Camera Austria International

62/63 | 1998

Symposion on Photography XVII
Agents and Agencies. Photography between Discourse and Document II

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  • GEOFFREY BATCHEN
    Photogenics
  • TIMOTHY DRUCKREY
    Post-History, Post-Journalism, Post-Moderne
  • DOUGLAS FOGLE
    Stills
  • CHRISTIAN HÖLLER
    Image Work: The Symbol-Political Dimension of Contemporary Image Production
  • YVE LOMAX
    Gemeinbegriffe
  • SUSANNE LUMMERDING
    Being in the Picture About Being in the Picture
  • SAM SAMORE
    Multiple Personality Stories
  • MITRA TABRIZIAN
    Minimal Utopia
  • RICARDO ZULUETA
  • ROLF SACHSSE
    Marginalien zur bundesdeutschen Fotografie

Editorial

Symposion Über Fotografie XVII: Agents and Agencies

In this double issue we are presenting the contributions to last year’s SYMPOSIUM ON PHOTOGRAPHY that began by questioning the role of photographic image production in the construction of “Agents and Agencies”, a pair of concepts used to describe or designate (individual and collective) instances of social authorships that has assumed a key role in recent debates. In keeping with the underlying intention of the SYMPOSIUM ON PHOTOGRAPHY, the lectures and debates again attempt to lead us out of the tight field of reference of “artistic photography”, rather viewing it in the scope of a general discourse on culture and media, the public sphere, and the public representation of social interests.

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Camera Austria International 62/63 | 1998
Editorial

Symposion Übber Fotografie XVIII: Agents and Agencies

In this double issue we are presenting the contributions to last year’s SYMPOSIUM ON PHOTOGRAPHY that began by questioning the role of photographic image production in the construction of “Agents and Agencies”, a pair of concepts used to describe or designate (individual and collective) instances of social authorships that has assumed a key role in recent debates. In keeping with the underlying intention of the SYMPOSIUM ON PHOTOGRAPHY, the lectures and debates again attempt to lead us out of the tight field of reference of “artistic photography”, rather viewing it in the scope of a general discourse on culture and media, the public sphere, and the public representation of social interests.
The theoretical contributions – for example by GEOFFREY BATCHEN, TIMOTHY DRUCKREY and DOUGLAS FOGLE, CHRISTIAN HÖLLER and SUSANNE LUMMERDING – focus on clarifying fundamental shifts in the constitution of photography, as are both caused and indicated by developments in media technology. By comparing photogenics and digital photography, Geoffrey Batchen analyses the complicated “identity” of photography. Timothy Druckrey explores the problem of a “fetishist appetite for visibility” and unmasks representation as advertising in a case study. Douglas Fogle outlines a “genealogy” of conceptual photographic positions and presents the works of a number of artists. In his contribution, Christian Höller establishes the eminent “invocatory nature” of media images as an action-orienting and generating apparatus, and discusses W. J. T. Mitchell’s “Pictorial Turn”. Susanne Lummerding makes critical reference to notions of a “view regime” that would seem to lay down the possibilities of all visual representation. YVE LOMAX’s contribution, in the form of a philosophical dialogue with Gilles Deleuze and Spinoza, is centred on causality, manifolds, immanence and exmanence – i.e. on the fundamental constitution of Being and on how it can actually enable something like an “ability to act”.
The artistic contributions – by SAM SAMORE, BEAT STREULI, MITRA TABRIZIAN and RICARDO ZULUETA – we feel, present artistic strategies interlocked with the thematic framework of the “ability to act” when – as in Beat Streuli’s projects – the focus is on returning representations of individuals to the public sphere, or – as in Ricardo Zulueta’s work – on quasi-sociological experiments with participating actors illustrating the “overvaluation of signifiers”. In his “Scenarios” and “Allegories of Beauty (Incomplete)”, Sam Samore creates series of pictures into which “we project idiosyncratic stories from our own subjective fount of history”, while Mitra Tabrizian’s “Minimal Utopia” work refers directly to post-modern contexts of the individual, constructing a city that is populated both by individuals and replicators, and by merit of this very fact promotes the question as to the subject and its ability to act.
Finally, ROLF SACHSSE continues the series of “Marginalia on Federal German photography” in this issue, this time focusing on the linguistic or non-linguistic nature of photography.
We hope that this issue will again provide a wide range of interesting insights into contemporary photography. It is with special pleasure that we would like to congratulate Inge Morath, a long-standing friend and one of the few internationally renowned Austrian artists, on her 75th birthday.

