On Friday, 12 May 2017, after only being open for a week at the EPEKA Gallery in Maribor, the photo exhibition War and the WWW: Kurds in Syria and Networking Websites was closed prematurely. It was […]
From the Magazine
Usually, camouflage is interpreted within the frame of deceitful communication. Scholars have mainly provided accounts of camouflage based on strategic-tactical sign emissions within the frame of ecological competition. The dominant key is one of antagonism and belligerence, whereby camouflage and camouflage detection are described as a ‘semiotic arms race’.
Parallels between the attitude and aesthetics of protagonists of historical avant-garde and the artists discussed in this article (Stane Jagodič, Željko Jerman and Mirko Lovrić) can be seen in their intention to oppose the cultural canons and occasionally question the art system itself through unconventional deployment of the medium of photography.
The press photographs are the visualization of political discourse: from visual symbols and metaphors to statements on banners that range from insightful political analysis to witty jokes.
John Tagg is one of the most prominent contributors to critical theory and history of photography. In the interview, he talks about the contemporary relationship between (photographic) image and governmentability, on the asymmetrical distribution of power relations that it implies and on the possibilities of resistance to the omnipresent social surveillance.