Camera Austria International

51/52 | 1995

Symposion on Photography XV
The Archive

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  • MONIQUE BEHR
    Archives and An-Archy: The Artitst Peter Roehr
  • PETER ROEHR
  • HENRY BOND / LIAM GILLICK
    Documents
  • COR
  • BERT JANSEN
    On Cor Dera
  • HANS-PETER FELDMANN
    Der Kopf ist schon eine Maschine
  • DAVID GOLDBLATT
    Das Archiv eines Südafrikaners
  • LEO KANDL
    Kollektion
  • CHRISTIANE
    Inez van Lamsweerde. The Soulless New Machine
  • INEZ VAN LAMSWEERDE
  • KEN LUM
  • ROBERTA McGRATH
    Geographies of the Body And the Histories of Photography
  • ANDREA VAN DER STRAETEN
    Mnemosyne
  • JINDRICH STREIT
    The Village is the Globe
  • CHRISTOPHER
    Raoul Coutard: Bei Tageslicht
  • HERTA WOLF
    Photography: An Archive of Monuments

Editorial

SYMPOSION ÜBER FOTOGRAFIE XV

With the Symposium on Photography, a forum of discussion that has taken place annually since 1979 as part of the styrian autumn festival and the results of which have been published in CAMERA AUSTRIA, our preoccupation with the cultural, artistic and social effects of the medium of photograhy has been placed in the context of contemporary theoretical debate. This has been an important consideration in choosing the symposium themes: In looking at artistic and theoretical issues and their general social relevance, we express our regard for a specifically photographic knowledge while constantly redefining the horizon of a debate on “art photography”.
In our culture, the Archive – this was the theme of the 15th Symposium on Photography – has been a concept of central importance. As Foucault has pointed out, it is the institutions that accumulate and administrate information and knowledge who also define the structures of power. The normative systems of order created in such institutions (in museums and libraries) shape our relation to the world. The medium of photography inscribes itself into the archive by virtue of its property of quasi doubling and replacing reality, as Herta Wolf demonstrates in her contribution.

Full text

Camera Austria International 51/52 | 1995
Editorial

SYMPOSION ÜBER FOTOGRAFIE XV

With the Symposium on Photography, a forum of discussion that has taken place annually since 1979 as part of the styrian autumn festival and the results of which have been published in CAMERA AUSTRIA, our preoccupation with the cultural, artistic and social effects of the medium of photograhy has been placed in the context of contemporary theoretical debate. This has been an important consideration in choosing the symposium themes: In looking at artistic and theoretical issues and their general social relevance, we express our regard for a specifically photographic knowledge while constantly redefining the horizon of a debate on “art photography”.
In our culture, the Archive – this was the theme of the 15th Symposium on Photography – has been a concept of central importance. As Foucault has pointed out, it is the institutions that accumulate and administrate information and knowledge who also define the structures of power. The normative systems of order created in such institutions (in museums and libraries) shape our relation to the world. The medium of photography inscribes itself into the archive by virtue of its property of quasi doubling and replacing reality, as Herta Wolf demonstrates in her contribution. Photography has always been both means and object of catalogueing and controlling as well as an instrument of measuring and administrating the body. Roberta McGrath describes the parallels between views of the (female) body in medicine and in 19th century curiosity cabinets. In an attempt to confront the repressed social and political history of photography via the predominant history of photography as art, she refers us back to a time when “photography’s claim to both scientific truth and artistic metaphor ( … ) inhabited the same universe”.
If activities associated with the archive – recording, collecting, storing, organising, comparing and administrating information are included in a context of artistic practice, we see a variety of artistic methods some of which have been documented in the contributions to this issue.
Peter Roehr’s method is characterised by the repetition and seriality of Minimal Art and its reference to aesthetic standards of Pop Art. Hans–Peter Feldmann’s use of the archive offers at least two alternatives: The utilization of an unlimited stock of photographic images forming a universe of available visual Ready–mades and the photographic fixation of objects, as in “All of a Woman’s Clothes”, whose meaning reveals itself only to the collector. The methods of David Goldblatt and Jindrich Streit, to name only two examples, are documentary and correspond to the theme of their interest: To photographically record, over years, their own environment, making visible social change.
We thank the management of styrian autumn for financing the Symposium on Photography 1994. Unfortunately it was decided not to continue the series of Symposia this year so that our numerous “regulars” will have to be content to wait until the year to come. We thank all the authors for their collaboration in this double issue of CAMERA AUSTRIA and particularly the participants in the Symposium on Photography for editing their papers in time for publication.

Christine Frisinghelli, July 1995

Contributions

Forum

ANDREA ZEITLER

STEPHEN LIVICK

CLIVE LANDEN

ANNET VAN DEN VOORT

HANS PETER LERMER

UWE STELTER

MARISELA LA GRAVE

PÀDRAIG MURPHY

ELISABETH NEUDÖRFL

DANIEL ANIZON

MARIANO ZUZUNAGA

YANNIG HEDEL

ALEYDIS RISPA BOHER

SEBASTIAN KUSENBERG

RICARDO DE OLIVERIA

VOLKER WEINHOLD

ALFRED WETZELSDORFER

IVAN MATHIEU

JUHA-PEKKA INKINEN

ADRIENNE SALINGER

Exhibitions

Cindy Sherman: Film Stills
Hirshhorn Museum and Sculpture Garden, Washington
ANNE BARCLEY MORGAN

Thomas Demand
Victoria Miro Gallery, London
JOHN HILLIARD

Louise Lawler: A Spot on the Wall / External Simulation
Kunstverein München und Kunstforum München
PIA LANZINGER

Henri Cartier-Bresson: A propos de Paris. Fotografien zwischen 1932 und 1976
Rupertinum, Salzburg
ULRICH MELLITZER

Mythos Information
Ars Electronica, Brucknerhaus Linz und ORF Landesstudio Oberösterreich
REINHARD BRAUN

Die neue Welt, und nicht nur diese, ist wahrscheinlich nicht mit Schnappschüssen zu erobern. Oder: Wie man Künstler nicht repräsentieren sollte
HENRIETTE HORNY

Jennifer Bolande
Kunstraum München
PIA LANZINGER

Books

Silvia Eiblmayr: Die Frau als Bild – Der weibliche Körper in der Kunst des 20. Jahrhunderts
Verlag Dietrich Reimer, Berlin 1993
SUSANNE HOLSCHBACH

Nick Waplington: Other Edens
Aperture, New York 1994
KATJA KRUSCHE