Camera Austria International

95 | 2006

Price

16Add to cart

  • ALLAN SEKULA
    A Portable National Archive for a Stateless People: Susan Meiselas and the Kurds
  • SUSAN MEISELAS
    Kurdistan. In the Shadow of History
  • SUSAN MEISELAS
  • ROBERT OLSON
    The Kurds: Are the Angels smiling?
  • NURIA ENGUITA MAYO
    Rainer Oldendorf: Images in Absentia
  • RAINER OLDENDORF
  • MIHNEA MIRCAN
    A conversation with Santiago Sierra
  • SANTIAGO SIERRA
  • RUTH SONDEREGGER
    Critical Theory of Social Pictures III

Preface

At various places in this issue of Camera Austria No. 95 we look into the question as to “how society and politics enter the picture”: Ruth Sonderegger examines this topic among other things by taking a look at artistic positions that worked not on but rather with the social role of images in recent years, and it just so happens that we will be continuing our contributions to the documenta 12 magazines project, that we kicked off in Camera Austria94 with Jo Spence’s essay “Questioning documentary practice?”, by continuing to focus on the “social use of images”.

Read more

Camera Austria International 95 | 2006
Preface

At various places in this issue of Camera Austria No. 95 we look into the question as to “how society and politics enter the picture”: Ruth Sonderegger examines this topic among other things by taking a look at artistic positions that worked not on but rather with the social role of images in recent years, and it just so happens that we will be continuing our contributions to the documenta 12 magazines project, that we kicked off in Camera Austria94 with Jo Spence’s essay “Questioning documentary practice?”, by continuing to focus on the “social use of images”.

In his essay “Photography and the borders of national identity”, Allan Sekula introduces an extraordinary project by the American photographer Susan Meiselas: “Kurdistan. In the Shadow of History”, that we will be proposing as another contribution to documenta 12 magazines. Meiselas first visited Kurdistan in 1991 with the aim of creating a photo documentation of the identification of the victims of Iraqi offensives in 1988. The result after more than six years of research was an archive on Kurdistan, that has grown as an exhibition, website and book into a “portable national archive” (Allan Sekula) of the Kurds (a people without a state). We have been following the progress of this project since Susan Meiselas commented on this incipient work at our photography symposium on the subject of WAR in autumn 1993 (cf. Camera Austria No. 47/48, 1994). Here, Meiselas talks about the problem of “how to engage and how to implicate. I work within the media and outside it. For we do not only make these images but somehow have to create the space for them to live”, and it is therefore important to us to provide space for a project that so profoundly challenges the (often rashly drawn) borders of photographic documentation.

In a site-specific work at Bucharest’s National Museum of Contemporary Art, that opened in a wing of the parliamentary palace in 2004, Spanish artist Santiago Sierra focuses on the political significance and symbolism of this building. Erected as the “Palace of the People”, it is the second-largest building in the world, a megalomaniac expression of political power and despotism, isolated and cut off by its vast mass from life in the city that had to yield one third of its size for construction of this complex: “a totem of evil, of the terror in the city”, as Sierra characterises the building. In an interview with Mihnea Mircan, curator of the “Under Destruction” project series as part of which Santiago Sierra created his “Corridor in the House of the People”, the artist talks about his work, in which he has dealt with the national self-image of Romania and the allocations of national stereotypes to Romania at the time of its imminent integration into the European Union and the concomitant expectations and doubts.

Unlike Santiago Sierra, who always provides an oppressive political commentary on the history and present situation of the locations of his actions, Rainer Oldendorf examines forms of political activism in a very different, subtle ways. In his photographs and films and in his exhibition settings, he translates fragments of his own biography and political socialisation in the form of snapshots in a constant, meaning-evoking game into the present, again and again, further and further, weaving them together in new, different ways to create a tight mesh of social relationships and interactions. In this process, his work, about which Nuria Enguita Mayo has composed an introductory essay, acts not only as a kind of constant memory work, but also as visualisation of social and political relationships in which he finds himself and on the basis of which he creates his pictures and film works. In allusion to a supposedly collective “knowledge” he succeeds for instance in the “Marco” film project with its variously open narration on armed resistance since the 1970s – in involving the viewer in his work as a kind of accomplice a topic on which we will also be focusing in an exhibition at this year’s steirischer herbst festival.

