Camera Austria International

158 | 2022

  • DUNCAN FORBES
    Immaterial Tramp
  • MICHAEL MANDIBERG
  • MARINA VISHMIDT
    Security Theater: On Pilvi Takala’s Close Watch
  • PILVI TAKALA
  • ANTHONY CARFELLO
    On the Job with Kathi Hofer
  • KATHI HOFER
  • JENS ASTHOFF
    The Nature of Humans
  • LAURA BIELAU
  • OLAMIJU FAJEMISIN
    The Reciprocal Function of Time
  • LARRY ACHIAMPONG

Preface

Many of the contributions in this issue examine the question of how artists position themselves in the field of tension between creative and wage work, how it might be possible to revolutionize post-industrial forms of work from within, to design them in a socially compatible way, and to create an awareness of work that takes place in the background.

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Camera Austria International 158 | 2022
Preface

Many of the contributions in this issue examine the question of how artists position themselves in the field of tension between creative and wage work, how it might be possible to revolutionize post-industrial forms of work from within, to design them in a socially compatible way, and to create an awareness of work that takes place in the background.

Starting from Michael Mandiberg’s film Postmodern Times (2017) as well as the durational performances Quantified Self Portrait (One Year Performance) (2016–17) and Live Study (since 2019), Duncan Forbes focuses on Mandiberg’s utilization of digitally offered creative services, methods of quantification, as well as technologies of (self-)surveillance in the workplace in order to reflect on their work as an artist. In his text, Forbes examines how Mandi­berg’s works deal with “the intricacies of relations—human, economic, material, technological—that are too often collapsed into the mythical autonomy of the artist.”

When she enters into particular work contexts in her performative projects and attempts to subvert their mechanisms and structures undercover, Pilvi Takala’s focus is on normative social behavior. Based on the example of the project Close Watch (2022), Marina Vishmidt describes how Takala “externalizes” the critique of institutions: her method’s “are more infrastructural than conventionally critical in their aims, with the hope to transform at least one site or at best the corporate culture of one security contractor by ‘looking closely’ from the inside rather than assembling foregone conclusions from the outside.”

In her photographs and installations, Kathi Hofer also reflects in part on historical work contexts—be it the history of the Austrian Walkjanker-brand Hofer, a group of actors who take their audience back to the American frontier, or the obsessive work of the artist and collector Tressa Prisbrey, who constructed a village from everyday materials in the Californian desert over two decades. “Hofer’s practice recalls the approach of the US chronicler Studs Terkel in his interview collection Working (1974), where ‘people talk about what they do all day and how they feel about what they do,’” as Anthony Carfello writes.

In his text about Laura Bielau, Jens Asthoff interconnects the series ARBEIT (Work, 2016–19) and TEST (2018–22) and elaborates how the artist circles around particular topics photographically, generally over a longer period of time, and like a researcher in order to develop extensive groups of works in which no picture stands alone. “Bielau’s compositional process aims at a legibility of wider association, the details of which are often based on finely tuned connections. Guiding the reader/viewer’s attention through her books, she allows stories to emerge in which a narrative thread or plot is explicitly absent: instead, motifs intertwine to enhance their mutual interpretability.”

Olamiju Fajemisin situates the work of Larry Achiampong between autobiographical narratives supported by post-colonial critique and what the artist calls “Sanko time.” In his films, what unfolds is a network of pan-African stories that deal out criticism of white supremacy, and the working conditions of individuals who are precariously employed and excluded from public awareness in diverse places and times. “Achiampong’s deft interlacing of personal and collective memory yields a body of work, the beauty of which lies in its being universal, despite parts of it remaining accessible only through the contextual keyhole of one man’s consolidation of the world around him,” as Fajemisin writes.

Christina Töpfer and the Camera Austria Team
June 2022

Cover: Laura Bielau, o. T. (Untitled), from: TEST, 2018–22. Material and dimensions variable.

 

Cover: Laura Bielau, o. T., aus: TEST, 2018–22. Material und Größe variabel.

Entries

Forum

Presented by Sharon Ya’ari:
Essa Grayeb
Natasha Levus
Hadas Satt
Ariel Hacohen
Lihi Binyamin
Michael Tzur

 

Exhibitions

Fata Morgana Festival
Jeu de Paume, Paris, 22. 3. – 22. 5. 2022
NINA STRAND

Ricarda Roggan
Leonhardi-Museum Dresden, 9. 4. – 19. 6. 2022
Ricarda Roggan: Der dunkle Wunsch der Dinge
MdbK – Museum der bildenden Künste Leipzig, 10. 2. – 6. 6. 2022
SABINE MARIA SCHMIDT

