Camera Austria International

81 | 2003

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  • WOLFGANG TILLMANS
    Isa Genzken: A conversation with Wolfgang Tillmans
  • ISA GENZKEN
  • HELMUT DRAXLER
    Michael Schuster: Squaring the Circle
  • MICHAEL SCHUSTER
  • ANNETT BUSCH
    Djibril Diop Mambéty: Let's talk about Poetry and not about Shit
  • DJIBRIL DIOP MAMBÉTY
  • MAX ANNAS
    Djibril Diop Mambéty: Touki Bouki
  • DJIBRIL DIOP MAMBÉTY
  • SAUL ALBERT
    Vuk Ćosić: History of Art for the Intelligence Community
  • VUK ĆOSIĆ
  • KRYSTIAN WOZNICKI
    Aesthetics of Globalisation

Preface

We are pleased to present Camera Austria 81, the first issue of our magazine in 2003. A conversation with Isa Genzken, conducted in Berlin by Wolfgang Tillmans, continues our series of conversations between artists that we launched last year with Isaac Julien and Constanze Ruhm, followed by AA Bronson’s conversation with Matthias Herrmann. We would like to thank Isa Genzken – who also designed the cover for this issue – for the publication of her interview with Wolfgang Tillmans, this being the first time she has given her views on her works in the form of an interview. But we would also like to thank Wolfgang Tillmans for his interest in this joint publication, as well as Daniel Buchholz for supporting this project.

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Camera Austria International 81 | 2003
Preface

We are pleased to present Camera Austria 81, the first issue of our magazine in 2003. A conversation with Isa Genzken, conducted in Berlin by Wolfgang Tillmans, continues our series of conversations between artists that we launched last year with Isaac Julien and Constanze Ruhm, followed by AA Bronson’s conversation with Matthias Herrmann. We would like to thank Isa Genzken – who also designed the cover for this issue – for the publication of her interview with Wolfgang Tillmans, this being the first time she has given her views on her works in the form of an interview. But we would also like to thank Wolfgang Tillmans for his interest in this joint publication, as well as Daniel Buchholz for supporting this project.
A second contribution (by Annett Busch and Max Annas) is devoted to the Oeuvre of the Senegalese film-maker Djibril Diop Mambéty, author of the legendary film “Touki Bouki”. In their texts, both writers demonstrate that moments identified by predominantly European reception as specifically African are ultimately universal: Mambéty’s motivation, they say, is linked to his homeland and is certainly political: “My motivation? The motivation for me is always the image, and for me it is always the image of the place you were born”.
In his essay, Helmut Draxler focuses on Michael Schuster’s installation »Drombeg« at Camera Austria Gallery, approaching this Austrian media artist’s work by way of describing the technical, photographic implementation and computer simulated installation. His methodical approach, characterised in Michael Schuster’s work in such parameters as transfer and shift, reflects the artist’s fundamental stance, whereby meaning arises in the process and art must be seen as a process running parallel to contemporary everyday life.
Vuk Cosic’s computer generated works, which he presented as artist in residence of Medienturm Graz in an exhibition at Neue Galerie, exhibit a multi-layered system of references that adds “motion” to canonical works of art history by means of FBI data surveillance technology: by usurping art works such as Malevich’s famous “Black Square” as an interface for the surveillance software, he creates a “socially compatible surveillance spectacle: an upmarket version of the popular TV series Big Brother” (Saul Albert).
2003 will be a year of great importance for Camera Austria: this September sees the opening of Kunsthaus Graz, and it will be at this new site of contemporary art in Graz that Camera Austria will move into its new premises. In the Eisernes Haus, or Iron House, as it is known, we will have exhibition rooms with a library and reading-room, editorial offices and a workshop and depots. In addition to publishing our Camera Austria International magazine, we will now also be able to tackle larger exhibition projects once again: this increased presence on the international exhibition scene will also help us to emphasize our visibility in the institutional context in Austria – something we are particularly looking forward to.
The first project at our new premises: the exhibition “Positions in Japanese Photography” (opening on 3 October), accompanied by a special issue of Camera Austriaand a Symposium (Oct. 30 to Nov. 1).
The “Freundschaftsspiel” (Friendly Game) exhibition in April this year will be our last show at the Galerie Camera Austria in Sparkassenplatz, before we get set to move into our newly built premises at Kunsthaus Graz in autumn. This “Friendly Game”, for which Manfred Willmann will put together a team consisting of friends and fellow-travellers, is our way of expressing our thanks to all the artists who have lent their support to the Camera Austria project over the years as friends and consultants.
However, above all we would like to thank our readers, particularly our subscribers, who have kept faith with us over the years and who we hope will continue to support our work in the future. Unfortunately – after three years – we have been forced to increase the price of subscriptions, above all as a result of the tremendous financial strain of postage costs. We regret that we are having to pass this financial burden on to our readers all the more as we are well aware of the overall difficult economic situation. However, we do hope that you will acknowledge our work and keep faith with Camera Austria – for our readers’ trust in our project is the mainstay for the independence of our work.

