Disturbances Exhibition catalogue

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Catalogue of the exibition "DistUrbances" by the European Month of Photography.

Transcript of Disturbances Exhibition catalogue

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    d i s t U R B A N c e sC A N f i C t i o N B e A t R e A l i t y ?

  • T h e e u r o p e a n mon T ho f p h oTog r a p h y

  • ,QPHPRULDP7KRPDV)ULHGULFKIRXQGLQJPHPEHURIWKH(XURSHDQ0RQWKRI3KRWRJUDSK\'HFHDVHG

  • d i s t u r Ban c e sCan F i C t ion B eat R ea l i t y ?

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    Ta B L e o fCon T e n T S

    67The european MonTh of phoTography arendT award

    disturBances VenueS

    817CuraTorS STaTeMenT

    Paul di Fel iCe, Katia Re iChin CollaboRation with Gunda aChle itneR

    1823away, away!

    Talk of CaTaSTrophe and The deSire To diSappear

    Kolja Re iCheRt

    2433Re ineR R iedleRjustine blau

    andRej osteRmanPaul hoRn & lotte lyon

    jasmina Cib iC

    3439fiCTion iS SoMeThing To Bel ieVe in

    Vasja naGy

    4049PeteR b ialobRZesKiFRdRiC delanGle

    Kaya behKalamolja tRiaKa steFanoVi

    leoPold KessleR

    5053inSTanT naTure

    PetRa noll

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    5463semiConduCtoR

    distRuKtuRaPtuR thomsen

    GboR aRion KudsZilKKa halso

    6467puzzling enCounTerS

    on phoTo-BaSed auToBiographyGabRiella uhl

    6879dionis io GonZleZniKlas GoldbaChViRGinie maillaRdthomas wRede

    daniel le idenFRostColleCtiF_FaCt

    8081ModelS

    beRthold eCKeR

    8285nighT and day in CoMpuTer gaMeS and

    arChiTeCTural phoTographyRolF saChsse

    8695RobeRt F . hammeRstiel

    thibault bRunetCdRiC delsauxjosh mlleR

    aldo Giannotti

    9699disturBances parTnerS aCknowledgeMenTS

    iMprinT

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    arendt & Medernach is a leading, independent law firm based in luxembourg,

    with offices in Brussels, dubai, Hong Kong, london and new york.

    Seeing art as a unique mode of communication with an impact both inside and outside the firm,

    arendt & Medernach is committed to contemporary art, and to photography in particular.

    true to its passion, arendt & Medernach wishes to encourage open-mindedness, diversity and the sharing of emotions.

    it is thus a great pleasure for arendt & Medernach to be affiliated with the european Month of Photography.

    in presenting the european MonTh of phoTography arendT award,

    arendt & Medernach supports the art of photography and thereby seeks to awaken curiosity

    and a willingness to exchange.

    T h e e u r o p e a nmon Th o f p h oTog r a p h y

    a r e n dT awa r d

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    d i s t u r Ban c e s V e nu e S

    MaiSon europenne de la phoTographie ShowCaSe

    pariS5. sePtembeR4. noVembeR 2012

    feSTiVal CenTre pariSer plaTz 4a& CoMpuTerSpieleMuSeuM

    Berlin19. oCtobeR25. noVembeR 2012

    inSTiTuT franaiS BraTiSlaVa

    30. oCtobeR30. noVembeR 2012

    MuSa Vienna

    30. oCtobeR 20125. januaRy 2013

    MuSe naTional dhiSToire eT darT

    luxeMBourg 26. aPRil31. auGust 2013

    fondaTion de larChiTeCTure26. aPRil30. june 2013

    CerCle CiTraTSkeller26. aPRil30. june 2013

    hungarian naTional gallery BudapeST

    1 . 30. noVembeR 2013

    phoTon CenTre for ConTeMporary

    phoTography ljuBljana

    mayjune 2014

    exhiB iT ion preSenTed ThankS To The S ignif iCanT

    paTronage of

    Mr xaVier BeTTelmayoR oF luxembouRG

    Mr BerTrand delanomayoR oF PaRis

    Mr Milan fTnikmayoR oF bRatislaVa

    Mr MiChael huplmayoR and GoVeRnoR

    oF Vienna

    Mr klauS wowereiTGoVeRninG mayoR

    oF the City oF beRlin

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    Cu r aTo r S S TaT e m e n T

    P au l d i F e l i C e a n d K at i a R e i C h i n Co l l a b o R at i o n

    w i t h G u n da aC h l e i t n e R

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    Today economic, ecological and political crises push the world towards societal changes. In this era of globalisation, characterised by the unprecedented dominance of the visual experience, one may at one and the same time witness not only ever increasing complexity, but also the incessant interweaving of worlds that are physically perceptible from close up yet remote and digital at the same time.

