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157 | 2022

  • JENELLE PORTER
    Projectionist
  • PIERRE LEGUILLON
  • R. H. LOSSIN
    Capitalism and Psychoanalysis
  • MARGE MONKO
  • MARCUS CIVIN
    Mirage
  • PACIFICO SILANO
  • SABETH BUCHMANN
    One Image After the Next: Observations on Michele Abeles’s Photographic Work
  • MICHELE ABELES
  • STANTON TAYLOR
    Petro-Surrealism
  • LUCIE STAHL

Preface

The artists featured in this issue are interested in exploring the heterogeneous ways in which the visual worlds of artistic works, advertising and media images, strategies of product display, and the ephemera and spatial manifestations of (late) capitalism shape our everyday lives. These artists examine the related issue of which stories/histories, desires and chasms, and what kinds of alienation and repression, might lie behind these images.

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Camera Austria International 157 | 2022
Preface

The artists featured in this issue are interested in exploring the heterogeneous ways in which the visual worlds of artistic works, advertising and media images, strategies of product display, and the ephemera and spatial manifestations of (late) capitalism shape our everyday lives. These artists examine the related issue of which stories/histories, desires and chasms, and what kinds of alienation and repression, might lie behind these images.

In just 13 photographs and 1,500 words, Jenelle Porter examines the meta-referential practice of the “picture collector” Pierre Leguillon and localizes his work in a web of art-historical references that transcend media and time. Citing selected examples, including Leguillon’s meticulously compiled slideshows which cover a wide variety of art-historical topics, along with film projections, and also the art-historical and mediatic use of icons of photography, the author illustrates how the artist succeeds again and again at foregrounding “the artwork’s paratext, that is, the apparatus that supports the art exhibition: the invitations, the crates, the educational programming, et cetera.”

Marge Monko also navigates a field of manifold references, focusing on the correlations between modernist progress and the social role of women in particular. R. H. Lossin reflects on the artist’s work against the backdrop of Sigmund Freud’s study Civilization and Its Discontents, exploring how the malaise and discontent of (late-)capitalist society are mirrored in Monko’s photographs. °“Monko’s work, taken as a whole, insists above all on the dialectical life of images; and a key part of this argument about the social life of images, their roles in constructing reality, and the reality or ‘reality’ that they, in turn, depict is the centrality of female bodies in her work.

”I’m drawn to images that seduce me but also repulse me. I want to seduce you on the surface, and I want you to feel uneasy once you sit with the image. . . . I’m interested in having complex conversations around toxic masculinity and fetishization of power . . .” This is how Pacifico Silano describes his in-depth exploration of image material from late 1970s and early 1980s gay magazines. Marcus Civin elaborates in his contribution on how imponderables but also critical potential emerge from under the surfaces of the desire-generating media imagery compiled by Silano.

The work of Michele Abeles is likewise guided by a differentiated view of media-conveyed images. Sabeth Buchmann describes the artist in her “role of a contemporary portraitist” who is very much aware of the visual codes and strategies of self-presentation, but also the presentation of commodities, through photography—referring to “her view of the genres, styles, and looks people use to stage themselves and their surroundings, through which they in turn are coded and interpreted.” In her text, Buchmann makes it clear that, in Abeles’s work, “an image never stands alone, but (re)pro­duces itself within the framework of integrated media systems,” thus communicating interreferentially.

Stanton Taylor situates Lucie Stahl’s photographs, sculptures, and installations against the background of the “petroleum complex” described by Bertolt Brecht around 1930. Yet Stahl is not interested in documenting the logistical and economic processes behind the extraction of oil, nor in sharing a particular narrative. “In trying to approach a topic almost too big for words, she prefers to zoom in on the details in lieu of attempting an impossible overview.” Her oftentimes abstract, surreal works make clear that behind capitalism’s promise of expansion and consumption there is something inscrutable and also threatening lurking.

Christina Töpfer and the Camera Austria Team
March 2022

Cover: Michele Abeles, 10/14/2019, 4:36 PM, 2020. Dye sublimation on aluminum, 78.74 × 54.61 cm.

Entries

Forum

Presented by Sandra Križić Roban:
Ana Hušman
Glorija Lizde
Davor Sanvincenti
Denis Butorac
Jaka Babnik
Maria Kapajeva

Exhibitions

Ludwig Wittgenstein: Fotografie als analytische Praxis
Leopold Museum, Vienna, 12. 11. 2021 – 27. 3. 2022
CHRISTINA NATLACEN

Wolfgang Tillmans: Schall ist flüssig
mumok – Museum moderner Kunst Stiftung Ludwig Wien, Vienna, 27. 11. 2021 – 28. 4. 2022
KATHARINA MANOJLOVIC

Annika Elisabeth von Hausswolff: Alternative Secrecy
Moderna Museet Stockholm, 23. 10. 2021 – 20. 2. 2022
Moderna Museet Malmö, 9. 4. – 11. 9. 2022
ASHIK and KOSHIK ZAMAN

