Camera Austria International

75 | 2001

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  • FRANZ SCHULTHEIS
    Pierre Bourdieu: Objectification as a Profession
  • FRANZ SCHULTHEIS
    Pierre Bourdieu, Interview. Photographic Testimonies of a Declining World
  • MAREN LÜBBKE
    Ulrike Lienbacher: The Real and its Double: The Body
  • ULRIKE LIENBACHER
  • KOBENA MERCER
    African Photography in Contemporary Visual Culture
  • YILMAZ DZIEWIOR
    Marcel Odenbach: Presentiments from the Viewpoint of Memories
  • MARCEL ODENBACH
  • AXEL ROCH
    Herwig Weiser: Heavy Metal
  • HERWIG WEISER
  • DAVID ROBBINS
    Paul Druecke: Party Platform
  • PAUL DRUECKE

Editorial

KEEP IN TOUCH is the title we have given to our project aimed at spotlighting CAMERA AUSTRIA’s approach, in our programme, in the form of exhibitions, publications, symposiums and mediation projects. KEEP IN TOUCH will be our contribution, in the context of various focal cultural issues, to the programme of Graz, Cultural Capital of Europe in 2003. The exchange with Pierre Bourdieu over the last year illustrates very well the idea underlying KEEP IN TOUCH, our co-operation with him has produced a wonderful, far-reaching project: as a result of the discussion of his contributions, which followed CAMERA AUSTRIA No. 69, there has evolved a new context of work in which we focus on an as yet unfamiliar facet of Bourdieu’s work: while conducting his first ethnological research work in Algeria in the sixties, the sociologist made systematic use of photography. Pierre Bourdieu has entrusted CAMERA AUSTRIA with his entire archive of photos from his field research with the aim of making these pictures, accompanying his earliest and at the same time most current work, accessible to the public for the first time in an exhibition and publication scheduled for 2003.
In CAMERA AUSTRIA No. 75 we now present an advance selection of these works. The making of these pictures, their scientific and methodological – but equally biographical – context and the topical relevance of the studies are the subjects of the interview conducted by Franz Schultheis with Pierre Bourdieu for this issue. We have entered into a local co-operation with Medienturm Graz, a new centre of production and debate of current media art. CAMERA AUSTRIA will publish works by the artists in residence, in each case accompanied by an essay in a series of contributions. As a pilot project, Herwig Weiser has elaborated his ªzgodlocator´ project in Graz; the media theorist and artist Axel Roch puts this position forward for discussion in his essay. In his essay “African Photography in Contemporary Visual Culture”, the British theorist Kobena Mercer explores exhibition projects and publications on African photography that were created in the nineties. Taking them as examples, he discusses the different cultural practices, the related discourses and historical backgrounds involved. In this context, Marcel Odenbach’s video works also appear to be revealing. In these works the Cologne-based German artist – as Yilmaz Dziewior develops in his contribution – reflects on “the image of the black man”, the political ascriptions to the body and the difficulty of overturning them voluntaristically.

Christine Frisinghelli, Maren Lübbke, Manfred Willmann, September 2001

Full text

Camera Austria International 75 | 2001
Editorial

KEEP IN TOUCH is the title we have given to our project aimed at spotlighting CAMERA AUSTRIA’s approach, in our programme, in the form of exhibitions, publications, symposiums and mediation projects. KEEP IN TOUCH will be our contribution, in the context of various focal cultural issues, to the programme of Graz, Cultural Capital of Europe in 2003. The exchange with Pierre Bourdieu over the last year illustrates very well the idea underlying KEEP IN TOUCH, our co-operation with him has produced a wonderful, far-reaching project: as a result of the discussion of his contributions, which followed CAMERA AUSTRIA No. 69, there has evolved a new context of work in which we focus on an as yet unfamiliar facet of Bourdieu’s work: while conducting his first ethnological research work in Algeria in the sixties, the sociologist made systematic use of photography. Pierre Bourdieu has entrusted CAMERA AUSTRIA with his entire archive of photos from his field research with the aim of making these pictures, accompanying his earliest and at the same time most current work, accessible to the public for the first time in an exhibition and publication scheduled for 2003.
In CAMERA AUSTRIA No. 75 we now present an advance selection of these works. The making of these pictures, their scientific and methodological – but equally biographical – context and the topical relevance of the studies are the subjects of the interview conducted by Franz Schultheis with Pierre Bourdieu for this issue. We have entered into a local co-operation with Medienturm Graz, a new centre of production and debate of current media art. CAMERA AUSTRIA will publish works by the artists in residence, in each case accompanied by an essay in a series of contributions. As a pilot project, Herwig Weiser has elaborated his ªzgodlocator´ project in Graz; the media theorist and artist Axel Roch puts this position forward for discussion in his essay. In his essay “African Photography in Contemporary Visual Culture”, the British theorist Kobena Mercer explores exhibition projects and publications on African photography that were created in the nineties. Taking them as examples, he discusses the different cultural practices, the related discourses and historical backgrounds involved. In this context, Marcel Odenbach’s video works also appear to be revealing. In these works the Cologne-based German artist – as Yilmaz Dziewior develops in his contribution – reflects on “the image of the black man”, the political ascriptions to the body and the difficulty of overturning them voluntaristically.

