The article investigates the relationship between social control and camouflage in contemporary conditions of new visibility from the perspective of digitalisation of photographic image and its increased integration into military and surveillance technologies.
The article is a critical analysis of the work of Finnish photographer Iiu Susiraja based on her series Good Behaviour / Perfect Everyday Life and conversation with the author. Susiraja places herself and her personal life at the centre of her work.
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.
Photography traditionally generates a truth-claim, while at the same time undermining it by holding the potential of being altered or staged. Since the rise of digital techniques, we are facing different (and easier) ways to manipulate pictures, leading to the notion of the digital photograph as generally mutable and therefore not trustworthy.
The article that aims to analyse the artistic production of photographer Bojan Salaj is based on conversations and reviews of his archive. Among Slovenian photographers, Salaj is the one who has been seen as an embodiment of the decisive shift in perception of the photographic medium that occurred in the late 1980s and early 1990s.
For centuries, military uniforms had been colourful to differentiate friend from foe on the battlefield, but also as a distinguishing feature towards civil society. With technological progress and the advent of both aviation and improved photography a century ago, camouflage became a necessity.
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’.
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.
For five years the photographer Rob Hornstra and journalist Arnold van Bruggen travelled through the Caucasus and recorded the building of the most expensive winter Olympic Games to date. To put it better: they have recorded historical, social, cultural and political “behind-the-scenes” of the 2014 winter Olympic Games in Sochi – focusing on the regions of Sochi, Abhazia and Northern Caucasus
The article analyses the photographic oeuvre of Borut Krajnc as a result of talks with the author working with his extensive archive. Among Slovenian photographers, Borut Krajnc currently surely occupies the position of being one of the most prominent and experienced documentarians. He mostly works as a documentary photographer and photojournalist.
The internet and the community have the power to transform “ordinary” people into celebrities. Something similar could be said for the Rich Kids of Instagram, only that they are not just ordinary people. This is a group of children whose parents are amongst the 1% of the wealthiest people on Earth. And their children are not ashamed of the money that is given to them.
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.