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.
One of the most privileged and complex motives in the history of photography is the human face. Not only that – it has always been a heavily contested landscape, deeply invested in the aesthetic and ideological struggles concerning the nature of human beings, social class as well as its proper representation through the medium of photography.
New magazine Membrana is here. Dedicated to Camouflage. From the content: A Photographic Solo Comedy by Iiu Susiraja • Jasna Jernejšek Bojan Salaj, photographer • The Ambivalent Eclecticism of Contemporary Photography • Miha Colner Perception […]
In contemporary image saturated and hyper photographed reality, camouflage opens up not only questions of power and surveillance, or their increasing corporatisation and commercialisation, but more and more the right to be unseen, the right to control one’s photographic representation and the (un)ability to resist photographic representation.
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.
The Shilo Group are three younger generation Ukrainian photographers (Vladyslav Krasnoshchok, Sergiy Lebedynskyy and Vadym Trykoz), which in its work deals with current and past social conditions of Ukraine. Their most prominent project, Euromaidan, 2014, received numerous awards and nominations, e.g. ranking among the top twenty photobooks of 2014, according to the Paris Photo and the Aperture Foundation.
Turning away from socially relevant themes is a political act in the same manner as deliberately focusing on them. Victor Burgin elegantly concluded that it was the repeatability of such acts as “distractions” what forms the political of “politics”. This insight must necessarily be followed by the insight that the reproducibility of the acts that focus on the political, similarly form a “politics” of political. And in the case of photography we can talk about representational politics.
This article aims to present how Greek photography has interpreted the recent financial crisis. To do so, it focuses on a series of projects which reject easy claims about their documentary value. Instead of being concerned with the events of crisis alone, these works attempt to portray the Greek social landscape, examining issues of national identity which, for most of them, is also “in crisis”.
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. […]
Can photography have the same effect as film? What is the relationship between them when they deal with the same subject? How does it change when the first is the result of the latter? Must a spectator of a photo-story also see the film to understand its message or can the same message be delivered through the photograph, separated from the narrative?