISSN     1015 1915
GTIN    4 19 23106 1600 5 00120