Dayanita Singh: Dancing with My Camera
Gropius Bau, Berlin, 18. 3. – 7. 8. 2022
Museum Villa Stuck, Munich, 11. 9. 2022 – 15. 1. 2023
MUDAM Luxembourg, 20. 5. – 8. 10. 2023
Serralves Museum of Contemporary Art, Porto, February – June 2024
STEVEN HUMBLET

Deana Lawson
MoMA PS1, New York, 14. 4. – 5. 9. 2022
High Museum of Art, Atlanta, 7. 10. 2022 – 19. 2. 2023
ICA – Institute of Contemporary Art, Boston, 4. 11. 2021 – 27. 2. 2022
MARCUS CIVIN

Carrie Mae Weems: The Evidence of Things Not Seen
WKV – Württembergischer Kunstverein Stuttgart, 2. 4. – 10. 7. 2022
Fundación MAPFRE, Barcelona, 6. 10. 2022 – 15. 1. 2023
CHRISTINA TÖPFER

Alanis Obomsawin: The Children Have to Hear Another Story
HKW – Haus der Kulturen der Welt, Berlin, 12. 2. – 18. 4. 2022
JULIA GWENDOLYN SCHNEIDER

Widerständige Musen: Delphine Seyrig und die feministischen Videokollektive im Frankreich der 1970er- und 1980er-Jahre
Kunsthalle Wien, Museumsquartier, 7. 4. – 4. 9. 2022
Museo Nacional Centro de Arte Reina Sofía, Madrid, 25. 9. 2019 – 27. 7. 2020
LaM – Lille Métropole Musée d’art moderne, d’art contemporain et d’art brut, Villeneuve-d’Ascq, 5. 6. – 22. 9. 2019
ULRIKE MATZER

Sandra Lahire, Celeste Burlina: we sat rigid except for the parts of our bodies that were needed for production
Grazer Kunstverein, Graz, 9. 4. – 29. 5. 2022
MARGIT NEUHOLD

Aykan Safoğlu: Ebbe/Flut
Coalmine, Winterthur, 11. 2. – 15. 5. 2022
DANIEL BERNDT

Yalda Afsah: Every word was once an animal
Kunstverein München, Munich, 15. 1. – 10. 4. 2022
Halle für Kunst Steiermark, Graz, 25. 6. – 4. 9. 2022
MITCH SPEED

Bruno Serralongue: For Life
Frac Île-de-France, Le Plateau, Paris, 27. 1. – 24. 4. 2022
ESTELLE NABEYRAT

Eline Mugaas: New Objects and Photo­graphs
Galleri Riis, Oslo, 31. 3. – 7. 5. 2022
Wolfgang Tillmans: After Venice
Peder Lund, Oslo, 5. 3. – 28. 5. 2022
Queer Icons
Fotogalleriet, Oslo, 19. 3. – 8. 5. 2022
ASHIK and KOSHIK ZAMAN

Seiichi Furuya: Rewriting Memory
Seiichi Furuya, First Trip to Bologna 1978 / Last Trip to Venice 1985
Chose Commune, Marseille 2022
Fotografia Europea: An Invincible Summer
Reggio Emilia, 29. 4. – 12. 6. 2022
Photolux Festival: You Can Call It Love
Lucca, 21. 5. – 12. 6. 2022
MARIACARLA MOLÈ

Books

Long Exposure to Womanhood
Karen Marshall, Between Girls
Kehrer Verlag, Heidelberg 2021
JUNE DREVET

Eske Schlüters, Alles kann ein Bild von allem sein
Passagen Verlag, Wien 2021
FABIAN GOPPELSRÖDER

Mateusz Sadowski, Reflex Wander
Disastra Publishing, Poznań 2022
EWA BORYSIEWICZ

Talking Books
Erik van der Weijde in Conversation with . . . Anna Planas and Pierre Hourquet

Imprint

Publisher: Reinhard Braun

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

Editors: Margit Neuhold, Jakob Thaller, Christina Töpfer (editor-in-chief).

Translations: Dawn Michelle d’Atri, Anja Büchele, Amy Klement, Nikolaus G. Schneider, Andrea Scrima, Andrea Titze-Grabec, Sabine Weier.

English Proofreading: Dawn Michelle d’Atri.

Acknowledgments: Larry Achiampong, Jens Asthoff, Laura Bielau, Lihi Binyamin, Anthony Carfello, Rica Cerbarano, Olamiju Fajemisin, Duncan Forbes, Essa Grayeb, Ariel Hacohen, Kathi Hofer, Pierre Hourquet, Rosa Kuosmanen, Natasha Levus, Håkon Lille­graven, Michael Mandiberg, Mariacarla Molè, Anna Planas, Hadas Satt, Andrea Scrima, Nina Strand, Reece Straw, Batia Suter, Pilvi Takala, Michael Tzur, Marina Vishmidt, Erik van der Weijde, Sharon Ya’ari.

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 978-3-902911-68-1
ISSN 1015 1915
GTIN 4 19 23106 1800 9 00158