Camera Austria International

79 | 2002

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  • ALLAN SEKULA
    TITANIC's wake
  • ALLAN SEKULA
  • CONSTANZE RUHM
    Isaac Julian: Spaces of Translation: Speaking One Language, Understanding Another... A Coversation with Contanze Ruhm
  • ISAAC JULIEN
  • THILO KOENIG
    Linea di Confine per la Fotografia Contemporanea. A conversation with William Guerrieri
  • MAREN GRÖNING
    From the Early Days of Photography and Alpinism in Austria
  • AXEL ROCH
    Faces of Seeing. For a gaze in the temporal in-between of images
  • AXEL ROCH
  • ROLF SACHSSE
    Netz - Bild - Haut
  • KRYSTIAN WOZNICKI
    Aesthetics of Globalisation

Preface

“Waiting for Tear Gas” is the title of a series of new works by Allan Sekula that we will be presenting on 4 October to mark the official presentation of the 2001 Camera Austria Award of the City of Graz for contemporary photography at the Camera Austria exhibition rooms. In this work, created during the World Trade Conference in Seattle in the late autumn of 1999, Sekula documents the demonstrations that sparked off a wave of protests by anti-globalisation groups. “Waiting for Tear Gas” is presented as a sequence of slide-show images; in “TITANIC’s wake”, in contrast – the work presented in this issue – Sekula deals with the problem of globalisation in a sequence of images accompanied by a commentary.

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Camera Austria International 79 | 2002
Preface

“Waiting for Tear Gas” is the title of a series of new works by Allan Sekula that we will be presenting on 4 October to mark the official presentation of the 2001 Camera Austria Award of the City of Graz for contemporary photography at the Camera Austria exhibition rooms. In this work, created during the World Trade Conference in Seattle in the late autumn of 1999, Sekula documents the demonstrations that sparked off a wave of protests by anti-globalisation groups. “Waiting for Tear Gas” is presented as a sequence of slide-show images; in “TITANIC’s wake”, in contrast – the work presented in this issue – Sekula deals with the problem of globalisation in a sequence of images accompanied by a commentary.

The presentation of Isaac Julien in this issue of Camera Austria is our first co-operation with this film-maker, who is not only taking part in this year’s Documenta11, like Allan Sekula, but also shares his political awareness and interest in theory. The artist Constanze Ruhm conducted an interview with Isaac Julien, extracts of which are featured herein. The interview includes a discussion of the history of black film culture in England and an analysis of Julien’s film work. The critical use and analysis of language prove to be perpetual and key themes in Julien’s work, just as he focuses on the politics of the gaze in the context of questions of identity and representation.

The gaze-based installations by media artist Axel Roch advocate a gaze in the temporal in-between of images, his artistic work is driven by the viewer himself drafting the process of seeing. Axel Roch was artist in residence at Medienturm Graz; in co-operation with this centre of media art and theory we will be presenting the grant holders at intervals in this magazine.

In an interview with the Italian photo artist and art mediator William Guerrieri, the photo historian Thilo Koenig presents the history and activities of “Linea di Confine per la Fotografia Contemporanea” in Emilia Romagna. This institute – in a co-operation of artists and theorists – focuses on photographic documentation of rural and urban structural change in this region of Italy. In addition to Guerrieri, Guido Guidi was co-founder of this institution, but also the historian Paolo Costantini – who sadly died at an early age – helped give it form. The special interest in topographical conditions is shared by Italian and international photo artists alike, who create and put their works up for discussion in the “Laboratori” and in the exhibition and publication projects. Some of the results of these projects are featured alongside the text.
An important step was taken for Austria’s culture of photography last year: the Albertina museum, headed by Monika Faber, set up the Albertina Photography Collection, which is scheduled to move into dedicated exhibition rooms and present the first catalogue of the collection at the start of next year. Not least thanks to the incorporation of the collections of the Graphische Lehr- und Versuchsanstalt (Vienna college for graphic design, printing, multimedia and photography), it will now finally be possible to conduct well-founded historical research on photography in a scientific and artistic context and to study pictures from the early days of photography to the present day. In the course of making a new inventory, pictures were discovered that are probably the very first photographic documents of the Austrian Alpine landscape. These impressive large-format photographs of the Alpine topography are presented by Maren Gröning in this issue, who reports on an ambitious project by Gustav Jaegermayer in 1863, who set out on a photographic exploration of the Austrian Alps, and the reasons for his failure. Her investigation of the reasons why the Austrian mountain landscape long lacked the glory afforded to the Swiss and French Alps also highlights the ideological connotations to which the view of this seemingly unspoilt landscape was and still is subjected.

