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04/03/12 On the Threshold of Sebald’s Room

By Rick Poynor Daniel Blaufuks, Terezín, book cover, Steidl, 2010   All Images are Courtesy of Rick Poynor In a post about W.G. Sebald’s use of pictures, I reproduced a spread from his novel Austerlitz, showing a room with a grid of shelves from floor to ceiling — the records room at the Terezín concentration camp, the so-called Small Fortress, located about an hour from Prague. I was sure I had encountered the picture somewhere else, but the source didn’t spring to mind and the immediate focus of my essay lay elsewhere so I didn’t pursue it. A couple of weeks ago, I happened [...]

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26/02/12 W.G. Sebald: Writing with Pictures

By Rick Poynor  Austerlitz, Penguin Books, 2002 All Images are Courtesy of Rick Poynor W.G. Sebald, who died in a car crash in 2001, is one of the greatest European writers of recent years. His books Vertigo (1990), The Emigrants (1993), The Rings of Saturn (1995) and Austerlitz (2001), all first published in German, defy easy categorization. They have been summarized as part hybrid fiction, part memoir and part travelogue, while the adjectives most frequently used to describe their extraordinary prose style, built on long, elegant sentences, are “haunting” and “mesmeric.” These four books affected me more deeply than anything I have read in a long time. I [...]

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23/02/12 Imagining the Image: Photography, Psychoanalysis and the Affects of Latency

Ignaz Cassar, of The SIP grant winners The essay brings together the figure of the photographer with that of the psychoanalyst by tracing their work with and through latency. Both photographer and psychoanalyst expose something latent in their work: the photographer through dealing with images that are yet to be revealed; the analyst through dealing with signs that are yet to be brought into a relief of signification. Appearing in either field, the latent finds its conceptual bearings in different contexts and by different means. This essay contends that latency forms a transdisciplinary modality, running across fields that stage its effects [...]

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19/02/12 Haunted by Objects: Zvi Goldstein

The visual artist and writer  Zvi Goldstein will take part in a panel devoted to memory and the employment of images in art and literature in the event The SIP Re/View #2: W.G. Sebald (March 5, 2012). His talk will be entitled “The Rucksack.” This interdisciplinary event, produced in collaboration with Mediatheque Holon, is dedicated to the works of noted German writer and scholar, whose work continues to resonate in contemporary art and culture. To February 26, 2012, Zvi Goldstein’s exhibition, Haunted by Objects, is on view at the K21 in Düsseldorf. This is the largest project to date of the visual artist [...]

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02/01/12 Confront Your Seduction: Katie Koti’s asunder

By Nathaniel Stein, The SIP Grant Winner, Brown University A version of this essay originally appeared in Katie Koti, asunder (artist’s book: Providence RI, 2010). Figure in landscape.  As a motif, readily encapsulated.  As a relationship, quite a bit more complex – aesthetically constructed, inscribed by ideology, old but perpetually shifting.  Looking at Katie Koti’s series asunder (2008-present), one might add another term to that list: volatile. Koti speaks of her images of human figures in the seasonally changing landscapes of rural Western Massachusetts (in the northeast US) as a way of inviting audiences to engage with bodies and ideas [...]

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04/12/11 Sigmund Feist and the End of the Idea of the Jews as a Mixed Race

By Amos Morris Reich, The SIP grant winner  Sigmnud Feist (1865-1943) is mostly remembered because of the orphanage for Jewish children that he directed in Berlin, as well as for his work in German linguistics. A collection of recently published letters written to him by 77 of his pupils during their service in the German military during the Great War has brought him back to public attention. But in 1925 he published a widely circulating book entitled Stammeskunde der Juden: Die jüdischen Stämme der Erde in alter und neuer Zeit. Historisch-anthropologisch Skizzen (A History of the Jewish Stock: ancient and [...]

