Camera Austria International

144 | 2018

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  • JUSTIN HOFFMANN
    Oliver Laric and His Archive of 3D Scans
  • OLIVER LARIC
  • JENS ASTHOFF
    Fossilized Foliage, Liquefied Time: On Motifs and Methods in Johanna Jaeger’s Photography
  • JOHANNA JAEGER
  • FRANCESCO ZANOT
    Family Ghosts
  • LEBOHANG KGANYE
  • E. C. FEISS
    Photography as Support System
  • HANA MILETIĆ

Preface

Photography has long since ceased being reduced to classical two-dimensional formats whose presentation solely is played out in the form of artwork mounted on walls. Preceding the actual artistic work is an elaborate conceptual and research-oriented practice that is an essential part of the work ultimately on show. Thus, the artists presented in Camera Austria International No. 144 likewise approach photography from what is often a process-based interest, querying the medium as to its performative qualities, which at times also reach into the digital and sculptural.

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Camera Austria International 144 | 2018
Preface

Photography has long since ceased being reduced to classical two-dimensional formats whose presentation solely is played out in the form of artwork mounted on walls. Preceding the actual artistic work is an elaborate conceptual and research-oriented practice that is an essential part of the work ultimately on show. Thus, the artists presented in Camera Austria International No. 144 likewise approach photography from what is often a process-based interest, querying the medium as to its performative qualities, which at times also reach into the digital and sculptural.

In his work, Oliver Laric relies on processes of 3D modeling. Using this 3D method, he often lends form to sculptures based on ancient statues or reliefs. Yet these works only partially encompass his artistic activity. First, Laric creates a comprehensive, self-rendered archive of 3D scans that he provides, free of charge, to other persons on his website as well as on professional platforms like Turbo-
Squid. So “various levels of research, publication, and distribution” complement the scanning of the original objects, as Justin Hoffmann writes in his essay. This enables the artist to function °“as a mediator of material for other cultural producers.” With this approach, Laric contributes to a further democratization of the medium of photography, which is shaped by its reproducibility, quick accessibility, and transformability.

Johanna Jaeger also engages with the borderline areas of the photographic. In her series, she focuses on their origins and media-related premises. It is from varying perspectives that her interest revolves around the question of how photography develops, which forms it assumes, and how it may transform itself. At the heart of this interest are those processes situated between preparation, capturing, and fixation of a shot. Jens Asthoff views the aspect of time as one of the central characteristics of Jaeger’s series: “She develops her artistic work with a view to a core property of photography, its role as a (reproductive) temporal medium. . . . The artist’s characteristic visual language revolves around fluid-ephemeral aspects, such as clouds, color gradients, and the processual dissolution of form. She explores phenomena of light and exposure or thematizes solid-sedimented facets. . . .” These reflections are continued in the presentation form of Jaeger’s carefully balanced exhibitions.

Lebohang Kganye extends her photographic practice into the performative, including the staging of three-dimensional spaces. Her family’s photo albums serve as a point of departure for the exploration of her own biography and also for her probing of photography as a medium. In Kganye’s series “Ke Lefa Laka: Her-Story” (2013), pictures of her mother are superimposed with spectral-like self-portraits in which she wears her mother’s dresses. In later works, she re-creates various rooms seen in the family albums in the form of miniature stage sets and here allows the people depicted in the albums to encounter “real” people. This way of uniting the past and the present leads the evident nature of photography ad absurdum, as Francesco Zanot explains, for despite their presence in the same image, the figures only contingently meet: “Despite the testimonial value of her imagery, she does not come to any overall conclusion, but only to more or less credible hypotheses unleashed by fragmentary pieces of information.” Hana Miletić uses photography as a medium for orientation while surveying social realities, calling her artistic practice, in which she documents her surrounding environment, “Street Photography.” Yet these explorations also include other mediums, with Miletić availing herself of a broadened photographic space and creating textile objects through processes that are at times collaborative.

For E. C. Feiss, “the suppression of the photograph in service to material . . . constitutes both the statement of the work’s politics and its critique of photography. . . . The documentary particulars of the photographs are transformed in their conversion to textile, where social detail is recorded but equally withheld, absorbed by the composition dictated by the weave.” Taking effect in Hana Miletić’s “Street Photography” are, not least, social aspects and collective participation in the artistic process. For example, her work “txt, Is Not Written Plain” (2017) was created during a residency at Globe Aroma in Brussels, where she developed felt objects together with a group of women.

This issue marks the conclusion of the “Revolving Bookshelf” section initiated by Jan Wenzel, which has been accompanying Camera Austria International since 2013. With each coming issue, we were just as curious as our readers about which books the co-publisher of Spector Books would select for his comparative analysis. However, we are also excited that, starting with the next issue, Erik van der Weijde will give us insight—through a series of interviews—into the making of (photo) books from the perspective of artists and publishers.

As the year comes to a close, our subscribers will find, as usual, a poster insert in our magazine—this time designed by Sophie Thun, whose work we were pleased to present in Camera Austria International No. 142, framed by a text by Orit Gat. She developed a pop-up exhibition with us at Fotohaus Arles of the ParisBerlin>fotogroup. Now she is bringing part of this, for us, highly fruitful exchange back into the space of the magazine.

Christina Töpfer and the Camera Austria Team
December 2018

Cover: Ondrej Zunka, Rendering for Camera Austria International No. 144 based on a 3D scan by Oliver Laric.

