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31/32 | 1990

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  • ANTONIN DUFEK
    Imaginative Photography
  • WOLFGANG KUDRNOFSKY
    From 1 Metre to Infinite
  • PETER KUBELKA
    Nothing ever moves on the Screen
  • PETER GORSEN
    Vienna Actionism and Photography
  • JOHN DAVIES
    A Green & Pleasant Land
  • MARLENE SCHNELLE-SCHNEYDER
    Behind Visibility: Rudolf Bonvie, Rhapsodie nucléaire
  • SEIICHI FURUYA
    Mémoires

Preface

CAMERA AUSTRIA nr. 31/32 owes its structure and content to all the protagonists in the debate on photography in this country: artists, mediators, critics, writers and sponsors. Preparing for the photographic event of the century, we began collecting this material in 1988. The original idea to have a project team prepare a joint publication of all photography events in 1989 to gain public presence foundered in the lack of funs and coordination. While in other countries such ideas have long been instutionalised, in this country the sum total of all initiatives in merly the number of the individuals involved. This state of things, however, also has its positive sides: the present publication,a sampler of the work that has been shown and can be seen in our country is evidence of the fact that the majority of the 35 organizers (galleries, museums, associations, public institutions) of roughly 120 photo exhibitions during the past year are showing a degree of photographic continuity also reflected in the level of the work and the debate.

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Camera Austria International 31/32 | 1990
Preface

CAMERA AUSTRIA nr. 31/32 owes its structure and content to all the protagonists in the debate on photography in this country: artists, mediators, critics, writers and sponsors. Preparing for the photographic event of the century, we began collecting this material in 1988. The original idea to have a project team prepare a joint publication of all photography events in 1989 to gain public presence foundered in the lack of funs and coordination. While in other countries such ideas have long been instutionalised, in this country the sum total of all initiatives in merly the number of the individuals involved. This state of things, however, also has its positive sides: the present publication,a sampler of the work that has been shown and can be seen in our country is evidence of the fact that the majority of the 35 organizers (galleries, museums, associations, public institutions) of roughly 120 photo exhibitions during the past year are showing a degree of photographic continuity also reflected in the level of the work and the debate.

Another aspect becomes evident in the structure of this issue: taking into consideration the historic interest in the medium, the number of exhibitions of contemporary photography is extraordinarily high. The fact that “The History of Photography in Austria” was presented as early 1983/84 in an exhibition and publication- the result of serverals year’s work – should not distract from the thrush that photography continues to suffer neglect by research and educational institutions in Austria.

In consequence, CAMERA AUSTRIA 31/32 intends to motivate the reader to take a look (perhaps a second look) at what was on show in this country in the course of one year. The data accompanying the pictures include not only the authors but also places and – in such case when the work was shown in group or theme exhibitions- titles of exhibitions. In an attempt to give emphasis to certain contents, some of the exhibitions have been dealt with more extensively. The choice of such points of emphasis and the decision which individual picture was to represent a series of works on show rested with the editors of this issue. Special attion was given to materials that should be notes internationally: Vienna street scenes by Emil Mayer , made in 1910 but first exhibited as reprints in 1989 as Galerie Faber; a selection of photographs from the exhibition “Inside the View” dealing with aspects of surrealist photography in Eastern Europe; Wolfang Kudrnofsky’s  work in Vienna from 1949 to 1950M the heretofore unpublished photographs of the Vienna actionist group;  “The Metric Films as  Images” by Peter Kubelka. There are highlights of contemporary photography like the exhibition “Concept -Installation- Imagination” (shown, like W. Kudrnofky, at the Kulturhaus der Stadt Graz) as well as ta confrontation of the works of Rudolf Bonvie and John Davies.

The editors thank all participants who have made available pictures and thefts for this publication, especially Christian Eigner who made the collection of materials for this issue possible in the first place. We hope this issue will give an impression of what this collection of images is trying to convey: the level of the debate on photography and the quality of photographic art in this country.

Christine Frisinghelli, Manfred Willmann

Entries

Exhibitions

Thilo Koenig: Reproduktion als Produktion. Das Foto als autonomes Bild. Experimentelle Gestaltung 1839 – 1989. Kunsthalle Bielefeld; Bayerische Akademie der Schönen Künste, Königsbau der Residenz, München

Thilo Koenig: “Mit Objektiv – rein subjektiv…”. “subjektive fotografie”, der deutsche Beitrag 1948 – 1963. Wanderausstellung des Stuttgarter Institutes für Auslandsbeziehungen, Stuttgart

Books

Jutta Mayer: L’Invention d’un Art. Cent Cinquantième Anniversaire de la Photographie

Christian Eigner: Foto-Geschichte. Das Russland der Zaren. Photographien von 1839 bis zur Oktoberrevolution; Our Photographic Legacy. Treasures of the National Photographic Collections; Joachim W. Siener. Die Photographie und Stuttgart 1839 – 1900; Welt-Geschichten. Fotoalben aus der Sammlung Herzog; Inszenierte Wirklichkeit. Focus ’89

Christian Eigner: Frank Heidtmann. Bibliographie der Photographie; David Levinthal, Garry Trudeau. Hitler Moves East. A Graphic Chronicle 1941 – 43; Attersee, Lechner. Zwitterbilder 1986 – 1989; Axel Hütte

Joachim Brohm: William Eggleston. The Democratic Forest

Hiroshi Hamaya. Fifty Years of Photography 1930 – 1981; Martin Parr. The Cost of Living; A Place like any other, after all? Nine photographers explore the Ruhr; Gesammelte Werke. Internationale Fotografie des 20. Jahrhunderts aus österreichischen Privatsammlungen; Wolfgang Hesse. Ansichten aus Schwaben; Close to Home. Seven Documentary Photographers; Ausbeute. Bergbau und Bergarbeit in der Fotografie; FotoFoto. Annäherung an die Sowjetunion; Rudolf Schäfer. Der ewige Schlaf. Visages de morts

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, Christian Eigner, Jutta Mayer, Martina Schlegl

Translation: Klaus Feichtenberger, Wilfried Prantner