Camera Austria International

59/60 | 1997

Symposion on Photography XVI
Allan Sekula: Agents and Agencies. Photography between Discourse and Document I

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  • MICHAEL ASHER
  • HARTMUT BITOMSKY
    Der VW Komplex
  • JOCHEN BECKER
    >>Los-Angeles-Platz, Privateigentum<<. Über die Zuchrichtung der Innenstädte und ihrer Bewohner/innen
  • RENATE LORENZ
    Der Fernseher vor dem Sie stehen ist ein Sony
  • KRISTIN ROSS
    La Belle Américaine. Autokultur im Nachkriegsfrankreich
  • ALLAN SEKULA
    Über >>Fish Story<<: Der Sarg lernt tanzen
  • ALLAN SEKULA
    Dead Letter Office (Work in Progress)
  • JAMES WELLING
  • BRIGITTE WERNEBURG
    In der Bucht von Vigo. Anmerkungen zu Allan Sekulas >>Fish Story<<
  • HERTA WOLF
    Technizität oder Diskursivität: Fragen zu Allan Sekulas >>The Traffic in Photographs<<
  • BILLY WOODBERRY
    Segne ihre kleinen Herzen

Editorial

With some delay, due in part to the fact that as a laboratory for photography and theory CAMERA AUSTRIA, in addition to this journal, simultaneously pursues a number of other projects – last but not least the SYMPOSIUM ON PHOTOGRAPHY VII: “Agents and Agencies. Photography between Discourse and Document II”, taking place from Oct. 17 – 19, 1997 – we now proudly present the publication on last year’s symposium which, as we think, in its size and content justifies the considerable editorial efforts.

This issue focuses on the “Fish Story” project as a starting point for a now textual dialog with artists and authors, a dialog that also characterised the symposium itself resulting in the fact that the authors revised their lectures in view of the publication (unfortunately, for health reasons, Chang–Kyong Park could not complete his contribution). “As the three days unfolded, we saw works that attempt to construct both critical readings and aesthetic interpretations of technical and instrumental systems: factories, machines, material flows, modes of production. We also saw works that seek to address the construction of subjectivies, subjectivities of the individual, but also of nation, class, gender and race, within and against the flux of these technical and instrumental systems.” (Allan Sekula) In addition to a detailed positioning of “Fish Story” within various contexts ALLAN SEKULA also presents a new project with “Dead Letter Office”, a work in progress which continues the questioning of the global phenomenon of industrialisation.

Full text

Camera Austria International 59/60 | 1997
Editorial

With some delay, due in part to the fact that as a laboratory for photography and theory CAMERA AUSTRIA, in addition to this journal, simultaneously pursues a number of other projects – last but not least the SYMPOSIUM ON PHOTOGRAPHY VII: “Agents and Agencies. Photography between Discourse and Document II”, taking place from Oct. 17 – 19, 1997 – we now proudly present the publication on last year’s symposium which, as we think, in its size and content justifies the considerable editorial efforts.
This issue focuses on the “Fish Story” project as a starting point for a now textual dialog with artists and authors, a dialog that also characterised the symposium itself resulting in the fact that the authors revised their lectures in view of the publication (unfortunately, for health reasons, Chang–Kyong Park could not complete his contribution). “As the three days unfolded, we saw works that attempt to construct both critical readings and aesthetic interpretations of technical and instrumental systems: factories, machines, material flows, modes of production. We also saw works that seek to address the construction of subjectivies, subjectivities of the individual, but also of nation, class, gender and race, within and against the flux of these technical and instrumental systems.” (Allan Sekula) In addition to a detailed positioning of “Fish Story” within various contexts ALLAN SEKULA also presents a new project with “Dead Letter Office”, a work in progress which continues the questioning of the global phenomenon of industrialisation.
MICHAEL ASHER’s project for “D&S Ausstellung” in Hamburg is directed at the structures of economy as they can be traced in the shifting of waste over the (meanwhile historic) borders between East and West Germany. Both HARTMUT BITOMSKY’s “VW Komplex” and JAMES WELLING’s “Wolfsburg” project use the Volkswagen works in Wolfsburg as a starting point for tracing the complex relations between the individual, economy and the mechanised environment of the present and especially the interconnection of these relations with German National Socialist history when industrialisation became evident as a means of power. In their discussion of developments in urban planning in Berlin as well as of the German Museum in Bonn, BÜROBERT strongly oppose the technologisation of everyday life which, mediated ideologically as being consumer-friendly, service-orientated and security–increasing, mutates into new forms of social exclusion.
KRISTIN ROSS uses the automobile culture in post–war France as an example to show how industrial production is intertwined with the symbolic reorganisation of an entire society: as a central “figure” in films, novels and the press, as a strange and almost mythical object the car started to structure the everyday life and desire of the individual. BRIGITTE WERNEBURG concentrates on “Fish Story” as a current documentary narrative, as a re-invention of documentarism, thematising art-immanent links and references, while HERTA WOLF points out technicity and discursivity as moments of the philosophical debate referred to by Allan Sekula in his important essay “The Traffic in Photographs”. In his film “Bless their Little Hearts”, finally, BILLY WOODBERRY, portrays the “claustrophobic confinement of a geography of unemployment in South Central Los Angeles”, based on the touching story of a black family.
In conclusion, as always you’ll find an extensive information section on works of young photographers (FORUM), current EXHIBITIONS and BOOKS, as well as NEWS from the international world of photography. The KALENDARIUM provides an overview of photography and media exhibitions in the second half of 1997. Hoping you’ll enjoy reading this issue,

