Camera Austria International

76 | 2001

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  • NADJA ROTTNER
    Miles Coolidge's Localized Rhetoric of Place
  • MILES COOLIDGE
  • REINHARD BRAUN
    Media, Images, Modes of Disciplining. Associative Interventions in Werner Kaligofsky's works
  • WERNER KALIGOFSKY
  • MARINA GRŽINIĆ
    Perspectives of the body in (digital) photography: GORAN BERTOK, RAJKO BIZJAK, LUKA DEKLEVA, ECLIPSE, ZVONKA SIMČIČ, JANE ŠTRAVS
  • FRANZ SCHUH
    The world as a whole is out of focus: On Karø Goldt's Photography
  • KARØ GOLDT
  • LAURI FIRSTENBERG
    The work of Touhami Ennadre
  • TOUHAMI ENNADRE
  • ROLF SACHSSE
    Netz - Haut - Bild

Editorial

View relations as representation relations as media relations as control relations are the focal issue in the photography of the Austrian artist Werner Kaligofsky, whose work we are featuring alongside three other artistic statements and one theoretical introductory article on young Slovenian art by Marina Grzinic’ in this issue of CAMERA AUSTRIA. The manner in which he transports various media discourses into the medium of photography – Reinhard Braun refers to Kaligofsky’s method as “re-presentation” in his accompanying introductory article – not only constitutes a techno-visual mapping of realities but also, as it were, a mapping of perception, consciousness and society as a whole.

Whereas Werner Kaligofsky’s complex work deals explicitly with a selective visualisation of certain media dispositifs, the associative link of a work by the German artist Karø Goldt, already created last year, with current media images in the wake of 11 September is purely coincidental: her photo from the “floral skyscraper” series, as featured on the cover of this issue, was taken during a walk around Paris and is owed to her biographical method of working: adopting the perspective of her child, who was accompanying her, her camera sights spontaneously fell on the flower with the flying object – a butterfly – on it in front of a skyscraper. Against the backdrop of recent political events, her portraits of men and the “starchaser” photos also seem to touch on a level of meaning that was not explicitly intended when they were created. Rather, with the aid of the “objectifying” camera – as Franz Schuh spotlights in his essay on the artist – Goldt is concerned with a cognitive practice in which the recording subject assures itself of the factual existence of the reality surrounding it. Whereas Franz Schuh discusses Goldt’s private work in a very personal manner, Lauri Firstenberg’s approach to the work of the Moroccan artist living in Paris Touhami Ennadre – whose work is showing in the exhibition “The Short Century” curated by Okwui Enwezor – is far more theoretical: the concept of transformation plays a key role in his “Anti-portraits” (Firstenberg), among others: his aim is to document “trauma as a monument”. His pictures of places and people in New York after 11 September should be seen in connection with Ennadre’s project of dislocating places of memory, identity, death and disaster by portraying unspecified emblems of the place and associated traumatic events.

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Camera Austria International 76 | 2001
Editorial

View relations as representation relations as media relations as control relations are the focal issue in the photography of the Austrian artist Werner Kaligofsky, whose work we are featuring alongside three other artistic statements and one theoretical introductory article on young Slovenian art by Marina Grzinic’ in this issue of CAMERA AUSTRIA. The manner in which he transports various media discourses into the medium of photography – Reinhard Braun refers to Kaligofsky’s method as “re-presentation” in his accompanying introductory article – not only constitutes a techno-visual mapping of realities but also, as it were, a mapping of perception, consciousness and society as a whole.

Whereas Werner Kaligofsky’s complex work deals explicitly with a selective visualisation of certain media dispositifs, the associative link of a work by the German artist Karø Goldt, already created last year, with current media images in the wake of 11 September is purely coincidental: her photo from the “floral skyscraper” series, as featured on the cover of this issue, was taken during a walk around Paris and is owed to her biographical method of working: adopting the perspective of her child, who was accompanying her, her camera sights spontaneously fell on the flower with the flying object – a butterfly – on it in front of a skyscraper. Against the backdrop of recent political events, her portraits of men and the “starchaser” photos also seem to touch on a level of meaning that was not explicitly intended when they were created. Rather, with the aid of the “objectifying” camera – as Franz Schuh spotlights in his essay on the artist – Goldt is concerned with a cognitive practice in which the recording subject assures itself of the factual existence of the reality surrounding it. Whereas Franz Schuh discusses Goldt’s private work in a very personal manner, Lauri Firstenberg’s approach to the work of the Moroccan artist living in Paris Touhami Ennadre – whose work is showing in the exhibition “The Short Century” curated by Okwui Enwezor – is far more theoretical: the concept of transformation plays a key role in his “Anti-portraits” (Firstenberg), among others: his aim is to document “trauma as a monument”. His pictures of places and people in New York after 11 September should be seen in connection with Ennadre’s project of dislocating places of memory, identity, death and disaster by portraying unspecified emblems of the place and associated traumatic events.

