The Post-photographic Image
Photography is not unambiguous. On the contrary, one can say that photography as a category is becoming increasingly vague. Perhaps the photograph has always had an ambiguous identity in terms of aesthetics and application. But with digital photography and social media, there have been significant shifts in what could be labelled the matter or essence of photography. It is no longer evident what we are talking about when we see a photo-based image. The way in which photography is distributed via the Internet and social media differs greatly from the print format, in which photography traditionally has been manifested.
The photographic image is no longer bound to a specific material or form, but is as digital pixels in constant motion, from one platform to another. Thus, the shift from analogue to digital photography is not just a shift in technical means of production, as Professor of Photography David Bate emphasizes in his text The Emancipating Machine (p.241), it is also a whole new way of viewing images.
“The phenomenological experience of looking at digital photographic images, whether moving or still, is dominated by looking at them on screens instead of prints. There is no doubt that this is a significant change in our relation to understanding photographic images. Any new ontology of the digital photographic images is not longer simply the relation between the object or information and its recording onto the substrate base (whether silver nitrate or digital light receptors, etc). Instead it must also consider the relation of the data language of the electronic image (as tiff, jpeg or raw file, etc.) to the computer network and its screen devices”
Prof. David Bate
Together with artists from the Fotobiennalen 2018-exhibitions, they will give new perspectives on photography in an expanded field.
KEYNOTE – UK
David Bate is a photographer and Professor at The University of Westminster’s Centre For Research and Education in Arts and Media. Amongst his many work and writings, including the books, Art Photography (London, Tate Publications, 2016) Photography: Key Concepts (London: Bloomsbury, 2015) Zone (London: Artwords, 2012), Photography and Surrealism: Sexuality & Colonialism (IB Tauris, 2004) he has written the essay The Emancipating Machine, published in the book “Representational Machines: Photography and the Production of Space”(Aarhus University Press, 2013), which has inspired this year’s symposium.
KEYNOTE – NZ
Geoffrey Batchen is Professor of Photography and Contemporary Art at The Victoria University of Wellington. He is the author of Burning with Desire: The Conceptions of Photography (The MIT Press 1997), Each Wild Idea: Writing, Photography, History (The MIT Press 2002), and Emanations: The Art of the Cameraless Photograph (2016) – the latter published concurrent with the exhibition, with the homonymous title.
KEYNOTE – SE
Cecilia Grönberg is a photographer, artist, researcher, and since 2004 the image editor of OEI magazine, an artistic and literary publishing project that she runs together with Jonas Magnusson (editor-in-chief).
Her books together with Jonas Magnusson include Leviatan från Göteborg (2002), Omkopplingar (2006), Witz-bomber och foto-sken (2009), and För pås-seende. Berndt Pettersons collage och bokstavskonst (2012).
Händelsehorisont || Event Horizon. Distribuerad fotografi (2016), Grönberg’s 1012 page book on “distributed photography”, is sounding the persisting effects of analogue photographs within digital ecologies, and is her dissertation in the field of photography at Akademin Valand, University of Gothenburg (SE).
The artist duo AVPD consists of the visual artists Aslak Vibæk og Peter Døssing, both of whom graduated from The Jutland Art Academy and The Royal Danish Academy of Art in Copenhagen. They have exhibited extensively in Europe and South America and have also participated in group shows in the US and in Asia.
AVPD is behind the exhibition Thawed Time at Fotografisk Center during Fotobiennalen 2018.
Kirstine Autzen holds an MA in visual culture and works both as photographer, curator and art writer. She is curating the exhibition at Galleri Image for Fotobiennalen 2018, New Tactics – Moving in a Soft Field.
Jana Haeckel is a German art historian, freelance curator and lecturer based in Brussels. She holds a PhD in history of art and is senior researcher at the Lieven Gevaert Research Centre For Photography (KU Leuven/UCL). She currently operates as project director for the Cultural Department of Goethe Institut Brussels and teaches at the Design Department of University of Applied Science and Art Dortmund. Moreover, she is part of the curatorial collective Karma Ltd.Extended, presenting a series of exhibitions, lectures and performances at ACUD Gallery Berlin in 2018.
Robert Overweg is an artist working with VR, AR, and new media art. He is considered an expert in creative technology. He is a very sought after speaker and has spoken at many renowned international forums such as SXSW (Texas), MIT (Boston), Yonsei University (Seoul), TEDx (Utrecht), Next conference (Hamburg), ICEC (Trondheim), and Liberty Global (Amsterdam).
Overweg is one of the artists participating in the group exhibition, Photography to end all Photography at Brandts.
Eva Stenram holds an MA in photography from The Royal College of Art in London. She has exhibited extensively in Europe and has also participated in shows and festivals in New York, Tokyo, Toronto, Seoul and New Delhi, to mention but a few. Her work is centered around digital manipulations and she has been engaged in public talks at Le Prix Découverte des Rencontres d’Arles, Glasgow School of Art, Valand Academy and Whitechapel Gallery.
Kristoffer Ørum graduated from Goldsmith College in London and The Royal Danish Academy of Art in Copenhagen. Ørum’s work is often set in the intersection between different media and technologies. Through conscious disruptions of perception he excavates complex stories about the mundane while challenging the existing systems of knowledge and technology.
Ørum is one of the artists in the exhibition at Galleri Image during Fotobiennalen 2018.
Mette Sandbye is Professor of Photography Studies, Head of the Department of Arts and Cultural Studies at the University of Copenhagen and art and photography critic at the newspaper Weekendavisen. She has written extensively on photography and contemporary art and currently researches amateur and family photography since the 1960s. Her most recent book is: Digital Snaps. The New Face of Photography (ed. with J. Larsen, 2014).
Mette Sandbye will moderate the symposium.