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21/11/11 Discrete Memories

By Ben Alper I’ve always been somewhat of an archivist. Even as a small child, I remember avidly collecting things. Whether it was legos, baseball cards, or books, I was constantly obtaining, organizing and classifying some aggregate of related objects.  I don’t recall ever being too cognizant of any real driving force behind these motivations; it was simply an impulse – and an archival one at that. It is quite natural then, I suppose, that my artistic practice of the last 4 years has dealt directly with archives of varying, but related forms.  This infatuation (obsession might be a more [...]

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06/11/11 Right Here, Right Now

By Romi Mikulinsky On Assaf Shaham, Specific Site at Indie Gallery, Tel Aviv 15-17/9/2011 A three day exhibition offers a great opportunity to talk about the here and now without committing oneself to the weight of the big words that were heard in 2011 in this restless region – from the revolution in Tunisia, to Tahrir square, to the protests in Iran and the mayhem in Lybia, and to the social protest and the tents in the Tel Aviv streets. Push Da Pin (P-D-P) is a new tradition at the Indie Gallery, a self-managed gallery dedicated to photography located in the [...]

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02/11/11 To See or Not to See: Beyond the Secrets and Lies

By Gilad Melzer Gilad Melzer is the curator of the exhibition According to Foreign Souurces, Digital Art Lab, Holon (Israel). The SIP is proud to host artist Trevor Paglen as part of the exibition  ———————————————————————————————————- I’m not interested in what the president said at the press conference. I am interested in what he didn’t say. – I.F. Stone A rhetorical fig leaf, the phrase “according to foreign sources” is a common tongue-in-cheek expression in many countries, Israel among them. While the phrase derives from a situation of legal obscurity, there is nonetheless  distinctive clarity with respect to the punishment meted out [...]

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23/10/11 Claude Cahun: The Lady Vanishes

By Darren Campion  In July of 1944 two middle-age women were arrested on one of the Nazi-occupied Channel Islands – Jersey, to be exact. It seemed that they were the “masterminds” of a resistance propaganda movement that had been operating locally and although they had acted alone, it was just so unlikely that both were strenuously interrogated in order to ascertain the identity of their (non-existent) accomplices. They both attempted suicide, probably with a concealed stash of barbiturates, but were eventually revived and had to endure months of imprisonment in deplorable conditions. The two were saved from execution only when [...]

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13/10/11 Frontier Photography

By Trevor Paglen First Published in Art Forum, March 2009 For the past several years, I’ve spent weeks on end working at the home of my friend Michael Light in a desert valley on the northern shore of California’s Mono Lake. The Sierra Nevada Mountains to the west of the ancient hypersaline lake mark the end of a vast desert stretching north to Oregon, south to Mexico, and east to Utah. During the day, the horizon squirms and undulates with dry heat; after sunset, a dry chill descends and the night sky emerges one star at a time: Vega, Arcturus, [...]

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06/10/11 Links in a Chain of Causality

By Ken Schles Oculus started with a question—a question about images and the way they function. It started with finding myself in a particular circumstance and confronting, what was for me, a particularly difficult time. Oculus is also a direct outgrowth of ideas I explored in my last book, A New History of Photography. In that book I discussed at length an observation that my pictures, usually made in a ‘documentary style,’ often reflected images I already had in memory. Oculus investigates the phenomena of images in memory as well, but looks at the subject from a very different perspective. [...]

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25/09/11 Drawing Back into Time

By Peter Nitsch Personal notes on the Time-Lapse project, photography and apps penetrating visual moments in the bustling life of Bangkok: This time-lapse shows 12 hours of a day in a “Hair Salon” in Bangkok and its’ result, a 1.80 x 1.80 m framed image and its’ preparation for the exhibition at the Kathmandu Gallery. SHOPHOUSES – 4 x 8 m Bangkok: Time-Lapse “Hair Salon” from get addicted to … on Vimeo. It isn‘t intended to be a perfect time-lapse, instead its’ purpose is to be rough, changing in color settings and  as close as possible to the real feeling [...]

