Perspektief Magazine No. 41 by Paradox

Editorial

Tho establishment ot a Photography luslitutc in the Netherlands is I logical result ol steps that have been taken in the past. I',im thinking ot the pubhcation ol a numbor ol reports: Zwart op Wit (Black on White) from the Federalion o l Artists' Associations. ' Dttfi'.itH'

Hflichl

tShfiKtmy

i 'glit on Photography)

Irom the

national woiking |>,irly on pholography policy in 1984 and a sludy on Uw photography policy ol II»; Dutch Arts Council in 1985. The Rotterdam Arl Foundalion pul in Ihoir cenl's worlh in 1986 wilh a report on the leasihility ol .i Dutch Instituti' lor Pholography in Rotterdam, IOIIOWIIK) on Irom a symposium on the sub|ocl held at tr.ismus Universily al Ihe end ol 198b The ball was then tossed again tO the Dutch Arts Council which started workmg on a recommend.ilion about an institute at the beginning ol 1988 The result of this aller h.ivmg worn out two ad hoe workmg parties supplemented with oxtornal advisors and rescarchers was presented on December 12th 1989 The ball Uien passed back to the Mimstry ol Culture which put together another workmg party in Oclober 1990, whose findings wi ie ii'poiti ii to Ih. Minislei on I ehiuary Kith 1991 with ,i recommendation concerning Ihe eslablishment ol an institute Tho Ministry's noxt step has been to hire an advisor who is suppnscd to org.inise the eslablishment ol Ihe Institute, or. il expeiiililiirc culs loice the whole Ihmg to be kept on ice, to postpone it until the m.ister plan on Ihe arts comes inlo ellect in the penod 1993 1996: Kafka in Holland Tho good thing ,ibout Ihe whole allair is that the people at the Minislry are at least gelling more and more involved with the issue ol photography This means that Ihe key question ol the necessity .in.i nsl . ol .in institute lusively devoti d lo photography has again explicitoly usen to the surface. At any evenl Ihis led the Minislry lo suggest to tho parties in the held that tho issue be addresscd once again by means ol a symposium and .i presenlation Givon the Unie and the potential lor ,i wule public it seemed that the KunslRAI 1991 arl lair would be Ihe peilect vehiclo lor this. This issue ot l'erspektiel conlains . ovoiagc ol llu i xhihition .i reporl ol the symposium will appear in our next issue. Last round lor the Institute? Bas V r o e g e

Redactioneel De totstandkoming van een instituut voor de totografie in IJ. deiland is een logisi lie i onsi>(|uentie van in hel verleden ge/elle slappen Ik denk daarbi| aan de publicatie van een aantal rapporten Zwait op i W van de I ederatie van Kunstenaarsver omgingen, ' oloni.ihr Rolichl van de landeli|ko werkgroep fotogra hebeleid uil 1984 en M n sludie O W het lotograliebeloid van de li,I,K| vooi de k ui Vit mt I9K:> De Rollc rnanisi knnststu hling deed niet geheel onbaatzuchtig, in 1986 een duit in de zak met Het Nederlands

Instituut

voor de fotografie

het symposium Naar een Nederlands

in Rotterdam, Instituut

dat volgde op

voor de

fotografie

aan do brasmus Universiteit, eind 1985, Waarna het woord weer was aan de Raad voor de Kunst, die begin 1988 begon aan een advies over een instituut Het resultaat daarvan werd na twee adhoi Aerkgroopen met bijbehorend) externe adviseurs i ') onder zoekers versleten li hi bbi n i|i [iiesenteeid n|i 17 dei embci 1989. Vervolgens lag de bal weer bi| hol mimslene dat een werkgioeji samenstelde die in oktober 1990 word geïnstalleerd en op 13 lobman |ongslleden do minislei verslag dood van haai bevindingen . n ei n .KKies inIIii.ii hl mot betrekking lot di oprichting van een Instituut De volgende stap van hel ministerie is geweest hel inhuren van een advisi ui dn do totstandkoming dient Ie gaan regelen ol indien de bo/iiinigingen lalsnogl loesl.ian di zaal op koud i|S stel len dan wel doorschuiven naar de periode van hel kunstenplan 1993-96. Kafka in Nederland Het aardige van de hele zaak is wel, dat men zich op het minisI. in • in ii il,in ooi steeds nadrukt eli|koi mol de |irolilem.itiel van do lotogr.itio is gaan In zighouden I )aarhi| is de kernvraag van de nood/aal en gov.iren van oen insliluul dat ZII li uitsluitend mot foto gi.ilie bozighoiidl, nadrukkelijl woei komen IDIVI ndri|von Dil voimde voor het ministene in cl) geval aanleiding om partijen m het veld to suggereren de.-i |>n>lili ni.iliel (impliciet) nog m i s n,idiukki'li|k aan de orde Ie stellen op een symposium en in de vorm van een presentatie Gezien het ti|dstip en de publieke aandacht look de KunslRAI 1991 hiervoor hel perfecte voertuig te vormen Waarvan acle. dit nummer van Perspektief informeert u over het laatste onderdeel, het volgende nummer zal een verslag publiceren over hel symposium. Laatste ronde voor het instituut} Bas

Vroege

N H

FEATURE ARTICLES

HOOFDARTIKELEN

Sharing the power - A Multivocal Documentary The subjects of a n t h r o p o l o g i c a l s t u d i e s t h e m s e l v e s have s o m e t h i n g to say. Jay Ruby

D e l e n in de macht - De m e e r s t e m m i g e documentaire Het onderwerp van de antropologische studie heeft zelf ook w a t te zeggen. Jay Ruby

Repositioning Documentary For s o m e t i m e , d o c u m e n t a r y p h o t o g r a p h y has b e e n l o s i n g its p o s i t i o n in t h e printed m e d i a . T h e alternative, the art circuit, has m a n y pitfalls. For the A m s t e r d a m art fair (KunstRAI 1991), H r i p s i m é V i s s e r (curator o f p h o t o g r a p h y at the Stedelijk M u s e u m in A m s t e r d a m ) put t o g e t h er a n e x h i b i t i o n of projects b y 6 p h o t o g r a p h e r s w h o feel c o m f o r t a b l e i n this e n v i r o n m e n t , w i t h o u t r e n o u n c i n g h o w e v e r , their photographic background.

Nieuwe plaatsbepaling voor de documentaire De documentaire fotografie verliest haar positie in de gedrukte media. Het museale circuit vormt e e n alternatief met valkuilen Hripsimé Visser (conservator fotografie van het Stedelijk M u s e u m , Amsterdam) stelde voor de KunstRAI 1991 een presentatie s a m e n bestaande uit projecten van z e s fotografen die zich hebben aangepast aan die nieuwe omgeving zonder daarbij hun eigen achtergrond te verloochenen.

Verantwoording Hripsimé Visser

Introduction Hripsimé Visser

Seiichi Furuya Mémoires. Hripsimé Visser

Karen Knorr M a r k s of D i s t i n c t i o n . Frits Gierstberg

Karen Knorr Tekens van onderscheid. Frits Gierstberg

Alfredo Jaar C o y o t e a n d Out of B a l a n c e . Hripsimé Visser

Alfredo Jaar Coyote en Out of Balance. Hripsimé Visser

Julian Germain Steelworks. Frits Gierstberg

Julian Germain Steelworks Frits Gierstberg

Nan G o l d i n The ballad of S e x u a l D e p e n d e n c y . Frits Gierstberg

Nan G o l d i n The ballad of Sexual Dependency. Frits Gierstberg

Hans A a r s m a n East G e r m a n y . Linda Roodenburg

Hans Aarsman Oost Duitsland. Linda Roodenburg

No more pictures! M a s t e r p i e c e s o f the art of p h o t o g r a p h y and other c o l l e c t i o n s of J o a c h i m S c h m i d . It's t i m e to s t o p m a k i n g p h o t o g r a p h s ; w e ' v e e n o u g h already . Frits Gierstberg

RETRO

Geen nieuwe foto's meerl M e e s t e r w e r k e n der fotokunst en andere collecties van Joachim Schmid. Het moet maar e e n s afgelopen zijn met foto's m a k e n : w e hebben er g e n o e g ! Frits Gierstberg

RETRO

H i g h & L o w : M o d e r n A r t a n d P o p u l a r C u l t u r e - Timothy Foto Biënnale Enschede -

Druckrey

Leo D e l l g a a u w

A b o u t P u b l i c A r t - Deanna Herst M a d e r C o n v i c t i o n C o n f i r m s A n t i - S e x u a l i s m - Lawrence Stanley

P i e t v a n L e e u w e n - Frits G i e r s t b e r g

BOOKS

BOEKEN

74 R e c e n t p u b l i c a t i o n s o n t h e h i s t o r y of L a t i n A m e r i c a n p h o t o g r a p h y - J o r ge Heredia S e b a s t i a o S a l g a d o : A n U n c e r t a i n G r a c e - Timothy

Druckrey

R e i n h a r d M a t z : R a u m e o d e r D a s M u s e a l e Z e i t a l t e r - Frits Gierstberg

M a d a m e d e V u e - Han S c h o o n h o v e n W i e n , M e i n - Frits G i e r s t b e r g T o t o F r i m a : 5 0 x 6 0 - Frits G i e r s t b e r g

INFO

AGENDA

CURRICULA FOTODOK

VITAE

86 87

INFO AGENDA CURRICULA

VITAE

FOTODOK

Jay Ruby

S H A R I N G THE POWER A Multivocal

Documentary

De meerstemmige

documentaire

- delen

macht

'Imagine a world where symbolic forms created by one inhabitant are instantaneously available to all other

'Stelt u zich een wereld voor waarin symbolen gemaakt door een

inhabitants; a place where 'knowing others' means...that

persoon onmiddellijk toegankelijk zijn voor alle andere personen

others know us, and we know them through the images we

in die wereld; een wereld, waarin 'anderen kennen'

all create about ourselves and our world, as we see it, feel it,

betekent..dat anderen ons kennen en dat wij hen kennen door

and choose to make it available to a massive communication

de beelden die wij gebruiken voor onszelf en onze wereld, zoals

network...

wij die wereld zien en voelen, de wereld die wij zelf van een

Imagine this place that is so different from the society within

uitgebreid communicatienetwerk willen voorzien...

which we nourish our middle-class souls, in which symbolic

Stelt u zich deze wereld eens voor die zo anders is dan de

forms are not the property of a 'cultured,' technological, or

maatschappij waarin wij onze burgerlijke ideeĂŤn koesteren;

economie elite, but rather are ubiquitous...

waarin symbolen niet zijn voorbehouden aan een 'culturele',

Imagine a place where other cultures...are available to all; a

technologische of economische elite, maar overal in de

place where almost anyone...can produce verbal and visual

maatschappij te vinden zijn...

images, where individuals or groups can edit, arrange, and

Stelt u zich een wereld voor waarin andere culturen...voor

rearrange the visualization of their outer and inner worlds,

iedereen beschikbaar zijn; waarin bijna iedereen...verbale en

and a place where these (photographs) movies, videos...can

visuele beelden kan produceren, waar individuen of groepen

be instantaneously available to anyone who chooses to

invloed kunnen uitoefenen op de verbeelding van buiten- en

look...lmagine this place, for it is where we are at now.'

binnenwereld, een wereld waarin deze (foto's), films,

(Worth 1981: 85-6)

video's...direct beschikbaar zijn voor wie ze wil zien... Stelt u zich deze wereld eens voor, want in deze wereld bevinden we ons nu' (Worth 1981: 85-6).

Introduction T h i s p a p e r d e a l s w i t h the f a n t a s y a n d realit y of t h i s 1 9 6 8 q u o t a t i o n

Inleiding from

C o m m u n i c a t i o n s s c h o l a r S o l W o r t h . It i s a n e x p l o r a t i o n o f t h e p o s s i b i l i t y o f

D i t a r t i k e l g a a t o v e r d e f a n t a s i e e n w e r k e l i j k h e i d in b o v e n g e n o e m d c i t a a t v a n c o m m u n i c a t i e - w e t e n s c h a p p e r S o l W o r t h . H e t is e e n v e r k e n n i n g v a n e e n m o g e -

multivocal productions within cultural anthropology and d o c u m e n t a r y film

lijke m e e r s t e m m i g h e i d b i n n e n d e c u l t u r e l e a n t r o p o l o g i e e n d e d o c u m e n t a i r e f i l m

and photography. The paradigmatic change s represented by the

e n f o t o g r a f i e . D e l e e r t h e o r e t i s c h e v e r a n d e r i n g e n z o a l s d i e t e v i n d e n zijn in d e

e x p e r i m e n t a l e t h n o g r a p h y a n d i n t e r p r e t a t i v e a n t h r o p o l o g y of C l i f f o r d (1988),

e x p e r i m e n t e l e etnografi e e n interpretatiev e a n t r o p o l o g i e va n Clifford (1988), M a r -

M a r c u s a n d F i s c h e r 1 9 8 6 a n d G e e r t z (1988) a r e a r e s p o n s e to t h e d e m a n d

c u s e n F i s c h e r ( 1 9 8 6 ) e n G e e r t z ( 1 9 8 8 ) , zij n e e n r e a c t i e o p h e t v e r l a n g e n n a a r cul-

for c u l t u r a l a u t o n o m y b y p e o p l e t r a d i t i o n a l l y t h e s u b j e c t s of s o c i a l s c i e n c e

t u r e l e a u t o n o m i e v a n m e n s e n d i e t r a d i t i o n e e l h e t o n d e r w e r p zijn v a n s o c i a l e s t u -

study a n d d o c u m e n t a r y m e d i a . T h e y are d e m a n d i n g a r e - e x a m i n a t i on of the

d i e s e n d o c u m e n t a i r e m e d i a . Zij e i s e n e e n h e r b e z i n n i n g o p d e m a n i e r w a a r o p in

place of W e s t e r n i m a g e m a k i n g in a p o s t c o l o n i a l w o r l d . O n e s o l u t i o n

h e t p o s t k o l o n i a l e w e s t e n e e n b e e l d tot s t a n d k o m t . E e n a a n t a l m e d i a d e s k u n d i -

proposed by s o m e m e d ia workers and social scientists has b e en the

gen en sociale wetenschapper s hebben e e n ' m e e r s t e m m i g e ' benadering voorge-

d e v e l o p m e n t of a m u l t i v o c a l a p p r o a c h , that is, the s h a r i n g of the p o w e r of

steld, e e n soort d e l e n van d e m a c h t .

authorship.

antropologie en de film, maar de o n d e r w e r p e n die aan d e orde k o m e n h e b b e n

While m y remarks concentrate o n anthropology and film, the

q u e s t i o n s r a i s e d p e r t a i n d i r e c t l y t o c u r r e n t d i l e m m a s in d o c u m e n t a r y photography.

