Camera Austria International 131
Featuring:
Gastredakteurin / Guest editor
Annette Kelm
Shannon Ebner, Morgan Fisher, Jan Groover, Hans Hansen, Louis Ducos du Hauron, Judith Hopf, Horst P. Horst, Barbara Kasten, David Lieske, Dirk von Lowtzow, Maren Lübbke-Tidow, Henrik Olesen, Arthur Ou, Josephine Pryde, Sabine Reitmaier, Michael Schmidt, Hendrik Schwantes, Sylvia Sleigh, Lucie Stahl, Herbert Tobias, Christopher Williams
Column: Cinenova – Feminist Film and Video Distributor
Once again we have decided to conceptually develop an issue of Camera Austria International together with an artist—after working with guest editors Tobias Zielony (Camera Austria International No. 114/2011) and Artur Żmijewski (Camera Austria International No. 117/2012), we have now invited the artist Annette Kelm to design the present issue with us.
Our interest in her artistic activity is sustained by her continuity in making pictures, which has always drawn on her cultural environment—people, objects, artefacts never assume the function of pure indices but rather become independent arrangements, “for all those who behold her pictures tend to grapple with the motifs” (Maren Lübbke-Tidow). So it is this contradiction between literalness and mystification that, in our eyes, makes her works appear exemplary for a productive occupation with present-day contexts related to photography.
Under the title “Belichtung und Farbwerte / Exposure and Chromaticity,” Annette Kelm has compiled works by artists who shed light on her own pictures or demonstrate a fundamental interest in image creation. Photography as an image-fostering medium takes centre stage here, which also becomes clear at the point where artists depart from the medium, where room in this magazine is made for drawing, collage (Judith Hopf, Henrik Olesen), painting (Sylvia Sleigh), and poetry (Josephine Pryde, Dirk von Lowtzow), which in this space attain a sense of given affinity. Yet “Exposure and Chromaticity” initially references the technical aspects involved in creating pictures “which are not evident to the beholder and are effectively non-apprehensible.” In her essay published in the current magazine issue, Maren Lübbke-Tidow describes precisely this gap between producer and beholder that arises on the path between the photographic shot (and all related questions and decisions) and the recipient’s act of deciphering the image: “we don’t really know what we’re seeing: photographing photographing.” Annette Kelm’s determined inclusion of such explorative questions related to photography becomes evident not least in the applied photography of Hans Hansen, whose conversation with Hendrik Schwantes concludes the section of this issue curated by Annette Kelm, laying bare the idea and potentiality of construction in the photographic image.
For this issue and the third part of the Column, the authors Karolin Meunier and Marina Vishmidt, as part of the collective Cinenova Feminist Film and Video Distributor, have exemplified “what it means to actualise these images,” based on two films, without in any way overwriting them.
This issue is rounded off by Jan Wenzel‘s “The Revolving Bookshelf” and by responses to newly published books, as well as 17 reviews on 21 exhibitions from 10 countries, including: Sarah Charlesworth: Doubleworld, New Museum, New York; Liebes Wien, Deine Ingeborg Strobl, Wien Museum Karlsplatz, Vienna; Images of Conviction: The Construction of Visual Evidence, Le Bal, Paris; Charlotte Moth: Choreography of the Image, Tate Britain, London; Sven Johne: Anomalien des frühen 21. Jahrhunderts, Arbeiterkammer Wien, Vienna; Andrzej Steinbach: Figur I, Figur II, Sprengel Museum Hannover; Jon Rafman, Musée d’Art Contemporain de Montréal, Montreal; 7. Fotobookfestival Kassel, documenta-Halle, Kassel; The Order of Things: Photography from the Walther Collection, The Walther Collection, Neu-Ulm.
Camera Austria International
published quarterly, 104 pages, German / English
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