Camera Austria International

90 | 2005

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  • ANDREAS REITER RAABE
    Interview with Daniel Buren
  • DANIEL BUREN
  • HILDEGUND AMANSHAUSER
    "Blak lik mi". Interview with Destiny Deacon
  • DESTINY DEACON
  • NATASA ILIC
    Sanja Iveković: Teaching Private Politics
  • SANJA IVEKOVIC
  • SHAHEEN MERALI
    Peter Riedlinger: Before the wall
  • PETER RIEDLINGER
  • TOM HOLERT
    Mass Media Acts (3)

Editorial

The cover picture of this issue of Camera Austria is of two Aboriginal women in a playful fight with a defeated white woman and thus takes us right into the subject of Australian artist Destiny Deacon: Deacon, herself of indigenous extraction, focuses on “the life-world of indigenous Australian women and associated sexism, the effects of colonialism, discrimination, poverty and the commercial and media images of Australian indigenous peoples.” In an interview with the artist, Hildegund Amanshauser presents the Aboriginal fantasies of white Australia, which the artist – who gained fame in contexts of European reception mainly with her photos, video works and installations (including at the 2002 “documenta”) – attempts to place in a different context.

Full text

Camera Austria International 90 | 2005
Editorial

The cover picture of this issue of Camera Austria is of two Aboriginal women in a playful fight with a defeated white woman and thus takes us right into the subject of Australian artist Destiny Deacon: Deacon, herself of indigenous extraction, focuses on “the life-world of indigenous Australian women and associated sexism, the effects of colonialism, discrimination, poverty and the commercial and media images of Australian indigenous peoples.” In an interview with the artist, Hildegund Amanshauser presents the Aboriginal fantasies of white Australia, which the artist – who gained fame in contexts of European reception mainly with her photos, video works and installations (including at the 2002 “documenta”) – attempts to place in a different context.

The work of the Croatian artist Sanja Ivekovic has also been guided by a feminist interest since the early nineteen-seventies. Her work focuses on pictorial representations, particularly of women and the constitution of their subject, by public, private, media and artistic images, as Natasa Ilic illustrates in her contribution: “Whether engaged in performances, videos, installations, actions in public spaces, media or activist projects, the artist has always transposed a wide range of personal themes to public or media spaces, and in doing so emphasised their political potential and social impact. Her works explore the crisis zones of regimes of representation and the ideological positions underlying them.”

Unlike Destiny Deacon and Sanja Ivekovic, whose works evolved, among other things, against the backdrop of their own biographies, the German photo artist Peter Riedlinger attempts to give an insight into “the dramatic changes to be seen on the outskirts of the city, known as Greater Jerusalem” from the viewpoint of the neutral observer. In this process, Riedlinger’s photographs are governed by “the political will to bear witness while simultaneously refraining from judgmental commentary. It is within this structure of presenting and representing images and power that we start to realise the interdependence of the communities and the manifest design for control, surveillance and the defect of it all”, Shaheen Merali comments on Riedlinger’s “us / them II” series presented here.

Unlike the artistic works and theoretical contributions in this issue that are explicitly guided by political interests, the lengthy contribution by Daniel Buren is framed rather by aspects of art and cultural theory, concerned as it is with a critical reflection on artistic strategies in the nineteen-sixties. His current architectural intervention in the New York Guggenheim Museum, then, was not the immediate reason for us to invite Daniel Buren. We were rather interested in his specific use of the photography medium, that provides us with insights into the temporary in-situ works with which Buren above all became well-known. In an interview with Andreas Reiter Raabe, for the first time he explains in depth his use of and approach to photography, and also talks about the function of his artist books. Specially forCamera Austria, Buren has designed a six-page series of photos with his works that he defines as “photos-souvenirs”, that also illustrate his use of colour in a special way. Tom Holert is interested in the “Sea of Colours and Flags” in the most recent political debates, astutely analysing another aspect of visual culture in the third instalment in his series of essays.

