I will try to produce an essay about the status of photography today, how it correlates in our living time and how it is positioned within Contemporary art.
Writers/Authors to whom I refer: W. Benjamin, B. Groys, W.Fluser, J. Tagg, M. Foucault, S. Zuboff, H. Steyerl, J. Bridle,…
Key themes: Photography/Information/Economy, Surveillance, ...
Incomprehensible or Inscrutable are the words we are using quite often when trying to reflect the time and the world we are living in. But let´s try with the notion of Economy that is, at least I think so, the structuring principle of the entire social totality. Thus, when trying to reflect Photography(is) today, it is much more suitable to think about Economy of information than about an image expression. My interest is primarily focused on the changing modality of the medium and apparatus of photography today, as well as theirs interconnections with institutional and power relations that retroactively operate on them through new knowledge and technology. Photography and its contemporary proliferation or multi-productive nature is the leading actor in creation the continuously “flowing” process in all streams of mutual social and technological relations. Consequently, it determines and establishes specific relationships of (ab)use and power relations and is proactively integrated into control systems. …
The “essay” will refer on my previous project realized in 2014 in National Gallery in Ljubljana. The Exhibition/Project was named: “Interiors/Correspondences”. I can say that as a practitioner (an artist) I had no need or enough time to rethink my past work accurately. Therefore I´ll take this opportunity as a privilege.
About criteria, I think I am aware that theme or topics are wide (maybe too wide), but still, I hope there will be an outcome which won´t just explain the complexity of the project, but will open the horizon for further investigation. Thus, I am excited about the process itself and convinced the time won´t be wasted. For next session, 22nd February: -reading some parts of (mentioned) books, articles -structure of text
Supplement: Computer generated photography… …is an image that serves a machine as its own result, and the final outcome-an image, if we can even call it (perhaps a diagram would be a more appropriate term), could also be of a different form. The machine does not care about formal solutions, it acts as its program requires it to be triggered when it detects a "malfunction" based on the program, regardless of its shape or mode in which it appears as (perhaps) an image. This Machine is a Tool-Weapon that in the process of several thousand years of physiological and historical evolution of the arm extension serves like terribly self-sufficient and totally de-subjectivized and as such drives into dystopian threat; IT is something between Blade Runner and Terminator. Consequently, one can assume that the meaning of an image (a photograph) is drawn by a spineless centrifugal force-power, sucking in towards an indeterminate, incomprehensible and undefined center. From the Dark Chamber to the Black Hole. From Camera Obscura to Cavum Nigrum.
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