Camera Austria International

149 | 2020

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  • SABRINA MANDANICI
    Facing Janus
  • CHRISTINA WERNER
  • NINA STRAND
    Lesbian Lands: Carmen Winant and the Ovulars
  • CARMEN WINANT
  • RADEK KROLCZYK
    Sky / No Sky
  • HANNAH WOLF
  • ARNISA ZEQO
    Civic Poetry: On the Work of Bouchra Khalili
  • BOUCHRA KHALILI
  • YASUFUMI NAKAMORI
    A Conversation from South London
  • LIZ JOHNSON ARTUR

Preface

The contributions to the March issue of Camera Austria International focus on the potential inherent to an exploration of everyday regimes and on how democracy can unfold at the interfaces between public and private life.

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Camera Austria International 149 | 2020
Preface

The contributions to the March issue of Camera Austria International focus on the potential inherent to an exploration of everyday regimes and on how democracy can unfold at the interfaces between public and private life.

“Part of the appeal of [Christina] Werner’s art is that it aims to educate without being didactic,” writes Sabrina Mandanici in her contribution. In her mostly long-term projects, Werner observes how the restructuring of public spaces sometimes proceeds without anyone noticing the political instrumentalization at play there, or how representatives of right-wing populist parties adopt, for their own purposes, a rhetoric usually associated with democratic convictions. Besides making the cracks in our democratic system visible, she also traces the question of which individual liberties can be occupied here.

Nina Strand’s text on the work of Carmen Winant likewise deals with laying claim to personal liberties. Citing her 2019 publication Notes on Fundamental Joy, as well as the artist’s interest in the Lesbian Lands movement, especially in the Oregon Women’s Land Trust (founded in 1975), Strand spotlights the role that photography and publishing play in the self-empowerment of women, along with the importance of creating common feminist spaces. “The vast number of publications produced by Lesbian Lands—zines, pamphlets, magazines—show us how photography was an important tool for these women: the making of pictures became a way to reclaim and reinvent.”

Radek Krolczyk and Hannah Wolf have developed the contribution “Sky / No Sky” from their joint publication practice. Here, they reflect on the meaning and the temporality of political images and symbols in the urban space of Istanbul. They analyze the images found before elections and on national holidays, at protests and demonstrations, or on the plastic tarps of large-scale construction areas, but also the absence of previously present imagery. “Irregular gray patches are thus found on the walls. They are eradicated slogans and pictures that simultaneously tell of the state’s fear.”

The works of Bouchra Khalili shed light on the subjective lines of movement between divergent cities, which serve as points of departure for telling stories of migration with all their fragility. Arnisa Zeqo interrelates the artist’s films with Pier Paolo Pasolini’s autobiographical cycle of poems Poesia in forma di rosa. She notes the similar way in which Pasolini allows the voices of both the living and the dead to have their say: “Khalili’s films create a civic space for ‘under-heard’ voices, a space for political and subjective consciousness between nations, street corners, and houses, where there is space made for dignity.”

The “Black Balloon Archive” by Liz Johnson Artur, created over the course of more than thirty years, encompasses a plethora of photographs documenting black communities throughout the world, brought into ever-new constellations by the artist. Yasufumi Nakamori talks with the artist about belonging to the black diaspora, about the role that narration plays in her work, and about her interest in increasingly integrating this into collaborative contexts in order to open it up to discourse: “I am for boxes and negatives, but I also want to see all those pictures, to not feel that I just take it compulsively. So for me being able to show means I can have different conversations and one leads to another.”

We hope that you will enjoy engaging with the many different voices united by the contributions to our March issue!

Christina Töpfer and the Camera Austria Team
March 2020

Cover: Liz Johnson Artur, from the Black Balloon Archive.

Entries

Forum

Presented by the editors:
Talisa Lallai
Lena Rosa Händle
Johannes Gierlinger
Benjamin Jones
Laura Ben Hayoun
Jiwon Kim

Exhibitions

Tell me about yesterday tomorrow
NS-Dokumentationszentrum Munich, 28. 11. 2019 – 30. 8. 2020
MAREN LÜBBKE-TIDOW

Ariella Aïsha Azoulay: Errata
Fundació Antoni Tàpies, Barcelona, 11. 10. 2019 – 12. 1. 2020
Ariella Aïsha Azoulay: Potential History. Unlearning Imperialism
Verso, London / New York 2019
MERCEDES VICENTE

