Camera Austria International

56 | 1996

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  • BRENDA ATKINSON
    An interview with Candice Breitz: Rethinking Pornography, Imaging Desire
  • CANDICE BREITZ
    The Rainbow Series
  • ZELIMIR KOSCEVIC
    Petar Dabac
  • PETAR DABAC
    Dear Pero
  • HERTA WOLF
    Standardised Aleatoric: Aglaia Konrad's Picture Book of Past Cities of the Future
  • AGLAIA KONRAD
  • BERTIEN VAN MANEN
    4 Men
  • SABINE VOGEL
    Santu Mofokeng. Ghost Hunting in the Blue Mountains. A Photo Safari to the Heart of Darkness – Searching for the New Africa
  • SANTU MOFOKENG
    Chasing Shadows

Preface

This issue of Camera Austria returns yet again to various ways in which photography can function not only as an artistic procedure for social, political and urban analysis, but also as a method for constructing subjective visual topologies.
In an interview with Brenda Atkinson, Candice Breitz (who was represented in the exhibition “Inclusion: Exclusion” at styrian autumn ’96) explains the specifically feminist approach by which she reevaluates the role of pornography, connecting it with collective mechanisms of representation and identification. Her “a Rainbow Series” simultaneously reflects the current political situation in South Africa (the “Rainbow Nation”) and its highlighting of the role of desire in the construction of new identities.
Zelimir Koscevic’s contribution traces the development of Petar Dabac as an artist from the early 70s. This evolution, which has been intimately connected with gallery of photography at Forum Stadtpark, has led logically to a continuing confrontation of “the excess of reality”? a debate in which Dabac selects images that have been seen and experienced and from which he attempts “little by little” to produce a whole in which “one photograph evokes the other”. The series “Dear Pero”, a work in progress since 1990, describes this by no means easy process, a journey of detours which nevertheless progresses gradually and steadily from picture to picture.

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Camera Austria International 56 | 1996
Preface

This issue of Camera Austria returns yet again to various ways in which photography can function not only as an artistic procedure for social, political and urban analysis, but also as a method for constructing subjective visual topologies.
In an interview with Brenda Atkinson, Candice Breitz (who was represented in the exhibition “Inclusion: Exclusion” at styrian autumn ’96) explains the specifically feminist approach by which she reevaluates the role of pornography, connecting it with collective mechanisms of representation and identification. Her “a Rainbow Series” simultaneously reflects the current political situation in South Africa (the “Rainbow Nation”) and its highlighting of the role of desire in the construction of new identities.
Zelimir Koscevic’s contribution traces the development of Petar Dabac as an artist from the early 70s. This evolution, which has been intimately connected with gallery of photography at Forum Stadtpark, has led logically to a continuing confrontation of “the excess of reality”? a debate in which Dabac selects images that have been seen and experienced and from which he attempts “little by little” to produce a whole in which “one photograph evokes the other”. The series “Dear Pero”, a work in progress since 1990, describes this by no means easy process, a journey of detours which nevertheless progresses gradually and steadily from picture to picture.
Herta Wolf’s text about Aglaia Konrad speaks of the potential for order and structure inherent in urban space, a space which transcends the dimension of built architectures. These systems of order are also of importance to photography as systems of representation: by constantly turning to an urban space that is not locally defined, Aglaia Konrad also reflects the various different models of the city that have been adopted since the beginning of the modern period, and takes up a series of possible modes of representation which have been explored in the present century.
The Dutch photographer Bertien van Manen has made a name for herself in recent years with a number of substantial documentary series, including A Hundred Summers A Hundred Winters, a project about Russia published in 1994. We invited her to create a contribution connected with her current projects, and “Four Men” is the result.

Sabine Vogel describes the work of the South African photographer Santu Mofokeng as primarily the construction of a fictional biography, i.e. a system of reference for the definition of one’s own identity. The “Photo Safari to the Heart of Darkness”, to a place of initiation, of contact with ancestral spirits, becomes a metaphor for a search for identity, but is at the same time an attempt to produce a history of the pictures, and it remains trapped in a circle of projection and truth – an aesthetic search for ghosts, a hunt after shadows.
The contribution by the Department of Photography at the Schule für Gestaltung, Zurich, continues our series on institutions offering courses of study in photography. This series provides an opportunity for photography classes to introduce themselves in contributions of their own devising.
Having previously published two special editions (of work by Michael Schmidt and Sabine Bitter/Helmut Weber respectively), Camera Austria is publishing a special edition of work by Candice Breitz in conjunction with the present issue. It has been produced for us by the artist from her “Rainbow Series”. The forthcoming issue, now in preparation, will include contributions by Joachim Brohm and Volker Heinze (Germany), Rineke Dijkstra (Netherlands), Maya Goded (Mexico) and Christian Wachter (Austria), as well as a text by Rolf Sachsse about Raoul Hausmann.  Finally we want to thank all our readers for their interest in Camera Austria in the present year, and to offer them our good wishes for the year 1997.

Manfred Willmann
Reinhard Braun
November 1996

Entries

Forum

MARTIN WREDE

PETRA SCHEER

ANKA MANSHUSEN

ROSHINI KEMPADOO

ANNELIESE WILLMETT

STEPHEN JOHNSON

WOLFGANG KAMMERER

LISBET NIELSEN

DAN YOUNG

STEN LANGE

DAYANITA SINGH

OLIVER HEIDEN-ANDERS

ANN SHELTON

MARCUS WERRES

MONICA RICCO´PANCIROLI

ELLEN KOK

Exhibitions

In/Sight: African Photographers, 1949 to the Present
The Guggenheim Museum, New York
ANNE BARCLEY MORGAN

Sommerliche Highlights. Solide Ausstellungen, etablierte Künstler/innen: der Salzburger Kunst-Sommer im Rückblick
DANIELE PABINGER

Bill Viola: Buried Secrets.
The Institut of Contemporary Art, Boston
ANNE BARCLEY MORGAN

Das “Theater der Grausamkeit”: “Szenenwechsel X”
Museum für Moderne Kunst, Frankfurt
MICHAEL WETZEL

Mediascape
The Guggenheim Museum Soho, New York
ANNE BARCLEY MORGAN

Gottfried Jäger und René Mächler – Konstruierte Fotoarbeiten
Galerie In Focus, Köln
REINHOLD MIßELBECK

Realität / Fiktion / Virtualität. Fotofestival in Arles 1996
Arles
JANA WISNIEWSKI

Zukunft des Museums?
Ars Electronica 1996
REINHARD BRAUN

Rotterdam als “Digital Territory”
“R’96”-Festival, Rotterdam
REINHARD BRAUN

Willie Doherty: “In the Dark. Projected Works”
Kunstverein München
PIA LANZINGER

Reisende Geister: Gerda Lampalzer, Manfred Oppermann
Südbahnhof, Wien
REINHARD BRAUN

Books

Boris Michailov
Oktagon Verlag, Stuttgart 1995
KERSTIN BRAUN

Gerald Van Der Kaap: Whereever you are on this Planet
1001 Publishers, Amsterdam 1996
REINHARD BRAUN

Hermann Claasen: Trümmer
Rheinland-Verlag, Köln 1996
REINHARD BRAUN

Esko Männikkö
Oktagon Verlag, Stuttgart 1996
JUDITH SCHWENDTNER

Skulptur als Programm
EA-Generali Foundation, Wien 1996
REINHARD BRAUN