Christine Frisinghelli

Contributions

Forum

NAOKI ISHIKAWA

MARK NOZEMAN

FRANK HERFORT

ANNE MARIE TROVATO

ARNO ROCANDA

ANDY HELLER

ROBERT FLEISCHANDERL

ALNIS STAKLE

Exhibitions

Zur Vorstellung des Terrors: Die RAF
Kunst-Werke e.V. Berlin; Neue Galerie am Landesmuseum Joanneum, Graz
MAREN LÜBBKE-TIDOW

Füllhorn der Bilder. 3. Triennale der Photographie Hamburg
Hamburg
KERSTIN STREMMEL

John Baldessari: A Different Kind of Order (1962 – 1984)
Museum Moderner Kunst Stiftung Ludwig, Wien
John Baldessari: Life’s Balance (1984 – 2004)
Kunsthaus Graz
FRIEDRICH TIETJEN

Martha Rossler: If Not Now, When?
Sprengel Museum, Hannover
SIGRID ADORF

Don’t just do it!
Lentos, Kunstmuseum Linz
REINHARD BRAUN

Documentary Creations
Kunstmuseum Luzern
The Need to Document
Kunsthaus Baselland, Muttenz; Halle für Kunst, Lüneburg
WOLFGANG BRÜCKLE

© Elfie Semotan
Landesmuseum Joanneum, Graz
REINHARD BRAUN

Drei Dispositive zwischen Kino, Videowand und Tafelbild
Agnes Varda: 3+3+15 = 3 Installations
Galerie Martine Aboucaya, Paris
CHRISTA BLÜMLINGER

Sascha Reichstein: Be my Guest
Fotohof Salzburg
SØNKE GAU

Behind the Facts. Interfunktionen 1968 – 1975
Kunsthalle Fridericianum, Kassel
HANS-JÜRGEN HAFNER

Spektakel, Lustprinzip oder das Karnevaleske?
Shedhalle, Zürich
ANDREA THAL

Facing History. Portraits of an Age. Photography in Germany and Austria 1900 – 1938
Neue Galerie, New York; Albertina, Vienna
RACHEL BAUM

An Aside: Selected by Tacita Dean
Camden Arts Centre, London
KIRSTY BELL

Sharjah Biennal 7
Sharjah
ANTONIA CARVER

Robert Frank: Storylines
Tate Modern, London; Museu d’Art Contemporani, Brcelona; Fotomuseum Winterthur, Fotostiftung Schweiz
ÆSA SIGURJONSDOTTIR

Larry Clark in Retrospect.
International Center of Photography, New York
CARLO MCCORMICK

Books

David Goldblatt: fifty-one years
MACBA, Barcelona 2002
David Goldblatt: Particulars
Goddman Gallery Editions, Johannesburg 2003
SALLY STEIN

Jasper Sharp und Tom Mes: The Midnight Eye Guide to new Japanese Cinema
Stone Bridge Press, Berkeley 2004
Tom Mes: Agitator – The Cinema of Takashi Miike
FAB Press, Goldaming 2003
HIAS WRBA

Sample Minds. Materialien zur Samplingkultur
Verlag der Buchhandlung Walther König, Köln 2004
SANDRO DROSCHL

Hubert Fichte, Leonore Mau: Psyche, Annäherung an die Geisteskranken in Afrika
S. Fischer Verlag, Frankfurt/Main
GISLIND NABAKOWSKI

Paul Albert Leitner: Städte, Episoden
Fotohof edition, Salzburg 2005
MANISHA JOTHADY

William Kentridge, Angela Breidbach: Thinking Aloud
Verlag und Buchhandlung Walther König Köln, Köln 2005
GISLIND NABAKOWSKI

Imprint

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

Editors Graz: Reinhard Braun, Christine Frisinghelli, Manisha Jothady
Editor Berlin: Maren Lübbke-Tidow

Copy editing: Marie Röbl
Translations: Wilfried Prantner, Richard Watts