Christine Frisinghelli, Maren Lübbke, September 2002

Entries

Forum

MARCELLA PICCININI

SARAH ANAHORY

CHLOË POTTER

KARL CEBUL

JEAN RUITER

JENS SUNDHEIM

MARTIN KOLLÁR

ANDREAS BÖHMIG

KOICHI KURODA

DENIS DEFIBAUGH

ANNETTE KELM

Exhibitions

Documenta 11. Kassel
KIRSTY BELL

Zu viel ist nicht genug.
Documenta 11. Kassel
FRIEDRICH TIETJEN

Ron Galella
The Andy Warhol Museum, Pittsburgh; Paul Kasmin Gallery, New York
CARLO MCCORMICK

Iconoclash
ZKM, Karlsruhe
SANDRO DROSCHL

Adrian Piper – seit 1965: Metakunst und Kunstkritik
Generali Foundation, Wien
SØNKE GAU

Matthew Barney: The Cremaster Cycle
Museum Ludwig, Köln; Musée d’art moderne de la Ville de Paris; Guggenheim Museum, New York
HIAS WRBA

Andy Warhol Retrospective
Neue Nationalgalerie, Berlin; Tate Modern, London; MOCA, Los Angeles
SANDRA WAGNER

Manifesta 4: Europäische Biennale zeitgenössischer Kunst
Frankfurt / Main
RUTH NOACK

Chic Clicks: Modefotografie zwischen Kunst und Auftrag
ICA, Boston; Fotomuseum Winterthur; NRW-Forum, Düsseldorf
CAROLIN FÖRSTER

Hannah Starkey
Maureen Paley / Interim Art, London
ROY EXLEY

Erwin Wurm: Fat Survival – Handlungsformen der Skulptur
Neue Galerie, Graz; Centre National de la Photographie, Paris; Galleria d’Arte Moderne, Bologna; ZKM, Karlsruhe
JULIA GARIMORTH

James Coleman
Lenbachhaus / Kunstbau; Städtische Galerie, München
RUTH NOACK

Albert Oehlen: Revisited
Galerie Max Hetzler, Berlin
ANKE KEMPKES

Hans Weigand: Cotton 2001 / Jerry Cotton 2002
Wiener Secession; Museum Ludwig, Köln
BRIGITTE HUCK

Gosbert Adler, Robin Collyer: Photoworks
Goethe Institut Gallery, Toronto
CAROLIN FÖRSTER

William Christenberry: Keep it straight
Die Photographische Sammlung / SK Stiftung Kultur, Köln
KERSTIN STREMMEL

Almut Rink: Sector No Limits
Galerie 5020, Salzburg
SØNKE GAU

Korrelaatioita / Korrelationen
Fotogalerie Wien
NINA SCHEDLMAYER

Die Leichen im Keller der jüngeren Geschichte. Der Terrorismus der siebziger Jahre im deutsch-sprachigen Dokumentarfilm
HIAS WRBA

Books

Tom Holert / Mark Terkessidis: Entsichert. Krieg als Massenkultur im 21. Jahrhundert
KiWi, Köln 2002
KRYSTIAN WOZNICKI

BLINK
Phaidon Press, London 2002
MAGDALENA KRÖNER

Open City – Street Photography since 1950
Hatje Cantz Verlag, Stuttgart 2001
MARIE RÖBL

Let’s Move – Michel Frizot: Etienne-Jules Marey
Nathan / Delpire, Paris 2001
FABIAN STECH

Aura Rosenberg: Berliner Kindheit
Steidl Verlag, Göttingen / DAAD, Berlin 2002
GERHARD FROMMEL

Elfriede Mejchar: Flower Fade (Blühen / Verblühen)
Christian Brandstätter Verlag, Wien 2002
TIMM STARL

Imprint

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

Editors: Christine Frisinghelli, Maren Lübbke
Editorial assistats: Heidi Oswald, Anja Rösch, Nora Theiss

Translations: Wilfried Prantner, Richard Watts