Other contemporary artistic positions are presented in the contributions by and about Paul Druecke and Ulrike Lienbacher. In her essay, Maren Lübbke investigates into techniques of gender political de-differentiations on the basis of Austrian artist Ulrike Lienbacher’s latest series of pictures in the context of historically relevant positions such as Sanja Ivekovic´ and Franz West. Finally, the American artist and writer David Robbins presents Paul Druecke’s “Social Event Archive” – an archive consisting of private photographs. The original owners of these photographs were called on to contribute an image that they felt to be particularly significant. The compilation of the various works creates an impressive kaleidoscope of political, private, in any case emotionally charged images that, viewed as a whole, seems to constitute a genre picture. Issue 75 of CAMERA AUSTRIA marks a shift of focus in terms of content: as of this issue we are discontinuing the calendar of photographic events, instead we want to focus more on contributions by and about contemporary artists – as in this issue. Also, we have asked several artists and friends who have featured in CAMERA AUSTRIA to continue our series of artist editions for CAMERA AUSTRIA: the original works by Gerald Van Der Kaap, Iké Udé, Hans Schabus and Matthias Herrmann will be on display shortly at the fairs in Berlin, Paris, Vienna, Cologne and Miami Beach.

Christine Frisinghelli, Maren Lübbke, Manfred Willmann, September 2001

Contributions

Forum

ARTHUR STEENBRUGGE

ANJA STEINMANN

KATHARINA MOURATIDI

KLAUS PANZNER

RABEA EIPPERLE

OLIVER SIEBER

ROGIER MAASKANT

STEPHEN HUGHES

MICHAEL NAJJAR

THOMAS BRENNER

Exhibitions

Public Offerings
Museum of Contemporary Art, Los Angeles
SANDRA WAGNER

Andreas Gursky
Museum of Modern Art, New York; Reina Sofia, Madrid usw.
RACHEL BAUM

Brown by Gary Webb
The Approach, London
MARTIN HERBERT

The Luminous and the Numinous Luisa Lambri
Kunstverein Kreis Ludwigsburg e. V., Ludwigsburg; Fondazione Sandretto Re Rebaudengo Per L’Arte, Guarene d’Alba, Torino
ROY EXLEY

Sanja Iveković: Personal Cuts
Galerie im Taxispalast, Innsbruck
KATY DEEPWELL

Double Vision: Double Specter: Barbara Holub
Galerija Marino Cettina, Umag (Croatia)
MARINA GRŽINIĆ

Spaziergang auf dem Plateu der Menschheit: 49. Biennale di Venezia.
Giardini di Castello und Arsenale, Venedig
SØNKE GAU

Maria Hahnenkamp
Stadtgalerie Saarbruecken, Saarbruecken
FRIEDRICH TIETJEN

Lucinda Devlin: Other Series: Corporal Arenas, Habitats, Water Rites
m fotografie, Bochum
MAGDALENA KRÖNER

24 Episoden über das Leben von heute: Du bist die Welt
Künstlerhaus Wien
RUTH NOACK

Heimaten
Galerie für Zeitgenoessische Kunst Leipzig, Leipzig
SØNKE GAU

Ein Modell, das unaufhörlich einstürtzt: Matthias Poledna: Actualite
Grazer Kunstverein, Graz
REINHARD BRAUN

Tacita Dean: Fernsehturm
DAAD – Galerie Berlin, Berlin
CAROLIN FÖRSTER

Interfaces, Slick and Tricky: Guenther Selichar: Screens, Cold
Kunsthalle Wien project space: Akademiehof, Kupferstichkabinett, Wien
MARIE RÖBL

New Ideas – Old Tricks
hARTware projekte, Dortmund
JAN VERWOERT

Josephine Pride: Serena
Kunstverein Braunschweig, Braunschweig
ANKE KEMPKES

Anna Jermolaewa
Galerie Mezzanin, Wien
KARIN PERNEGGER

Books

Benjamin Buchloh: Neo-Avantgarde and Culture Industry
M.I.T Press, Cambridge, Mass. / London
STEFAN NEUNER

Pop Unlimited?: Imagetransfers in der aktuellen Popkultur
Verlag Turia + Kant, Wien
KRYSTIAN WOZNICKI

Sprünge ins Leere: Gelatin: Nellanutella
Verlag der Buchhandlung Walther König, Köln 2001
KERSTIN STREMMEL

Imprint

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

Editors: Christine Frisinghelli, Maren Lübbke, Anja Rösch

Translations: Daniela Böhmler, Susanne Lummerding und Katja Wiederspahn for Gender et alia, Susanne Steinacher, Richard Watts