Camera Austria International

29 | 1989

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  • CHRISTINE FRISINGHELLI
    The Revenge of Recollection
  • CHRISTIAN BOLTANSKY
    Le Lycée Chajes en 1931
  • HANNAH COLLINS
    Evidence in the Streets
  • GÜNTHER FÖRG
  • SEIICHI FURUYA
    The Journey
  • CHRISTIANE RICHTER
  • HENK TAS
  • MANFRED WILLMANN
    The Winners
  • MASAHISA FUKASE
    Karasu (Ravens)
  • PAUL GROOT
    Tristes Tropiques / Taboo: Günther Förg, Paul Groot, Peter Klashorst, Gerald van der Kaap

Preface

CAMERA AUSTRIA 29 focusses on two exhibitions: ” The Revenge of Recollection” and “Tristes Tropiques/Taboo”. “The Revenge of Recollection” was a Forum Stadtpark contribution to the styrian autumn ’88 which, 50 years from 1938, had chosen “The Guilt and Innocence of Art” as its topic. Works by eight European and Japanese artists (Christian Boltanski, Hanna Collins, Güther Förg, Masahisa Fukase, Seiichi Furuya, Christiane Richter, Henk Tas, Manfred Willmann) were brought tighter under this title, without the artists being cast in advance in the role of moralist , chronist  or interpreter. What we felt to be more important was to allow divergences of viewpoint, to “win” recollection (re-thinking) from hermetic works that rest direct interpretation of content; to give viewers an opportunity to focus also on their own recollection and to bring their reflections on one work of art to their viewing of another – and this without providing signposts or revealing clues as to how “history” should rightly be conceived of. The works in their diversity were meant to resonate with one another. Thus , the ruins described by Hannah Collins, her reflections on the world within and the world without , the past and the present, have to be viewed differently from Günther Förg’s photographys of architectural spaces. And the space installed by Christian Boltanski exposes us to horror in a manner quite different from Seiichi Furuya’s reconstructions of a “journey” – to give only a free examples. Always, though, are we challenged to think for ourselves, intent on transcending in our consideration for the here and now and the (los?) past the clichéd ways in which we perceive reality and expect it to be reconstructed.

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Camera Austria International 29 | 1989
Preface

CAMERA AUSTRIA 29 focusses on two exhibitions: ” The Revenge of Recollection” and “Tristes Tropiques/Taboo”. “The Revenge of Recollection” was a Forum Stadtpark contribution to the styrian autumn ’88 which, 50 years from 1938, had chosen “The Guilt and Innocence of Art” as its topic. Works by eight European and Japanese artists (Christian Boltanski, Hanna Collins, Güther Förg, Masahisa Fukase, Seiichi Furuya, Christiane Richter, Henk Tas, Manfred Willmann) were brought tighter under this title, without the artists being cast in advance in the role of moralist , chronist  or interpreter. What we felt to be more important was to allow divergences of viewpoint, to “win” recollection (re-thinking) from hermetic works that rest direct interpretation of content; to give viewers an opportunity to focus also on their own recollection and to bring their reflections on one work of art to their viewing of another – and this without providing signposts or revealing clues as to how “history” should rightly be conceived of. The works in their diversity were meant to resonate with one another. Thus , the ruins described by Hannah Collins, her reflections on the world within and the world without , the past and the present, have to be viewed differently from Günther Förg’s photographys of architectural spaces. And the space installed by Christian Boltanski exposes us to horror in a manner quite different from Seiichi Furuya’s reconstructions of a “journey” – to give only a free examples. Always, though, are we challenged to think for ourselves, intent on transcending in our consideration for the here and now and the (los?) past the clichéd ways in which we perceive reality and expect it to be reconstructed.

