SITUATIONS statement

As every citizen with a smartphone, laptop or tablet knows, photography is becoming increasingly ‘distributed’. Driven by the vast replicative power of digital algorithms, photographs now move with tremendous speed across a wide variety of devices and platforms. The distinction between the still and the moving image is becoming increasingly blurred. At the same time, digital vision is now profoundly social, implicated in many areas of human activity. Certainly, this is having an impact on practice as younger artists in particular work with a range of media and no longer easily describe themselves as photographers.

In our daily work we find ourselves speaking more of the photographic than photography, of photographic media, rather than the medium. This poses a challenge for a photography museum with a distinctive, but significantly analogue history. We are convinced that Fotomuseum Winterthur needs to react decisively and that this means far more than simply re-embracing a rather out-dated ‘digital turn’.

On 10 April 2015 Fotomuseum Winterthur launched a new exhibition format titled SITUATIONS, which allows us to react more quickly to developments within photographic culture. The role of SITUATIONS is to define Fotomuseum Winterthur’s vision of what photography is becoming, at the same time offering an innovative integration of physical exhibition space and virtual forum. Using tags and clusters as a mode of curatorial classification the aim is to integrate the real and the virtual in relation to exhibition in a new way.

Numbered consecutively, a SITUATION may last a few hours, or two months, and might be photographic imagery, a film, a text, an on-line interview, a screenshot, a photo-book presentation, a projection, a Skype lecture, a performance etc. It might take place in Winterthur or perhaps in São Paulo or Berlin and be streamed on our website. The idea is to construct a constantly growing archive of SITUATIONS, reframing the idea of exhibition in relation to new technologies and both our local and global audiences.

The SITUATIONS programme is organised around key clusters: the first was Relations (SITUATIONS #1 to #8), examining the changing social ontology of photography in relation to digital culture. Seeing Machines (SITUATION #9 to #19) explored the way that technologies of seeing are increasingly devoid of human agency, the unprecedented power of algorithmic vision developing a new mode of ‘seeing’. Formats (SITUATION #20 to #22), the third cluster, dealt with lost and changing visual formats and the implications of these medial transformations for an examination of art and photography. Vanishing (SITUATION #23 to #27), explored the transitional moments inherent in the act of vanishing and asked how, and in what way, these moments are marked by the dynamics of (re-)configuration and (re-)appearance. Witnessing radical transformations in the production, distribution and consumption of images that migrate across mobile and interactive displays, the fifth cluster, (in)stability (SITUATION #28 to #31), revolved around moments of (in)stability in the history and contemporary experience of photography and film. Play (SITUATION #32 to #38) looked at new play practices and platforms – artistic game modifications, the gamification of photography, or new forms of social online interaction – that have emerged in the digital realm, questioning, in turn, how new parameters of game/play challenge the agency of the players. Proletariats (SITUATIONS #39 to #41) examined the potential of artistic strategies of representation to deconstruct the complex imbrications of labour, subjectivity, gender, and social positioning. The eight cluster, Filter (SITUATIONS #42 to #53), examined the politics of images, questioning the hierarchies of social power and value systems that are inscribed into their production, selection and circulation and that are deeply embedded in media technologies and their representations. The Re-enactment cluster (SITUATIONS #54 to #58) exposed the photographic representation as a process of creation rather than of reproduction of reality. Revolving around the theme of Flesh, the tenth cluster (SITUATIONS #59 to #67) looked at the interfaces where the gaze meets the body, where they both intersect to question their transforming nature. The latest cluster considered photography as a Placeholder (SITUATIONS #68 to #79), an object of information and exchange, entangled in circulatory processes, cultural semantics and social structures that determine its understanding.

Each cluster can be searched and reordered by visitors in the SITUATIONS online archive using a system of tags. Over time, new clusters and combinations – and new virtual exhibitions – will emerge.

The current cluster (SITUATIONS #80 to #88 from 20 May 2017) looks at the relationship of photography and facts. “Fake news“ and “alternative facts” have been dominating the headlines recently, often considered as manifestations of a “post-truth age” in which the distinction between fact and fiction, between an objective truth and subjective constructions of reality is said to become increasingly problematic. Photography plays a crucial role in this discussion, as a medium whose indexical quality and visual accuracy have been closely linked to claims of truth and objectivity throughout its history. All the while this specific relationship to reality has nurtured many instances – in art, mass media or politics – in which photographs were strategically (mis)appropriated for the production of effects of truth and evidence. What are we to make of this claim for the factual in a time when images and information circulate uncontrollably across digital networks and social media platforms, reproduced, manipulated and put in new contexts in an ever-increasing pace?

From 13 to 18 June 2017, SITUATIONS/Fact will expand to LISTE Art Fair Basel. The cluster will grow over the course of the summer.