Camera Austria International

36 | 1991

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  • PETER WEIBEL
    Foto Fake II. Freud and the Media
  • GERHARD FISCHER
    A Delirous Libertine
  • PIERRE MOLINIER
  • ANNEMARIE HÜRLIMANN
    Picture Puzzles of Skin
  • THOMAS FLORSCHUETZ
  • THILO KOENIG
    Photo Education as 'counter process'
  • ROLAND SCHNEIDER
    Interim
  • GEORG F: SCHWARZBAUER
    A confrontation of inner and outer reality
  • DORE O.
  • HELMUT NEWTON
    New Images
  • MIRELLE THIJSEN
    Interwiew with Helmut Newton

Editorial

FOTO FAKE II- Peter Weibel’s essay on the significance of Sigmund Freud for a theory of the media serves as a framework for this issue – a fitting framework also for many of the works published in the privies issue. Weibel’s approach, his treatment of original material(images and, mostly, texts) seem to be coherent with and applicable to the medication of contemporary photography as we understand and try to realize it in CAMERA AUSTRIA, in our SYMPOSIUM ON PHOTOGRAPHY  and in the exhibition program of Forum Stadtpark. Our point is to offer an opportunity of confrontation with original materials (including the rests of artistic work) and to attempt a continuous reconstruction of the space wherein exploration and debate can take place while refusing to give once-and-for-al interpretations. The concept principally remains open where Weibel locates Freud’s signifiernce for a theory of the media: in contrast to a trivializing realization of psychoanalytical knowledge in a interpretative approach to art( which often seem to obscure rather than reveal the poignancy of these theories), the task here is a search for a quality of the media (representing , as such , our refractured experience of reality) without having to abandon the analytical view. Our object is not the establishment of immovable convictions but an appropriation of methods that promise to change a seemingly decided and agreed-on overall picture.

Full text

Camera Austria International 36 | 1991
Editorial

FOTO FAKE II- Peter Weibel’s essay on the significance of Sigmund Freud for a theory of the media serves as a framework for this issue – a fitting framework also for many of the works published in the privies issue. Weibel’s approach, his treatment of original material(images and, mostly, texts) seem to be coherent with and applicable to the medication of contemporary photography as we understand and try to realize it in CAMERA AUSTRIA, in our SYMPOSIUM ON PHOTOGRAPHY  and in the exhibition program of Forum Stadtpark. Our point is to offer an opportunity of confrontation with original materials (including the rests of artistic work) and to attempt a continuous reconstruction of the space wherein exploration and debate can take place while refusing to give once-and-for-al interpretations. The concept principally remains open where Weibel locates Freud’s signifiernce for a theory of the media: in contrast to a trivializing realization of psychoanalytical knowledge in a interpretative approach to art( which often seem to obscure rather than reveal the poignancy of these theories), the task here is a search for a quality of the media (representing , as such , our refractured experience of reality) without having to abandon the analytical view. Our object is not the establishment of immovable convictions but an appropriation of methods that promise to change a seemingly decided and agreed-on overall picture.

This intention to find approaches to images and texts without passing final judgements find its continuation in the articles on Pierre Moliner and Roland Schneider: By what other means could the purity of Molinier’s work be preserved if not by putting it, his “life’s work”, in the context of the artist’s biography? How else could the “most powerless” of photo works, as Roland Schneider describes his Interim” project, be the result of a continous rebellion against defined borderlines and of trespassing the same?

We have received many positive reactions to our most recent issue of CAMERA AUSTRIA , encouraging us to continue on our present course. CAMERA AUSTRIA subscribers are reals “readers” who regard the modern debate about photography as a continuous process over time, and precisely this process is the theme of the issue before you. We thank the artists and authors for their cooperation in this issue and for their willingness to support CAMERA AUSTRIA in this way.

Looking ahead, the next issue no. 37, will again be dedicated to photographers in greater measure. Points of emphasis will be contributions by Helen Chadwick, Willie Doherty and Olivier Richon- photo works alongside specific theoretical articles by Paul Groot and Slavoj Zizek: the issue will also include the first publication by Aleksander Chumakov outside the Soviet Union.

Christine Frisinghelli

Contributions

Forum

Javier Díaz Saiz

Michael Ninian Herrmann

Sandra Moss

Pat Horner

Damir Hojka

Claus Graubner

Carolin Schüten

Boguslaw Biegowski

Exhibitions

Boris v. Brauchitsch: Das Land der Griechen mit der Seele suchen. Römisch-Germanisches Museum, Köln

Justin Hoffmann: Das Sibyllinische Auge. Künstlerwerkstätten Lothringerstraße, München

Kerstin Braun: Objets Imaginés. Otmar Thormann. Low Moral. Dreaming Dogs. Galerie Fotohof, Salzburg

Reinhard Braun: Bilder der Bewegung? Tanz. Foto. Annäherungen und Experimente 1880 – 1940. Österreichisches Fotoarchiv im Museum Moderner Kunst, Wien

Gisela Bartens: Seinsentzug. Die Dinge. Die Zeichen. Die Waren. XI. Symposion über Fotografie. Forum Stadtpark, Graz

Books

Pia Lanzinger: Barbara Kruger. Love for Sale

Christina Feller: Floris M. Neusüss, Renate Heyne. Das Fotogramm in der Kunst des 20. Jahrhunderts

Jutta Mayer: Marlene Schnelle-Schneyder. Photographie und Wahrnehmung

Franz Niegelhell: Television Revolution. Das Ultimatum des Bildes; Von der Bürokratie zur Telekratie. Rumänien im Fernsehen. Ein Symposion aus Budapest

Walter Grond: Armaturen der Sinne. Literarische und technische Medien 1870 – 1920

Thomas Trummer: Die Gegenstände sind wir selbst. Bernhard Johannes Blume. Fotoarbeiten 1970 – 1984; Anna und Bernd Blume. Gegenseitig

Thomas Trummer: Mythos oder Vernunft. Anselm Kiefer. Bücher 1969 – 1990

Reinhard Braun: Konzept oder Statistik? Bernd und Hilla Becher. Hochöfen; Bern und Hilla Becher. Tipologie Typologien Typologies

Kerstin Braun: Jenseits der Grenzen. Lynn Silverman. Furniture Fictions; Brian McAvera. Marking the North. The work of Victor Sloan; The Cost of the English Landscape; Futureland. Fotografien von John Kippin und Chris Wainwright; Willie Doherty. Unknown Depths

Pia Lanzinger: Aids-Demo-Graphics

Kerstin Braun: Magische Körper. Václav Macek. Tono Stano

Gisela Bartens: Noch einmal Surrealismus und Fotografie

Conradin Wolf: Ein Streiflicht auf die Wohlanständigkeit. Wichtige Bilder. Fotografie in der Schweiz

Imprint

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

Editor: Christine Frisinghelli
Editing Team: Christian Eigner, Reinhard Braun, Jutta Mayer, Thomas Brunner

Translation: Klaus Feichtenberger, Jörg von Stein