Camera Austria International

136 | 2016

  • E.C. FEISS
    Pauline Boudry & Renate Lorenz: Militante Figuren und veränderliche Substanzen
  • PAULINE BOUDRY & RENATE LORENZ
  • GONÇALO PENA
    João Maria Gusmão & Pedro Paiva: Der Knaben Wundertüte!
  • JOÃO MARIA GUSMÃO & PEDRO PAIVA
  • ANDREAS PRINZING
    Maya Schweizer: Von Präsenzen und Überlagerungen
  • MAYA SCHWEIZER
  • VOLKER PANTENBURG
    Matthias Müller: Unschärfe-Studien
  • MATTHIAS MÜLLER
  • ADAM KLEINMAN
    Amie Siegel: Kritische Relationen
  • AMIE SIEGEL
  • OMAR KHOLEIF
    Broken Flags. Versuch einen Traum zu träumen

Vorwort

When society experiences its typical character along its margins, a concept that we explored in the last issue, this applies all the more to the photographic images themselves. In this issue, we are focusing on transitions from the photographic to the performative, on passages in photography leading to the dispositifs of cinema and video, both of which are likewise engaged in a continual process of adaptation. What is awaiting us at the margins of the images? Are pictorial regimes themselves not being ever more strongly informed by paradigms that actually rest outside of the visual realm? Can answers to such determinism be discerned from the traces of superimpositions and collisions between the different pictorial regimes?

Volltext

Camera Austria International 136 | 2016
Vorwort

When society experiences its typical character along its margins, a concept that we explored in the last issue, this applies all the more to the photographic images themselves. In this issue, we are focusing on transitions from the photographic to the performative, on passages in photography leading to the dispositifs of cinema and video, both of which are likewise engaged in a continual process of adaptation. What is awaiting us at the margins of the images? Are pictorial regimes themselves not being ever more strongly informed by paradigms that actually rest outside of the visual realm? Can answers to such determinism be discerned from the traces of superimpositions and collisions between the different pictorial regimes?
The work of Amie Siegel perhaps illustrates most clearly the concept of transition: the marble quarried from Dorset Mountain in Vermont ultimately ends up in the designer kitchens of the real estate coveted by the American upper class. Does this signify a shift in the meaning of a material, its transformation and adaptation as a metaphor for a strategy of converting the visual itself? As Adam Kleinman notes: “Riddled throughout Siegel’s work is a concern for what an object claims to be, and its existence and use in the world, usually derived through some form of inscription.”
The current work by Pauline Boudry and Renate Lorenz, “I WANT”, also transcends a gap or traverses a space of discrepancies: texts by the punk poet Kathy Acker are combined with chats and public statements by whistle-blower Chelsea Manning. The “ego” of the protagonist of the filmed performance—the artist Sharon Hayes—appears to be caught in a post-identitary space–time fabric, where she juggles various identities in a “temporal drag”, as E. C. Feiss calls it, permeated by “roving vocabulary and a set of aesthetic strategies”.
“Summoned from various corners of the earth, meteorites, twilights, cassowaries, spectres, hippos, and primates evoke the shapes of old laboratories, founding the archaeology of the unknown,” as Gonçalo Pena writes in reference to the work of João Maria Gusmão and Pedro Paiva. However, the accumulation of objects and the superimposition of images are conceived with a general sense of incompleteness in mind, countering any act of closure or teleology—a furore of images and objects opening, working against Western logical structures of association and causality.
According to Andreas Prinzing, the principle of superimposition is evident in the work of Maya Schweizer as well, at the heart of formal methods and production of meaning. Her filmic works revolve around questions of history, identity, and memory that are associated with spaces and the perception thereof. Both her filmic images and her photographs set these spaces in motion—as points of departure, or densifications, of social processes and collective agency.
“Each image carries—sometimes openly, other times more subtly—the shadow of its past and mediatic migration,” writes Volker Pantenburg about the current work of Matthias Müller. As a compilation of private chat rooms streamed online, “While You Were Out” describes a state of absence, a moment in which the stream is disrupted—what remains is the seating of the protagonists of an online presence that is uncanny and banal in equal measure. So do these images speak of presence or absence? Or, if we consider the focus of this issue on superimpositions and collisions between the different pictorial regimes, does it not seem that the images traverse a space of indeterminacy, highlighting the margins of visual dispositifs, from which point they can be viewed once again and in a different way?

Reinhard Braun
and the Camera Austria Team
December 2016

Cover: Pauline Boudry & Renate Lorenz, still from: Opaque, 2014. Installation, Super 16mm, HD video (colour, sound), 10’. Performance: Ginger Brooks Takahashi, Werner Hirsch. Courtesy: the artists, Marcelle Alix, Paris, Ellen de Bruijne Projects, Amsterdam.

