P3: Post-Photography Prototyping Prize 2018


In collaboration with the Julius Baer Foundation

P3 is a biennial prize that supports artists, creative technologists and researchers questioning the changing role of photographic media. Initiated in 2016 by Fotomuseum Winterthur in collaboration with the Julius Baer Foundation, P3 sets out to define the field of ‘post-photography’ and to engage with photography’s shifting roles in contemporary culture.

In 2018, the second edition of the Post-Photography Prototyping Prize (P3) will encourage interdisciplinarity and collaboration, bringing artists, technologists and researchers together to address specific issues that underlie the changes in contemporary photographic culture. Academics, visual artists and creative coders will join forces to reflect on social and technological transformations within current image production, distribution and consumption. Their joint explorations will result in a series of prototypes – sketches and drafts, unfinished works and proofs of concepts, visualizations and mockups.

Nadine Wietlisbach (Director, Fotomuseum Winterthur), Marco De Mutiis (Digital Curator, Fotomuseum Winterthur) and Katrina Sluis (Curator of the Digital Programme, The Photographers’ Gallery) have shortlisted fifteen finalists from a pool of artists and scholars nominated by an international selection of experts. Finalists were selected based on their artistic practice and research interest, and grouped into five thematically defined teams: Seeing Machines, Social Exchange, Generative Photography, Digital Labor and the Networked Image.

The confirmed finalists will be revealed in February 2018. They will meet physically during one day in London on 14 May 2018, where they will have 24 hours to collaboratively create prototypes that critically, playfully and provocatively engage with the designated themes. The following day the teams will present the result of their efforts in front of the public and the jury, who will award the prize to the winning team.

The presentation of the prototypes and award ceremony will take place on 15 May 2018 at The Photographers’ Gallery in London.


Seeing Machines

What effects do recent developments in computer vision have on photographic media and forms? What is the role of photographers within this transforming apparatus? As Artificial Intelligence not only learns to see and analyze images, but also potentially re-define the notion of ‘representation’, what are the critical implications of new imaging devices, socially, politically and culturally?

Social Exchange

Our social interactions happen increasingly through online sharing platforms. How is our representation of the self changing and how does “social media photography” affect our identity and our social interactions? What is the role of photography in the age of universal voyeurism, Instagram stalking, celebrity hackerazzis and internet exhibitionism?

Generative Photography

From screenshots to in-game photography, from CGI to neural networks, photographs are less and less dependent on the material world. Can we think of photography when no light, no lens and no physical subject is needed? What happens when photography is entirely simulated, virtualized or built from scratch through algorithms?

Digital Labor

Images online compete for our attention, which in turn has become a currency of a specific economy. From memes to clickbaits, from cat videos to food porn, we are constantly lured and distracted, our time and gaze tracked, our attention quantified through the number of likes and followers. What are the possible futures of the image economy? How can this seemingly invisible ecosystem be exposed, challenged and critically discussed within the photographic field?

The Networked Image

How is photography affected by the shift that sees images more transmission-oriented, constantly circulated over global networks and infinitely reproducible? Has photographic exchange become more democratic or just part of a different system of power? How do the properties of the network affect ideas of truth and representation in photographic media? Has the networked image increased propaganda or resistance?


Delphine Bedel (NL), Monica Bello (CH), Ann-Christin Bertrand (DE), Alain Bieber (DE), Matteo Bittanti (IT), Melanie Buehler (US), Sarah Cook (CA), Alfredo Cramerotti (GB), Matteo Cremonesi (IT), Ursula Damm (DE), Marco De Mutiis (CH), Raffael Dörig (CH), Florian Ebner (DE), Doris Gassert (CH), Marvin Heiferman (US), Sabine Himmelsbach (CH), Yuk Yiu Ip (HK), Milo Keller (CH), Kati Kivinen (FI), Fabian Knierim (AT), Tina Kukielski (US), Elise Lammer (DE), Markus Löffler (DE), Alessandro Ludovico (GB), Boris Magrini (CH), Aymeric Mansoux (NL), Eva and Franco Mattes (US), Fabio Paris (IT), Simon Pummell (GB), Rolf Quaghebeur (BE), Domenico Quaranta (IT), Katrina Sluis (GB), Jari-Pekka Vanhala (FI), Nadine Wietlisbach (CH)


Nadine Wietlisbach (Director, Fotomuseum Winterthur), Marco De Mutiis (Digital Curator, Fotomuseum Winterthur), Katrina Sluis (Curator of the Digital Programme, The Photographers’ Gallery), Barbara Staubli (Curator, Julius Baer Art Collection)