Camera Austria International

55 | 1996

Price

Read more

  • RICHARD BILLINGHAM
  • SABINE BITTER / HELMUT WEBER
  • GEORG SCHÖLLHAMMER
    Sabine Bitter / Helmut Weber: So what might an "Urban Exercise" be?
  • URSULA BOECKLER
    Generation >>Uscha<<
  • GEORG GRAW
    Talks to Ursula Böckler
  • LOUISE LAWLER
    Stellungnahmen von Marius Babias, Stefan Germer, Isabelle Graw, Justin Hoffmann, Pamela M. Lee, John Miller, Yvonne Volkart und Hedwig Saxenhuber, kuratiert von Christian Kravagna

Preface

The contribution by the young British photographer Richard Billingham to this issue of Camera Austria includes images of his family. Appropriately, these persons are viewed with a direct and intimate gaze; the photographs are not intended as documentation let alone critical comment. They nevertheless represent and speak of the social and also the emotional condition of the British working class. In these pictures, as in the work of Nick Waplington (see Camera Austria 53/1995) – thanks to whom the connection with Richard Billingham came about – the circumstances of private individuals become a metaphor for general cultural and social circumstances, yet without the individuals photographed being transformed into pictorial objects by the photographer’s artistic aloofness and striving for objectivity.

Read more

Camera Austria International 55 | 1996
Preface

The contribution by the young British photographer Richard Billingham to this issue of Camera Austria includes images of his family. Appropriately, these persons are viewed with a direct and intimate gaze; the photographs are not intended as documentation let alone critical comment. They nevertheless represent and speak of the social and also the emotional condition of the British working class. In these pictures, as in the work of Nick Waplington (see Camera Austria 53/1995) – thanks to whom the connection with Richard Billingham came about – the circumstances of private individuals become a metaphor for general cultural and social circumstances, yet without the individuals photographed being transformed into pictorial objects by the photographer’s artistic aloofness and striving for objectivity.

Ursula Böckler, for her part, in “Generation Uscha”, draws the portrait of a generation whose protagonist, “Uscha”, serves as its representative. “Uscha” does so, as explained in the interview, by “experiencing many different things with many different people from quite different spheres”. Ursula Böckler has been photographing “Uscha” since 1985, and this extensive series – though in quite a different way from Richard Billingham’s, is about private moments, about a type of authenticity, even if this goes back to stereotypes, to a life–style: “For me, images are what matters” (Ursula Böckler). This form of documentation subsequent to documentation is one of the reasons for the success currently enjoyed by Ursula Böckler as by Richard Billingham.
Sabine Bitter and Helmut Weber present their “Urban Exercises” a series of projects which has been permanently extended since 1994 and was shown at a Camera Austria exhibition at the Forum Stadtpark, Graz, in December 1995. The collaboration between these artists and Camera Austria goes back to an exhibition of work by Sabine Bitter in 1992 which is documented in An die Wand (Edition Camera Austria, 1992). “Urban Exercises” centres on questions of urbanity and mobility at the end of the century, on the roles which the human subject is still able to assume, and on those circumstances and modes of functioning into which he/she is being squeezed. In this context Georg Schöllhammer writes about the alienation and isolation of the subject caught between modernist utopias and the counterproposals of post–modernism.
On the basis of this project, Sabine Bitter and Helmut Weber evolved “Edition No. 2 for Camera Austria”. “Formation” goes some way towards showing certain forms of “public space” to be a fictive creation, an invention and a means of manipulation. We are delighted that thanks to a collaboration stretching over a period of years it has recently been possible to complete this edition (see enclosed order card).

The contribution on Louise Lawler, curated as it were by Christian Kravagna, draws her work into a discussion about the theory of art. Starting from a rhetorical question she had printed on the posters on the occasion of her exhibition at the Neue Galerie, Graz, the author asked a number of international art critics for their comments on the role of the viewer (who was seemingly being invited to give a verdict) and also on the role of the artist herself within the contemporary system of art. It is the “question itself [that] is the criticism, the act of subversion.” (Justin Hoffmann) The series of articles on facilities for the study of photography continues in this issue with a presentation of the course in Photography and Media Studies at the Technical College, Bielefeld. Once again the creative work of the students, displayed in a layout of their own design, takes centre stage.
Finally, we would like to draw your attention to our upcoming SYMPOSION ON PH0TOGRAPHY XVI being held from October 18 to 20, 1996.

Manfred Willmann, Reinhard Braun, July 1996

Entries

Forum

BERNHARD MOOSBAUER

TAMARA GRCIC

WALTRAUD STEIMKE

RUUD DE BROUWER

IRMY WOLZ

MARTIN JüRGENS/MARKUS SEEWALD

CRISTINA NúNEZ

KONRAD RAINER

NORBERT MIGULETZ

ANNIE VAN GEMERT

META VAN ARKEL

BORUT POPENKO

SIEBE SWART

FRANK AUMÜLLER

BIRGIT GELDER

ANDREA HOLD-FERNECK

Exhibitions

Absorption and Thomas Struth’s Photography
MARK DURDEN

Prospect 96: Photographie in der Gegenwartskunst
Frankfurter Kunstverein
MARGARETA FRIESEN

The Dead Souls: An Interactive Virtual Reality Installation
Postmasters Gallery, New York
ANNE BARCLEY MORGAN

Wachau-Bild
Kunst.Halle.Krems
MONIKA FABER

The Sick Soul. Kunst zwischen Wissenschaft und voyeuristischer Faszination Grazer Kunstverein, Graz
MICHAEL EISNER

Fotografie als Stoff und als Medium
Hans Danuser im Kunsthaus Zürich
MARTIN SCHAUB

Die Kultur des Alltags “Ortsbebilderung” von Robert Milin
Mauterndorf in Lungau/Salzburg
DANIELE PABINGER

Light Years – Eine Retrospektive von Ralph Gibson
Frankfurter Kunstverein
TIMM STARL

Books

Seiichi Furuya: Mémories 1995
Scalo Verlag, Zürich-Berlin-New York 1995
FRITS GIERSTBERG

Film, Fernsehen, Video und die Künste. Strategien der Intermedialität
Verlag J.B. Metzler, Stuttgart-Weimar 1994
MICHAEL WETZEL

Fotografie im Faschismus
Berlinische Galerie, Berlin 1995
KERSTIN BRAUN

Kräuterufo
Martin Schmitz Verlag, Kassel-Berlin 1996
WOLFGANG MüLLER

Bodyvision: Lithuanian Nudes
Edition Reuss, München 1996
REINHARD BRAUN

Home, Sweet Home
Fotografie, Schule für Gestaltung, Zürich, Zürich 1996
REINHARD BRAUN

Imprint

Publisher: Manfred Willmann. Owner: Verein CAMERA AUSTRIA,
Labor für Fotografie und Theorie.
Sparkassenplatz 2, A-8010 Graz.

Editors: Christine Frisinghelli, Reinhard Braun
Editorial assistants: Kerstin Hehmann, Gerlinde Stoni

Translations: Ted Gang, Wilfried Prantner