Ik r i c h t m e in d i t a r t i k e l v o o r n a m e l i j k o p d e

o o k r e c h t s t r e e k s b e t r e k k i n g o p d i l e m m a ' s in d e d o c u m e n t a i r e f o t o g r a f i e .

De antropologie in ere hersteld Redeeming Anthropology T h e c o n s t r u c t i o n of t h e a r g u m e n t p r e s e n t e d here is a c o n s e q u e n c e of

W a t ik in d i t a r t i k e l te b e r d e b r e n g , is h e t g e v o l g v a n h e t feit d a t ik a l s s o c i a a l my

a n t r o p o l o o g g e ĂŻ n t e r e s s e e r d b e n in d e d o c u m e n t a i r e m e d i a d i e ik z i e a l s c u l t u u r -

i d e n t i t y a s a s o c i a l a n t h r o p o l o g i s t i n t e r e s t e d in d o c u m e n t a r y m e d i a a s a

p r o d u c e n t e n . Ik e r v a a r h e t b e z i g zijn m e t d e b e e l d e n d e m e d i a (de in d e m a a t -

m e a n s of p r o d u c i n g c u l t u r e . I f i n d t h i n k i n g a b o u t p i c t o r i a l m e d i a a s s o c i a l l y

s c h a p p i j o n t s t a n e c o m m u n i c a t i e - v o r m e n ) als uiterst produktief e n het w e r k v a n

c o n s t r u c t e d c o m m u n i c a t i v e f o r m s to b e p r o d u c t i v e a n d t h e w o r k of S o l

S o l W o r t h (1981), L a r r y G r o s s ( 1 9 8 8 ) , H o w a r d B e c k e r ( 1 9 8 2 ) , J o h n B e r g e r ( 1 9 7 2 ,

1980), F a y e G i n s b u r g ( 1 9 8 9 , 1 9 9 0 ) e n A l l a n S e k u l a ( 1 9 7 8 ) a l s b i j z o n d e r n u t t i g in

W o r t h (1981), Larry G r o s s (1988), H o w a r d B e c k e r (1982), J o h n B e r g e r (1972,

dit v e r b a n d .

1980), F a y e G i n s b e r g (1989, 1990), a n d A l l a n S e k u l a (1978) u s e f u l .

Ik schrijf v a n u i t d e b e v o o r d e e l d e p o s i t i e , v o l g e n s s o m m i g e n v a n u i t d e a r r o -

I w r i t e f r o m the v a n t a g e p o i n t , s o m e w o u l d s a y a r r o g a n c e , of a N o r t h

g a n t i e , v a n d e N o o r d a m e r i k a a n s e a n t r o p o l o o g . Ik v i n d d a t w i j d e o p d r a c h t h e b b e n

A m e r i c a n anthropologist. I m a k e the a s s u m p t i o n that our m a n d a t e includes

alle v o r m e n v a n m e n s e l i j k s o c i a a l g e d r a g t e b e s t u d e r e n . M e n d e n k t s o m s d a t d e

t h e e x p l o r a t i o n o f a l l f o r m s o f h u m a n s o c i a l e n d e a v o u r . It i s s o m e t i m e s

a n t r o p o l o g i e z i c h a l l e e n m a a r m e t het niet-geïndustrialiseerd e g e d e e l t e , m e t d e

a s s u m e d that a n t h r o p o l o g y is c o n f i n e d to t h e s t u d y of t h e

p r i m i t i e v e v o l k e r e n v a n d e z e w e r e l d b e z i g h o u d t . D e z e o p v a t t i n g is n i e t a l l e e n

a n d t r i b a l f o l k o f t h e w o r l d . T h e d e s c r i p t i o n i s n o t o n l y i n a c c u r a t e , it i s

non-industrialized

o n j u i s t , m a a r h e t k a n o o k g e w o o n niet. In d e v i e r d e w e r e l d is m e n b e z i g d e f a x

i m p o s s i b l e . A s the fourth w o r l d d i s c o v e r s fax m a c h i n e s and v i d e o c a m e r a s ,

e n d e v i d e o - c a m e r a te o n t d e k k e n : e e n w e t e n s c h a p d i e z i c h a l l e e n z o u c o n c e n t r e -

an enterprise c o n f i n e d to the s t u d y of a pastoral w o r l d of hunters a n d

ren o p d e i d y l l i s c h e w e r e l d v a n j a g e r s in d e o n g e r e p t e w i l d e r n i s , z o u z i c h z e l f al

gatherers r o a m i n g vast stretches of unsullie d w i l d e r n e s s w o u l d s o o n be out

s n e l uit d e m a r k t p r i j z e n . A l s d e a n t r o p o l o g i e z i c h a l l e e n m a a r b e z i g h o u d t m e t

o f b u s i n e s s . If a n t h r o p o l o g y i s s o l e l y t h e s t u d y o f o d d m e n t s b y e c c e n t r i c s

r a r i t e i t e n v a n e x c e n t r i e k e l i n g e n , h e b b e n w i j d e p o s t m o d e r n e w e r e l d n i e t s te

t h e n w e a r e o f n o c o n s e q u e n c e t o t h e p o s t m o d e r n w o r l d . In o r d e r t o

b i e d e n . V o o r e e n l e v e n s v a t b a r e p o s i t i e in e e n p o s t k o l o n i a l e w e r e l d m o e t d e

m a i n t a i n a v i a b l e p o s i t i o n i n a p o s t - c o l o n i a l w o r l d , a n t h r o p o l o g y is

a n t r o p o l o g i e z i c h z e l f o p n i e u w o n d e r d e l o e p n e m e n . Zij m o e t o p h o u d e n m e t t e

a t t e m p t i n g to re-inven t itself s t o p p i n g t h e p r e t e n s e of ' s p e a k i n g for'

d o e n a l s o f zij ' s p r e e k t n a m e n s ' e n p r o b e r e n t e ' s p r e k e n o v e r ' of t e ' s p r e k e n

b e g i n n i n g to e x p l o r e w a y s to ' s p e a k a b o u t ' o r ' s p e a k w i t h '

and

a n d r e - a s s e r t its

m e t ' . Zij m o e t z i c h n a d e r b e z i n n e n o p h a a r rol a l s c r i t i c a v a n d e w e s t e r s e c u l t u u r

role a s critique of W e s t e r n culture ( M a r c u s a n d Fischer 1986).

( M a r c u s e n F i s c h e r 1 9 8 6 ) . A n t r o p o l o g e n h e r b e z i n n e n z i c h m o m e n t e e l o p h u n tra-

A n t h r o p o l o g i s t s are renegotiating their traditional vocation as cultural

ditionele roeping van cultuur-makelaar, van bemiddelaar t u s s e n hun ' s t e m l o z e '

brokers, acting as intermediary b e t w e e n their 'voiceless' subjects a n d

o n d e r w e r p e n v a n s t u d i e e n d e w e s t e r s e c u l t u u r . ' D e a n t r o p o l o g i e s p r e e k t niet

W e s t e r n culture. ' A n t h r o p o l o g y no longer s p e a k s with automatic authority

l a n g e r m e t v a n z e l f s p r e k e n d g e z a g v o o r a n d e r e n v a n w i e m e n a a n n e e m t d a t zij

for o t h e r s d e f i n e d a s u n a b l e to s p e a k for t h e m s e l v e s ' (Clifford 1986:10).

niet v o o r z i c h z e l f k u n n e n s p r e k e n ' ( C l i f f o r d 1 9 8 6 : 10). D o c u m e n t a i r e f i l m e r s / f o t o -

Documentarians have been grappling with similar problems.

grafen h e b b e n m e t soortgelijke p r o b l e m e n te m a k e n . C u l t u r a l a n t h r o p o l o g y ' s p r i m a r y m e t h o d of e x p l o r a t i o n is e t h n o g r a p h y , D e v o o r n a a m s t e o n d e r z o e k s m e t h o d e v a n d e c u l t u r e e l a n t r o p o l o o g is d e e t n o -

t h a t is, t h e l o n g t e r m i n t e n s e e x a m i n a t i o n of t h e e v e r y d a y life of o r d i n a r y

grafie, dat wil z e g g e n d e langdurige, i n t e n s i e v e b e s t u d e r i n g v a n het a l l e d a a g s e

p e o p l e w i t h the g o al in m i n d of p r o d u c i n g a n analytic d e s c r i p t i o n of s o m e

l e v e n v a n g e w o n e m e n s e n , m e t als d o e l e e n a n a l y t i s c he beschrijving van e e n

a s p e c t o f t h e i r s o c i a l l i v e s . It i s a m e t h o d o f i n q u i r y t h a t h a s r e c e n t l y b e e n

bepaald onderdeel van hun maatschappelijk leven. D e z e o n d e r z o e k s m e t h o d e

b o r r o w e d by n o n - s o c i a l scientists, as the limitations of quantitative

w o r d t s i n d s kort o o k t o e g e p a s t d o o r n i e t - s o c i a l e w e t e n s c h a p p e r s , n u d u i d e l i j k is

b e c o m e all t o o a p p a r e n t . A s a r e s e a r c h m e t h o d a n d a s a m e a n s of

research

dat k w a n t i t a t i e f o n d e r z o e k o o k z o zijn b e p e r k i n g e n h e e f t . A l s r e s e a r c h - m e t h o d e

establishing a politically a n d morally acceptable relationship b e t w e e n t h o s e

e n a l s m i d d e l o m e e n politiek e n m o r e e l a c c e p t a b e l e relatie t u s s e n o n d e r z o e k e r

w h o s t u d y a n d t h o s e w h o are s t u d i e d , e t h n o g r a p h y h a s m u c h to

e n b e s t u d e e r d e tot s t a n d t e b r e n g e n is d e e t n o g r a f i e u i t e r m a t e g e s c h i k t : h e t is

a n y o n e i n t e r e s t e d in e x p l o r i n g t h e h u m a n c o n d i t i o n ( B e c k e r 1974).

e e n p r i m a m e t h o d e v o o r i e d e r e e n d i e g e ï n t e r e s s e e r d is in d e ' c o n d i t i o n h u m a i n e ' ( B e c k e r 1974).

offer

A n t h r o p o l o g y a n d d o c u m e n t a r y m e d i a have parallel histories. T h e y e m e r g e d in t h e n i n e t e e n t h c e n t u r y a n d s h a r e p o s i t i v i s m , r o m a n t i c

D e g e s c h i e d e n i s van d e a n t r o p o l o g i e loopt parallel aan die van d e d o c u m e n -

realism

a n d e m p i r i c i s m a s c o m m o n a n c e s t o r s . In t h e l a t e 2 0 t h c e n t u r y , b o t h a r e

taire m e d i a . Zij o n t s t o n d e n b e i d e in d e n e g e n t i e n d e e e u w e n h e b b e n b e i d e s t r o -

striving to r e l e a s e t h e m s e l v e s f r o m the b u r d e n of their c o l o n i a l ,

m i n g e n als p o s i t i v i s m e , r o m a n t i s c h r e a l i s m e e n e m p i r i s m e m e e g e m a a k t . N u , aan

ethnocentric, and scientistic origins. A n t h r o p o l o g y offers pictorial m e d i a a

h e t e i n d e v a n d e 2 0 e e e u w , p r o b e r e n b e i d e z i c h te b e v r i j d e n v a n d e l a s t v a n h u n

s y s t e m a t i c m e a n s of thinking a b o u t h u m a n i t y a n d a m e t h o d of inquiry that

koloniale, etnocentrisch e e n w e t e n s c h a p p e l i j k e verleden. D e antropologie heeft

c a n o v e r c o m e t h e r o m a n t i c e t h n o c e n t r i c i s m of d o c u m e n t a r y e x p r e s s i o n .

d e b e e l d e n d e m e d i a e e n s y s t e m a t i s c h e m a n i e r van d e n k e n o v e r de m e n s h e i d te

Pictorial m e d i a offer a n t h r o p o l o g i s t s an o p p o r t u n i t y to present their

b i e d e n , a l s m e d e e e n o n d e r z o e k s m e t h o d e o m af t e r e k e n e n m e t h e t r o m a n t i s c h e

in a w a y that c h a l l e n g e s t h e l o g o - c e n t r i c b i a s e s of s o c i a l s c i e n c e t h e o r i z i n g

e t n o c e n t r i s m e van d e d o c u m e n t a i re film/fotografie. D e b e e l d e n d e m e d i a stellen

(Becker 1974). W h i l e p e o p l e t r a i n e d to be c o - c o m p e t e n t in m e d i a

o p h u n b e u r t d e a n t r o p o l o g e n in s t a a t h u n i n z i c h t e n t e b r e n g e n o p e e n m a n i e r

a n d a n t h r o p o l o g y are rare, s o m e d o exist. T h e c o m b i n a t i o n can be

insights

production

die e e n uitdaging vormt voor de woord-gerichtheid van de sociale w e t e n s c h a p s -

illuminating for t h o s e interested in b o t h , as w i t n e s s the w o r k of F r e n c h

t h e o r i e ( B e c k e r 1 9 7 4 ) . M e n s e n d i e é n z e l f f i l m s / f o t o ' s m a k e n é n t h u i s zijn in d e

f i l m m a k e r / a n t h r o p o l o g i s t J e a n R o u c h (Feld 1989).

antropologie, v o r m e n e e n uitzondering, maar bestaan w e l . D e combinatie kan z e e r v e r h e l d e r e n d zijn v o o r h e n d i e in b e i d e g e ï n t e r e s s e e r d zijn, z o a l s blijkt uit h e t w e r k van d e F r a n s e filmer/antropoloog J e a n R o u c h (Feld 1989).

