Camera Austria International

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82 | 2003

  • FRIEDRICH TIETJEN
    "You can't escape relating back to facts" Interview with Jeff Wall
  • JEFF WALL
  • HILDEGUND AMANSHAUSER
    Interview with Ene-Liis Semper
  • ENE-LIIS SEMPER
  • RIKE FRANK
    Narrating the projection ... Interview with Dorit Margreiter
  • DORIT MARGREITER
  • MICHAEL HALL
    "No attempts have been made to conceal the process of the construction ..." Interview with Clegg & Guttmann
  • CLEGG & GUTTMANN
  • KRYSTIAN WOZNICKI
    Aesthetics of Globalisation

Preface

In a comparison of artistic positions and in a discussion of aesthetic decisions and theoretical, historical, media-inherent issues, Camera Austria No. 82 describes the field that we refer to as the Camera Austria Project: monographic and thematic exhibition projects since the seventies, theoretical “Symposia on Photography”, publication of the magazine and the series of books “Edition Camera Austria” since 1980 document our work for the public; the city of Graz is also an integral part of our project in the form of the “Camera Austria Award for Contemporary Photography”, a prize that has been awarded every two years since 1989. As of spring 2004, we will also finally be able to make our extensive library available to the public and entrench our project more strongly in Graz by means of exhibition and publication projects at our new premises in Kunsthaus Graz.

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Camera Austria International 82 | 2003
Preface

In a comparison of artistic positions and in a discussion of aesthetic decisions and theoretical, historical, media-inherent issues, Camera Austria No. 82 describes the field that we refer to as the Camera Austria Project: monographic and thematic exhibition projects since the seventies, theoretical “Symposia on Photography”, publication of the magazine and the series of books “Edition Camera Austria” since 1980 document our work for the public; the city of Graz is also an integral part of our project in the form of the “Camera Austria Award for Contemporary Photography”, a prize that has been awarded every two years since 1989. As of spring 2004, we will also finally be able to make our extensive library available to the public and entrench our project more strongly in Graz by means of exhibition and publication projects at our new premises in Kunsthaus Graz.

Although these fields of work are characterised by different strategies, they all share the goal of supporting the production of artistic and historical/theoretical work and of using our institutional and media resources to create a platform for their “publication”. From the very outset of the Camera Austria Project it was clear that our decisions would be guided by artistic considerations focused on content rather than aspects of market strategy and commercial interest. In view of our rigorous insistence on this and thanks to the new possibilities at our disposal, we can expect to be able to publicise the aims of the Camera Austria Project with even greater effectiveness in future, without, that is, losing touch with them.

Camera Austria No. 82 presents a series of interviews with protagonists from two generations of artists: with their photography-critical and conceptual positions, Jeff Wall and Clegg & Guttmann have accompanied and left their mark on the theoretical and artistic exploration of photography in recent decades, whereas, in their work, Dorit Margreiter and Ene-Liis Semper (two artists of a younger generation) work with or against a plethora of theoretical and aesthetic models.

For Camera Austria it is crucial that all contributions were elaborated jointly by the artists and authors specifically for this issue. In his interview, Jeff Wall speaks with Friedrich Tietjen about the process of creating his works and about his “war with photography”, as he calls it. We are grateful to Jeff Wall for providing us with unpublished original raw transparencies used for the final digital montage of his work “Man with a Rifle”. In their contribution to Camera Austria’s “Symposium on Photography 9” in 1988, Clegg & Guttmann already advocated viewing the work of art as the result of a meaningful activity within a given context (cf. Camera Austria 26/1988). As shown in the interview with Michael Hall, they also pursue this goal in their most recent works. By adapting the avant-garde collage method, Clegg & Guttmann attempt to apprehend the current historical situation also in formally adequate terms.

Existential borderline situations such as loneliness, loss or desperation are the central thematic concern in the video works of the Estonian artist Ene-Liis Semper, who also sees her work as an attempt to arouse “unconscious memories”. This is reflected by the visual concept of her contribution in this issue: sequences, not single shots, from a selection of her video works done in recent years are intended to illustrate the narrations. For Camera Austria, Rike Frank’s interview with Dorit Margreiter is a publication that we have had in the pipeline for some time now: Margreiter is one of those Austrian artists who have made a relevant contribution to the current discussion: her work focuses on the “everyday” with regard to the conditions that are generally outlined with the aid of such buzzwords as industrialisation, technologisation, urbanisation, mediatisation, and globalisation.

Christine Frisinghelli, Manisha Jothady

Entries

Forum

MIND BOMB

CRISTINA COLEASA

DAN PANAITESCU

BEATRICE APEL

AVIS-JANINA MEYER

ANNABEL ELGAR

ALEXANDRA GAUL & ALICE MÜNCH

JH ENGSTRÖM

HEIKO TIEMANN

THOMAS KUTSCHKER

Exhibitions

Das Auge und der Apparat. Eine Geschichte der Fotografie
Albertina, Wien
ROLF SACHSSE

Walter Niedermayr: Zivile Operationen
Kunsthalle Wien; Kunstverein Hannover; Museum der bildenden Künste, Leipzig
MARIE RÖBL

William Eggleston: Los Alamos
Museum Ludwig, Köln
MAGDALENA KRÖNER

Barthes und Virilio
R / B, Centre Georges Pompidou, Paris
CE QUI ARRIVE, Fondation Cartier pour l’art contemporain, Paris
HERWIG HÖLLER

The Promise, The Land. Jüdisch-israelische KünstlerInnen im Verhältnis zu Politik und Gesellschaft
O. K Centrum für Gegenwartskunst, Linz
ANSELM WAGNER

Wo steht der Baum der uns trennte – Where is the tree which seperated us
Offspace, Wien
SØNKE GAU

Es ist schwer das Reale zu berühren. Die Verwendung dokumentarischer Ansätze in der Videokunst
Münchner Kunstverein
HIAS WRBA

Shots in the Dark. True Crimes Pictures
Chelsea Art Museum, New York
CARLO MCCORMICK

Experience – Foto Biennale Rotterdam
SVEN LÜTTICKEN

Psycho–Geography. The photographs of Sian Bonnell, Paul Cunningham, and Jem Southam.
Hirschl Contemporary Art, London
ROY EXLEY

Marine Hugonnier: Ariana
Chisenhale Gallery; MW Projects, London
DENISE ROBINSON

Deaf 03: Data Knitting, From Wunderkammer to Meta-Data
Rotterdam
TIMOTHY DRUCKREY

Trauer
Atelier Augarten, Zentrum für Zeitgenössische Kunst der Österreichischen Galerie Belvedere, Wien
MANISHA JOTHADY

Books

Sight Seeing: 4. Österreichische Triennale zur Fotografie
Edition Fotohof, Salzburg 2003
MARIE RÖBL

Die Eroberung der Bilder. Photographie in Buch und Presse
Wilhelm Fink Verlag, München 2003
ROLF SACHSSE

Pierre Huyghe / Philippe Parreno: No Ghost just a Shell
Verlag der Buchhandlung Walther König, Köln 2003

Marc Ries: Medienkulturen
Sonderzahl Verlag, Wien, 2002
DREHLI ROBNIK

Ian Geering: Foot and Mouth – The Aftermath
Geerings of Ashford Ldt., Ashford, Kent 2002
SALLY STEIN

Jane Štravs: Photographic Incarnations
ZRC SAZU, Ljubljana 2003
WALTER SEIDL

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: Wilfried Prantner, Richard Watts