Collecting photographic images has for long stirred both interest and imagination of photographers, artists, photographic theorists, just as it did those of information loving intelligence officers, flea market loving amateurs and free market loving entrepreneurs. Contemporary proliferation of image production and sharing seems to have only intensified the practices of collecting, appropriating and curating of found, already existing images. The resulting amassments of images – either in forms of personal albums, institutionalised collections, server farms of social networks or archives of state institutions – are also amassments of narratives, of projections about societies and individuals, of attempts to limit the mere potentiality and contingency of meaning. In particular it was the archive – as a concept, a distinctive repressive social apparatus, and as a pool of (in)accessible images – that has for long been a focal point of theoretical and discursive contestations, creative artistic practices and critical appropriations. Membrana #3 reinvigorates these discussions from the perspective of ubiquitous photography and re-politicisation of social life in post-democratic societies through the metaphor of cabinet. For us, the notion of the cabinet has multiple meanings and can be seen as a bureaucratic image storage and retrieval system, an image display surface, a desktop icon or an Wunderkammer-ish collection of wonders and curiosities and can be approached literally or metaphorically.
4 Ivan Petrović, Photographer, Archivist and Artist • Interview with Ivan Petrović • Miha Colner
10 Photography at the Fringes • Interview with Simon Menner • Iza Pevec
20 Probing • Interview with Peter Koštrun and Peter Rauch • Nataša Ilec
24 sex’n’database: a corporeal taxonomy • paula roush
32 We Need More Documentary, and We Need More than Documentary • Interview with Art Historian Steve Edwards • Andreia Alves de Oliveira
40 Alberto Frigo • Simon Podgoršek • Andrea Palašti • Mihai Şovăială and Horaţiu Şovăială • Dagmar Kolatschny • Onur Ciddi
56 Photos Circle: A Short History of the Nepal Picture Library • Alisha Sett
70 Wundercamera Obscura • Witold Kanicki
74 Parallax Error: The Aesthetics of Image Censorship • Ronnie Close
82 From Cheap Films to Museum Collections • The Author’s Significance for the Magnum Archive: Archiving of Invasion 68 by Josef Koudelka • Marija Skočir
88 A Cabinet of Moments: Collecting and Displaying Visual Content from WeChat • Michelle Proksell and Gabriele de Seta
95 Active Perceptual Systems • Joanna Zylinska
98 The Execution of Bin Laden in Images • Chinar Shah
MEMBRANA 3 / 2017 • ISSN 2463-8501 • publisher: Membrana, Maurerjeva 8, 1000 Ljubljana • tel.: +386 (0) 31 777 959 • email: email@example.com • editorial board: Jan Babnik (editor-in-chief), Ilija T. Tomanić, Lenart Kučić, Emina Djukić • advisory board: Mark Curran, Witold Kanicki, Ana Peraica, Iza Pevec, Matej Sitar • assistances to editorial team: Iza Pevec • article contributors: Ronnie Close, Miha Colner, Steve Edwards, Nataša Ilec, Witold Kanicki, Peter Koštrun, Simon Menner, Andreia Alves de Oliveira, Iza Pevec, Ivan Petrović, Peter Rauch, Paula Roush, Michelle Proksell, Marija Skočir, Gabriele de Seta, Chinar Shah, Alisha Sett, Joana Zylinska • translations: Tom Smith • proofreading: Tom Smith • image & projects contributors: Jaka Babnik, Onur Ciddi, Alberto Frigo, Dagmar Kolatschny, Andrea Palašti, Simon Podgoršek, Urša Premik, Horațiu Șovăială, Mihai Șovăială • design: Primož Pislak • printing: R-Tisk • print-run: 500 • all images and texts © Membrana, except when noted otherwise • editorial photograph: Ronnie Close, from the series Parallax Error, courtesy of the author • last page photo from: Simon Menner, from the series Surveillance Complex – Images from the Secret Stasi Archives, courtesy of the author.
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