R. H. Quaytman: Modern Subjects. Chapter Zero
WIELS – Centre for Contemporary Art, Brussels, 10. 9. 2021 – 30. 1. 2022
STEFAN VANTHUYNE

Bilder, Dokumente, Artefakte: 40 Jahre FOTOHOF
FOTOHOF, Salzburg, 23. 11. 2021 − 19. 3. 2022
RUTH HORAK

Stefano Graziani: Documents on Raphael
Palladio Museum, Vicenza, 23. 10. 2021 – 20. 2. 2022
FRIDA CARAZZATO

Über die Provinz, Prosa und Poesie des Lebens
Harald Hauswald: Voll das Leben! Reloaded
C/O Berlin, 11. 12. 2021 – 21. 4. 2022
Gundula Schulze Eldowy: Mangoblüte & Windrose. Polaroids, Stills und Filme 1991 – 2004
Galerie Pankow, Berlin, 17. 11. 2021 – 23. 1. 2022
PETER KUNITZKY

The Rules of the Game in Contemporary Photography
WOLFGANG BRÜCKLE and RICA CERBARANO in conversation with MATTEO BITTANTI and MARCO DE MUTIIS

Data Streams: Art, Algorithms and Artificial Intelligence
The Glucksman, University College Cork, 3. 12. 2021 – 13. 3. 2022
FIONA HALLINAN

Vlatka Horvat: By Hand, on Foot
Peer, London, 4. 2. – 2. 4. 2022
ORIT GAT

James Gregory Atkinson: 6 Friedberg-Chicago
Dortmunder Kunstverein, 11. 12. 2021 – 13. 3. 2022
ANNA BROHM

True Pictures?
Zeitgenössische Fotografie aus Kanada und den USA
Sprengel Museum, Hannover, 6. 11. 2021 – 13. 2. 2022
Museum der Moderne Salzburg, 12. 3. – 26. 6. 2022
LaToya Ruby Frazier
Kunstmuseum Wolfsburg, 30. 10. 2021 – 10. 4. 2022
Vom Dokument zum Konzept
Museum für Photographie Braunschweig, 11. 9. – 5. 12. 2021
ANDREAS PRINZING

Ruins of Exploitation and Extraction
Sugar: Industrial Heritage and Colonialism
< rotor > – Centre for Contemporary Art, Graz, 9. 10. 2021 – 29. 1. 2022
MARGIT NEUHOLD

Books

Emma Lewis, Photography: A Feminist History. Gender Rights and Gender Roles on Both Sides of the Camera
Ilex by Octopus Publishing Group; TATE, London 2021
SABINE WEIER

Invalidenstraßen
Ulrich Wüst, Stadtbilder 1979 – 1985
Hartmann Books, Stuttgart 2021
JOCHEN BECKER

Caroline Heider, Ruth Horak, Lisa Rastl, Claudia Rohrauer, Photography as Motif
Mark Pezinger Books, Vienna 2021
TACO HIDDE BAKKER

Talking Books
Erik van der Weijde in Conversation with . . . Himself
Erik van der Weijde: This Is Not My Book
Spector Books, Leipzig 2017
Erik van der Weijde (ed.): Subway Magazine #8
4478zine, Amsterdam 2016 (eng.)
Erik van der Weijde: Bollenveld
Roma Publications, Amsterdam 2019
Erik van der Weijde: Lithium
Roma Publications, Amsterdam 2020
Erik van der Weijde: BRUTALISM, BEACH, LAMBORGHINI, BIRDS, SCARLETT JOHANSSON, TALI­BAN
Self-published, Amsterdam 2021

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, Anja Büchele, Andrea Rožić, Philipp Rühr, Andrea Scrima, Andrea Titze-Grabec, Rebecca Wilton.

English Proofreading: Dawn Michelle d’Atri.

Acknowledgments: Michele Abeles, Jaka Babnik, Sabeth Buchmann, Denis Butorac, Marco Cadioli, Marcus Civin, Christopher Clarke, Regine Ehleiter, Silvia Franceschini, Otto Hoch­reiter, Ana Hušman, Maria Kapajeva, Kat Köppers, Sandra Križić Roban, Jasmine Lee, Pierre Leguillon, Paul Albert Leitner, Glorija Lizde, R. H. Lossin, Marge Monko, Katharina Murschetz, Ilona Németh, Max Pinckers, Klaus Pokorny, Jenelle Porter, Davor Sanvincenti, Gundula Schulze Eldowy, Pacifico Silano, Lucie Stahl, Kate Strain, Mike Tan, Akihiko Taniguchi, Stanton Taylor, Stefan Vanthuyne, Alison Wright, Ayelet Yanai, Ashik & Koshik Zaman.

Copyright © 2022
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 978-3-902911-67-4
ISSN 1015 1915
GTIN 4 19 23106 1800 9 00157