Camera Austria 142 June 2018

Olga Chernysheva, Adam Szymczyk, Bernadette Mayer, Matthew R

ISBN13/Barcode: 4192310616005

Pictures of people and situations believed to be typical of everyday life are what the artists featured in this issue have made the focus of their photographic work. They all share an interest in what Henri Lefebvre described as “lived experience”—in the conviction that this is anything other than banal or trivial.

The photographs, videos, drawings, and paintings of Olga Chernysheva deal with everyday life in post-communist Russia, which the artist views with equal measures of precision and empathy. As Adam Szymczyk writes, this view is free of “Ostalgia” and eludes the kind of orientalization so frequently experienced by East European artists. “It is the quality of sheer presence, of being, that interests the artist,” notes Szymczyk. “People gazing, standing in line, loitering, walking, parading, dancing, guarding.”

A similarly calm yet meticulous view of everyday life is taken by the photographic narrative project “Memory,” developed by the American author Bernadette Mayer in 1971—her only visual work to date. For “Memory,” Mayer shot an entire roll of 35mm Kodachrome slide film on each day of July in the year 1971, while also recording her daily activities in a journal and on audiotape. Matthew Rana illustrates the affinities between “Memory” and the expanded cinema of the 1960s and 1970s. Taking the works “Figur I, Figur II” (2015), “Gesellschaft beginnt mit drei” (2017), and “Der Apparat” (2018) as examples, Maren Lübbke-Tidow traces the “spaces of dissonance” arising in the work of Andrzej Steinbach. His performative series of portraits, developed within a precisely planned dramaturgy, reveals how social practice and cultural ascriptions influence the image of the self.

Another type of portrait is explored by Sophie Thun, who superimposes architectural spaces with photograms of self-portraits. By situating these superimpositions in an exhibition space, she often inscribes herself therein in almost illusory form. Orit Gat creates references to art-historical contexts and maps out how Sophie Thun’s photographs tie into a long tradition of female artists’ self-representation. In Gat’s view, Thun’s photographs “start with the artist’s body and the relationship she delineates between it and the space.”

Adam Broomberg and Oliver Chanarin, together with students from their class at the Hochschule für bildende Künste in Hamburg, agreed to take over the Forum section of this issue. The magazine is rounded off by Jan Wenzel’s “The Revolving Bookshelf” and by responses to newly published books, as well as to internationally relevant exibitions.


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Author N/A
Binding Magazine
Pages 100
Report Date N/A
Date Published 21 Jun 2018
Frequency No
ISBN13/Barcode 4192310616005
Publisher Camera Austria Magazine

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