Camera Austria International

97 | 2007

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  • MAREN LÜBBKE-TIDOW
    Mark Raidpere: Nearness and Distance
  • MARK RAIDPERE
  • CHRISTIAN KRAVAGNA
    Vivan Sundaram: Re-take of Amrita
  • VIVAN SUNDARAM
  • CHRISTA BLÜMLINGER
    Agnès Varda: Expansions of Film and Photography
  • AGNÈS VARDA
  • TILMAN BAUMGÄRTEL
    The mobilisation of Images. Comments on YouTube

Preface

Homoeroticism, alienation and self-determination, staging and authenticity of the protagonist and camera/producer are the complexes of subjects that Estonian artist Mark Raidpere deals with insistently in his photographs and video works. His adjustment of the surface of the body, his stagings of body language uncover the mechanisms of representation, revealing the history/stories inscribed in the bodies. Here, on the body’s surface, everything appears to unite and the drama of life unfolds. What is bare life? This is exactly what Raidpere’s artistic work is all about, and thanks to his extreme attention to every single psychological nuance of his performers his ostensibly private work assumes a social and political dimension, that Maren Lübbke-Tidow sets out to explore in her text.

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Camera Austria International 97 | 2007
Preface

Homoeroticism, alienation and self-determination, staging and authenticity of the protagonist and camera/producer are the complexes of subjects that Estonian artist Mark Raidpere deals with insistently in his photographs and video works. His adjustment of the surface of the body, his stagings of body language uncover the mechanisms of representation, revealing the history/stories inscribed in the bodies. Here, on the body’s surface, everything appears to unite and the drama of life unfolds. What is bare life? This is exactly what Raidpere’s artistic work is all about, and thanks to his extreme attention to every single psychological nuance of his performers his ostensibly private work assumes a social and political dimension, that Maren Lübbke-Tidow sets out to explore in her text.

Camera Austria has been invited to take part together with more than eighty other international magazines in the documenta 12 magazine project, that is aimed to combine artistic practice, theoretical debate and reception and prepare readers for the focal issues of documenta 12 in Kassel in summer 2007. A core subject of Camera Austria (in our exhibitions and in this magazine), to explore the social uses of photography, is also the theme of our contributions to this project. The documentary social-activist and photo-political work of Jo Spence has gained new topical relevance and attention. A focal theme on the project of a national image archive for Kurdistan by American photographer Susan Meiselas, commented by Allan Sekula, was recently followed by two contributions: The Slovenian artist group IRWIN presented their “NSK Garde” work, in which they artistically process a fictitious state and its insignia. Furthermore, we provided an introduction to the image-political subjects such as mediation, economy and marketing of German concept artist Anna Oppermann, whose work, ten years after her death, is being brought into the contemporary debate by current exhibitions. With the presentation of Mark Raidpere’s work for our readers’ critical reading, we wish to supplement the aforementioned contributions to the question posed by documenta 12: What is bare life?

Current presentations in Paris, in which photographer and film-maker Agnès Varda (who has designed a special spread of pictures/ texts for this issue) shows herself to be a convincing installation artist, switching effortlessly between photography and film, between video and sculpture, gave occasion for Christa Blümlinger to examine Varda’s step from cinema into the realm of art. In this piece, Blümlinger elaborates that Varda’s films testify to a penchant for the dispositif of the exhibition, for the art of observation: Time and again we see the artistic expression of a vivid semiology of everyday culture, founded on the study of a collection of objects or images.

The resistance of modernist art historiography to the knowledge bases advanced by globalisation debates and postcolonial studies over the past two decades is Christian Kravagna’s starting point to examine Vivan Sundaram’s digital photomontages: In “Re-take of Amrita”, Vivan Sundaram tells a story of artistic self-discovery in an era of decolonisation, contributing not only to the reconstruction of a chapter of Indian art history but also to an art history of transcultural modernism. The protagonist Amrita Sher-Gil was one of the cosmopolitan artist figures in 1920s’ and 1930s’ India. In his essay entitled “The mobilisation of images” with comments on YouTube and its consequences, finally, Tilman Baumgärtel analyses the circulation of images and the associated questions of acceleration and distribution of information.