T h e a n t h r o p o l o g y ' s r e p u t a t i o n as the s t u d y of t h e f o u r t h w o r l d is historically accurate. T h e initial c o n c e r n w a s to s a l v a g e the r e m n a n t s of the d i s a p p e a r i n g w o r l d of c o l o n i z e d p e o p l e a n d offer s o m e e x p l a n a t i o n s for

D a t d e a n t r o p o l o g i e d e s t u d i e v a n d e v i e r d e w e r e l d i s , is h i s t o r i s c h juist. O o r -

t h e s e ' n a t u r a l c u r i o s i t i e s ' a s t h e y w e r e s o m e t i m e s c a l l e d . It w a s b e l i e v e d

s p r o n k e l i j k w i l d e m e n d e v e r d w i j n e n d e c u l t u u r v a n d e g e k o l o n i s e e r d e v o l k e r e n in

that 'primitive' cultures n e e d e d to be s a l v a g e d b e c a u s e they w e r e

b e e l d b r e n g e n e n verklaringen g e v e n voor d e z e 'natuurlijke curiositeiten ' zoals ze

extinct, or as p h o t o g r a p h e r E d w a r d Curtis a s s u m e d they w e r e v a n i s h i n g

becoming

ook w e l w e r d e n g e n o e m d . M e n wilde d e z e 'primitieve culturen' redden omdat ze

races. Their s u p p o s e d v a l u e w a s that these cultures w e r e organically w h o l e

d r e i g d e n uit t e s t e r v e n of o m d a t z e , o m m e t f o t o g r a a f E d w a r d C u r t i s t e s p r e k e n ,

s y s t e m s a n d t h e r e f o r e a n e x a m p l e of h o w w e u s e d t o live b e f o r e t h e

een soort bedreigde rassen w a r e n . D e z e culturen w a r e n zo waardevol o m d a t z e

industrial r e v o l u t i on f r a g m e n t e d o u r s o c i a l lives. S t u d i e s w e r e located in a

nog een 'organisch g e h e e l' w a r e n en dus een mooi beeld gaven van hoe wij

t i m e a n d p l a c e k n o w n as 'the e t h n o g r a p h i c p r e s e n t' - that is, prio r to

vroeger leefden, voordat d e industriële revolutie o n s sociale leven

significant E u r o p e a n intervention. T h e actualities of the e c o n o m i e a n d

ontwrichtte.

S t u d i e s v o n d e n p l a a t s in h e t ' e t n o g r a f i s c h e h e d e n ' - d a t w i l z e g g e n in d e tijd

p o l i t i c a l c o n d i t i o n s of t h e p e o p l e s t u d i e d w e r e i g n o r e d w h i l e in s e a r c h of t h e

vóór de E u r o p e s e i n m e n g i n g . D e huidige e c o n o m i s c h e en politieke situatie van

' i m m a c u l a t e p r i m i t i v e . ' A t t i m e s it w a s n e c e s s a r y t o c o n c e n t r a t e o n t h e

d e z e v o l k e r e n w e r d g e n e g e e r d bij d e z e z o e k t o c h t n a a r d e ' o n b e d o r v e n , p r i m i -

oldest generation a n d extract the culture f r o m

tieve m e n s ' . S o m s w a s het n o d i g z i c h uitsluitend o p d e o u d s t e g e n e r a t i e te c o n c e n t r e r e n e n d e c u l t u u r uit d e h e r i n n e r i n g o p te r o e p e n . Er zijn g e e n o n o n t d e k t e v o l k e r e n m e e r , al z u l l e n e r o n g e t w i j f e l d z o g e n a a m d e

memory.

It i s n o l o n g e r p o s s i b l e t o l o c a t e a n y ' u n d i s c o v e r e d ' p e o p l e , a l t h o u g h I a m c e r t a i n w e w i l l c o n t i n u e to be o f f e r e d fake s t o n e a g e r e m n a n t s like the T a s a d a y o f t h e P h i l i p p i n e s b y t h e p o p u l a r p r e s s . B y t h e 1 9 7 0 s , it b e c a m e

s t e n e n - t i j d p e r k v o l k e r e n als d e T a s a d a y o p d e Filippijnen, o n t d e k t blijven w o r d e n

a c c e p t a b l e to a d m i t that o u r subjects w e r e o f t e n e c o n o m i c a l l y

d o o r d e populaire p e r s . A a n het begin van d e z e v e n t i g e r jaren k r e eg m e n eindelijk

disadvantaged, and politically disenfranchised. At times, they eagerly s o u g ht

o o g v o o r h e t feit d a t d e o n d e r w e r p e n v a n a n t r o p o l o g i s c h e s t u d i e v a a k e c o n o -

after t h o s e a s p e c t s of o u r c u l t u r e t h a t o u r m i d d l e - c l a s s s e n s i b i l i t i e s f o u n d

m i s c h m i n d e r b e v o o r r e c h t e n politiek r e c h t e l o o s w a r e n . S o m s s t r e e f d e n d e z e

u n d e s i r a b l e if n o t d i s g u s t i n g . T h o s e a p p e t i t e s a r e u s u a l l y r e g a r d e d a s s i g n s

m e n s e n b o v e n d i e n die a s p e c t e n van o n z e cultuur na, die o n z e b o u r g e o i s g e v o e -

that the culture w a s u n h e a l t h y rather t h a n c o n s i d e r i n g the possibility of the

l i g h e i d a l s o n g e w e n s t z o niet w e e r z i n w e k k e n d e r v a a r t . D e r g e l i j k e v e r l a n g e n s

acquisition of certain W e s t e r n t e c h n o l o g i e s a n d skills as adaptive

w e r d e n m e e s t a l g e z i e n als b e w i j s v o o r e e n ' o n g e z o n d e ' cultuur e n niet als aan-

m e c h a n i s m s that m i g h t insure their survival. I n v o l v e m e n t

p a s s i n g m e c h a n i s m e : o v e r n a m e van bepaalde w e s t e r s e technologieën zou kun-

t e c h n o l o g i c a l l y c o m p l e x f o r m s of E u r o p e a n m e d i a t e d c o m m u n i c a t i o n b y o u r

with

n e n l e i d e n tot e e n h o g e r e o v e r l e v i n g s k a n s . O n z e ' e x o t i s c h e m e d e m e n s ' h o u d t

'exotic others' r e m a i n s , m o r e or less, u n e x a m i n e d f r o m N e w G u i n e a rock

zich bezig m e t t e c h n o l o g i s c h c o m p l e x e E u r o p e s e c o m m u n i c a t i e v o r m e n . E e n

a n d roll b a n d s to Inuit t e l e v i s i o n .

g o e d v o o r b e e l d d a a r v a n zijn d e r o c k - e n - r o l l b a n d s uit N i e u w - G u i n e a e n h e t t e l e v i s i e w e r k v a n d e Inuit. E n t o c h blijft d e z e ' m e n g v o r m ' e e n o n o n t g o n n e n g e b i e d . T o e n h e t tot d e a n t r o p o l o g e n d o o r d r o n g d a t d e ' p r i m i t i e v e m e n s ' n i e t l a n g e r

A t t h e s a m e t i m e as a n t h r o p o l o g i s t s lost 'the s a v a g e ' as their

traditional

subject matter, s o m e r e s e a r c h e r s b e g a n to realize that o n e of o u r c o m m o n p l a c e researc h m e t h o d s , e t h n o g r a p h y , h a d utility for the s t u d y of

o u r o w n c u l t u r e s . In t h e U n i t e d S t a t e s , a n t h r o p o l o g i s t s j o i n e d s o c i o l o g i c a l

als s t u d i e o b j e c t k o n d i e n e n , b e g o n e e n aantal o n d e r z o e k e r s te b e s e f f e n dat é é n

e t h n o g r a p h e r s in s t u d i e s of t h e e d u c a t i o n a l s y s t e m , t h e w o r l d of d r u g u s e r s ,

van de m e e s t gebruikte o n d e r z o e k s m e t h o d e s , d e etnografie, uitermate

p i m p s , a n d o c c a s i o n a l l y s o m e n o n - p a t h o l o g i c a l c o m m u n i t i e s . W e b e g a n to

w a s v o o r d e b e s t u d e r i n g v a n o n z e e i g e n w e s t e r s e c u l t u r e n . In d e V e r e n i g d e S t a -

geschikt

realize the p o t e n t i a l of a n t h r o p o l o g y a s c u l t u r a l c r i t i c i s m , that is,

ten w i j d d e n antropologen zich s a m e n m e t sociaal-etnografen aan d e bestudering

e t h n o g r a p h i c r e s e a r c h a s a w a y of g a i n i n g critical u n d e r s t a n d i n g of W e s t e r n

van het o n d e r w i j s s y s t e e m , d e w e r e l d van d e drugsgebruikers, d e prostituees en

cultures. C r o s s - c u l t u r a l c o m p a r i s o n c o u l d be u s e d to e x a m i n e our

af e n t o e a a n d e s t u d i e v a n n i e t - p a t h o l o g i s c h e g r o e p e r i n g e n . W e b e g o n n e n d e

i n s t i t u t i o n s in o r d e r t o

own

b r i n g the i n s i g h t s g a i n e d o n the p e r i p h e r y back to

the center to raise h a v o c w i t h o u r settled w a y s of t h i n k i n g

w a a r d e v a n d e a n t r o p o l o g i e a l s v o r m v a n c u l t u u r k r i t i e k in t e z i e n , d a t w i l z e g g e n : w e z a g e n d e m o g e l i j k h e d e n v a n e t n o g r a f i s c h o n d e r z o e k a l s m i d d e l tot i n z i c h t in

and

de w e s t e r s e culturen. Vergelijkingen t u s s e n de verschillende culturen

c o n c e p t u a l i z a t i o n ' ( M a r c u s a n d F i s c h e r 1 9 8 6 : 138).

konden

d i e n e n o m o n z e e i g e n instituten e e n s g o e d o n d e r d e loep te n e m e n e n A re-definition of subject a n d a p p r o a c h transpired. T h e traditional

object

critiqued o u r definitions of their w o r l d a n d f o u n d t h e m w a n t i n g

'...bepaalde inzichten w e e r centraal stellen, d a a r m e e de aanval o p e n e n d op onze v a s t g e r o e s t e m a n i e r van d e n k e n ' ( M a r c u s e n F i s c h e r 1 9 8 6 : 138).

of s t u d y w a s b e c o m i n g p o l i t i c a l l y a n d c u l t u r a l l y s e l f - c o n s c i o u s . T h e y h a v e (Deloria

1969). N o t o n l y d o s u b j e c t s f r e q u e n t l y h a v e a g e n d a s that differ

Onderwerp en manier van benadering m o e s t e n opnieu w w o r d e n gedefini-

from

e t h n o g r a p h e r s a n d d o c u m e n t a r i a n s , t h e y s o m e t i m e s fail to s e e m u c h

merit

e e r d . H e t traditionele studie-object w e r d politiek e n cultureel s t e e d s z e l f b e w u s -

in o u r n e e d to d o c u m e n t a n d s t u d y t h e m . W e a r e n o w a s k e d to j u s t i f y o u r

ter. D e p e r s o n e n d i e w i j b e s t u d e r e n , h e b b e n o n z e d e f i n i t i e s v a n h u n w e r e l d a a n

w o r k not o n l y to f u n d i n g a g e n c i e s but to the p e o p l e b e i n g s t u d i e d .

e e n k r i t i s c h o n d e r z o e k o n d e r w o r p e n e n t e licht b e v o n d e n ( D e l o r i a 1 9 6 9 ) . N i e t

M i c h a e l is a m e d i a r e s e a r c h e r , i n s t r u m e n t a l

in f a c i l i t a t i n g t h e

Eric

establishment

a l l e e n h e b b e n zij v a a k h e e l a n d e r e p r i o r i t e i t e n d a n e t n o g r a f e n e n d o c u m e n t a i r e

of a W a r l p i r i televisio n station in A u s t r a l i a w h e r e native g e n e r a t e d b r o a d c a s t

f i l m e r s / f o t o g r a f e n ; z e z i e n s o m s o o k a b s o l u u t n i e t in w a a r o m w i j h e n w i l l e n

v i d e o s a r e b r o a d c a s t o n a r e g u l a r b a s i s . H e h a s w r i t t e n A Primer

d o c u m e n t e r e n e n b e s t u d e r e n . W e m o e t e n n u niet a l l e e n v e r a n t w o o r d i n g a f l e g -

Restrictions

on Picture-Taking

in Traditional

Areas

of Aboriginal

Australia.

this article, M i c h a e l s s u g g e s t s that prior to g o i n g to a r e m o t e

Eric M i c h a e l s heeft als m e d i a - o n d e r z o e k e r

g e h o l p e n bij h e t o p z e t t e n v a n e e n t e l e v i s i e s t a t i o n in A u s t r a l i ë w a a r a b o r i g i n a l s

settlement, the p h o t o g r a p h e r b e c o m e s familiar w i t h the l a n g u a g e a n d c u s t o m s of t h e p e o p l e ; that t h e y built i n t o t h e i r project t i m e to get to

know

the p e o p l e a n d finally that the subjects of the project be actively i n v o l v e d all p h a s e s of t h e w o r k f r o m i n c e p t i o n to p u b l i c a t i o n . M o s t f i e l d s of

gen voor o n s w e r k t e g e n o v er de financiers van o n s o n d e r z o e k, maar ook tegeno v e r d e g e n e n die wij b e s t u d e r e n .

Aboriginal

h u n e i g e n v i d e o ' s k u n n e n u i t z e n d e n . Hij s c h r e e f h e t a r t i k e l Handleiding fotograferen

bij de aboriginals.

voor

het

In dit a r t i k e l g e e f t M i c h a e l s a a n f o t o g r a f e n d e raad

z i c h e e r s t v e r t r o u w d te m a k e n m e t d e t a a l e n g e b r u i k e n v a n h e t v o l k , a l v o r e n s

inquiry

into the h u m a n c o n d i t i o n that involve active interaction b e t w e e n researchers

e e n a f g e l e g e n a b o r i g i n a l - d o r p t e b e z o e k e n . Hij raadt d e f o t o g r a f e n o o k a a n tijd in

a n d h u m a n s u b j e c t s h a v e b e e n c h a l l e n g e d i n a s i m i l a r m a n n e r . In 1 9 6 6 S o l

t e b o u w e n o m d e m e n s e n te l e r e n k e n n e n e n h e n a c t i e f te b e t r e k k e n bij h e t

Worth and anthropologist J o h n Adair approache d S a m Yazzie, an elder and

h e l e p r o c e s , v a n a a n v a n g s m o m e n t tot p u b l i k a t i e . D e m e e s t e g e b i e d e n v a n o n d e r -

s p i r i t u a l l e a d e r of t h e N a v a h o t r i b e in A r i z o n a , to ask h i s p e r m i s s i o n t o t e a c h

zoek naar d e 'condition h u m a i n e ' , waarbij e e n a c t i e v e interactie t u s s e n o n d e r z o e -

N a v a h o s to m a k e m o t i o n picture s s o that the r e s e a r c h e r s c o u l d d i s c o v e r

ker e n b e s t u d e e r d e v e r e i s t is, h e b b e n e e n s o o r t g e l i j k e k o e r s w i j z i g i n g o n d e r g a a n .

w h e t h e r the subjects w o u l d invent a film l a n g u a g e that reflected their

In 1 9 6 6 v r o e g e n S o l W o r t h e n a n t r o p o l o o g J o h n A d a i r S a m Y a z z i e , d o r p s o u d s t e

v i e w . W o r t h t e l l s a s t o r y of t h e i r m e e t i n g w h i c h reflects t h e shift

world

e n g e e s t e l i j k l e i d e r v a n d e N a v a h o - s t a m in A r i z o n a , of zij d e N a v a h o ' s f i l m e n

m o c h t e n l e r e n , o p d a t zij k o n d e n z i e n of d e N a v a h o ' s e e n f i l m t a a l z o u d e n o n t w i k -

c o n s c i o u s n e s s a m o n g the p e o p l e w e s t u d y . T h e m o r a l of this tale is s o m e t h i n g all w h o w i s h to s t u d y o r a i d m i n o r i t i e s in t h e i r s t r u g g l e s a g a i n s t

kelen die e e n afspiegeling w a s van h u n e i g e n w e r e l d b e e l d . W o r t h vertelt h o e d e

the m a i n s t r e a m s h o u l d

o n t m o e t i n g v e r l i e p , e e n o n t m o e t i n g d i e laat z i e n h o e h e t b e w u s t i j n v a n d e m e n -

'Although

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4-5)

Die

A n i m m e d i a t e c o n s e q u e n c e of this t u r m o i l w a s p r a g m a t i c c h a n g e s in t h e r e l a t i o n s h i p b e t w e e n s u b j e c t a n d r e s e a r c h e r . It a l s o c a u s e d a n t h r o p o l o g i s t s

legde

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Adair uit dat

malen

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veel hoestte, het

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en moe

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making

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sheep. 'Will

Sam

teit. Tenslotte

Adairs

movies?" 'Sam

m i n d e r h e d e n w i l b e s t u d e r e n of w i l h e l p e n in h u n s t r i j d t e g e n d e m e e r d e r h e i d , t e r

heid

as far

harm

then

s e n d i e wij b e s t u d e r e n , v e r a n d e r t . D e m o r a a l v a n het v e r h a a l m o e t i e d e r e e n die

maken.

