Camera Austria International

145 | 2019

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  • LAURA MCLEAN-FERRIS
    Camera Grammatica
  • STUDIO FOR PROPOSITIONAL CINEMA
  • GUDRUN RATZINGER
    On the Circulation of Images
  • VLADISLAV SHAPOVALOV
  • ANNA BARFUSS
    Charged Places, Landscapes
  • DEBORAH STRATMAN
  • NICK PINKERTON
    His Master’s Voice
  • ANDREW NORMAN WILSON

Preamble

The contributions to the March issue of Camera Austria International probe the terrain between photography and cinematography; the themes of the artists introduced here range from the effects of historical photography and its usurpation for the causes of political ideology through the violent permeation of landscape and on to the initiation of a fictive dialogue between past and present.

Full text

Camera Austria International 145 | 2019
Preamble

The contributions to the March issue of Camera Austria International probe the terrain between photography and cinematography; the themes of the artists introduced here range from the effects of historical photography and its usurpation for the causes of political ideology through the violent permeation of landscape and on to the initiation of a fictive dialogue between past and present.
Laura McLean-Ferris imbeds the multi-disciplinary work of the Studio for Propositional Cinema, which also uses performative formats, into the history of the camera; in the process, she analyzes the ways in which this work is closely tied to spatial configurations and to inscribing itself onto a specific place of presentation. She identifies the grammatical conventions the Studio for Propositional Cinema’s formal language is based on and demonstrates how artists, space, textual elements, and viewers enter into a relationship in the installations. The fact that these installations occasionally develop and change over a period of several days can be read as “a reaction to a climate of accelerating speed and consumption,” as the author writes.
Forms of presentation in space are also the subject of Vladislav Shapovalov’s project “Image Diplomacy” (2015–ongoing), in which the artist uses material produced by the Soviet Union for propaganda purposes. Using the example of the photography exhibition, Shapovalov demonstrates the function ideologically charged images assumed during the Cold War and the strategies and presentation formats used by the Soviet government to convey around the globe the most progressive image of socialism possible. “Ultimately, Vladislav Shapovalov asks not how things were in the past, but how we wish to deal with this past, and he suggests that not only the actual past is of importance for the present and the future, but also the unrealized opportunities, the potential,” as Gudrun Ratzinger concludes.
Deborah Stratman’s filmic work constitutes an approach that traces the political aspects in real and mental landscapes across the US. Together with her tension-laden, discordant audio tracks, Stratman’s slowed-down footage of the loneliness of threatening-looking, over-surveilled suburbs and shopping centers in the darkness of night, or the reenactment of scenes that suggest a predominantly white interpretation of the history of the nation, describe icons of American identity beneath the surface of which one often finds violent histories, ideologies, and patriotic traditions of which Anna Barfuss writes that “these appear both as the sediment of social relationships as they are lived, as places that reflect interior states, and as imaginary spaces connected to the circulation of media imagery in which concepts of identity are put to the test.”
In his work “KODAK” (2018), developed together with James N. Kienitz Wilkins from a wide range of historical and pop-cultural sources and biographical anecdotes, Andrew Norman Wilson relates connections between past and present, promise and disappointed expectation. In a fictitious dialogue, Rich, a blind former employee of the Eastman Kodak Company, speaks to company founder George Eastman; the results are unconventional narratives about photography. “The imagined dialogue of ‘KODAK’ is a confrontation between two contrasted figures: between distinct eras of American economy, between labor and management, and between rationalism and emotionalism,” as Nick Pinkerton describes this film by Wilson, who is interested in the structures of the “transition from industrial to informational labor.”

Christina Töpfer and the Camera Austria Team
March 2019

Cover: Deborah Stratman, still from: In Order Not To Be Here, 2002. 16mm film (color, sound), 33’.

 

Posts

Forum

Presented by Clara Wildberger
Enrico Di Nardo
Katharina Gruzei
Delphine Gatinois
Sebastian Reiser
Catherine Leutenegger
Hortense Le Calvez and Mathieu Goussin

Exhibitions

Digital Imaginaries – Africas in Production
Zentrum für Kunst und Medien (ZKM) Karlsruhe
WitsArtMuseum (WAM), Johannesburg
Fak’ugesi African Digital Innovation Festival, Johannesburg
Kër Thiossane, Dakar
MARIE HIMMERICH

François-Xavier Gbré: Sogno d’oltremare
Museo d’Arte Provincia di Nuoro (MAN)
CHRISTOPH SEHL