The second exhibition, “Tristes Tropiques/Taboo”, with a text by Paul Groot, is the product of a collaboration between Jean Baudrillard, Günther Förg, Paul Groot, Peter Klashorst and Gerald Van Der Kaap. Based on Claude Lévi-Strauss’ book, “Tristes Tropiques” (1955, and Jean Baudrillard’s “Amérique” (1986) , which links back to Lévi-Strauss, and responding to Jean Jacques Rosseau’s philosophical sketch of a life of simplicity (“Emile”, 1763) , while also recalling the innocent portrayal of man and nature in F.W.Murnau’s last film “Taub”(1931), this “last salute to dying nature” affords us an experience of “the simple pleasure of the travel essay”… the journey together though unknown territory, where the writer becomes photograph and the painter can let himself become the penpusher”. (Paul Groot)

Other major items in this issue include an interview with F.C. Grundlach- photographer, gallerist, collector -, who spoke to Thilo Koenig, exhibition and book reviews, a publisher’s portrait (Edition Patricia Schwarz, Stuttgart) , and the index for issue 22 to 28 of CAMERA AUSTRIA

We would like to thank artists, lenders and writers for their contribution to this issue of CAMERA AUSTRIA, and in particular the styrian autumn under its Director, Peter Vujica, for the financial assistance we received with our exhibition. To our readers we ext rend our thanks for their continued interest in our publication.

Manfred Willmann, Christine Frisinghelli

Entries

Forum

Pierre Houcmant

Winnifred Limburg

Jan-Pieter van der Heuvel

Heather Forbes

Josee Visser

Patricia Desmarquest

Exhibitions

Chris Killip: The Curator’s Egg. “Photography Now”. Victoria & Albert Museum, London

Thilo Koenig: Faschismus und Nach-Krieg. “Geschichte in Arbeit” auf Hamburger Ausstellungen. Kunsthaus / Kunstverein Hamburg; PPS.-Galerie F.C. Gundlach, Hamburg

Reinhold Mißelbeck: Joe Gantz. Retrospektive der letzten drei Serien. Galerie Torch-Onrust, Köln

Hermann Candussi: Internationale Photoszene Köln

Books

Gisela Bartens: Gegen den Leerlauf der Kunstmaschine. Zu Publikationen der Edition Patricia Schwarz, Stuttgart: David Robbins. The Camera Believes Everything; Jean-Pierre Dubost. Wiederholter Anlauf zu einer unabschließbaren Rede über das Verschwinden der Welt; Jean-François Lyotard. Die Transformatoren Duchamp; Jean-François Lyotard. Über Daniel Buren; Albert Oehlen, Martin Kippenberger. no problem; Jean-Luc Nancy. Die undarstellbare Gemeinschaft; Reinhold Urmetzer. Wolfgang Rihm; Manfred Moser. Schönheit, Schnitt und Narbe; Josef Kosuth. Interviews 1967 – 1987; Martin Kippenberger. Gelenke I; Albert Oehlen. Gelenke II

Hermann Candussi: August Sander. Köln wie es war

Rolf Sachsse: Aus dem Museum. Pierre Bonnard. Photograph; Charles Nègre 1820 – 1880. Das photographische Werk

Hermann Candussi: 2 x Großbritannien. British Photography. Towards a Bigger Picture; Matter of Facts. Photographie Art Contemporain en Grande Bretagne

Hermann Candussi: Zwei Bücher zur Fotografie aus der UDSSR. Die zeitgenössische Photographie in der Sowjetunion. Reportagen sozialer Wirklichkeit; Toisinnäkijät. Seeing Things Differently. The New Soviet Photography; Roots + Turns. 20th Century Photography in the Netherlands

Thilo Koenig: Bilder vom Feind. Englische Pressefotografien im Nachkriegsdeutschland

Imprint

Publisher: Manfred Willmann.
Verein CAMERA AUSTRIA, Labor für Fotografie und Theorie
FORUM STADTPARK, Stadtpark 1, A-8010 Graz

Editor: Christine Frisinghelli
Editing Team: Hermann Candussi, Lore Gellner