Circular Flow: Zur Ökonomie der Ungleichheit
Kunstmuseum Basel | Gegenwart, 7. 12. 2019 – 3. 5. 2020
SØNKE GAU

Streams of Consciousness: The 12th Edition of Rencontres de Bamako. Biennale africaine de la photographie
Various venues, Bamako, 30. 11. 2019 – 31. 1. 2020
EVA MARIA OCHERBAUER

The Human Condition – Session V: Teleology of the Human. Biography, Destiny, Hope, Faith. Biography: a Model Kit exhibition
MMOMA – Moscow Museum of Modern Art, 12. 11. 2019 – 2. 2. 2020
ANDREY SHENTAL

Katharina Gruzei: Mir Metro
Salzburger Kunstverein, 7. – 26. 1. 2020
RUTH HORAK

The Life and Times of Alvin Baltrop
The Bronx Museum of the Arts, New York, 7. 8. 2019 – 9. 2. 2020
NICOLAS LINNERT

Nashashibi / Skaer: Future Sun
S.M.A.K., Ghent, 30. 11. 2019 – 16. 2. 2020
YOANN VAN PARYS

Hannah Black: Dede, Eberhard, Phantom
Kunstverein Braunschweig, 7. 12. 2019 – 16. 2. 2020
MORITZ SCHEPER

Julian Charrière: Towards No Earthly Pole
MASI – Museo d’arte della Svizzera italiana, Lugano, 27. 10. 2019 – 14. 3. 2020
Aargauer Kunsthaus, 16. 5. – 16. 8. 2020
Dallas Museum of Art, 20. 9. – 6. 12. 2020
CHRISTINA TÖPFER

Close Contact Body Performance
Museum of Photography / Helmut Newton Foundation, Berlin, 30. 11. 2019 – 10. 5. 2020
ANNA VOSWINCKEL

Lisa Holzer: Was trägt Sie?
Secession, Vienna, 23. 11. 2019 – 9. 2. 2020
VANESSA JOAN MÜLLER

Johanna Diehl: In den Falten das Eigentliche
Haus am Waldsee, Berlin, 29. 11. 2019 – 1. 3. 2020
JULIA GWENDOLYN SCHNEIDER

Books

Edgar Martins: What Photography and Incarceration Have in Common with an Empty Vase
The Moth House, London 2019
MARGIT NEUHOLD

Ken Lum: Everything Is Relevant. Writings on Art and Life, 1991–2018
Concordia University Press, Montreal 2019
MITCH SPEED

Jan Wenzel (Ed.): Das Jahr 1990 freilegen
Spector Books, Leipzig 2019
SONIA VOSS

Talking Books
Erik van der Weijde in Conversation with . . . Emilie Lauriola
Hannah Darabi: Enghelab Street, a Revolution through Books. Iran 1979 – 1983
Spector Books, Leipzig 2019
Diane Dufour, Bernard Marcadé, Georg Polke (Eds.): Les infamies photographiques de Sigmar Polke / Sigmar Polke’s Photographic Infamies
Le Bal Books, Paris 2019
Diane Dufour and Matthew S. Witkovsky with Duncan Forbes and Walter Moser (Eds.): Provoke. Between Protest and Performance. Photography in Japan 1960-1975
Le Bal Books, Paris; Steidl, Göttingen 2016

Imprint

Publisher: Reinhard Braun

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

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

Translations: Dawn Michelle d’Atri, Eva Dewes, Amy Klement, Lina Morawetz, Wilfried Prantner, Darrell Wilkins.

English Proofreading: Dawn Michelle d’Atri.

Acknowledgments: Liz Johnson Artur, Bakri Bakhit, Taco Hidde Bakker, Laura Ben Hayoun, Francesca Benini, Johannes Gierlinger, Lena Rosa Händle, Benjamin Jones, Bouchra Khalili, Jiwon Kim, Christin Krause, Radek Krolczyk, Markus Krottendorfer, Talisa Lallai, Emilie Lauriola, Sabrina Mandanici, Yasufumi Nakamori, Moritz Scheper, Antonia Schneider, Nina Strand, Erik van der Weijde, James Welling, Christina Werner, Carmen Winant, Anna Wolf, Hannah Wolf, Nicole Zaugg, Arnisa Zeqo.

Copyright © 2020
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 978-3-902911-55-1
ISSN 1015 1915
GTIN 4 19 23106 1600 5 00149