Christine Frisinghelli, Maren Lübbke

Entries

Forum

OLIVER MUSOVIK

CHRISTIAN KNÖRR

CHRISTINE WINKLER

JULIAN BURGIN

LARRY GAWEL

THOMAS HELLSTROM

INGRID MOSCHIK

NANNA LÜTH

ANJA RÖSCH

ADRIENNE SALINGER

Exhibitions

Actualitès.
Le Rectangle, Lyon
ANNE BERTRAND

Ryan Weideman: In my Taxi
Bruce Silverstein Gallery, New York
CARLO MCCORMICK

Joachim Brohm: Areal
Fotomuseum Winterthur; Westfälischer Kunstverein, Münster; Fotomuseum im Münchner Stadtmuseum
THILO KOENIG

Neue Sachlichkeit. Gegenüber – Menschenbilder in der Gegenwartsfotografie
Landesgalerie am Oberösterreichischen Landesmuseum, Linz; Galerie Fotohof, Salzburg
ANSELM WAGNER

Geschichte(n)
Salzburger Kunstverein
RUTH NOACK

Antoni Muntadas: On Translation – The Museum
MACBA, Barcelona; Museum am Ostwall, Dortmund
REINHARD BRAUN

Sam Durant, Tobias Hauser, Richard Hoeck, John Miller: A Country Lane
Kerstin Engholm Galerie
SØNKE GAU

Site-Seeing. Disneyfizierung der Städte?
Künstlerhaus Wien
MARIE RÖBL

Viennale 2002
Wien
RUTH NOACK

Michal Rovner
Stephen Friedman Gallery, London
ROY EXLEY

Valie Export: Mediale Anagramme
Akademie der Künste, Berlin
JULIA GWENDOLYN SCHNEIDER

Struth’s Understanding: Thomas Struth Retrospective
Dallas Museum of Art; The Museum of Contemporary Art, Los Angeles; Metropolitan Museum, New York
RACHEL BAUM

Lois Weinberger
Bonner Kunstverein; Douglas Hyde Gallery, Dublin; Galerie im Taxispalais, Innsbruck
MANISHA JOTHADY

Michael Moore: Bowling for Columbine
HIAS WRBA

Books

Seiichi Furuya: Last Trip to Venice
SALLY STEIN

Aussendienst. Kunstprojekte in öffentlichen Räumen Hamburgs
Modo Verlag, Freiburg, 2002
SUSANNE NEUBURGER

Der «falsche Augenblick». Heinrich Riebesehl: Agrarlandschaften
Schaden Verlag, Köln, 2002
FABIAN STECH

Imprint

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

Editors: Christine Frisinghelli, Maren Lübbke, Manisha Jothady
Editorial assistants: Anja Rösch, Nora Theiss

Translations: John Doherty, Christiane Roth, Wilfried Prantner, Richard Watts