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the

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of our

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filmen hem

goed

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filmen

ook

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weer van

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Sam

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'Waarom

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filmen?'

achtervolgen'

1972:4-5).'

Eén van d e directe g e v o l g e n v a n d e z e koerswijziging w a s e e n radicale veran-

to q u e s t i o n s o m e f u n d a m e n t a l a s s u m p t i o n s a b o u t t h e i r f i e l d . T h e c o n c e p t of

d e r i n g in d e relati e t u s s e n b e s t u d e e r d e e n o n d e r z o e k e r . H e t b r a c h t

v o i c e h a s b e c o m e a c o n v e n i e n t w a y to c h a r a c t e r i z e the c h a l l e n g e . W h e n

er o o k t o e v r a g e n t e s t e l l e n bij e n k e l e a a n n a m e s in h u n d i s c i p l i n e . H e t al d a n niet

positivism and naive empiricism were dominant

epistemologies,

antropologen

h e b b e n v a n e e n e i g e n s t e m g a f g o e d w e e r w a a r h e t e i g e n l i j k o m g i n g . T e n tijde

f i e l d w o r k e r s s t r o v e to d i s c o v e r a n d report 'the truth' a b o u t o t h e r p e o p l e .

van het p o s i t i v i s m e e n het n a i ë f - e m p i r i s m e w a r e n v e l d w e r k e r s druk b e z i g ' d e

E t h n o g r a p h i e s frequently b e c a m e u n c o n t e s t e d s t a t e m e n t s of facts -

w a a r h e i d ' o v e r a n d e r e v o l k e r e n t e o n t d e k k e n e n v a s t te l e g g e n . B e s c h r i j v i n g e n

official v e r s i o n of s o m e o n e e l s e ' s reality. T h e p e o p l e p o r t r a y e d

the

were

r e g a r d e d a s not c a p a b l e of s p e a k i n g for t h e m s e l v e s .

v e r s i e v a n d e w e r k e l i j k h e i d v a n d e a n d e r . M e n g i n g e r v a n uit d a t d e m e n s e n d i e

' A c o n c e p t u a l shift, ' t e c t o n i c ' in its i m p l i c a t i o n s , h a s t a k e n p l a c e . W e g r o u n d t h i n g s , n o w , o n m o v i n g e a r t h . T h e r e is n o l o n g e r a n y p l a c e of o v e r v i e w f r o m w h i c h to m a p h u m a n w a y s of life, n o A r c h i m e d i a n

van volkeren w a r e n dikwijls v e r z a m e l i n g e n o n b e t w i s t e w a a r h e d e n - d e officiële

point

w e r d e n g e p o r t r e t t e e r d niet v o o r z i c h z e l f k o n d e n s p r e k e n . 'Er heeft e e n c o n c e p t u e l e verandering p l a a t s g e v o n d e n , w a a r d o o r w e dinge n n u h e e l a n d e r s d o e n . W e b o u w e n n u o p l o s z a n d . Er is g e e n p u n t m e e r v a n

f r o m w h i c h t o r e p r e s e n t t h e w o r l d ' ( C l i f f o r d 1 9 8 6 : 2 2 ) . In t h e 1 9 8 0 s ,

waaruit w e de situatie k u n n e n overzien, van waaruit w e de menselijke manier

a n t h r o p o l o g y a c k n o w l e d g e d t h e c r i s i s in r e p r e s e n t a t i o n that s o m e

v a n l e v e n in kaart k u n n e n b r e n g e n , g e e n A r c h i m e d i s c h p u n t v a n w a a r u i t w e d e

d o c u m e n t a r i a n s had b e e n struggling w i t h for t w e n t y years. '...Recent

w e r e l d k u n n e n b e s c h r i j v e n ' ( C l i f f o r d 1 9 8 6 : 22). In d e t a c h t i g e r j a r e n w e r d d e

d e c a d e s h a v e w i t n e s s e d a p r o f o u n d c h a l l e n g e to the p u r p o s e of styles that

a n t r o p o l o g i e g e c o n f r o n t e e r d m e t d e c r i s i s in w e e r g a v e w a a r m e e e e n a a n t a l d o c u -

h a v e g u i d e d t h e s o c i a l s c i e n c e s s i n c e their late 19th c e n t u r y o r i g i n s a s

m e n t a i r e f i l m e r s / f o t o g r a f e n al t w i n t i g jaar w o r s t e l d e . 'In d e a f g e l o p e n d e c e n n i a

p r o f e s s i o n a l a c a d e m i e d i s c i p l i n e s . W i d e s p r e a d p e r c e p t i o n s of a r a d i c a l l y

zijn d e m e t h o d e s d i e d e s o c i a l e w e t e n s c h a p p e n al v a n a f h u n o n t s t a a n a a n h e t

c h a n g i n g w o r l d order have fueled this challenge a n d u n d e r m i n e d

e i n d e van d e 1 9 e e e u w h e b b e n g e k e n m e r k t , z w a a r o n d e r druk k o m e n te s t a a n .

confidence

E e n r a d i c a a l v e r a n d e r e n d e w e r e l d o r d e ligt h i e r a a n t e n g r o n d s l a g . D e z e v e r a n d e -

in t h e a d e q u a c y of o u r m e a n s to d e s c r i b e s o c i a l reality... T h u s , in e v e r y

r e n d e w e r e l d o r d e stelt d e m i d d e l e n die wij h e b b e n o m d e sociale werkelijkheid

c o n t e m p o r a r y field w h o s e subjec t is s o c i e t y , t h e r e are e i t h e r a t t e m p t s

t e b e s c h r i j v e n ter d i s c u s s i e . . . E n d u s ziet m e n in d e s o c i a l e d i s c i p l i n e s of p o g i n -

r e o r i e n t i n g t h e f i e l d in d i s t i n c t l y n e w d i r e c t i o n s o r e f f o r t s at s y n t h e s i z i n g

g e n o m d e d i s c i p l i n e e e n c o m p l e e t n i e u w e r i c h t i n g o p te s t u r e n of p o g i n g e n

n e w c h a l l e n g e s to t h e o r y w i t h e s t a b l i s h e d p r o g r a m s for research... A t the

n i e u w e uitdagingen die aan d e theorie w o r d e n g e s t e l d te v e r e n i g e n

met

b r o a d e s t l e v e l , t h e c o n t e m p o r a r y d e b a t e is a b o u t h o w a n

emergent

b e s t a a n d e o n d e r z o e k s p r o g r a m m a ' s . . . Eigenlijk gaat het e r o m h o e e e n p o s t m o -

p o s t m o d e r n w o r l d is t o b e r e p r e s e n t e d a s a n o b j e c t f o r s o c i a l t h o u g h t . . . '

d e r n e w e r e l d in o n t w i k k e l i n g a l s o b j e c t v a n m a a t s c h a p p e l i j k e s t u d i e k a n w o r d e n

( M a r c u s a n d F i s c h e r 1 9 8 6: vii).

w e e r g e g e v e n . . . ' ( M a r c u s e n F i s c h e r 1 9 8 6 : vii). A n e x p l i c a t i o n of the o r i g i n s of t h i s c r i s i s w o u l d take u s t o o far a f i e l d , H e t z o u te v e r v o e r e n h i e r o p d e p r e c i e z e o o r z a k e n v a n d e z e c r i s i s in te g a a n , m a a r e e n a a n t a l f a c t o r e n lijkt v a n b e l a n g : A l l e r e e r s t z o r g d e n het e i n d e v a n het koloniale tijdperk v o o r m e n s e n die o n d e r

however, s o m e contributing

factors d o s e e m most

relevant:

First, the e n d of t h e c o l o n i a l e r a a m o n g p e o p l e s u b j u g a t e d b y capitalist e m p i r e s a n d the m o r e recent d e m i s e of socialist satellites c a u s e d the

h e t k a p i t a l i s t i s c h e juk h a d d e n g e l e e f d e n h e t ter z i e l e g a a n v a n d e s o c i a l i s t i s c h e

a u t h o r i t y of a W e s t e r n m a l e , m i d d l e - c l a s s , h e t e r o s e x u a l c o n s t r u c t i o n

satellietstaten ervoor dat de w e s t e r s e , m a n n e l i j k e , h e t e r o s e x u e l e , m i d d e n - k l a s s e

reality to be c o n t e s t e d by the p e o p l e f o r m e r l y the object of o u r g a z e a n d b y

w e e r g a v e van d e w e r k e l i j k h e i d ter d i s c u s s i e w e r d g e s t e l d d o o r d e m e n s e n die

d i s s i d e n t s f r o m w i t h i n the s y s t e m . T h e y c a l l e d into q u e s t i o n the right to

v o o r h e e n het d o e l w i t w a r e n v a n o n z e n i e u w s g i e r i g e blikken e n d o o r d i s s i d e n t e n

represent a n y o n e but yourself. T h e rise of n e w f o r m s of cultural identity a n d

b i n n e n h e t s y s t e e m . Zij b e w e e r d e n d a t i e m a n d n i e t h e t r e c h t h e e f t a n d e r e n

t h e r e a l i z a t i o n t h a t t h i s i d e n t i t y is n o t e t e r n a l l y f i x e d b u t s o m e t h i n g t h a t h a s

z o m a a r tot v o o r w e r p v a n s t u d i e t e m a k e n . H e t o n t s t a a n v a n n i e u w e v o r m e n v a n

to b e r e g u l a r l y r e n e g o t i a t e d w a s o n e of t h e m a n y r e s u l t s o f t h i s u p h e a v a l .

c u l t u r e l e i d e n t i t e i t , e n h e t b e s e f d a t d e z e i d e n t i t e i t niet v a s t l i g t m a a r v a n tijd tot

S e c o n d , t h e r e c o g n i t i o n t h a t s c i e n c e is a h y p o t h e s i s t e s t i n g

epistomology

tijd o p n i e u w m o e t w o r d e n b e k e k e n , w a s ĂŠ ĂŠ n v a n d e v e l e r e s u l t a t e n v a n d e z e c r i -

a n d not a d e v i c e for d i s c o v e r i n g eternal objective truth c a u s e d scientists to

sis.

redefine s c i e n c e a s a dialectical p r o c e s s . T h e impact of H e i s e n b e r g ' s T e n t w e e d e z o r g d e h e t b e s e f d a t w e t e n s c h a p e e n d i s c i p l i n e is w a a r i n h y p o -

theses moeten worden getest en geen middel o m de eeuwig-vastliggende,

principle of uncertainty a n d K u h n ' s a n a l y s i s of the role of the p a r a d i g m

s c i e n c e c o m e to m i n d a s e x e m p l a r y of this t r e n d . T h i s r e v o l u t i o n in s c i e n c e

o b j e c t i e v e w a a r h e i d te o n t d e k k e n e r v o o r dat het begrip w e t e n s c h a p o p n i e u w

is feit m o s t d i r e c t l y in t h e d o c u m e n t a r y w o r l d t h r o u g h t h e s o c i a l s c i e n c e s .

w e r d gedefinieer d als dialectisch p r o c e s . D e invloed van H e i s e n b e r g s principe

A m o n g t h o s e factors directly c o n t r i b u t i n g to a n u n d e r m i n i n g of

v a n d e o n z e k e r h e i d e n K u h n s a n a l y s e v a n d e rol v a n h e t l e e r t h e o r e t i s c h m o d e l

a s s u m p t i o n s a b o u t the d o c u m e n t a r y are: the c o n c e p t of cultural

zijn h i e r v a n e e n g o e d v o o r b e e l d . D e z e r e v o l u t i e in d e w e t e n s c h a p b e r e i k t e d e

t h e a c c e p t a n c e of t h e idea that reality is a s o c i a l c o n s t r u c t i o n a n d the

d o c u m e n t a i r e w e r e l d voornamelij k via d e s o c i a l e w e t e n s c h a p p e n . E n k e l e factore n

of a c a d e m i e M a r x i s m e s p e c i a l l y in t e r m s of t h e r e c o g n i t i o n of t h e

traditional relativism, impact

die d e traditionele a a n n a m e s over d e d o c u m e n t a i r e film/fotografie ondermijnden

i d e o l o g i c a l b a s e of all k n o w l e d g e . At the s a m e t i m e a s the

w a r e n : het c o n c e p t v an het c u l t u r e l e r e l a t i v i s m e, het b e s e f dat d e w e r k e l i j k h e i d

f o u n d a t i o n s of s c i e n c e w e r e bein g p r o b e d , s o m e y o u n g s c h o l a r s q u e s t i o n e d

theoretical

d o o r o n s zelf g e m a a k t w o r d t e n d e i n v l o e d v a n h e t a c a d e m i s c h - M a r x i s m e e n d a n

the m o r a l a n d political validity of so-calle d value free objective

m e t n a m e h e t i n z i c h t d a t alle k e n n i s e e n i d e o l o g i s c h e b a s i s h e e f t . T e r w i j l d e

