From 2012 to 2023, the discursive blog format of Fotomuseum Winterthur subjected all aspects of photography and its role in visual culture to interdisciplinary scrutiny. The approximately 50 bloggers that contributed to Still Searching… discussed photographic media and forms within their complex technological, capitalist and ideological networks and negotiated some of the most pressing and relevant questions surrounding photography.
Steve Edwards | 07.09. – 05.11.2017
The Fire Last Time: Documentary and Politics in 1970s Britain
In a time of crisis and increasing anti-capitalism, Steve Edwards considers the meeting of the political Left with photography in Britain in the 1970s. Edwards insists the fortunes of documentary and the visibility of social class are entwined. Beginning from a discussion of the critical fortunes of documentary over the last 30 years, he looks at the interest in Brecht and the fall out from the so called neo-Brechtian moment. In the process, he re-evaluates theories and practices of documentary, engaging with a range of documentary work; conceptions of skill and collective production and women and labour.
Brecht’s UK Tour
Fahim Amir | 16.06. – 31.07.2015
From Cows in French Banlieues to Pigeons in Popular Culture
From June 16 until the end of July, Fahim Amir will write about the photographic depiction of unruly animals in the context of urban panic. He will engage with an exploration of animal spirits in the films La Haine and Ghost Dog: from cows in French banlieues to pigeons in popular culture.
Towards a Theory of the Zoopolitical Unconscious
George Baker | 01.06. – 15.07.2013
George Baker will write around the idea of thinking or theorizing “photographic relationality.” We think of photography, so often, in terms of what Rosalind Krauss called a “theory of gaps”: the photograph as an operation of visual isolation, framing, cropping, freezing an object as a motionless specimen. But the vaunted “doubling” in which photography has been involved is also the creation of a relationship; the photograph’s “indexical” tie to the world a bond or affective tie more than a simple technical effect, and one that still needs further thought and description. Touching upon specific photographs and photographers, pushing forward from the implications of select contemporary artistic practices engaged with photography, I want to think about the relational status and potential of photography over its longer history. I want to write a set of speculative entries on the photograph as an image-couple more than the photograph as image-double – theorizing photographic linkage over technological reproducibility as the central promise of photography today. A set of entries imagining an affective theory of photography, building upon thoughts on photography and love from Roland Barthes to Eduardo Cadava.