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moreEIKON #120
Editorial
Artists | Georgia Creimer | Sanna Kannisto | Markus Krottendorfer | Julian Palacz | Salvatore Vitale |
Thomas Ballhausen | Pia Draskovits | Thomas Edlinger | Nela Eggenberger | Lucas Gehrmann | Sophie Haslinger | Kathrin Heinrich |Dennis Jelonnek | Peter Kunitzky | Helena Lang | Boaz Levin | Katharina Manojlovic | Christina Natlacen | Danièle Perrier | Claus Philipp | Lyle Rexer | Esther Ruelfs | Abigail Solomon-Godeau | Barbara Unterthurner | Eric Vroons | Magdalena Vukovic | Sabine Winkler
Languages | German / English
Dimensions | 280 x 210 mm
ISBN | 978-3-904083-13-3
96 pages
Price: € 15,00 (incl. 10% VAT)
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PORTFOLIO
Salvatore Vitale | Erik Vroons
Georgia Creimer | Lucas Gehrmann
Markus Krottendorfer | Thomas Edlinger
Sanna Kannisto | Sophie Haslinger
Julian Palacz | Katharina Manoijlovic
PROJECTS
Maryam Mohammadi and Joachim Hainzl | Sabine Winkler
WERKPORTRAIT
Amina Handke | Claus Philipp
ARTS & STUDIES
Ulrich Formann | Kathrin Heinrich
IN FOCUS: Mining Photography
An interview with Esther Ruelfs and Boaz Levin | Dennis Jelonnek
Examples of Artistic Research
FORUM
The Launch of Foto Arsenal Wien: An interview with Felix Hoffmann | Nela Eggenberger
EXHIBITIONS
We Love Our Costumers. Stefanie Moshammer | Magdalena Vukovic
Bernd & Hilla Becher | Lyle Rexer
Reversing the Eye. Arte Povera and Beyond 1960-75. Photography, Film, Video | Abigail Solomon-Godeau
Stories of Time | Barbara Unterthurner
The Face. Avedon to Newton | Christina Natlacen
SCHEDULE
with Günther Oberhollenzer
COLLECTOR'S EDITION
Mika Sperling: Mother Tongue
PUBLICATIONS
Sibylle Bergemann. Stadt Land Hund Fotografien 1966 – 2010 | Peter Kunitzky
Elias Wessel. Textfetzen | Thomas Ballhausen
Ingo Gerken. Offenes Buch | Danièle Perrier
F & D Cartier. The Never Taken Images | Pia Draskovits
Editorial
When asked about the enormous material waste that goes hand in hand with analog photography, a photographer friend of mine once said that this was simply the way it was and part of the system; although he had originally also found this problematic, he nevertheless stayed with photography and did not become an environmentalist. Photography and sustainability: The two terms do indeed seem like two opposite poles without any common ground. Toxic developer fluids and fixing baths used during the chemical process in the darkroom are ultimately hazardous waste. Despite the fact that formulas have been adapted over time and the concentration of toxic substances may have decreased, there is no question of climate neutrality. The fact that analog processes are now only used in some areas and have been widely displaced by digital technology sounds, on the surface, like an environmentally friendly alternative; in fact, however, rare natural resources are exploited once again for the production of the purportedly so smart equipment required for this purpose; on top of that, the people of these regions are often directly and permanently harmed by catastrophic working conditions or the pollution of their territories.
In this respect, “Mining Photography” is a long overdue assessment of the “ecological footprint of image production,” as revealed by the title and subtitle of the eponymous project by Esther Ruelfs and Boaz Levin, which includes a travelling exhibition with an accompanying catalog. For EIKON, both initiators talk with Dennis Jelonnek in the section “In Focus” about this interdisciplinary research project with exhibition stations at the Museum für Kunst und Gewerbe Hamburg, the Kunst Haus Wien, and the Gewerbemuseum Winterthur, which for the first time draws a parallel between the development of photographic technology and industrial progress and thus spans an arc from the global overexploitation of the 19th century to the unbridled consumerism of the present day.
Nela Eggenberger
for EIKON, November 2022
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