We are certain that the current issue once again pans out a broad array of current topics in contemporary art production. We look forward to seeing you at Art Cologne and Art Basel this coming spring!

Christine Frisinghelli

Entries

Forum

TIM KUBACH

LOAN NGUYEN

BRITTA RADIKE

KAROLINA MILLER

LINDSEY PAGE

SIGRID JAKOB

JONATHAN GITELSON

KATHARINA GRUZEI

Exhibitions

Partial Views. New Photography 2006: Jonathan Monk, Barbara Probst, Jules Spinatsch.
Museum of Modern Art, New York
RACHEL BAUM

Zoe Leonard, Petra Wunderlich: Around the corner.
Orchard, New York
LAURA DIAMOND

In the face of history. European Photographers in the 20th century.
Barbican Art Gallery, London
STEVEN HUMBLET

Bertien van Manen: Give me your image.
De Hallen, Haarlem
MAARTJE VAN DEN HEUVEL

Three persons singular. Joëlle Tuerlinckx: Les films eux-mêmes.
Argos – Centre for Art and Media, Brussels
YOANN VAN PARYS

Nenad Gattin – A Photographer with no intermediary.
Klovicevi Dvori Gallery, Zagreb; Art Gallery, Dubrovnik; Galerija Umjetnina, Split
SANDRA KRIZIC ROBAN

Gottfried Bechtold: Reine und gemischte Zustände.
Kunsthaus Bregenz
ROBERT FLECK

Movens Bild. Zwischen Evidenz und Affekt.
Schaulager, Basel
CAROLIN ARTZ

Hubert Fichte & Leonore Mau und andere.
Fotofilm.
Filreihe und Tagung, Arsenal Kino Berlin
RAINER BELLENBAUM

Tony Conrad: Yellow Movies.
Galerie Daniel Buchholz
HANS-JüRGEN HAFNER

Eigene Drehorte.
Katja Stuke, Oliver Sieber: Das Böhm-Projekt.
Photographische Sammlung, SK Stiftung Kultur in Köln
KERSTIN STREMMEL

Zwischendurch: Diverse Tätigkeiten.
Jahresausstellung 2006/2007 der Mitglieder des Salzburger Kunstvereins.
Salzburger Kunstverein
DREHLI ROBNIK

ECB Annual Photography Award 2006: Austria Today.
Fotografie Forum international, Leinwandhaus, Frankfurt am Main; WestLicht. Schauplatz für Fotografie, Wien
ROLF SACHSSE

Ulrike Lienbacher.
Galerie im Taxispalais, Innsbruck
MANISHA JOTHADY

Sibylle Bergmann: Photographien.
Akademie der Künste Berlin
Der Kontrakt des Photographen.
Akademie der Künste Berlin; Museum Morsbroich, Leverkusen
CAROLIN FöRSTER

Inkunabeln einer neuen Zeit.
Pioniere der Daguerreotypie in Österreich 1839 – 1850.
Albertina Museum
BODO VON DEWITZ

Fotografische Reproduktion und Reproduzierbarkeit von Kunstwerken.
L’œuvre d’art et sa reproduction photographique.
Musée d’Orsay, Paris
HERTA WOLF

Books

Vivian Sobchack: Carnal Thoughts.
University of California Press, Berkeley / Los Angeles / London 2004
DREHLI ROBNIK

Susanne Hoschbach: Vom Ausdruck zur Pose.
Reimer Verlag, Berlin
STEFANIE LOH

Art After Conceptual Art.
reihe Sammlung Generali Foundation, Wien
REINHARD BRAUN

Carrying on the Avant-Garde Legacy.
Anna Fárová & Photography.
Langhans Galerie Praha – PRO Langhans 2006
JOSEF MOUCHA

IRWIN: East Art Map.
Afterall, London 2006
WALTER SEIDL

Imprint

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

Editors Graz: Christine Frisinghelli, Tanja Gassler, Simone Kocsar

Editor Berlin: Maren Lübbke-Tidow

Copy editing: Marie Röbl

Translations: Richard Watts, Aileen Derieg, John Doherty, Don Mader, Marina Miladinov, Derek Paton.