This topic of this issue is found photography. The growing interest for this kind of photography, which is significant for the past decade, is is not only the result of generational change of ownership, i.e. the slow (de)parting of generations that have embraced the medium of photography on mass scale and adopted the camera as an obligatory part of the household equipment. It is also (at the first sight paradoxical) a reply to the process of fast popularization of the digital photography in recent years. In the age when more photographs are being taken in half a minute then were produced in 19th century, in the time when the overall-presence of photography is not only evident in the amount of image production (according to some estimates over 880 billion of photographs will be taken this year) but also in the self-evident integration of the camera into the universal communication tool called smartphone (in 2014 about 95% of newly sold photo »cameras« will be integrated into mobile phones), the turn to the material side of photography could be understood as a kind of rejection of progress, resistance or even snobbism. But this is not the interpretation that has led to the current issue of Fotografija magazine.
The renewed interest for the material side of photography is actually an expected reaction to the omnipresent digitalization of photography. It is a part of the adjustment to the new production relations and thus an important indicator of cultural struggles in the field of photography because it unveils the (re)distribution of symbolic capital, institutionalized positions of power and aesthetic principles. One aspect of the awakened interest for the material side of photography is undoubtfully the interest in analogue photography which was the main theme of our last issue, while the focus if the current issue is devoted to the other side of this trend – to found photography. The interest for found photography is not new and is related to the interest for the expression, creativity and aesthetics of vernacular, amateur photography – the photography that excited already the surrealists and which became legitimised in the works of conceptualists and post-modern photographers and artists in the second half of the 20th century. However in the beginning of 21st century, the interest in found photography gained different dimensions and emphasis, as well as new limitations. The loss of materiality of photography changes not only the image and its usage, it is also the conditions of searching for photographs and their finding that changes.
Will Baldessaris of the future ramble through the long forgotten, dusted Facebook servers? Will art collectors bid for data clouds on auctions and lurk for old laptops in antique shops? Will amateur collectors and treasure hunters rummage the flea markets for broken external disks and USB keys? Through the concept of found photography, this issue invites you to contemplate and question the material side of photography. These questions span from various artistic practices, work with archive images of Eastern-German intelligence service to the theoretical deliberation on chance in photography, and attempts to preserve vernacular images left after the economic havoc in Detroit and natural catastrophe that hit the eastern side of Japanese island Honshu. The material side of photography is also explored in the articles outside of thematic focus of this issue – questions concerning copyrights, rise of photo-book and fanzines publishing, and a documentary film about an author who dedicated his documentary work to the analogue aesthetics of black and white photography.
Najdeno • Ilija T. Tomanić • Avtorstvo in plagiatorstvo • Jorg Ceglar, Jaka Repanšek in Ilija T. Tomanić, moderator • Od umirjene halucinacije do travmatičnega presežka • Rok Govednik • Fotoknjiga in knjiga umetnika • Bojan Radovič, Tanja Lazetić in Boštjan Pucelj, moderator • Ena rola fotozinov • Iza Pevec in Lara Plavčak • Mehiški kovček, španski USB – Fotografija, materialno in naključno • Ilija T. Tomanić • Izgubljeno, najdeno, vrnjeno, razstavljeno • Jan Babnik • V prostor ujeti čas • Annibel Cunoldi Attems – Zeitraum • Nataša Kovšca • Sublimacija (ne)vidnega? • Vidno nevidno. Afekt in razpoloženje skozi fotografijo • Jasna Jernejšek • Iskanje pomena v najdenem • Copy Paste • Sara Erjavec Tekavec • Simon Menner: Top Secret – Images from the Archives of the Stasi • Enciklopedija družbenonadzornega karnevala • Jan Babnik • Arianna Arcara in Luca Santese • Found Photos in Detroit • Ilija T. Tomanić • Lard Buurman: Africa Junctions Capturing the City • Urška Berdnik • Arjen J. Zwart • Zift • Iza Pevec
FOTOGRAFIJA 62, 63 / 2014 • izdajatelj revije Fotografija: Membrana (ZSKZ), Maurerjeva 8, 1000 Ljubljana • tel.: +386 (0) 31 777 959 • e-pošta: firstname.lastname@example.org • uredniški odbor: Jan Babnik (odg. in gl. urednik), Ilija T. Tomanić, Lenart Kučić, Peter Gorenšek • avtorji prispevkov: Jan Babnik, Urša Berdnik, Rok Govednik, Jasna Jernejšek, Nataša Kovšca, Iza Pevec, Lara Plavčak, Sara Erjavec Tekavec, Ilija T. Tomanić, Vanja Žižić, • jezikovni pregled slovenščine: Nina Žitko Pucer • jezikovni pregled angleščine: Tom Smith • fotografije: Annibel Cunoldi Attems, Dario Belić, Brane Božič, Lard Buurman, Aljaž Celarc, Tomaž Črnej, Jon Derganc, Martina Dinato, Luka Gorjup, Severin Hirsch, Robert Hutinski, Jurij Korenjak, Simon Menner, Sebastiao Salgado, Arven Šakti Kralj Szomi, Arjen J. Zwart, Donata Wenders, Wim Wenders, Lenka Đorojević, Martin Stöbich, Ena rola filma, Small but dangers, • oblikovanje: Primož Pislak, LUKS Studio • priprava za tisk in tisk: tiskarna Collegium Graphicum • naklada: 400 izvodov • izid revije je finančno podprla Javna agencija za knjigo Republike Slovenije • ustanovitelj revije Fotografija: DFS, Tržaška 2, Ljubljana • Vse fotografije in besedila © Membrana (ZSKZ), razen tam, kjer je navedeno drugače • fotografija na naslovnici / Editorial Photograph: projekt Izgubljeno najdeno / The Lost & Found Project. Objavljeno z dovoljenjem Munemasa Takahashija v sodelovanju s Kristianom Häggblomom (Wallflower Photomedia Gallery, Australia). / Published with courtesy of Munemasa Takahashi in collaboration with Kristian Häggblom (Wallflower Photomedia Gallery, Australia). © Lost & Found project.
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