Still Searching…

Von 2012 bis 2023 beschäftigte sich der Diskurs-Blog des Fotomuseum Winterthur interdisziplinär mit allen Aspekten der Fotografie und ihrer Rolle in der visuellen Kultur. Die insgesamt fast 50 eingeladenen Blogger_innen von Still Searching…  diskutierten fotografische Medien und Formen als Bestandteil komplexer technologischer, kapitalistischer und ideologischer Netzwerke und verhandelten aktuellste und relevante Fragestellungen rund um die Fotografie.

Index

Blog series: Ideas about the Contemporary Role of Photography within Digital Culture and Artistic Practice

Melanie Bühler | 16.03. – 30.04.2015
Ideas about the Contemporary Role of Photography within Digital Culture and Artistic Practice

From mid-March till the end of April, Melanie Bühler’s blog series will address a number of ideas about the contemporary role of photography within digital culture and artistic practice. She will also examine the role of digital photography within the context of photography as both an artistic medium and a specialized discipline and explore how networked photographic practices are reflected in the work of contemporary artists.

Online Image Behavior, Where Photographs Live Today

Mittwoch, 08.04.2015
<div>Whereas the relation between reality and representation was a key concern of classical photography, now, as photography has become digital, the focus has shifted from this single relation to a multiplicity of relations that extend from a photograph. Value is no longer primarily derived from the special relation between the object in front of the lens and the way it is depicted in the photograph, but it is generated by the multiplicities of image visualizations and variations branching off from the initial moment of capture.<br><br></div>
Blog series: Photography versus Contemporary Art

Ekaterina Degot | 01.11. – 15.12.2014
Photography versus Contemporary Art

Until December 15 the curator, writer and professor Ekaterina Degot will explore some of the paradoxes inherent to the complex relations between photography and so-called contemporary art.

Photography versus Contemporary Art: The Case of the Lecture Performance

Freitag, 28.11.2014
<div>There is less and less photography (and photographers) in contemporary art exhibitions, but more and more photographs. The photograph is a lens through which we see the contemporary world, which comes to us always already reproduced. Almost every static image we see these days is technically a photograph, since even art critics rarely cross paths with original paintings. <br><br></div>
Blog series: Photography and Dissemination

Geoffrey Batchen | 15.09. – 31.10.2012
Photography and Dissemination

Photo thinker Geoffrey Batchen will write about photography and dissemination:

„The theme of my contribution to Still Searching is inspired by Walter Benjamin’s famous essay ‘The Work of Art in the Age of its Technological Reproducibility’ (1935-36). Or, rather, it is inspired by the striking absence of discussions of reproduction and its effects in the literature about photography since this essay first appeared. So I guess I am searching, in the first instance, for the reasons for this absence, given that Benjamin’s essay has been made compulsory reading for a generation of students and is one of the most cited in serious texts about the photographic experience. But I am also interested in beginning to explore the ramifications of photography’s relationship to reproducibility for our understanding of this medium’s history. How has reproducibility manifested itself in photographic practice and experience? What have been the effects of these manifestations? What kind of history would have to be written to encompass these questions? The invention of this history—of a mode of representation capable of doing justice to these questions–is ultimately what I am ‘still searching’ for.“

Dissemination

Samstag, 15.09.2012
<p>The theme of my contribution to <em>Still Searching</em> is inspired by Walter Benjamin’s famous essay ‘The Work of Art in the Age of its Technological Reproducibility’ (1935-36). Or, rather, it is inspired by the striking absence of discussions of reproduction and its effects in the literature about photography since this essay first appeared. So I guess I am searching, in the first instance, for the reasons for this absence, given that Benjamin’s essay has been made compulsory reading for a generation of students and is one of the most cited in serious texts about the photographic experience.</p>