S o c i a l s c i e n t i s t s ' i n v o l v e m e n t in c o v e r t a c t i v i t i e s in V i e t n a m a n d C h i l e

science.

t h e o r e t i s c h e b a s i s v a n d e w e t e n s c h a p ter d i s c u s s i e s t o n d , s t e l d e e e n aantal

b r o u g h t t h i s p r e d i c a m e n t t o a h e a d . P o s i t i v i s t m o d e l s of k n o w l e d g e

j o n g e w e t e n s c h a p p e r s v r a a g t e k e n s bij d e m o r e l e e n p o l i t i e k e v a l i d i t e it v a n d e

replaced with m o r e interpretive a n d politically self-conscious a p p r o a c h e s ,

z o g e n a a m d e waardevrije objectieve w e t e n s c h a p . D e e l n a m e van sociale weten -

t h a t , is a r e f l e x i v e s t a n c e w h e r e t h e p r o d u c e r o f t h e k n o w l e d g e , b e it a

s c h a p p e r s a a n g e h e i m e a c t i v i t e i t e n in V i e t n a m e n C h i l i b r a c h t d e z e t o c h al z o

treatise o n s u b - a t o m i c particles or a d o c u m e n t a r y film about the peace

h a c h e l i j k e s i t u a t i e o p e e n kritiek p u n t . P o s i t i v i s t i s c h e k e n n i s m o d e l l e n w e r d e n v e r -

m o v e m e n t , is r e s p o n s i b l e for t h e k n o w l e d g e h e / s h e c o n s t r u c t s .

v a n g e n d o o r m e e r i n t e r p r e t a t i e v e e n p o l i t i e k b e w u s t e r e b e n a d e r i n g e n , d a t wit z e g g e n d o o r h e t b e s e f dat d e ' m a k e r s ' v a n d e k e n n i s , of d a t n u e e n v e r h a n d e l i n g o v e r s u b a t o m a i r e d e e l t j e s of e e n d o c u m e n t a i r e f i l m o v e r d e v r e d e s b e w e g i n g i s , v e r a n t w o o r d e l i j k zijn v o o r d e k e n n i s d i e zij ' c o n s t r u e r e n ' . T e n s l o t t e z o r g d e d e o p k o m s t v a n d e literaire of ' n i e u w e ' j o u r n a l i s t i e k , d e n o n -

A n d f i n a l l y, t h e d e v e l o p m e n t of literary o r ' n e w ' j o u r n a l i s m ,

were

non-fiction

novels, d o c u d r a m a s , and other genres blurred distinctions between fiction and non-fiction.

M o d e l s of c r i t i c i s m d e v e l o p e d that r e g a r d e d all

c o m m u n i c a t i v e f o r m s as ' s e r i o u s fiction,' that is, c o n s t r u c t e d a c c o r d i n g to culturally b o u n d e d c o n v e n t i o n s . T h e d o c u m e n t a r i a n s ' c l a i m to a n i n s i d e

f i c t i e - r o m a n s . het d o c u d r a m a e n a n d e r e g e n r e s voor e e n v e r v a g i n g va n het

t r a c k t o t h e t r u t h a n d r e a l i t y o f o t h e r p e o p l e w a s t h e r e f o r e u n d e r m i n e d if n o t

o n d e r s c h e i d t u s s e n fictie e n non-fictie.

destroyed completely. D o c u m e n t a r i e s were recognized as an articulation

Er o n t s t o n d e n k r i t i e k - m o d e l l e n w a a r i n alle

c o m m u n i c a t i e v e v o r m e n als ' s e r i e u z e fictie' w e r d e n g e z i e n , dat wil z e g g e n

a p o i n t of v i e w - n o t a w i n d o w i n t o reality. T h e y b e c a m e a s J o h n B e r g e r

g e c o n s t r u e e r d in o v e r e e n s t e m m i n g m e t c u l t u u r g e b o n d e n c o n v e n t i e s . D e b e w e -

s u g g e s t s ' a n o t h e r w a y of t e l l i n g ' ( B e r g e r a n d M o h r 1982).

ring v a n d e d o c u m e n t a i r e - m a k e r s d a t zij r e c h t s t r e e k s t o e g a n g h a d d e n tot d e realiteit v a n a n d e r e n w e r d h i e r m e e o n d e r u i t g e h a a l d . D o c u m e n t a i r e s w e r d e n g e z i e n

T h e r e p e r c u s s i o n s of t h e s e e v e n t s are still b e i n g feit. T h e y

demand

a l s g e m a a k t v a n u i t e e n b e p a a l d s t a n d p u n t e n niet l a n g e r a l s v e n s t e r o p d e w e r k -

p r o f o u n d c h a n g e s in p r a c t i c e as w e l l as t h e m e a n s b y w h i c h k n o w l e d g e is

elijkheid. D o c u m e n t a i r e s w e r d e n , o m m e t J o h n Berger te s p r e k e n ' e e n andere

p r e s e n t e d to the p u b l i c . C l i f f o r d a n d M a r c u s (1986), M a r c u s a n d F i s c h e r

m a n i e r o m i e t s d u i d e l i j k t e m a k e n ' ( B e r g e r e n M o h r 1982).

(1986) h a v e c a l l e d for a n e x a m i n a t i o n of e t h n o g r a p h i e s a s literary t e x t s

and

for e x p e r i m e n t s in e t h n o g r a p h i c w r i t i n g . T h e y p r o p o s e a c t i v e p a r t i c i p a t i o n D e g e v o l g e n v a n d e z e g e b e u r t e n i s s e n zijn n o g s t e e d s m e r k b a a r . Zij v e r g e n i n g r i j p e n d e w i j z i g i n g e n , z o w e l in d e praktijk z e l f a l s in d e m a n i e r w a a r o p d e k e n -

e t h n o g r a p h e r s o that t h e y d o not h a v e to s e e k o t h e r c r e a t i v e outlets

nis w o r d t g e p r e s e n t e e r d aan het publiek. Clifford e n M a r c u s (1986), M a r c u s e n

p o e m s a n d n o v e l s to teil their e x p e r i e n c e (Geertz 1988).

F i s c h e r ( 1 9 8 6 ) h e b b e n e e n v o o r s t e l g e d a a n v o o r e e n o n d e r z o e k naar d e e t n o g r a f i e a l s literaire t e k s t e n e e n v o o r s t e l g e d a a n v o o r e x p e r i m e n t e n in h e t o p s t e l e n

W h i l e s o m e t h i n g n e w is c l e a r l y c a l l e d f o r , t h e c r i s i s a l s o s u g g e s t s a r e t u r n to t h e u n r e a l i z e d p o t e n t i a l of e t h n o g r a p h y a s i d e a l l y c o n c e i v e d .

v a n e e n e t n o g r a f i e . Zij s t e l l e n v o o r o m d e b e s c h r e v e n e e e n a c t i e v e s t e m t e

E t h n o g r a p h y as a practice a n d a s a e p i s t o m o l o g y h a s a natural affinity to

g e v e n in d e e t n o g r a f i e e n o o k d e e t n o g r a a f zelf w a t m e e r r u i m t e t e l a t e n , z o d a t

t h e W e s t e r n l i b e r a l a n d h u m a n i s t t r a d i t i o n s . It s e e k s t o l o c a t e v a l u e s w i t h i n

d e z e niet zijn t o e v l u c h t h o e f t te n e m e n tot a n d e r e c r e a t i e v e m e d i a a l s g e d i c h t e n

t h e c u l t u r a l c o n t e x t in w h i c h t h e y a r e e n a c t e d a n d to c o u n t e r

e n r o m a n s o m zijn b e v i n d i n g e n w e e r te g e v e n ( G e e r t z 1 9 8 8 ) .

ethnocentric assumptions. The emphasis upon cross-cultural comparisons

Er m o e t d u s d u i d e l i j k e e n n i e u w e w e g w o r d e n i n g e s l a g e n , m a a r d e c r i s i s

Western

c a n offset the i n h e r e n t e t h n o c e n t r i c f o u n d a t i o n of o t h e r h u m a n

sciences

drukt o n s ook met d e n e u s o p d e ongebruikte m o g e l i j k h e d e n v a n d e etnografie,

w h e r e it i s a s s u m e d o n e c a n g e n e r a l i z e f r o m W e s t e r n e x p e r i e n c e t o t h e

o p haar o o r s p r o n k e l i j k e b e d o e l i n g . A l s a c t i v i t e i t e n a l s w e t e n s c h a p v e r t o o n t d e

entire w o r l d . C u l t u r a l critiques c a n a l s o c a u s e e t h n o g r a p h y to t u r n o n

e t n o g r a f i e e e n n a t u u r l i j k e a f f i n i t e i t m e t d e w e s t e r s e l i b e r a l e e n h u m a n i s t i s c h e tra-

a n d r e f l e x i v e l y e x a m i n e its f o u n d a t i o n s ( M a r c u s a n d F i s c h e r 1 9 8 6 ) .

d i t i e s . Zij p r o b e e r t w a a r d e n t e p l a a t s e n b i n n e n d e c u l t u r e l e c o n t e x t w a a r i n zij v a n

t h e n a t i v e v o i c e in e t h n o g r a p h i e s a n d a m o r e c o m p l e t e v o i c e for t h e

itself

W h i l e e t h n o g r a p h y ' s ideals are s e l d o m realized they d o provide a m e a n s

k r a c h t zijn e n d e w e s t e r s e e t n o c e n t r i s c h e a a n n a m e s o n g e d a a n t e m a k e n . V e r g e -

to r e c o n s t i t u t e t h e s u b j e c t , to p r e s e n t a v i e w of t h e w o r l d in w h i c h

lijkingen t u s s e n culturen k u n n e n e e n t e g e n w i c h t v o r m e n t e g e n de d i e p g e w o r -

p e o p l e s a y a b o u t t h e m s e l v e s a n d their w o r l d is a v a l u e d c o m m o d i t y .

telde etnocentrische basis van de andere m e n s w e t e n s c h a p p e n , waarin m e n

is w i t h i n e t h n o g r a p h y a t r a d i t i o n of s e e k i n g v a l i d a t i o n of y o u r a n a l y s i s f r o m

d e n k t dat d a t w a t in h e t w e s t e n g e l d t , o p d e h e l e w e r e l d v a n t o e p a s s i n g i s . C u l -

the s u b j e c t s . F e e d b a c k a n d l o n g t e r m i n v o l v e m e n t w i t h a site of

t u u r k r i t i e k k a n er o o k v o o r z o r g e n dat d e e t n o g r a f i e z i c h z e l f e n h a a r p r i n c i p e s

m a k e s the possibility of s h a r i n g the p o w e r m o r e likely t h a n the

e e n s g o e d o n d e r z o e k t ( M a r c u s e n F i s c h e r 1986). D e i d e a l e n v a n d e e t n o g r a f i e w o r d e n z e l d e n g e r e a l i s e e r d , m a a r zij l e v e r e n w e l d e m o g e l i j k h e i d tot r e c o n s t r u c t i e . Zij m a k e n h e t m o g e l i j k e e n b e e l d v a n d e

what There

study traditional

n o t i o n s of the artists a s s o l e arbitrators of w h a t they portray. W h a t

people

s a y a b o u t t h e i r w o r l d i s s i g n i f i c a n t d a t a t o t h e e t h n o g r a p h e r a n d it a l w a y s has been.

Lest I a p p e a r to be s u g g e s t i n g that e t h n o g r a p h y has b e e n a p r o g r e s s i v e

w e r e l d te g e v e n w a a r i n w a t d e m e n s e n o v e r z i c h z e l f e n h u n w e r e l d z e g g e n

m e a n s o f e x p r e s s i o n , I s h o u l d p o i n t o u t t h a t m o r e o f t e n t h a n n o t it w a s t h e

w a a r d e h e e f t . B i n n e n d e e t n o g r a f i e is h e t t r a d i t i e d a t m e n zijn a n a l y s e t o e t s t a a n

h a n d m a i d e n of c o l o n i a l i s m a n d a c t i v e l y a i d e d the f o r c e s of r e p r e s s i o n . T h e

d e b e s c h r e v e n e n . D e l e n in d e m a c h t is m a k k e l i j k e r , w a n n e e r m e n b e s c h i k t o v e r

ideal I speak about m a y be nothing m o r e that a fantasy a s e l d o m realized

d e n o d i g e f e e d b a c k e n l a n g e n i n t e n s i e f m e t d e g e p o r t r e t t e e r d e n o m g a a t . H e t is

p o t e n t i a l . H o w e v e r , it i s n o a c c i d e n t t h a t m a n y e x p e r i m e n t s i n s u b j e c t

in i e d e r g e v a l m a k k e l i j k e r d a n d e t r a d i t i o n e l e m a n i e r v a n e t n o g r a f i e

g e n e r a t e d m e d i a p r o d u c t i o n w e r e a c o n s e q u e n c e of

w a a r i n d e e t n o g r a a f a l s e n i g e u i t m a a k t w a t hij v a s t l e g t . W a t m e n s e n o v e r h u n

anthropological

research a n d i n v o l v e m e n t with the rights of native p e o p l e .

bedrijven,

w e r e l d z e g g e n is e e n b e l a n g r i j k g e g e v e n v o o r d e e t n o g r a a f e n d a t i s altijd z o geweest.