Manfred Willmann, Reinhard Braun, October 1997

Contributions

Forum

MICHAEL JANISZEWSKI

CHRISTA ZAUNER

ERICH WEISS

ILYA RABINOVICH

HANS WEISS

MARTIN TUSCH

ANDRE LÜTZEN

STEPHEN GILL

MICHELLE LUKE

NATALIE BEWERNITZ

THOMAS ZIKA

ELISABETH WÖRNDL

INGEBORG MARTENS

MATTHIAS WEBER

DAVID MURRAY

PATRICK SHANAHAN

MICHAEL NAGL

NICO BICK

JONGMYUNG LEE

ILDAR NAZYROV

JENS PREUSSE

VERONIKA HOFINGER

HAMBURG KERSTIN & FRANK WESTERMEYER

CHRISTY SHAW

Exhibitions

New Yorker Frühling: Mode, Maschinen, Körper, Fantasien
Hanne Darboven, Dan Graham, Juan Munoz und Fred Sandback, DIA Center for the Arts
REINHARD BRAUN

Rrose is a Rrose is a Rrose. Gender Performance in Photography
SolomonR. Guggenheim Museum, New York
ANNE BARCLEY MORGAN

Deutsche Fotografie 1870 – 1970. Macht eines Mediums
Kunst und Ausstellunghalle der Bundesrepublik Deutschland, Bonn
REBECCA PICHT

New York: Lorna Simpson
Miami Art Museum of Dade County, Miami
ANNE BARCLEY MORGAN

Artists & Photographs: Kunstbüro
Museum für Literatur am Oberrhein, Karlsruhe
BARBARA HESS

Documenta X
Kassel
BRIGITTE HUCK

Kurzsichtige Korrespondenzen. Catherine Davids Taumel zwischen Politik und Poetik
MICHAEL WETZEL

Virtuelle Schwerkraft. VideoPositive 97: Escape Gravity
ANDREAS BROECKMANN

Der Ort in der Fotografie. Eine Bestandsaufnahme der zeitgenössischen französischen Fotografie
“Les Lieux du NON-Lieu”, Künstlerwerkstatt Lothringerstraße, München
GERHARD FRIEDL

Fazal Sheikh and Gilles Peress. “Representation of the political and humanitarian crisis in Central Africa”, Nedlands Foto Instituut, Rotterdam
RIK SUERMONDT

Frank Eugene
Hanns Otte
Rupertinum, Salzburg
DANIELE PABINGER

The Beyond and the Ridiculous. John Hilliard, Naomi Salaman & Hermione Wiltshire, Cambridge Darkroom Gallery.
DAVID CAMPANY

Paradoxe Bilder(er)Welten
DANIELE PABINGER

Kunst-Stops empfohlen
Arnulf Rainer, Kunst.Halle.Krems und Stift Dürnstein
DANIELE PABINGER

Arles 1997. Recontres Internationales de la Photographie
Arles
WOLFGANG VOLLMER

Books

Richard Kern: New York Girls
Taschen Verlag Köln, 1997
REINHARD BRAUN

Das Problem des Lebens
Bonner Kunstverein
WOLFGANG VOLLMER

Was bleibt
Frank Müller: Die Russen – Gedächtnisbilder
JUDITH SCHWENDTNER

Bernd Arnold: Das Kölner Heil
Schaden Verlag, Bornheim 1997
WOLFGANG VOLLMER

Roni Horn: You Are the Weather
Scalo Verlag, Zürich-New York-Berlin 1997
REINHARD BRAUN

Eintracht?
Verlag der Buchhandlung Walter König, Köln 1997
WOLFGANG VOLLMER

Hundertsiebenundfünfzig Fotos
Salon Verlag, Köln 1997
ERHARD KLAUS

Imprint

Publisher: Manfred Willmann. Owner: Verein CAMERA AUSTRIA,

Labor für Fotografie und Theorie.

Alle: Sparkassenplatz 2, A-8010 Graz.

 

Editors: Christine Frisinghelli, Reinhard Braun

Editorial assistants:Judith Schwentner, Ruth Kümmel

 

Translations: Bärbel Fink, Ted Gang, Susanne Steinbacher, Richard Watts