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EIKON # 89


EIKON # 89

Artists | Orit Ishay | Michael Part | Ralf Peters | Anja Ronacher | Sergei Sviatchenko |

Contributors | Carl Aigner | Thomas Ballhausen | Simon Bowcock | Wolfgang Brückle | Brianne Cohen | Thomas Edlinger | Lucas Gehrmann | Luisa Grigoletto | Jana Johanna Haeckel | Matthias Harder | Jasmin Haselsteiner-Scharner | Ruth Horak | Manisha Jothady | Peter Kunitzky | Katharina Manojlović | Andreas Müller | Gislind Nabakowski | Veronika Rudorfer | Chris Sharp | Alexander Streitberger

Languages | German / English
Dimensions | 280 x 210 mm
ISBN | 978-3-902250-79-7
84 pages

Price: € 14,00 (incl. 10% VAT)

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Content

PORTFOLIO

MICHAEL PART | Ruth Horak
ORIT ISHAY | Luisa Grigoletto
SERGEI SVIATCHENKO | Thomas Edlinger
ANJA RONACHER | Chris Sharp
RALF PETERS | Lucas Gehrmann

ARTS & STUDIES

DIGITAL SYNESTHESIA

IM FOKUS: FOTOFILMISCHE REALITÄTEN

FOTOGRAFIE IN DER ZEITGENÖSSISCHEN VIDEOKUNST | Alexander Streitberger
FOTOGRAFIE, GESCHICHTE UND GEDÄCHTNIS  | Alexander Streitberger
IDENTITÄT UND KONTROLLE  | Jana Johanna Haeckel
EINE FORENSISCHE ÄSTHETIK DER ERDE  | Brianne Cohen

FORUM

LEWIS BALTZ. EIN NACHRUF | Walter Moser
VOM WUNDER DES ANALOGEN  | Carl Aigner

AUSSTELLUNGEN

CONFLICT, TIME, PHOTOGRAPHY | Simon Bowcock
JÖRN VANHÖFEN. Loop | Matthias Harder
THE FUTURE OF MEMORY. Eine Ausstellung über die Unendlichkeit der Gegenwart | Manisha Jothady
DAMAGE CONTROL. Art and Destruction Since 1950 | Jasmin Haselsteiner-Scharner
ONE MILLION YEARS. System und Symptom | Wolfgang Brückle

 

Editorial

Antonioni’s masterpiece Blow-Up, currently the basis of an exhibition that is on a one-year tour of Vienna, Winterthur and—till early April—Berlin, has a special status in the history of the feature film due to its penetrating analysis of photography: its mechanisms and its failures. While the sequence of moving images (and therefore the plot of the film in itself) is woven into a convincing narrative in keeping with the genre, the positive images drawn from a negative by the protagonist create highly problematic evidence for an event whose outcome is unclear. Because they are “blown up” the authenticity of the photographic image is here exposed to debate to an unprecedented degree.
Although the relationship between the fictitious and documentary content of the photograph has been extensively analysed, almost fifty years after the premiere of the cult film, set in London, it brings up quite different questions against the background of new (digital) technologies: what are the consequences of the continual shift between virtuality and reality for our everyday lives? What happens to society when, due to the permanent simultaneity of real life and digital likeness—this patchwork of reality levels—no conclusive story, no actual narrative can emerge any longer? And how does the film medium, now also modified, cope with these circumstances?
With a view to these changes, “In Focus: Photo-Filmic Realities” now makes an attempt to explore the relationship between reality and illusion with examples of photographic copies of reality in contemporary video art. Under the curatorial management of Alexander Streitberger, who is currently preparing a show for several exhibition sites under the heading Passages. Photography in Contemporary Video Art in Louvain-la-Neuve (Belgium), after an historical introduction to the theme, three chapters will deal with questions of memory processes, the development of identity and environmental politics within the framework of current art videos.

Your EIKON Team with
Nela Eggenberger

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