Beiträge

Forum

Presented by Wolfgang Vollmer:
Alexander Basile
Sarah C. Butler
Rose Marie Cromwell
Kris Sanford
Andy Mattern
Johannes Post

Ausstellungen

Erin Shirreff: Halves and Wholes
Kunsthalle Basel
MORITZ SCHEPER

Philip Gaißer, Carsten Benger: Ion Dam
Galerie im Marstall Ahrensburg
JENS ASTHOFF

Peter Dressler: Wiener Gold
Kunst Haus Wien
RUTH HORAK

Alwin Lay: Der entscheidende Augenblick musste verschoben werden
KV – Verein für Zeitgenössische Kunst Leipzig
REBECCA WILTON

Kreuzberg – Amerika. Werkstatt für Photographie 1976 – 1986
C/O Berlin
Und plötzlich diese Weite
Sprengel Museum Hannover
Das rebellische Bild. Situation 1980: Die Kreuzberger »Werkstatt für Photographie« und die junge Folkwang-Szene
Museum Folkwang, Essen
FALK HABERKORN

The Uses of Photography: Art, Politics, and the Reinvention of a Medium
MCASD, La Jolla, San Diego
TIM RIDLEN

From Broodthaers to Braeckman: Photography in the Visual Arts in Belgium
M HKA, Antwerp
STEVEN HUMBLET

steirischer herbst 2016
We can do this: On the Shifting of Cultural Cartographies
MARGIT NEUHOLD AND BASAK SENOVA

Recent Histories: New Photography from Africa
The Walther Collection Project Space, New York
MICHAEL ADNO

Vasco Araújo: Decolonial Desire
Autograph ABP, London
FRANCESCA LAURA CAVALLO

Sven Augustijnen: The Metronome Bursts of Automatic Fire Seep Through the Dawn Mist Like Muffled Drums and We Know It for What It Is
Dublin City Gallery The Hugh Lane
KATE STRAIN

Uprisings
Jeu de Paume, Paris
ELLIE ARMON AZOULAY

Aby Warburg: Mnemosyne Bilderatlas. Rekonstruktion – Kommentar – Aktualisierung
ZKM, Karlsruhe
The Warburg Institute, London
GISLIND NABAKOWSKI

Jungjin Lee: Echo
Fotomuseum Winterthur
MARI LAANEMETS

Yto Barrada: The Sample Book
Secession, Vienna
YUKI HIGASHINO

Katarina Zdjelar: To Walk a Line
Pluriversale V, Academyspace / Akademie der Künste der Welt, Cologne
SABINE WEIER

Tamar Guimarães: La incorrupta
Museo Reina Sofía, Madrid
ANA TEIXEIRA PINTO

Bücher

Joachim Brohm, Valentina Seidel: Trinity
Snoeck, Cologne
MAREN LÜBBKE-TIDOW

Bernd Kracke, Marc Ries (Hg.): Expanded Senses. Neue Sinnlichkeit und Sinnesarbeit in der Spätmoderne
transcript Verlag, Bielefeld 2015
DREHLI ROBNIK

5 × 5. Photo Tracks
EIKON, Vienna 2016
TACO HIDDE BAKKER

Das große Experiment
Florian Havemann: Auszüge aus den Tafeln des Schicksals. Ein Porträt von Velimir Chlebnikov 1977 und 1979
März bei Zweitausendeins, Frankfurt/Main 1979
Boris Mikhailov: Case History
Scalo, Zürich/Berlin/New York 1999
Peter Puklus: The Epic Love Story of a Warrior
SPBH Editions, London 2016
JAN WENZEL

 

Impressum

Publisher: Reinhard Braun

Owner: Verein CAMERA AUSTRIA. Labor für Fotografie und Theorie.
Lendkai 1, 8020 Graz, Österreich

Editors: Margit Neuhold, Sabine Weier.

Translations: Dawn Michelle d’Atri, Rita Matos, Wilfried Prantner, Andrea Scrima.

English proofreading: Dawn Michelle d’Atri, Andrea Scrima.

Acknowledgments: Francisca Bagulho, Alexander Basile, Sooanne Berner, Stanislav Bříza, Sarah C. Butler, Pauline Boudry & Renate Lorenz,  Rose Marie Cromwell, E. C. Feiss, João Maria Gusmão & Pedro Paiva, Otto Kapfinger, Adam Kleinman, Andy Mattern, Eva Möller, Matthias Müller, Paula Naughton, Volker Pantenburg, Gonçalo Pena, Philippe Pirotte, Johannes Post, Andreas Prinzing, Lucy Raven, Rusty Van Riper, Kris Sanford, Maya Schweizer, Amie Siegel, Margherita Spiluttini, Ole Truderung, Ron Warren, Thomas Weski, Sergej Vutuc.

Copyright © 2016
No parts of this magazine may be reproduced without publisher’s permission.
Camera Austria International does not assume any responsibility for submitted texts and original materials.

ISBN 978-3-902911-30-8
ISSN 1015 1915
GTIN 4 19 23106 1600 5 00136