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?
Ahlam Shibli’s Phantom Home is a tribute to the immersion of the Palestinians in the constant denial of their individual and collective existence by the Israeli regime – in fact it is a tribute to the Palestinian death and it’s omnipresence in Palestinian everyday life.
The press photographs are the visualization of political discourse: from visual symbols and metaphors to statements on banners that range from insightful political analysis to witty jokes.
While searching through Brecht’s legacy, Broomberg and Chanarin found his personal copy of the Holy Bible – the cover of which Brecht had decorated with an image of a car. And then they had an idea… They designed their own version of the Holy Bible.
Since (capitalist) market is an abstract concept, photographic narratives about it are by necessity indirect, focusing on visual representation of its many manifestations. Through most of the 20th century, photographers have continuously been focusing on its most evident manifestation – labour.
Empty stages is a photographic project consisting of a series of digital prints that have been taken since 2003 and comprises of more than 100 photographs. Authors document empty stages in various parts of the world, such as conference halls, city and amateur theatres, concert stages, workers’ clubs or hotels.
The series Big depression consists of two dozen photographs shot using an old bellows camera in wet plate collodion and two dozen digital blow-ups that depict abandoned, slowly deteriorating objects of until only recently active factories.
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?
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.