Christine Frisinghelli

Entries

Forum

MARKUS DORFMÜLLER

SPENCER MURPHY

SURENDRA LAWOTI

STEFANO GRAZIANI

LILI ALMOG

NICOLAI HOWALT

TRINE SONDERGAARD

MICHAEL STRASSER

MORTEN NILSSON

Exhibitions

Yael Bartana: Videoarbeiten.
Kunstverein in Hamburg
JENS ASTHOFF

Nothing But Pleasure.
BAWAG Foundation, Wien
MANISHA JOTHADY

Tacita Dean: Analogue. Films, Photographs, Drawings 1991 – 2006.
Francis Alys: The sign painting project (1993 – 1997). A Revision.
Schaulager Basel
RAINER BELLENBAUM

Mensch! Photographien aus Dresdner Sammlungen.
Kupferstich-Kabinett Dresden.
Nachbilder. Photographie in der DDR.
Tagung in Dresden.
MARGARETHE SZELESS

Kurt Kren:Das Unbehagen am Film.
Atelier Augarten, Wien.
DREHLI ROBNIK

Horàkovà+Maurer: Arbeiten 1996 – 2006.
Fotogalerie Wien in der Akademie der bildenden Künste, Wien
WERNER FENZ

Why Pictures Now. Fotografie, Film, Video Heute.
Museum Moderner Kunst Stiftung Ludwig Wien
ROLF SACHSSE

Erika Sulzer-Kleinemeier: Fotografie.
Ursula Blickle Stiftung, Kraichtal
DORIS BERGER

Paris: Museumsneugründung und -Eröffnung.
Musée du quai Branly, Paris
HERWIG HÖLLER

PHotoEspaña 2006: Naturaleza. International Festival of Photography and Visual arts.
Madrid
ALBERTO MARTÍ­N

Snap Judgments. New Positions in Contemporary African Photography.
International Center of Photography, New York; Miami Art Central
RACHEL BAUM

Out of Beirut.
Modern Art Oxford
NIELS HENRIKSEN

Dietmar Busse: New Photographs.
Sara Tecchia Roma New York
CARLO MCCORMICK

Raconte-Moi / Tell Me. Film and Narration in Migration.
Musée National des beaux-Arts, Québec; Casino Luxembourg – Forum d’art contemporain, Luxembourg
YOANN VAN PARYS

Click DoubleClick. The Documentary Factor.
Haus der Kunst, Munich; Centre for Fine Arts, Brussels
STEVEN HUMBLET

William Wegman: Funney / Strange.
JO LONGHURST

Whitney Biennial 2006: Day for Night.
Whitney Museum of American Art, New York
RACHEL BAUM

Books

Rob Hornstra: Roots of the Rúntur.
National Museum Iceland, Reykjavik, 2006
ÆSA SIGURJONSDOTTIR

Nikolaus Walter: Fotografien 1967 – 2004.
Hatje Cantz, Ostfildern-Ruit 2006
JASMIN HASELSTEINER-SCHARNER

Frieda Grafe: Schriften.
ANNETT BUSCH

ARNO SCHMIDT? – Allerdings!
Deutsche Schillergesellschaft, Marbach 2006
KRYSTIAN WOZNICKI

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, Tanja Gassler
Editor Berlin: Maren Lübbke-Tidow

Copy editing: Marie Röbl
Translations: Wilfried Prantner, Richard Watts, Josephine Watson, Aileen Derieg, Don Mader, Bernard Reeves