Manfred Willmann
Reinhard Braun
July 1998

Contributions

Forum

ROGIER MAASKANT

DANIEL CANOGAR

FELICITAS KRUSE

ROLAND SCHAPPERT

TERESIA PRAMMER

HERBERT PREYER-BAYER

DAVID REID

ALFRED JANSEN

LOU ANNE GREENWALD

SIMON PRENTICE

ANJA TESKE

OLAF FIPPINGER

BERND EDGAR WICHMANN

DAVID SPERO

MATTHIAS SCHMIDT

BOAZ TAL

MANFRED SCHNEIDER

KLAUS PAMMINGER

DAVID BATE

Exhibitions

Allan Sekula: “Dismal Science. Photo Works 1972 – 1997”
Münchner Kunstverein
PIA LANZINGER

“So schön, so scharfsinnig beobachtet, befriedigend und dauerhaft wie jedes lyrische Werk” – Zur ersten deutschen Retrospektive des fotografischen Werks von Helen Levitt
Frankfurter Kunstverein; Rupertinum, Salzburg; Festspiele, Berlin; Museum Villa Stuck, München
MICHAEL WETZEL

Reality Bites
Shoreditch Biennale, London und Sheffield
RUTH MAURER

Nach 68 Verlangen & Begehren
Salle de Bal, Wien; Kunsthalle Exnergasse, Wien
KARIN PERNEGGER

Skulptur im Licht der Fotografie
Museum moderner Kunst Stiftung Ludwig Wien
MAREN LüBBKE-TIDOW

Tracey Moffatt
Kunsthalle Wien im Museumsquartier, Wien; Württembergischer Kunstverein, Stuttgart; Arnolfini Gallery, Bristol; AR/GE Kunst, Galerie Museum, Bozen; Vorarlberger Kunstverein, Bregenz
MAREN LüBBKE-TIDOW

Ralf Hoedt, Moira Zoitl: Chicago Research
Raum für Kunst, Graz
REINHARD BRAUN

“Jetzt Lächeln!”. Atelier-Fotografie am Beispiel Mathesie. Eine Enzyklo-Pädie
Neue Gesellschaft für Bildende Kunst, Berlin
PIA LANZINGER

David Griffiths: I Spy Stranger
Galerie Eugen Lendl, Graz
REINHARD BRAUN

Books

Arbeit am Fotografischen. Zu Gerhard Richters Porträtarbeiten
Springer Verlag, Wien-New York 1997
MICHAEL WETZEL

Jenseits des Lustprinzips. Neues von Araki
Cantz, Ostfildern-Ruit, Oktagon, Köln und Edition Stemmle, Zürich
MICHAEL WETZEL

“Keine Postkartenansichten!”
Berenice Abbott: Changing New York
Schirmer/Mosel Verlag, München 1997
PETRA MARIA RAINER

Martin Roemers: The Last Batch
Het Apollohius, Eindhoven 1996
REINHARD BRAUN

Henry Bond: The cult of the street
Emily Tsingou Gallery, London 1998
REINHARD BRAUN

Imprint

Publisher: Manfred Willmann. Owner: Verein CAMERA AUSTRIA, Labor für Fotografie und Theorie.
Lendkai 1, A-8020 Graz.

Editors: Christine Frisinghelli, Reinhard Braun
Editorial assistats: Eva Helfrich, Judith Schwentner

Translations: Bärbel Fink, Wilfried Prantner, Susanne Steinbacher, Richard Watts