Entries

Forum

Presented by the editors:
Oliver Leu
Paula Artés
Alexandra Soldatova
Jenny Schäfer
Wenzel Stählin
Julia Gaisbacher

Exhibitions

Wolfgang Tillmans: How likely is it that only I am right in this matter?
David Zwirner, New York
Trisha Baga: Mollusca & The Pelvic Floor
Greene Naftali, New York
Danielle Dean: Bazar
47 Canal, New York
Martine Syms: Big Surprise
Bridget Donahue, New York
Danny Lyon: Wanderer
Gavin Brown’s Enterprise, New York
ORIT GAT

James Richards & Leslie Thornton: Crossing
Secession, Vienna
James Richards & Leslie Thornton: SPEED Künstlerhaus Stuttgart
Malmö Konsthall
DENISE HELENE SUMI

Cauleen Smith: Give It or Leave It
Institute of Contemporary Art, Philadelphia
Institute for Contemporary Art at Virgina Commonwealth University, Richmond
JACOB KORCZYNSKI

Michael Oppitz: Bewegliche Mythen
Kolumba, Cologne
MORITZ SCHEPER

The Black Image Corporation Osservatorio
Fondazione Prada, Milan
MARIACARLA MOLÈ

Volksfronten: steirischer herbst 2018
Various venues, Graz
RAIMAR STANGE

Persona Grata
Musée national de l’histoire de l’immigration, Paris
Musée d’art contemporain du Val-de-Marne, Vitry-sur-Seine
MICHÈLE COHEN HADRIA

Antarktika: An Exhibition on Alienation 
Kunsthalle Wien, Vienna
JUNE DREVET

Klassenverhältnisse: Phantoms of Perception
Kunstverein in Hamburg
STEFANIE DIEKMANN

Richard Billingham’s Feature Film Debut “Ray & Liz” (2018)
Viennale, Vienna
RAINER BELLENBAUM

Moving Image Helen Levitt
Albertina, Vienna
PAULA WATZL

25 Jahre! Gemeinsam Geschichte(n) schreiben
Fotomuseum Winterthur
SONKE GAU

Stefanie Seibold: Centrefolds
Tiroler Künstler*schaft – Kunstpavillon, Innsbruck
KATJA KOBOLT

Sara Cwynar: Image Model Muse
Minneapolis Institute of Art
Milwaukee Art Museum
CHRISTINA SCHMID

Stillleben: Eigensinn der Dinge
Kunst Haus Wien
GUDRUN RATZINGER

Sigmar Polke: Fotografien 70 – 80
Museum Morsbroich, Leverkusen
STEVEN HUMBLET

Photo/Politics/Austria
museum moderner kunst stiftung ludwig Wien, Vienna
HERBERT JUSTNIK

Astrid Klein: transcendental homeless centralnervous
Sammlung Falckenberg / Deichtorhallen, Hamburg-Harburg
JOCHEN BECKER

Imogen Stidworthy: Dialogues with People
Württembergischer Kunstverein Stuttgart
KATRIN MUNDT

James N. Kienitz Wilkins: Hearsays
Gasworks, London
CHRIS FITE-WASSILAK

Caline Aoun: seeing is believing
MAXXI – Museo nazionale delle arti del XXI secolo, Rome
ARNISA ZEQO

Books

»Sollte ein Buch zum Film werden, ist etwas anderes geworden […]« – Über Bücher von Franz Greno zu Filmen von Alexander Kluge und Rainer Werner Fassbinder
Alexander Kluge: Die Patriotin. Texte / Bilder 1–6
Zweitausendeins, Frankfurt am Main 1979
Der Film BERLIN Alexanderplatz. Ein Arbeitsjournal von Rainer Werner Fassbinder und Harry Baer
Zweitausendeins, Frankfurt am Main 1980
Alexander Kluge: Die Macht der Gefühle
Zweitausendeins, Frankfurt am Main 1984
JAN WENZEL

Kenneth T. Walsh: Ultimate Insiders. White House Photographers and How They Shape History
Routledge, New York / London, 2018
KATHARINA SYKORA

Philipp Anz, Jules Spinatsch,Viola Zimmermann (Hg.): Schmieren / Kleben. Aus dem Archiv KKIII der Stadtpolizei Zürich 1976–1989
Edition Patrick Frey, Zürich 2018
EIKO GRIMBERG

Victor Burgin: The Camera. Essence and Apparatus
MACK, London 2018
TACO HIDDE BAKKER

Imprint

Publisher: Reinhard Braun

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

Editor-in-Chief: Christina Töpfer.
Editor: Margit Neuhold.

Translations: Dawn Michelle d’Atri, Ben Bazalgette, Eva Dewes, Nicholas Huckle, Wilfried Prantner.

English Proofreading: Dawn Michelle d’Atri.

Acknowledgments: Paula Artés, Jens Asthoff, Thomas Bernardet, Emilie Demon, E. C. Feiss, Julia Gaisbacher, Damon Garstang, Justin Hoffmann, Johanna Jaeger, Lebohang Kganye, Lena Kinast, Oliver Laric, Erin Leland, Oliver Leu, Hana Miletić, Matthias Reichelt, Ariel Reichman, Sandra Križić Roban, Jenny Schäfer, Franziska Schmidt, Alexandra Soldatova, Wenzel Stählin, Sophie Thun, Henri Vergon, Anna Witt, Francesco Zanot, Daniela Zehetner, Ondrej Zunka.

Copyright © 2018

No parts of this magazine may be reproduced without publisher’s permission.
Camera Austria International does not assume any responsibility for submitted texts and original materials.

ISBN 978-3-902911-47-6
ISSN 1015 1915
GTIN 4 19 23106 1600 5 00144