Camera Austria International

148 | 2019

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  • ADAM SZYMCZYK
    The Carnival of Scarcity
  • ANNA DAUČÍKOVÁ
  • DUNCAN FORBES
    The Last Street Photographer
  • KEIZO KITAJIMA
  • FRANZISKA SCHMIDT
    Body Self
  • GABRIELE STÖTZER
  • KAELEN WILSON-GOLDIE
    A Loose and Elliptical Dialogue
  • KATIA KAMELI
  • VOLKER WEISS
    Biography of Symbols – The “Zehner Jahre”
  • EIKO GRIMBERG

Preface

The topic of systemic change was the point of departure for our reflections on the issue at hand. The positions introduced here not only directly reference the related political transformations but also pursue the question of how far a political system reaches into everyday social life. Also thematized are the possible approaches taken by artists, then and now, in addressing this in their artwork.

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Camera Austria International 148 | 2019
Preface

The topic of systemic change was the point of departure for our reflections on the issue at hand. The positions introduced here not only directly reference the related political transformations but also pursue the question of how far a political system reaches into everyday social life. Also thematized are the possible approaches taken by artists, then and now, in addressing this in their artwork.

In her conversation with Adam Szymczyk, Anna Daučíková talks about her day-to-day life in Moscow during the 1980s. She spent over ten years in the city, a time distinguished by hardship and possible persecution, but also by freedom and networking in the private sphere, which had a lasting impact on her life. She speaks of the nascent change in the system and of body politics: “For instance, when you were traveling in the Soviet Union and wanted to stay unrecognized, you had to stop being curious about your surroundings. You simply showed indifference, looking nowhere.”

Duncan Forbes, in his contribution on Keizo Kitajima, explores how a confrontation with (Eastern) European daily life in the years 1983 and 1984 altered Kitajima’s “perceptual system” and thus also his practice as a street photographer. Forbes associates this change with the increasing commodification of the subject during the 1980s: “What is so interesting about Kitajima is that he appears to sense the historic transformation of the subject underway. He searches for a formal means to bring his intuition to life.

Franziska Schmidt situates the exuberant, cross-media activity of Gabriele Stötzer in the context of the GDR in the 1980s and describes how the (cultural-)political efforts to suppress individual experience merely served to encourage the artist to uncompromisingly position herself and her work. In this vein, she reflects on topics like female identity, vulnerability, and her own role within socialist society. “It [Stötzer’s work] is directed not only against traditional role models, but also against the elimination of individual personality as practiced by the former system GDR.”

It is the “circulation of images and the stories we tell ourselves about the past” that Katia Kameli investigates in her film trilogy “Le Roman Algérien” (2016, 2017, 2019), which Kaelen Wilson-Goldie more closely examines in this issue. In the first film, Kameli focuses on a kiosk in downtown Algiers which sells old nostalgic photos and postcards. In the two subsequent films, she then probes themes of democracy and the role of women in Algeria, as well as the absence of pictures during the 1990s as the Algerian Civil War was raging.

Based on the long-term project “Zehner Jahre” by Eiko Grimberg, initiated in 2010, Volker Weiß scrutinizes the survival of fascist symbols in present times and examines the ways in which remnants of architectures and insignia, created in conjunction with political ideologies, are still today visible in public space: “The pictures provide information about the tense relationship between a desire for long-lasting symbolic dominance on the one hand and the upheavals triggered by historical-political transformation on the other.”

Following the tradition of recent years, our subscribers will receive a poster insert with this issue. We are very pleased that Seiichi Furuya, co-founder of Camera Austria and recipient of the Austrian State Prize for Artistic Photography in October 2019, agreed to contribute his work in this respect. With this insert we would like to express our thanks for your loyalty and for supporting our work in the long term.

Christina Töpfer and the Camera Austria Team
December 2019

Gabriele Stötzer, from the series: Selbstversuch vor Spiegel [Self-Trial before a Mirror], 1984. Gelatin silver print, 14.8 × 10.4 cm. Copyright: the artist and Bildrecht Wien, Vienna, 2019.

Entries

Forum

Presented by Marinus Reuter:
Hannes Jung
Wolfgang Lehrner
Katarína Dubovská
Anargyros Drolapas
Jana Schulz
Andrés Baron

Exhibitions

Once Again: Art Facing (Neo)Fascisms
Never Again: Art against War and Fascism in the 20th and 21st Centuries
MSN – Museum of Modern Art in Warsaw, 30. 8. – 17. 11. 2019
Three Plagues
Galeria Labirynt, Lublin, 1. 9. – 11. 11. 2019
JAKUB MAJMUREK

Differentiation and Demarcation
52nd International AICA Congress: Art Criticism in Times of Populism and Nationalism
Hamburger Bahnhof, Berlinische Galerie, Berlin, 3. – 5. 10. 2019
MARGIT NEUHOLD

steirischer herbst: Grand Hotel Abyss
Various venues, Graz, 19. 9. – 13. 10. 2019
LOUISA ELDERTON