Ennadre’s politically motivated practice would seem to be diametrically opposed to the photo essays of the American artist Miles Coolidge, presented by Nadja Rottner. Coolidge’s anti-narrative methodology is “[committed to a] lavish aesthetics of absence that enticingly subjects the local to the plot of a global world” (Rottner). For Coolidge, too, reacts to the greater scheme of politics in his conceptual photographic practice (for instance to the exploitative land policy in the Californian Central Valley), using his ostensibly indifferent photographs to spotlight the locally entrenched rhetoric of the place. The material by and about Miles Coolidge in particular is another instance of CAMERA AUSTRIA’S “tradition” of presenting artists committed to a conceptual methodology. In this context, we are very pleased to announce that the 2001 CAMERA AUSTRIA Prize of the City of Graz for Contemporary Photography, awarded for the sixth time this year, goes to Allan Sekula (see also the NEWS section in this issue).

Finally, Marina Grzinic´s essay presents six young Slovenian artists – Goran Bertok, Rajko Bizjak, Luka Dekleva, ECLIPSE, Zvonka Simcic´ and Jane Stravs – whose work constitutes an important examination of the role of the body in (digital) photography, an examination so far disregarded in contemporary discourses.

Christine Frisinghelli, Maren Lübbke, Heidi Oswald, Manfred Willmann

November 2001

Contributions

Forum

ANDREW PHELPS

TOMEK MZYK

ALBRECHT TÜBKE

MARTIN VESELY

ANJA MANFREDI

PHILIPPE BAZIN

WALTRAUD HOLZFEIND

MICHELE MAHAL

CHRISTIAN ROTHMANN

REINHARD KÜHL

ELISABETH PENKER

Exhibitions

Helen Levitt
Centre national de la photographie, Paris
ANNE BERTRAND

Thomas Demand
Pitti Immagine Discovery, Firenze
FRANCESCO FRILLICI

Photo League: New York 1936/51
Galleria Contemporaneo, Mestre (Venice)
FRANCESCO FRILLICI

Peter Lyssiotis: Cityscapes and Dreamscraps
RMIT Gallery, Storey Hall, Melbourne
SCOTT MCQUIRE & NIKOS PAPASTERGIADES

Mia san mia: Hans Haacke / Werke aus der Sammlung
Generali Foundation, Wien
RUTH NOACK

Georges Adéagbo: Das pytagoreische Zeitalter
Galerie im Taxispalast, Innsbruck
SØNKE GAU

Bewegung ist alles: Moving pictures: Foto – Triennale Esslingen
Galerien der Stadt Esslingen am Neckar
KERSTIN STREMMEL

Ex Machina – Über die Zersetzung der Fotografie
Neue Gesellschaft für Bildende Kuenste e. V., Berlin
FRIEDRICH TIETJEN

Wolfgang Tillmans: Aufsicht
Deichtorhallen Hamburg; Museo d’Arte Contemporanea, Turin; Palais de Tokyo; Louisiana Museum of Modern Art, Humlebaek
BURCU DOGRAMACI

Traversées
Musee d’Art Moderne de la Ville de Paris
HERWIG HÖLLER

The Misfits
Die Entstehungsgeschichte eines Films, dokumentiert von Magnum – Fotografen.
Filmmuseum Düsseldorf
MAGDALENA KRÖNER

August Sander: Menschen des 20. Jahrhunderts
Photographische Sammlung / SK Stiftung Kultur, Köln
MAGDALENA KRÖNER

Liam Gillick, Dedalic Convention, MAK-Galerie
Liam Gillick und Gery Webb, Dedalic Convention: du und ich, Salzburger Kunstverein
KARIN PERNEGGE

Books

Exquisite Mayhem: The Spectacular World of Wrestling by Theo Ehert
Taschen Verlag, Köln, Köln 2001
CARLO MCCORMICK

Araki Mythology
Images modernes, Paris, 2001
ANNE BERTRAND

Hubertus von Amelunxen (Hg.): Theorien der Fotografien
Schirmer/Mosel Verlag, München 2000
ROLF SACHSSE

Atlas und Firenze: Photography and Painting in the Work of Gerhard Richter
Museu d’Art Contemporani de Barcelona, 2000
FABIAN STECH

Atlas und Firenze: Gerhard Richter: Firenze
Verlag Hatje Cantz, Ostfildern-Ruit 2001
FABIAN STECH

Gabriel Orozco: From Green Glass to Airplane.
Artimo Foundation, Amsterdam / Stedelijk Museum, Amsterdam 2001
SVEN LÜTTICKEN

Hermann Asselberghs, Els Opsomer, Rony Vissers: Wrapped
Centro Galego de Arte Contemporanea, Santiago de Compostela 2000
REINHARD BRAUN

Zoltan Jokay: der, die das
Städtische Galerie Ravensburg, Schaden Verlag, Köln 2001
REINHARD BRAUN

Jitka Hanzlova: Bewohner
Fotomuseum Winterthur, Winterthur 2001
REINHARD BRAUN

Stefan Roemer: Corporate Psycho Ambient
Schaden Verlag, Köln 2001
ILKA BECKER

Vinzenz Hediger: Verführung zum Film: Der amerikanische Kino-Trailer seit 1912
Schüren Verlag, Marburg 2001
KRYSTIAN WOZNICKI

Imprint

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

Editors: Christine Frisinghelli, Maren Lübbke, Heidi Oswald, Anja Rösch

Translations: Daniela Böhmler, Lucian Comoy, John Doherty, Timothy Jones, Susanne Lummerding and Katja Wiederspahn for Gender et alia, Wilfried Prantner, Richard Watts