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?
Abstracts of Selected Articles from Fotografija no. 62/63
The book Top Secret – Images from the Archives of the Stasi is another example of contemporary fascination over primal, non-artistic photographic production – fascination with »natural« and »genuine« photography. The photographs in the book are the outcome of Simon Menner’s research of the East German secret police (Stasi).
After tsunami that struck Japan in March 2011, numerous photographs were trapped in ruins and alluvia. A project named Memory Salvage, in which more than 4000 volunteers as well as Japanese self-defence forces participated, was started with the goal of cleaning, restoring, digitalizing and returning found photographs.
The exhibition Copy and paste focuses on found images which are strategically pasted into new contexts. The six photographers that are exhibiting their work in the Photon gallery found their individual way of using found, vernacular and stolen images – and setting them into new context.
In terms of genre, the exhibited photographs span from documentary photography and classical photo reportage to very conceptual individual auteurial visions in which various media and techniques are brought together. The exhibition is thematically divided into five blocks which are adapted to the exhibition space of the Gallery of contemporary arts.
The tandem Ena rola filma (One Roll of Film), whose members are Aljaž Celarc and Eva Pavlič Seifert, describes itself on their webpage as an independent DIY project from Slovenia with love for new ideas in artistic production and practice. They are self-publishing foto-zines
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.