Collaborative and Subject Generated Documentary Film

M o c h t ik d e i n d r u k w e k k e n d a t d e e t n o g r a f i e altijd al e e n p r o g r e s s i e v e w e t e n -

In t h e 1 9 6 0 s , d o c u m e n t a r y f i l m m a k e r s b e c a m e c h a l l e n g e d b y t h e s a m e forces that are radicalizing a n t h r o p o l o g y in the 1980s. B e c a u s e m e d i a h a v e a close affinity with the h u m a n i s t i c a n d politically

documentary progressive

f o r c e s in t h e h u m a n s c i e n c e s , t h e h i s t o r y of a u t h o r s h i p in d o c u m e n t a r y parallels that of

s c h a p is g e w e e s t , w i l ik u e r w e l o p w i j z e n d a t zij m a a r al t e v a a k h e e f t g e f u n g e e r d als handlanger van het k o l o n i a l i s m e e n actief heeft m e e g e d a a n aan de o n d e r d r u k k i n g v a n v o l k e r e n . H e t i d e a a l w a a r n a a r ik v e r w e e s is m i s s c h i e n a l l e e n

film

anthropology.

m a a r e e n u t o p i e - i e t s dat z e l d e n w e r k e l i j k h e i d w o r d t . M a a r h e t i s g e e n t o e v a l dat v e e l e x p e r i m e n t e n m e t d o o r v o l k e r e n z e l f g e m a a k t e f i l m s e n f o t o ' s

F r o m its b e g i n n i n g s in t h e 1 9 2 0 s , d o c u m e n t a r y f i l m h a s b e e n

motivated

by t w o f u n d a m e n t a l l y different c o n c e p t i o n s of the relationship b e t w e e n

the

het

gevolg w a r e n van antropologisch onderzoek en b e m o e i e n i s met de rechten van dergelijke volkeren.

f i l m m a k e r a n d t h o s e w h o are f i l m e d . T h e s e a p p r o a c h e s c a n b e l o c a t e d in t h e f i l m s of S o v i e t f i l m m a k e r D z i g a V e r t o v a n d R o b e r t F l a h e r t y , t h e f a t h e r

A m e r i c a n d o c u m e n t a r y . V e r t o v b e l i e v e d that h i s m i s s i o n w a s the c r e a t i o n of a n e w p e r c e p t i o n of t h e w o r l d . ' T h u s I d e c i p h e r in a n e w w a y a w o r l d

Documentaire films gemaakt in samenwerking met en gemaakt door de geportretteerden zelf In d e z e s t i g e r j a r e n k r e g e n d o c u m e n t a i r e f i l m e r s t e m a k e n m e t d e z e l f d e

u n k n o w n t o y o u ... I a m e y e . I a m m e c h a n i c a l e y e , s h o w i n g y o u a w o r l d

the

k r a c h t e n d i e in d e t a c h t i g e r j a r e n v o o r r a d i c a l e v e r a n d e r i n g e n in d e a n t r o p o l o g i e

l i k e s o f w h i c h o n l y I c a n s e e ' ( V e r t o v 1 9 2 3 c i t e d in B e r g e r 1 9 7 2 : 17). F o r

zorgden. Omdat de documentaire media nauwe banden hebben met de humanis-

m o s t p r o d u c e r s , f i l m is a v e h i c l e f o r t h e e x p r e s s i o n of p e r s o n a l s e n s i b i l i t i e s ,

t i s c h e e n p o l i t i e k - p r o g r e s s i e v e k r a c h t e n in d e m e n s w e t e n s c h a p p e n , l o o p t d e

a n e x p l i c a t i o n of t h e artist's v i s i o n . E v e n w h e n t h e g o a l is to p r e s e n t t h e

g e s c h i e d e n i s v a n d e relatie t u s s e n f i l m e r e n g e f i l m d e p a r a l l e l m e t d i e v a n d e

a c t u a l i t y o f o t h e r p e o p l e ' s l i v e s , t h e f i l m m a k e r ' s i n s i g h t is w h a t i s d e e m e d

antropologie.

m o s t s i g n i f i c a n t . T h e a u t h o r a s f i l m a r t i s t is v a l u e d f o r h i s / h e r a b i l i t y

u n i q u e l y d e s c r i b e t h e w o r l d . V a l i d a t i o n f r o m t h e s u b j e c t o f t h e f i l m is s i m p l y not c o n s i d e r e d i m p o r t a n t . A r t i s t i c v i s i o n is t h e m e a s u r e of s u c c e s s .

r e l a t i e t u s s e n f i l m e r e n g e f i l m d e . D e e n e b e n a d e r i n g v i n d e n w e in d e f i l m s v a n

In c o n t r a s t , R o b e r t F l a h e r t y , p a r t i c u l a r l y d u r i n g t h e f i l m i n g o f Nanook the

North,

V a n a f h e t a l l e r e e r s t e b e g i n v a n d e t w i n t i g e r j a r e n is d e d o c u m e n t a i r e f i l m beĂŻnvloed g e w e e s t door t w e e f u n d a m e n t e e l verschillende opvattingen van de

d e R u s s i s c h e f i l m e r D z i g a V e r t o v e n d e a n d e r e in d e f i l m s v a n R o b e r t F l a h e r t y , d e v a d e r v a n d e A m e r i k a a n s e d o c u m e n t a i r e . V e r t o v v o n d d a t hij d e o p d r a c h t h a d

s o u g h t to depict the actuality of o t h e r s . N a n o o k w a s s h o w n

f o o t a g e in t h e f i e l d a n d a s k e d t o c o m m e n t u p o n its a c c u r a c y a s w e l l a s

e e n n i e u w w e r e l d b e e l d t e c r e ĂŤ r e n . 'Ik o n t c i j f e r o p e e n n i e u w e m a n i e r e e n

a s s i s t F l a h e r t y in p l a n n i n g for t h e n e x t d a y ' s f i l m i n g . ' B u t a n o t h e r r e a s o n for

w e r e l d d i e u niet kent...ik b e n o o g . Ik b e n e e n m e c h a n i s c h o o g , d a t u e e n w e r e l d

d e v e l o p i n g t h e f i l m i n t h e n o r t h w a s t o p r o j e c t it t o t h e E s k i m o s s o t h a t t h e y

laat z i e n , z o a l s ik a l l e e n k a n z i e n ' ( V e r t o v 1 9 2 3 , g e c i t e e r d in B e r g e r 1 9 7 2 : 17).

w o u l d accept and understand what I w a s doing and work together with

V o o r d e m e e s t e f i l m e r s is f i l m e e n m i d d e l o m u i t d r u k k i n g te g e v e n a a n p e r s o o n -

lijke g e v o e l e n s - d e v o r m g e g e v e n v i s i e v a n d e f i l m e r a l s k u n s t e n a a r . Z e l f s a l s h e t

a s partners' (Flaherty 1950: 13-14).

d o e l is d e w e r k e l i j k h e i d v a n d e a n d e r w e e r t e g e v e n , draait h e t n o g o m h e t

O n e c a n tracĂŠ a thi n line of tradition f r o m F l a h e r t y to the p r e s e n t d a y interest in c o l l a b o r a t i o n and s u b j e c t - g e n e r a t ed f i l ms that offer the

possibility

of p e r c e i v i n g actuality f r o m the v i e w p o i n t of p e o p l e w h o lead lives that are different f r o m thos e w h o have traditionally

controlled the m e a n s of

the w o r l d . Subject-generated v i d e o s h a v e b e c o m e a tooi for

imaging

some

d i s e n f r a n c h i s e d p e o p l e in their e f f o r t s t o n e g o t i a t e a n e w c u l t u r a l

identity

i n z i c h t v a n d e f i l m e r . D e f i l m e r is e e n k u n s t e n a a r d i e w o r d t b e o o r d e e l d o p z i j n / h a a r v e r m o g e n tot e e n u n i e k e w e e r g a v e v a n d e w e r e l d . B e v e s t i g i n g v a n d e g e p o r t r e t t e e r d e n d o e t e e n v o u d i g w e g n i e t t e r z a k e . A r t i s t i c i t e i t is d e g r a a d m e t e r voor succes. R o b e r t F l a h e r t y d a a r e n t e g e n p r o b e e r d e d e w e r k e l i j k h e i d v a n d e a n d e r in

(Turner 1990). T h i s w o r k c h a l l e n g e s o u r a s s u m p t i o n s a b o u t the n a t u r e of the

b e e l d t e b r e n g e n , z o a l s v o o r a l blijkt uit d e m a n i e r w a a r o p Nanook

d o c u m e n t a r y ; offers insight into the role of culture in the ' l a n g u a g e ' of

s t a n d k w a m . N a n o o k k r e e g t e r p l a a t s e g e d e e l t e n v a n d e f i l m d i e a l klaar w a r e n

pictorial m e d i a ; a n d d i s p u t e s the authority of u n c o n t e s t e d

authorship.

of the North

tot

te z i e n , z o d a t hij er c o m m e n t a a r o p k o n l e v e r e n e n F l a h e r t y k o n h e l p e n bij d e

M o s t d o c u m e n t a r y film s are best u n d e r s t o o d as V e r t o v i a n , that is, the

v o o r b e r e i d i n g e n v o o r de v o l g e n d e d a g . ' E e n a n d e r e r e d e n v o o r het ter plaatse

f i l m m a k e r a s ' a u t h o r ' . H o w e v e r , f o r t h e s a k e o f d i s c u s s i o n , let u s s u p p o s e

o n t w i k k e l e n v a n d e film. w a s , d a t ik h e m a a n d e E s k i m o ' s k o n l a t e n z i e n , z o d a t z e

the m i s s i o n of d o c u m e n t a r y f i l m c a n be partially d e s c r i b e d the

b e t e r z o u d e n b e g r i j p e n w a a r ik m e e b e z i g w a s e n o p b a s i s v a n g e l i j k h e i d m e t

way

mij

k o n d e n s a m e n w e r k e n ' (Flaherty 1 9 5 0 : 13-14).

a n t h r o p o l o g i s t M a l i n o w s k i c h a r a c t e r i z e d t h e g o a l of e t h n o g r a p h y , a s the c h a n c e 'to g r a s p a n a t i v e ' s p o i n t of v i e w , h i s r e l a t i o n t o life, t o r e a l i z e h i s

Er loopt e e n d u n draadje v a n Flaherty naar d e h e d e n d a a g s e d o c u m e n t a i r e

v i s i o n of his w o r l d ' ( M a l i n o w s k i 1922 (1961): 25). T h e s e f i l m s , t h e n , h a v e the

films, waarin de werkeljkheid wordt w a a r g e n o m e n door de ogen van m e n s e n

u n i q u e o b j e c t i v e of p o r t r a y i n g the p o l i t i c a l , s o c i a l a n d e c o n o m i e a c t u a l i t i e s

w i e r l e v e n h e e l a n d e r s is d a n h e t l e v e n v a n d i e g e n e n d i e j a r e n l a n g d e w e r e l d in

of o p p r e s s e d

minorities.

kaart h e b b e n g e b r a c h t . S o m m i g e r e c h t e l o z e n g e b r u i k e n h u n z e l f g e m a a k t e

It i s g e n e r a l l y a s s u m e d t h a t t h i s t a s k is b e s t a c c o m p l i s h e d b y h a v i n g a p r o f e s s i o n a l f i l m m a k e r e m p l o y t e c h n i c a l skills, artistic sensitivity, a n d to reveal the 'reality' of others. S e l d o m d o the s u b j e c t s h a v e direct

insight

input.

v i d e o ' s o m e e n n i e u w e c u l t u r e l e i d e n t i t e i t t e b e v e c h t e n ( T u r n e r 1 9 9 0 ) . Dit s o o r t f i l m s zet o n s a a n het d e n k e n o v e r het w e z e n v a n d e d o c u m e n t a i r e , g e e f t o n s i n z i c h t in d e rol v a n d e c u l t u u r , in d e ' t a a l ' v a n d e b e e l d e n d e m e d i a e n z e t v r a a g -

T h o s e i m a g e m a k e r s w h o f o l l o w the dictates of b r o a d c a s t televisio n

t e k e n s bij d e w a a r d e v a n d o c u m e n t a i r e s d i e n i e t bij d e b e t r o k k e n e n zijn g e v e r i f i -

journalism argue any personal relationship between the filmmakers and the

eerd.

f i l m e d c o m p r o m i s e s objectivity. T h e y b e l i e v e their task is to report m a k i n g p e r s o n a l j u d g m e n t s a n e f f o r t s o m e c o n t e n d is n o t o n l y

without

impossible

D e m e e s t e f i l m s v a l l e n in d e V e r t o v - c a t e g o r i e , d a t w i l z e g g e n d a t d e f i l m e r het v o o r het z e g g e n heeft. M a a r laten w e er nu e e n s vanuit g a a n dat w a t d e

but m i s l e a d i n g a n d d a n g e r o u s . T h e technical a n d aesthetic skills a n d

a n t r o p o l o o g M a l i n o w s k i z e i o v e r h e t d o e l v a n d e e t n o g r a f i e , z i c h o o k laat v e r t a l e n

k n o w l e d g e n e c e s s a r y to m a k e a ' g o o d ' f i l m are a s s u m e d to be b e y o n d the

in t e r m e n v a n d o c u m e n t a i r e f i l m , n a m e l i j k d a t h e t o n s d e k a n s b i e d t ' h e t p e r -

m e a n s o f m o s t p e o p l e . T h e r e f o r e it i s i n e v e r y o n e ' s b e s t i n t e r e s t t o

have

s p e c t i e f v a n d e a n d e r , d e m a n i e r w a a r o p hij in h e t l e v e n s t a a t , v a s t t e l e g g e n e n

films m a d e by professionals. In s p i t e o f t h e e c o n o m i e h o l d o f t r a d i t i o n a l

zijn v i s i e o p zijn e i g e n w e r e l d w e e r t e g e v e n ' ( M a l i n o w s k i 1 9 2 2 [ 1 9 6 1 ) : 2 5 ) . Dit soort films heeft het unieke doel d e politieke, sociale e n e c o n o m i s c h e werkelijk-

patterns of a u t h o r s h i p , a

p a r a d i g m a t i c shift is o c c u r r i n g in the r e l a t i o n s h i p b e t w e e n t h e f i l m e r a n d t h e f i l m e d . T h e r e a s o n s for these c h a n g e s are a c o m p l e x of intellectual, artistic, political a n d ethical factors, partially d i s c u s s e d earlier in relationship

a n t h r o p o l o g y . T h e c o l l a p s e of the e m p i r e s of t h e first a n d s e c o n d w o r l d

heid v a n onderdrukt e m i n d e r h e d e n vast te l e g g e n . M e n n e e m t m e e s t a l a a n dat d e z e taak het b e s t kan w o r d e n o v e r g e l a t e n a a n e e n p r o f e s s i o n e l e f i l m e r d i e zijn t e c h n i s c h e v a a r d i g h e d e n , zijn a r t i s t i c i t e i t

has

c a u s e d the authority of a W e s t e r n m a l e , m i d d l e - c l a s s , h e t e r o s e x u a l

inzicht gebruikt o m d e ' w e r k e l i j k h e i d' v a n d e a n d e r bloot te l e g g e n . Z e l d e n hebb e n d e g e p o r t r e t t e e r d e n e e n s t e m in h e t k a p i t t e l . D e f i l m e r s d i e z i c h h o u d e n a a n

c o n s t r u c t i o n of reality to be c o n t e s t e d . T h e right to r e p r e s e n t a n y o n e

but

y o u r s e l f is c a l l e d int o q u e s t i o n .

d e r e g e l s v a n d e t e l e v i s i e j o u r n a l i s t i e k g a a n er v a n u i t d a t e e n p e r s o o n l i j k e t u s s e n filmer en g e f i l m d e d e objectiviteit

relatie

in h e t g e d i n g b r e n g t . Zij v i n d e n d a t zij

T h e p r o t e s t l i t e r a l l y s t a r e s b a c k a t u s f r o m t h e s c r e e n . In The

Passenger,

de opdracht h e b b e n verslag te d o e n z o n d e r e e n persoonlijk o o r d e e l te g e v e n

M i c h e l a n g e l o A n t o n i o n i ' s 1975 film a b o u t a d o c u m e n t a r y f i l m m a k e r

trying

i e t s dat v o l g e n s s o m m i g e n niet k a n e n b o v e n d i e n m i s l e i d e n d e n g e v a a r l i j k is.

to p r o d u c e a film a b o u t a national liberation front in a n u n s p e c i f i e d

North

M e n gaat er vanuit dat d e m e e s t e m e n s e n d e t e c h n i s c h e e n e s t h e t i s c h e vaardig-

h e d e n e n k e n n i s m i s s e n o m e e n ' g o e d e ' f i l m te m a k e n . D a a r o m is h e t in i e d e r s

African country, M r . Locke, (played by J a c k N i c h o l s o n ) , tries to interview

b e l a n g dat f i l m s d o o r p r o f e s s i o n e l e filmers w o r d e n g e m a a k t .

of the rebel leaders a n d has the f o l l o w i n g c o n v e r s a t i o n .