    The timespace ratio in contemporary society determines our physical reality as much as it is itself subject to increasing, paradoxical change. Physical time is measured in eversmaller units according to an internationally recognised system. Originally defined by the Earths rotation, since 1967 the second has been calculated on the basis of atomic measurements; today it is possible to measure one billionth of a billionth of a second. Technological inventions from the nineteenth century onwards allow places that are geographically thousands of miles apart to be connected in increasingly smaller units of time, and permit the linking and transfer of local experiences around the entire globe. Under the slogan Security through Diversity, the highsecurity fiberglass cable company Hibernia Atlantic connects global financial markets and banking systems. Art critic, activist and professor of philosophy Brian Holmes remarks on the absurdity of this notion, stating that: High frequency trading marks the rise of machines. As it moves toward nanoseconds, an asymptotic point appears: the speed of light. Imagine a flashcrash that lasts forever; a blinding eternity. By automating human beings out of the picture, interactivity is finally poised to grasp its elusive object.1

    Digital technologies, economicsdriven globalisation and political upheavals all accelerate our present. At the same time, they radically influence human lifestyles, migratory movements and transnational power relations. Despite our rising efficacy at surmounting distance and time, the world is fragmenting.

    To the extent that both acceleration and constant changes in digital communication engender mankinds alienation from material and physical perception, the permanent use of laptops, tablets and smart phones not only allows participation in the unlimited flow of knowledge, but also leads to the incapacitation of the user; the individual is thrown back upon the power of his/her own, sometimes merely apparent, reflective decisionmaking authority. Realtime and access to social platforms such as Facebook, Twitter and YouTube, available to some parts of the worlds population via the Internet (1.8 billion people in 2011), are not only used for private and commercial purposes but have also become the new media of political activism. Individuals, now able to form groups, deploy these new constellations to take a globally visible stand on sociopolitical upheavals and/or traditional power structures (i.e. Tunisia, Egypt and the occupy movements). The use of images, be it journalistic photos, Internet archives or indeed the artistic exploration of recent political events such as in Tahrir Square, Cairo or the current situation in Syria, has an actual and real impact on the political upheavals of today.

    In view of these phenomena, the production and distribution of pictures, as well as the artistic development of future models along with their imag

    1bRian holmes,

    the PhilosoPhy oF FinanCe, online at:

    httP://bRianholmes.woRdPRess.Com/ 2011/08/12/the-PhilosoPhy-oF-FinanCe/

    (last aCCessed 25 july 2012).

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    ing methods play an important role. How will the emerging forms of political, social and cultural realities relate to artistic designs and models that range from dealing with reality to utopian and dystopian visions?

    The distURBANces project, cooperatively initiated by the partner cities Bratislava, Budapest, Ljubljana, Luxembourg, Paris and Vienna, presents artistic positions that offer new perspectives on urban, technological and political developments. Initiated as a kind of tribute to the American science fiction writer Philip K. Dick, whose novels situate the theme of simulacra (Jean Baudrillard) into artificial environments and artefacts, distURBANces was developed to question todays urban and landscape representation paradigm by focusing on the distortion and the perversion of reality in our globalised world. The exhibition shows how artists focus on, analyse and envision current developments, exploring questions such as: how does artistic photography today depict the acceleration of time in relation to space? What impact do the aforementioned changes have on people and their real habitat? How are the changes in human relationships to nature and the city reflected? Which utopias or dystopias do artists generate from the present situation?

    The correlation of the coordinates of time, space and man in accelerated, digitised living environments evokes the invention of new image worlds. At the same time, current sociopolitical developments in urban areas from surveillance and closedcircuit television to political upheavals all play a role in the production of the artistic image. Visions and fictions are overtaken by reality. At the same time, cer

    tain representations take place on thevirtual plane only. In digital image realms (i.e. cy ber space(s) and computer games), worlds are created in which human life appears as merely an increasingly complex simulation. In many instances of digital imagery, fiction can hardly be d