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22/09/11 Medium Specificity and Discipline Crossovers in Modern Art: An Interview with Jacques Rancière

By Andrew McNamara & Toni Ross, The SIP grant winner The interview was originally published in: Australian and New Zealand Journal of Art, Volume 8, Number 1, 2007, pp. 99-101 Q1: In a recent interview (Artforum, March 2007), you draw an analogy between the interdisciplinary nature of contemporary art and the nature of your own work. This interests us because the question of the medium or intermediality is the focus of this issue of the Australian and New Zealand Journal of Art. Can you explain what is at stake in your approach to interdisciplinarity? JR: I would describe my attitude [...]

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18/09/11 The SIP / Filter: J. Wesley Brown

By Rotem Rozental At first glance, it seems that J. Wesley Brown’s photographic works identify themselves with the local; a certain street, a certain city, a certain narrative. A second look reveals the emotional geography which they aim to portray. It is a locality of emotion, situated amidst the private and the public. Spanning from Spain to Los Angeles, Brown’s works are frequently presented in exhibitions, and during the last couple of years have also won him several awards. He is also known in the online arena for both of his blogs: We Can Shoot Too, devoted to photography in [...]

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15/09/11 Deconstructing a Photographic self: The Works of Francesca Woodman

By Darren Campion In telling this story we must begin, perhaps reluctantly, at the end. Francesca Woodman jumped to her death from the roof of a New York apartment building. She was 22 years old. The inescapable finality of that act has coloured all subsequent discussion of her work; to some every photograph now seems like a foreshadowing of her suicide. Regardless, there are still enough moments of near breath-taking clarity to suggest the kind of artistic force she might have otherwise become. The precocity of Woodman’s ambition was certainly unusual – indeed it is a defining part of the [...]

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11/09/11 On the Other Side

By Ian Epstein I have been trying to figure something out since I first saw this picture: are all those officials gathered around that table looking out onto the other side of the War on Terror? Because the War on Terror, which Charles McGrath points out “manages to empty both ‘war’ and ‘terror’ of much their meaning,” was something that was started without the ending in mind. It was impossible, thanks to the name, to imagine the End of the War on Terror. We started it with dust from the Twin Towers in our eyes and with the increasingly constant [...]

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08/09/11 Between Player and Content

Mutoscope, animation and moving images. A project by Mathew Lippincott, of The SIP 2011 grant winners In 1894 Herman Casler, a former engineer for Edison, brought to market a motion picture machine that avoided expensive and dangerously flammable nitrate film. A circular flipbook with a gear attached, the mutoscope was immediately put to use filling bars and arcades with one to three-minute doses of penny-per-play peep shows. In England the machine was known by the name of its earliest soft-core feature, “What the Butler Saw.”  Middle Class Moralizers went bonkers, even though the names were racier than the content. I saw [...]

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01/09/11 Prosthetic Memory: The Works of Jerzy Lewczyński

By Krzysztof Pijarski Krzysztof Pijarski, of The SIP grant winners, shares his latest project: the exhibition JL-KP Jerzy Lewczyński has come to be considered a monumental figure. After all, his contribution to Polish photography, both as an artist and an historian making archival discoveries, as well as an author of the Anthology of Polish Photography (Antologia fotografii polskiej), is difficult to overestimate. The exhibition “JL — KP” offers a way of deconstructing this eminent individual of Polish photography, and his oeuvre, while at the same time being an homage to the artist. Are those two perspectives actually possible to reconcile? [...]

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28/08/11 Container of Memories

By Peter Nitsch Home, Carolyn Lefley In the series Home, Carolyn Lefley revisits her childhood home to document the spaces there. Lefley wanted to capture a darker, almost unfamiliar side to the house where she grew up. Lefley says, ”The pictures were taken at night and combine the darkened private interior with the warm glow of suburbia outside.” Lefley’s photographs depict a world that floats between reality and fantasy. Lefley writes: ”Home: a place of comfort and love, a container of memories, a site for longings and a place to belong. Much like Mole’s search for his Dulce Domum in Wind in the Willows, for many [...]

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