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.
Irish photographer Mark Curran presents his on-going project THE MARKET, which is an exploration of the predatory nature of the functioning and condition of global markets. Focusing on financial and commodity exchanges, Curran provides a multi-layered and multimodal investigation of market culture.
The article explores the symbolic status of the insurgent barricade and its curious visual marginalisation or absence in photographic representation of recent political and economic protests from Gezi Park to Maidan Nezalezhnosti. The insurgent barricade is a potent visual icon, a symbol of revolutionary tradition and a metonymy of a failing society.
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.
Since (capitalist) market is an abstract concept, photographic narratives about it are by necessity indirect, focusing on visual representation of its many manifestations. Through most of the 20th century, photographers have continuously been focusing on its most evident manifestation – labour.
What do the abandoned, damaged, pale, wrinkled and decaying photographs really say about Detroit, the symbol of Fordist capitalism and symptom of post-Fordism society, it’s transformation from the city of American dream to the laboratory of neoliberalism?
The article thematises one of the least theorised aspects of photographic theory – medium’s relation to chance. Since the very invention of photography, writings on photography have sought to minimise medium’s dependence on chance, a tendency that was later canonised by medium’s historians and art theoreticians.