Eva Maria Ocherbauer: One Fine Day Soon
Fotohof, Salzburg
MANISHA JOTHADY

Paul Kranzler / Andrew Phelps: The Drake Equation
Landesgalerie Linz
ULRIKE MATZER

Picture Industry: A Provisional History of the Technical Image, 1844–2018
LUMA Foundation, Les Forges, Parc des Ateliers, Arles
Picture Industry
Hessel Museum of Art, Bard College, Annandale-on-Hudson, New York
Systematically Open? New Forms for Contemporary Image Production
LUMA Foundation, Les Forges, Parc des Ateliers, Arles
STEVEN HUMBLET

Jules Spinatsch: Semiautomatic Photography (2003 – 2020)
Centre de la photographie Genève, Geneva
WOLFGANG BRÜCKLE

The Photographic II: Signal or Noise
S.M.A.K., Ghent
PAUL WILLEMSEN

She’s Here: Louise Lawler
Vertikale Galerie, Sammlung Verbund, Vienna
SEAN O’TOOLE

Zoe Leonard: Survey
The Geffen Contemporary at The Museum of Contemporary Art (MOCA), Los Angeles
Zoe Leonard: Analogue
Hauser & Wirth, Los Angeles
KATHI HOFER

Medea muckt auf. Radikale Künstlerinnen hinter dem Eisernen Vorhang
Kunsthalle im Lipsiusbau – Staatliche Kunstsammlungen Dresden
MAREN LÜBBKE-TIDOW

Mary Beth Edelson: Nobody Messes with Her
Kunsthalle Münster
Cao Fei
Kunstsammlung NRW / K21 Ständehaus, Düsseldorf
New Metallurgists
Julia Stoschek Collection, Düsseldorf
Dorota Gawęda and Eglė Kulbokaitė: I get those goosebumps every time you come around
Galerie Lucas Hirsch, Düsseldorf
Trisha Donnelly
Galerie Buchholz, Cologne
MORITZ SCHEPER

Weil ich nun mal hier lebe
Museum für Moderne Kunst, Tower MMK, Frankfurt am Main
SABINE WEIER

Aggressive Bildpolitik
»Soko Chemnitz« des Zentrums für Politische Schönheit
RAIMAR STANGE

Hannah Darabi: Enghelab Street, a Revolution through Books. Iran 1979–1983
Le Bal, Paris
ARNO GISINGER

Maryam Jafri: Wege zur Knechtschaft, neu geteert
Taxispalais – Kunsthalle Tirol, Innsbruck
CHRISTINA TÖPFER

New Photography Centre at the V&A
Collecting Photography: From Daguerreotype to Digital
PAUL MELLENTHIN

Manfred Willmann
Albertina, Vienna
ANDREAS SPIEGL

Books

Talking Books
Erik van der Weijde in Conversation with . . . Stanley Wolukau-Wanambwa
Stanley Wolukau-Wanambwa: One Wall a Web, Roma Publications, Amsterdam 2018

Tobias Neumann: Deux Sœurs / Zwei Schwestern
Spector Books, Leipzig 2018
RADEK KROLCZYK

Patrick Waterhouse: Restricted Images. Made with the Warlpiri of Central Australia
SPBH Editions, London 2018
MARGIT NEUHOLD

August Sander: Persecuted / Persecutors. People of the 20th Century
Steidl, Göttingen 2018
JOCHEN BECKER

Ursula Frohne, Lilian Haberer, Annette Urban (Hg.): Display und Dispositiv. Ästhetische Ordnungen
Verlag Wilhelm Fink, Paderborn 2018
NAOKO KALTSCHMIDT

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, Lina Morawetz, Andrea Scrima, Sabine Weier.

English Proofreading: Dawn Michelle d’Atri.

Acknowledgments: Carolin Baer, Anna Barfuss, Enrico Di Nardo, Delphine Gatinois, Katharina Gruzei, Adam Harrison, Felix Hoffmann, Christin Krause, Hortense Le Calvez, Catherine Leutenegger, Laura McLean-Ferris, Paul Mellenthin, Eva-Maria Neuburger, Nick Pinkerton, Gudrun Ratzinger, Sebastian Reiser, Vladislav Shapovalov, Deborah Stratman, Studio for Propositional Cinema, Nina Tabassomi, Erik van der Weijde, Thomas Weski, Clara Wildberger, Andrew Norman Wilson, Stanley Wolukau-Wanambwa, Daniela Zehetner.

Copyright © 2019

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 978-3-902911-49-0
ISSN 1015 1915
GTIN 4 19 23106 1600 5 00145