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Criticism / Reviews
Während alle fotografieren können sich manche mit der Fotografie beschäftigen, Fotohof, Salzburg; Marina Faust, Rupertinum – Museum der Moderne Salzburg; Luise Schröder: Erinnerung ist ein Gespenst, Salzburger Kunstverein
In: Camera Austria International, Nr. 152/2020, S. 74–76.
Die Ausstellung mit dem provozierenden Titel Während alle fotografieren können sich manche mit der Fotografie beschäftigen vereint 17 fotografische Positionen aus dem großen Netzwerk der Schule Friedl Kubelka für künstlerische Photographie in Wien. Ruth Horak kuratierte die Jubiläumsausstellung anlässlich des 30-jährigen Bestehens der Privatschule. Die im Titel angesprochene »Beschäftigung mit Fotografie« rückt, aus einer Medienspezifität …
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Criticism / Reviews
Anja Manfredi & Nicole Haitzinger: Glimpses into the Stars Became Space, Fotohof edition, Salzburg 2019
in Camera Austria International, no. 150–151 (2020), pp. 146–47.
A celestial globe in a museum depicted on the cover of this volume indicates the direction it will take: the manifestation of the firmament, the stars, and the unknown throughout time in the spiritual dimension. The artist book provides insight into Vienna’s religious sites and spiritual architectures; it maps a selection of sacral spaces through …
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Criticism / Reviews
Edgar Martins: What Photography and Incarceration Have in Common with an Empty Vase, The Moth House, London 2019
in Camera Austria International, no 149 (2020), p. 87.
Is there a way to work with inmates and their families on incarceration, investigating not so much the physical conditions of confinement but the related emotional impact? How can we talk about imprisonment differently and not use the predominant narration and traditional power relations? How to respond and communicate with photographs? This set of questions …
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Criticism / Reviews
Differentiation and Demarcation: 52nd International AICA Congress. Art Criticism in Times of Populism and Nationalism, Hamburger Bahnhof, Berlinische Galerie, Berlin, 3. – 5. 10. 2019
in Camera Austria International, no. 148 (2019), pp. 74–75.
In order to find out what is currently at stake in art criticism, one needs to approach the question of critique. Art criticism includes pointing at something that could be interesting; marking something with the awareness of not being discriminating; considering self-placement and the creation of value inherent to the art system; thinking against predominant …
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Criticism / Reviews
Jeff Weber: An Attempt at a Personal Epistemology, Roma Publications, Amsterdam 2018
in: Camera Austria International, no. 147 (2019), p. 86.
The black-and-white photograph spanning the full cover of this book shows an artist’s studio with the blinds of a large window and an overloaded working table. The front side depicts a small table with one of Jeff Weber’s Image Storage Containers (2010) and a 16mm film projector on top of it; next to a fan …
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Criticism / Reviews
Patrick Waterhouse: Restricted Images – Made With the Warlpiri of Central Australia, SPBH Editions, London 2018
in Camera Austria International, no. 145 (2019), pp. 92–93.
During the late nineteenth century, in the course of explorations to unknown territory, with the aim of mapping the last “blank” spots on the globe, the so-called “anthropological image” emerged. In the last decade, this white gaze onto the unknown has been under wide scrutiny, particularly within debates of postcolonialism or decolonization: image production always …
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Criticism / Reviews
Ana Hoffner & Kay Walkowiak: The Bacha Posh Project & Given—The Haunting Ghost, FÜNFZIGZWANZIG, Salzburg
in Camera Austria International, no. 142 (2018), pp. 75–76.
To what extent can artistic practices destabilize, defer, or extend normative categories? What is the potential of queer readings in processual approaches toward appropriation? With their open call for 2018, “Que(e)rverweise: Remix(e) & Referenzialität(en)” (cross[queer]references: remixe[s] & referentialities), 5020 investigates artistic positions whose works are characterized by the cracking, the dismantling, and the assembling of …
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Criticism / Reviews
Olga Chernysheva: Chandeliers in the Forest, Secession, Wien
In: Camera Austria International, Nr. 141/2018, S. 73–74.
ArbeiterInnen einer Glasluster-Fabrik konnten nicht mehr bezahlt werden und erhielten Kronleuchter als Entlohnung. Am Waldrand entlang einer von TouristInnen befahrenen Straße wurden diese edlen Stücke an einer einfachen Konstruktion aus Holzstöcken zum Verkauf angeboten. Diese Anekdote von Menschen, die nun mit Pragmatismus und Einfallsreichtum ihren Lebensunterhalt bestreiten müssen, hat Olga Chernysheva in der poetischen fünfteiligen …
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Criticism / Reviews
Where Are We Now? Retrospective Views, Presentiments & Departures into the Unknown, steirischer herbst 2017, various venues, Graz
in Camera Austria International, no. 140 (2017), pp. 69–71.
“They (the Nazis) were back. And they went as far as they were allowed to go. Within a couple of years, they had infiltrated parts of public life. In secret. Or, better: semi-publicly. My grandfather, the architect Fritz Haas, was one of the key characters of the veteran Nazi scene in Graz.”1 This was part …
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