O n d a n k s de e c o n o m i s c h e belangen van d e traditionele manieren van films m a k e n , v i n d t e r m o m e n t e e l e e n w e z e n l i j k e v e r s c h u i v i n g p l a a t s in d e r e l a t i e t u s s e n filmer en gefilmde. D e z e veranderingen w o r d e n veroorzaakt door een c o m p l e x v a n i n t e l l e c t u e l e , a r t i s t i e k e , p o l i t i e k e e n e t h i s c h e f a c t o r e n , w a a r v a n e n k e l e al e e r d e r bij d e b e s p r e k i n g v a n d e a n t r o p o l o g i e ter s p r a k e zijn g e w e e s t . H e t w e g v a l l e n v a n d e m a c h t in d e e e r s t e e n t w e e d e w e r e l d h e e f t g e z o r g d v o o r d e n o d i g e v r a a g t e k e n s bij e e n w e r k e l i j k h e i d , d i e in f e i t e d e w e r k e l i j k h e i d w a s v a n d e w e s t e r s e , h e t e r o s e x u e l e m a n uit d e m i d d e n - k l a s s e . H e t r e c h t o m a n d e r e n t e p o r t r e t teren w o r d t ter d i s c u s s i e g e s t e l d . W e v i n d e n d e z e p r o t e s t e n v o l o p t e r u g in f i l m s . In The Passenger,

e e n film

v a n M i c h e l a n g e l o A n t o n i o n i uit 1 9 7 5 o v e r e e n d o c u m e n t a i r e f i l m e r d i e e e n f i l m

Locke: were

'Yesterday

brought

to have

spent

your

attitude

now

and

'Mr.

questions.

p r o b e e r t t e m a k e n o v e r e e n n a t i o n a l e b e v r i j d i n g s g b e w e g i n g in e e n niet n a d e r g e n o e m d Noordafrikaans land, probeert M r . L o c k e , g e s p e e l d d o o r J a c k N i c h o l s o n , é é n va n d e r e b e l l e n l e i d e r s te i n t e r v i e w e n . D a n o n t w i k k e l t z i c h het v o l g e n d e

in France tribal

perhaps There

'I meant

are

be about them

Locke.

think

the

are

think

questions

would

you

for

I don't

Locke:

at the

village.

Isn't

that

and

Yugoslavia?

customs?

I understood

usual

for

Has

Don't

they

that

someone that

strike

you

changed you

false

tribe?'

perfectly

you

satisfactory

understand

much

answers

how

revealing

little about

to all

you

can

your

learn

yourself

from

than

me.' quite

sincerely.'

can

is sincere

have

but

also

a conversation what

but

I believe

only

if it is not

to be honest.'

just (Emphasis

added.) Locke:

gesprek.

years

answer

what

you

certain

Locke.

N a t i v e : 'Mr.

filmed

several

But

Your

to be a witchdoctor.

towards

wrong

Native:

them.

when

one

'Yes,

of course,

but...'

(The rebel leader now turns the camera around so that Locke is centered in the frame.) Locke: moest

'Gisteren

hebben

worden.

bracht.

Heef

derd?

Wijst

Maar dat

u in het

u hebt

ook

houding

u dergelijke

dorp

enige

tegenover

gewoontes

gefilmd.

jaren

Ik begreep

in Frankrijk

bepaalde

gewoontes

nu af, omdat

dat u

medicijnman

en Joegoslavië van uw

ze slecht

kunnen

doorgestam

zijn voor

verande

stam?' R e b e l l e n l e i d e r : 'Mr. Maat dan

volgens

mij

wordt

mijn antwoorden

Locke:

'Ik bedoelde

R e b e l l e n l e i d e r : 'Mr teert

Locke.

dat ook

Locke:

u er niets

ooit

over

ze anders Locke.

ik serieus

'Ja natuurlijk,

Er is een

wijzer

mijzelf heel

Ik wil

ben.'

heel

logisch

van.

zouden

antwoord vragen

kunnen

op al uw

vertellen

meer

vertellen.'

best

met

u praten,

maar

alleen

als u

accep-

nadruk)

pas

echt

can

have

interview.

You

can

ask

the

same

before.'

A t t h e e n d o f J o h n M a r s h a l l ' s 1 9 8 0 f i l m , N'ai,

Portrait

of a San

Woman,

the story of a fourth-worl d w o m a n a n d the destructive t r a n s f o r m a t i o n of her p e o p l e m o c k m e a n d I cry. M y p e o p l e a b u s e m e . T h e white p e o p l e s c o r n m e . D e a t h m o c k s m e . D e a t h d a n c e s w i t h m e . D o n ' t l o o k at m y f a c e . D o n ' t

S o m e p e o p l e a r e d e m a n d i n g that the authority be s h a r e d a n d e v e n all together relinquished.

maar...'

t o c o n t r o l o n e ' s c u l t u r a l i d e n t i t y . It i s a r i g h t f r a u g h t w i t h p o l i t i c a l p o w e r .

At the s a m e t i m e as s u b j e c t s a r e a s s e r t i n g their rights, t h e re is t h e

(De rebellenleider draait de camera om, zodat Locke nu middenin beeld verschijnt.) R e b e l l e n l e i d e r : 'Zo, nu kunnen

l o o k at m y f a c e . ' T h e e x a m p l e s g r o w d a i l y . T h e r i g h t t o r e p r e s e n t i s t h e r i g h t

serieus.'

(Extra

questions

culture by white S o u t h Africans, N'ai confronts the c a m e r a a n d sings: ' N o w

vragen. over

N a t i v e : 'Now,

praten.

Stelt

u uw

vragen

nog

maar

eens.'

g r o w i n g r e c o g n i t i o n o n the part of d o c u m e n t a r y f i l m m a k e r s that m a k i n g films a b o u t s o c i e t y ' s victims, a favorite t h e m e of the d o c u m e n t a r y , has b e c o m e difficult to justify s i n c e t h e s e f i l m s t e n d to p r o d u c e f e w v e r i f i a b l e

In d e f i l m v a n J o h n M a r s h a l l uit 1 9 8 0 , N'ai,

Portrait

of a San Woman,

het ver-

r e s u l t s . In 1 9 6 0 E d w a r d R. M u r r o w a n d F r e d F r i e n d l y p r o d u c e d a l a n d m a r k

haal v a n e e n v r o u w uit d e v i e r d e w e r e l d e n d e v e r n i e t i g i n g v a n h a a r c u l t u u r d o o r

t e l e v i s i o n d o c u m e n t a r y , Harvest

b l a n k e Z u i d a f r i k a n e n , kijkt N ' a i a a n h e t e i n d e in d e c a m e r a e n z i n g t : ' M e n s e n drij-

d e p l o r a b l e c o n d i t i o n s of m i g r a n t agricultural w o r k e r s in the U n i t e d States.

of Shame,

an investigative report o n the

v e n d e s p o t m e t m e e n ik h u i l . M i j n e i g e n m e n s e n s c h e l d e n m e uit. D e b l a n k e n

S i n c e that t i m e d o z e n s of televisio n reports c h r o n i c l e d the plight of t h e s e

z i e n m e niet s t a a n . D e d o o d drijft d e s p o t m e t m e . D e d o o d d a n s t m e t m i j . Kijk

p e o p l e . T h e r e is little e v i d e n c e that the e c o n o m i e a n d s o c i a l p r o b l e m s of

m i j niet in m i j n g e z i c h t . Kijk m i j n i e t in m i j n g e z i c h t . ' W e k o m e n e l k e d a g m e e r

t h e s e w o r k e r s h a v e m a r k e d l y i m p r o v e d o v e r t h e y e a r s . It w o u l d a p p e a r t h a t

v o o r b e e l d e n t e g e n . H e t r e c h t o p w e e r g a v e is h e t r e c h t o p z e g g e n s c h a p o v e r d e

+the f u n d s spen t o n thes e p r o d u c t i o n s w a s w a s t e d . F u r t h e r m o r e

e i g e n c u l t u r e l e i d e n t i t e i t . H e t is e e n r e c h t b e l a d e n m e t p o l i t i e k e m a c h t . S o m m i -

s e e m s little interest in d e v e l o p i n g w a y s of e m p i r i c a l l y v e r i f y i n g t h e i m p a c t

g e n e i s e n dat d e m a c h t g e d e e l d w o r d t e n zelfs dat i e d e r e e n e v e n v e e l m a c h t

of the social a n d political d o c u m e n t a r i e s . P e r h a p s t h o s e w h o

heeft.

political d o c u m e n t a r i e s are a f r a i d t h e y will f i n d o u t that f i l m is not a c o s t

A a n d e e n e kant k o m e n d u s d e g e f i l m d e n o p v o o r h u n r e c h t e n e n aan d e

there

produce

effective w a y of c h a n g i n g t h e w o r l d ( W i n s t o n 1988).

a n d e r e k a n t is e r h e t g r o e i e n d e b e s e f bij d e f i l m e r s zelf d a t h e t m a k e n v a n f i l m s o v e r s l a c h t o f f e r s v a n d e m a a t s c h a p p i j , e e n g e l i e f d t h e m a in d o c u m e n t a i r e s ,

W h i l e p o l i t i c a l a n d e c o n o m i e c o n d i t i o n s that r e a c h e d a c r e s c e n d o in t h e

m o e i l i j k v e r d e d i g b a a r is, a a n g e z i e n d e z e f i l m s o v e r h e t a l g e m e e n w e i n i g v e r i f i e e r -

late 1 9 6 0 s b r o u g h t a b o u t a n e e d to r e e x a m i n e t h e d o c u m e n t a r y f i l m , t h e

b a a r r e s u l t a a t o p l e v e r e n . In 1 9 6 0 m a a k t e n E d w a r d R. M u r r o w e n F r e d F r i e n d l y

solutions are actually not so n e w . A s I stated earlier, Robert Flaherty actively

e e n o p m e r k e l i j k e d o c u m e n t a i r e , Harvest

s o u g h t t h e c o o p e r a t i o n o f h i s s u b j e c t s i n Nanook

of Shame,

e e n verslag van d e erbarme-

of the

North.

In 1 9 3 1 i n t h e

lijke o m s t a n d i g h e d e n v a n s e i z o e n - l a n d a r b e i d e r s in d e V e r e n i g d e S t a t e n . N a d i e

S o v i e t U n i o n , the Cine-train project of A l e x a n d e r M e d v e d k i n p r o d u c e d f i l m s

tijd is d e e l l e n d i g e p o s i t i e v a n d e z e m e n s e n in n o g t i e n t a l l e n a n d e r e t e l e v i s i e d o -

a b o u t local p r o b l e m s w i t h the active c o o p e r a t i o n of local political w o r k e r s .

c u m e n t a i r e s b e l i c h t . Er is e c h t e r w e i n i n g b e w i j s d a t d e e c o n o m i s c h e e n s o c i a l e

In t h e r e m a r k a b l e 1 9 3 5 B r i t i s h f i l m , Housing

o m s t a n d i g h e d e n v a n d e z e a r b e i d e r s o v e r d e j a r e n a a n m e r k e l i j k zijn v e r b e t e r d .

A r t h u r E l t o n , w e s e e , for the first t i m e , p e o p l e s p e a k i n g for t h e m s e l v e s ,

H e t g e l d d a t a a n d e z e d o c u m e n t a i r e s is b e s t e e d , lijkt w e g g e g o o i d . B o v e n d i e n

directly confronting a u d i e n c e s w i t h their plight. O n e c o u l d c o m p i l e an

lijkt e r w e i n i g b e l a n g s t e l l i n g t e b e s t a a n v o o r d e o n t w i k k e l i n g v a n m e t h o d e s o m

i m p r e s s i v e list o f s i m i l a r e f f o r t s - s o m e m o t i v a t e d b y i n t e l l e c t u a l a n d a r t i s t i c

het e f f e c t van d e s o c i a l e e n politieke d o c u m e n t a i r e e m p i r i s c h te m e t e n . M i s -

curiosity, o t h e r s for political p u r p o s e s a n d still o t h e r s f r o m a m o r a l

s c h i e n zijn d e m a k e r s v a n d e r g e l i j k e p o l i t i e k e d o c u m e n t a i r e s b a n g t e m o e t e n o n t -

c o m m i t m e n t to the subjects. H o w e v e r n u m e r o u s the attempts

d e k k e n d a t e e n f i l m g e e n r e n d a b e l e m a n i e r is o m d e w e r e l d t e v e r a n d e r e n ( W i n -

interesting the results, the idea of d o i n g collaborative a n d subject g e n e r a t e d

s t o n 1988).

w o r k w a s , b y a n d l a r g e , i g n o r e d until t h e r a d i c a l p o l i t i c s of t h e 1 9 6 0 s

Problems

by Edgar Anstry and

and

b r o u g h t t h i n g s to a h e a d . A a n het e i n d e van d e jaren z e s t i g leidde d e politieke e n e c o n o m i s c h e situatie

T h e a d v e n t of p o r t a b l e s y n c h r o n o u s s o u n d f i l m t e c h n o l o g y in t h e e a r l y

d u s tot e e n h e r b e z i n n i n g o p d e d o c u m e n t a i r e f i l m . D e o p l o s s i n g e n d i e t o e n w e r -