The Use of Street Credibility
Die Fotoausgabe »Essen, Straße, Jugend« des Karuna Kompass
KATHARINA SYKORA

Trevor Paglen: From “Apple” to “Anomaly” (Pictures and Labels). Selections from the ImageNet Dataset for Object Recognition
The Curve, Barbican Centre, London, 26. 9. 2019 – 16. 2. 2020
FRANCESCA CAVALLO

Color Mania: The Material of Color in Photography and Film
Fotomuseum Winterthur, 7. 9. – 24. 11. 2019
CHRISTINA TÖPFER

Objects Recognized in Flashes: Michele Abeles, Annette Kelm, Josephine Pryde, Eileen Quinlan
mumok – museum moderner kunst stiftung ludwig wien, Vienna, 16. 11. 2019 – 13. 4. 2020
ANTONIA RAHOFER

Family Fictions
Kunsthal Extra City, Antwerp, 14. 9. – 8. 12. 2019
YOANN VAN PARYS

Bergen Assembly 2019: Actually, the Dead Are Not Dead
Various venues, Bergen, 5. 9. – 10. 11. 2019
MERCEDES VICENTE

Grada Kilomba: A World of Illusions
Bildmuseet, Umeå, 11. 10. 2019 – 8. 3. 2020
FRIDA SANDSTRÖM

Hans-Peter Feldmann: 100 Jahre
Saarlandmuseum, Moderne Galerie, Saarbrücken, 24. 8. – 17. 11. 2019
Abschied vom Außen: Eine Suchbewegung nach dem Terrestrischen
Kunstverein Freiburg, 14. 9. – 27. 10. 2019
Arno Gisinger: Les Bruits du Temps
FRAC Alsace, Sélestat, 12. 10. 2019 – 19. 1. 2020
La Chambre, Straßburg, as of January 2020
NOOR MERTENS

Marianna Christofides: Days In Between
MNAC – National Museum of Contemporary Art in Romania, Bucharest, 31. 10. – 15. 12. 2019
RALUCA OANCEA

Antanas Sutkus: Kosmos. Retrospektive
Zephyr – Raum für Fotografie zu Gast im Museum Zeughaus, Mannheim, 7. 9. 2019 – 26. 1. 2020
GISLIND NABAKOWSKI

Wo Kunst geschehen kann: Die frühen Jahre des CalArts
Kestner Gesellschaft Hannover, 30. 8. – 10. 11. 2019
Kunsthaus Graz, 13. 3. – 7. 6. 2020
MORITZ SCHEPER

Books

Tacit Knowledge: Post Studio / Feminism – CalArts 1970–1977
Spector Books, Leipzig 2019
SABINE WEIER

Vesela Nozharova: Introduction to Bulgarian Contemporary Art 1982–2015
Janet 45; Open Arts Foundation, Plovdiv 2018
DENISA TOMKOVA

Nathan Jurgenson: The Social Photo. On Photography and Social Media
Verso, London / New York 2019
MARCO DE MUTIIS

Winfried Gerling, Susanne Holschbach, Petra Löffler: Bilder verteilen. Fotografische Praktiken in der digitalen Kultur
transcript Verlag, Bielefeld 2018
DORIS GASSERT

Talking Books
Erik van der Weijde in Conversation with . . . Mariken Wessels
Mariken Wessels: Taking Off. Henry My Neighbor
Art Paper Editions, Gent 2015
Mariken Wessels: Queen Ann. P. S. Belly cut off
Alauda Publications, Amsterdam 2010
Mariken Wessels: Elisabeth – I Want to Eat
Alauda Publications, Amsterdam 2008

Imprint

Pubisher: 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, John Doherty, Amy Klement, Lina Morawetz, Wilfried Prantner, Andrea Scrima.

English Proofreading: Dawn Michelle d’Atri.

Acknowledgments: Edit András, Taco Hidde Bakker, Andrés Baron, Victoria Coeln, Gabriella Csoszó, Anna Daučíková, Anargyros Drolapas, Katarína Dubovská, Duncan Forbes, 
Christine Frisinghelli, Seiichi Furuya, Ganzeer, Paula Gehrmann, Eiko Grimberg, Nick Haymes, Hannes Jung, Dejan Kaludjerovic, Jelena Kaludjerovic, Katia Kameli, Keizo Kitajima, Vera Lauf, Wolfgang Lehrner, Dawid Lewandowski, Astrid Mania, Ulrike Milde, JoAnna Pollonais, Andreas Prinzing, Merle Radke, Nina Raftopoulo, Martin Reich, Volker Renner, Andreas Rost, Franziska Schmidt, Jana Schulz, Franziska Schurig, Gabriele Stötzer, Nina Strand, Adam Szymczyk, Ana Teixeira Pinto, Luise Thieme, Roberta Valtorta, Sonia Voss, Erik van der Weijde, Volker Weiß, Mariken Wessels, Clara Wildberger, Kaelen Wilson-Goldie.

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 978-3-902911-53-7
ISSN 1015 1915
GTIN 4 19 23106 1600 5 00148