1960s s e e m e d to e m p o w e r s u b j e c t s t h r o u g h the u s e of o n - c a m e r a

d e n a a n g e d r a g e n , zijn e i g e n l i j k n i e t z o n i e u w . Z o a l s ik al e e r d e r h e b g e z e g d ,

interviews. T h e y c o u l d n o w speak for t h e m s e l v e s . A u d i e n c e s c o u l d see a n d

w e r k t e R o b e r t F l a h e r t y in Nanook

hear directly. ' V o i c e of G o d ' narration rapidly b e c a m e declassé. S o m e critics

of the North

al s a m e n m e t d e m e n s e n d i e hij

p o r t r e t t e e r d e . In 193 1 m a a k t e A l e x a n d e r M e d v e d k i n in d e S o v j e t - U n i e in zijn

like C o l i n Y o u n g (1976) s u g g e s t e d that o b s e r v a t i o n a l s t y l e f i l m s o f f e r e d

C i n e - t r e i n p r o j e c t f i l m s o v e r p l a a t s e l i j k e p r o b l e m e n in n a u w e s a m e n w e r k i n g m e t

s u b j e c t s a c h a n c e to s i m p l y be t h e m s e l v e s a n d for a u d i e n c e s to o p e n l y

p l a a t s e l i j k e p o l i t i c i . In d e o p m e r k e l i j k e B r i t s e f i l m Housing

interpret the lives represented o n the screen. B e i n g able to hear w i t n e s s e s

Problems

van Edgar

A n s t r y en Arthur Elton zien w e voor het eerst m e n s e n die voor zichzelf s p r e k e n

i n s t e a d of b e i n g t o l d w h a t t h e y t h i nk o f f e r s s u b j e c t s s o m e a d d i t i o n a l

e n het publiek direct c o n f r o n t e r e n m e t h u n e l l e n d i g e situatie. J e z o u e e n indruk-

but the directorial a n d editorial control r e m a i n e d in the h a n d s of the

w e k k e n d e lijst v a n s o o r t g e l i j k e p o g i n g e n k u n n e n o p s t e l l e n - s o m m i g e d a a r v a n

filmmaker. E m p o w e r m e n t w a s therefore m o r e illusionary than actual.

i n g e g e v e n d o o r intellectuele en artistieke nieuwsgierigheid , ander e m e t e e n duidelijk p o l i t i e k d o e l e n w e e r a n d e r e v a n u i t e e n m o r e l e v e r p l i c h t i n g t e g e n o v e r d e g e f i l m d e n . H o e v e e l p o g i n g e n er ook w e r d e n g e d a a n e n h o e i n t e r e s s a n t d e r e s u l t a t e n o o k w a r e n , h e t i d e e v a n s a m e n w e r k i n g e n h e t zelf l a t e n m a k e n v a n f i l m s

In f i l m s , l i k e H u b e r t S m i t h ' s Single S c h o t t ' s Deal

Parent,

the

power,

and Jeff V a u g h n and J o h n

the subjects w e r e g i v e n the right to v i e w f o o t a g e a n d to veto

a n y i n a p p r o p r i a t e s c è n e s . T h e m a k e r s feit o b l i g a t e d to o b t a i n

'informed

consent' before they f i n i s h e d their film. T h e idea s e e m s quite s o u n d but

p e o p l e t e n d to r e s p o n d uncritically w h e n t h e y s e e t h e m s e l v e s . T h e f i l m s are

bleef o p d e a c h t e r g r o n d , tot d e z a k e n d o o r d e radicale politieke

regarded as h o m e m o v i e s . The subjects b e c o m e ' d o c u m e n t a r y p o p stars'

van d e zestiger jaren op d e spits w e r d e n g e d r e v e n .

r a t h e r t h a n d e a l i n g c r i t i c a l l y w i t h h o w t h e i r i m a g e w a s c o n s t r u c t e d a n d its

veranderingen

D e k o m s t van draagbare s y n c h r o n e geluidsfilmapparatuur aan het begin van

potential impact on audiences.

d e z e s t i g e r jaren, gaf d e g e f i l m d e n m e e r m a c h t o m d a t z e vanaf dat

D u r i n g the past 30 y e a r s d o c u m e n t a r y s u b j e c t s g a i n e d a n o p p o r t u n i t y

moment

r e c h t s t r e e k s in d e c a m e r a k o n d e n s p r e k e n . Z e k o n d e n z e g g e n w a t z e w i l d e n . E n

s p e a k f o r t h e m s e l v e s a n d to p a r t i a l l y c o n t r o l t h e i r i m a g e . F o r s o m e t h a t w a s

het publiek k o n het m e t e e n z i en e n h o r e n . D e ' s t e m G o d s ' - b e n a d e r i n g raakte in

n o t s u f f i c i ë n t . T h e y w i s h t o r e p r e s e n t t h e m s e l v e s . T h i s is n o t a r e c e n t d e s i r e .

o n b r u i k . S o m m i g e critici z o a l s C o l i n Y o u n g ( 1 9 7 6 ) s t e l d e n d a t o b s e r v e r e n d e f i l m s

African A m e r i c a n s , Native A m e r i c a n s , Hispanics, w o m e n , a n d gays have, for

d e g e f i l m d e n d e k a n s g a v e n z i c h z e l f t e zijn e n h e t p u b l i e k in s t a a t s t e l d e n z e l f t e

s o m e t i m e , s o u g h t the m e a n s to represent t h e m s e l v e s . W h e n critics

i n t e r p r e t e r e n w a t zij o p h e t s c h e r m z a g e n . M e n s e n z e l f h o r e n s p r e k e n , in p l a a t s

e x p o s e d i n a c c u r a t e a n d d i s t o r t e d s y s t e m s of r e p r e s e n t a t i o n , the right a n d

v a n uit d e m o n d v a n e e n a n d e r h o r e n w a t z e d e n k e n , b e t e k e n d e w e l m e e r

a b i l i t y of o u t s i d e r s to a c c u r a t e l y r e p r e s e n t m i n o r i t i e s w a s a l s o q u e s t i o n e d :

m a c h t v o o r d e g e f i l m d e n , m a a r d e r e g i e b l e e f u i t e i n d e l i j k in h a n d e n v a n d e fil-

A s a c o n s e q u e n c e , a n u m b e r of alternative c i n e m a s e m e r g e d . A s

m e r . E n d u s k r e g e n d e g e f i l m d e n niet d e e i g e n l i j k e

community

m e m b e r s , t h e s e ' m i n o r i t y ' p r o d u c e r s l e a r n e d first h a n d w h a t s u b j e c t s t h o u g h t , t h u s i n t r o d u c i n g a f o r m of a c c o u n t a b i l i t y o f t e n l a c k i n g w h e n a n outsider makes a film.

Bij h e t m a k e n v a n f i l m s a l s Single

Patent

macht.

v a n H u b e r t S m i t h e n Deal v a n J e f f

Vaughn e n J o h n Schott m o c h t e n de gefilmden stukken van d e film zien en zelfs bepaalde scènes verbieden. D e m a k e r s voelde n zich verplicht de g e f i l m d e n eerst te l a t e n z i e n w a a r zij m e e b e z i g w a r e n a l v o r e n s d e f i l m af t e m a k e n . H e t i d e e

B r o a d e n i n g t h e p o w e r b a s e in i m a g e p r o d u c t i o n d o e s r e p r e s e n t a n i m p r e s s i v e d e m o c r a t i z i n g c h a n g e . T h e possibility of feedback c a u s e d the m a k e r s t o t h i n k a b o u t t h e c o m m u n i t y ' s r e a c t i o n . H o w e v e r , it d i d

l e e k p r i m a , m a a r m e n s e n h e b b e n d e n e i g i n g niet z o e r g k r i t i s c h n a a r z i c h z e l f t e kijken. D e films w o r d e n g e m a k k e l i j k b e k e k e n als e e n soort vakantiefilms. D e

not

necessarily signify that the relationship b e t w e e n the f i l m m a k e r a n d the

g e f i l m d e n z i e n z i c h z e l f al s n e l a l s s t e r v a n h e t w i t t e d o e k e n l e t t e n n i e t m e e r o p

f i l m e d w a s significantly altered. T h e directors m a y h a v e c o m e f r o m the

h o e h e t b e e l d tot s t a n d is g e k o m e n e n w e l k e f f e c t h e t k a n h e b b e n o p h e t

c o m m u n i t i e s t h e y f i l m e d but t h e y c o n t i n u e d to m a i n t a i n directorial

publiek.

control

o v e r the p r o d u c t i o n . T h e subject r e m a i n e d passivel y co-operative.

In d e a f g e l o p e n d e r t i g jaar k r e g e n d e g e f i l m d e n e e n m o g e l i j k h e i d o m v o o r

M o r e o v e r , s o m e m e m b e r s of m i n o r i t y c i n e m a s e m u l a t e d t h e f o r m of

z i c h z e l f t e s p r e k e n e n g e d e e l t e l i j k i n v l o e d uit te o e f e n e n o p d e b e e l d e n . V o o r

d o m i n a n t c i n e m a in o r d e r to o b t a i n f u n d i n g , d i s t r i b u t i o n , a n d a n a u d i e n c e .

s o m m i g e n w a s d a t n i e t g e n o e g . Zij w i l d e n z e l f h u n b e e l d e n m a k e n . W a t d a t

A s t h e y b e c a m e s u c c e s s f u l , their a t t a c h m e n t to the c o m m u n i t y t h e y first

b e t r e f t , is e r n i e t s n i e u w s o n d e r d e z o n . Z w a r t e A m e r i k a n e n , I d i a n e n , S p a a n s e

sought to represent b e c a m e tenuous. The m a i n s t r e a m c i n e m a a n d television

A m e r i k a n e n , v r o u w e n e n h o m o ' s w i l l e n al t i j d e n l a n g h u n e i g e n b e e l d e n m a k e n .

i n d u s t r i e s w e r e a b l e to c o o p t a n d r e n d e r t h e s e d i s s i d e n t s h a r m i e s s . G i v e n

W a n n e e r critici e e n onjuist e n v e r d r a a i d b e e l d v a n d e w e r k e l i j k h e i d

A m e r i c a ' s h i s t o r y of s u c c e s s f u l c o o p t a t i o n of a n y t h i n g d a n g e r o u s to t h e

d e n , w e r d o o k h e t r e c h t e n h e t v e r m o g e n v a n b u i t e n s t a a n d e r s t o t h e t juist in

status q u o , minority filmmakers face w h a t Faye G i n s b u r g calls a Faustian

b e e l d b r e n g e n van m i n d e r h e d e n , ter d i s c u s s i e g e s t e l d . H e t g e v o l g w a s e e n a a n -

d i l e m m a ( G i n s b u r g 1 9 8 9 ) . In o r d e r t o o b t a i n t h e f u n d s t h e y n e e d t o

tal a l t e r n a t i e v e f i l m c i r c u i t s . A l s lid v a n e e n m i n d e r h e i d w i s t e n d e z e f i l m e r s uit d e

produce,

constateer-

g a i n a c c e s s to t h e m o n o p o l i s t i c s y s t e m s o f d i s t r i b u t i o n , a n d a t t r a ct a n

e e r s t e h a n d w a t d e g e f i l m d e n b e z i g h i e l d , w a t l e i d d e tot e e n s o o r t w a a r h e i d s g e -

a u d i e n c e , t h e y m u s t p a c k a g e t h e i r w o r k i n a f o r m t h a t m a n y c o n t e s t is

t r o u w h e i d d i e in d e f i l m v a n e e n b u i t e n s t a a n d e r d i k w i j l s

d e s t r u c t i v e to t h e v e r y c u l t u r a l i d e n t i t y t h e y s o u g h t to p r e s e r v e in t h e first place. C o m m u n i c a t i o n s scholars G e o r g e Gerbner a n d Larry G r o s s suggest that W e s t e r n m a s s m e d i a have o n l y t w o m e a n s of d e a l i n g with p e o p l e outside the m a i n s t r e a m (Gerbner a n d G r o s s 1976; G e r b n e r , G r o s s , M o r g a n , a n d S i g n o r i e l l i 1 9 8 0 , 1 9 8 2 ) . T h e y e i t h e r i g n o r e t h e m a l t o g e t h e r , t h a t is s y m b o l i c a l l y annihilate t h e m or t h e y m a i n s t r e a m t h e m , that is, p o r t r a y

them

as a m i n o r variation of the d o m i n a n t culture. For e x a m p l e , until quite recently the w o r l d of U . S . television c o n t a i n e d no l e s b i a n s , t h e y

H e t v e r b r e d e n v a n d e m a c h t s b a s i s bij h e t m a k e n v a n b e e l d e n is e e n z e e r d e m o c r a t i s c h e v e r a n d e r i n g . D e m o g e l i j k h e i d t o t f e e d b a c k d e e d d e f i l m e r s stils t a a n bij d e r e a c t i e v a n d e g r o e p d i e zij f i l m d e n , m a a r l e i d d e n i e t n o o d z a k e l i j k e r w i j s tot w e z e n l i j k e v e r a n d e r i n g e n in d e r e l a t i e t u s s e n f i l m e r e n g e f i l m d e . D e r e g i s s e u r s k w a m e n d a n m i s s c h i e n w e l uit d e g r o e p d i e zij f i l m d e n , m a a r zij behielden d e eindverantwoordelijkheid voor d e produktie. Er w e r d w e l s a m e n g e w e r k t , m a a r d e g e f i l m d e b l e e f e e n p a s s i e v e rol s p e l e n .

were

s y m b o l i c a l l y annihilated. O n the other h a n d , s o m e w o u l d s u g g e s t that the C o s b y S h o w m a i n s t r e a m e d the A f r i c a n A m e r i c a n e x p e r i e n c e s o as to it a f a l s e p o r t r a i t o f t h e A f r i c a n A m e r i c a n

ontbreekt.

render

community.

B o v e n d i e n k o p i e e r d e n s o m m i g e f i l m e r s in h e t a l t e r n a t i e v e c i r c u i t d e v o r m v a n d e d o m i n a n t e f i l m c u l t u u r o m z o s p o n s o r s , m o g e l i j k h e d e n tot d i s t r i b u t i e e n e e n p u b l i e k t e k r i j g e n . H o e n e e r s u c c e s zij h a d d e n , d e s t e g e r i n g e r w e r d h u n b i n d i n g m e t d e g r o e p d i e zij o o r s p r o n k e l i j k w i l d e n f i l m e n . D e d o m i n a n t e f i l m - e n t e l e v i s i e -

In t h e A r c t i c , t h e A m a z o n R a i n f o r e s t a n d A u s t r a l i a , i n d i g e n o u s

people

i n d u s t r i e lijfde d e d i s s i d e n t e n g e w o o n in e n m a a k t e z e o p d i e m a n i e r o n s c h a d e -

h a v e a t t e m p t e d to a s s u m e c o n t r o l of p r o d u c t i o n a n d d i s t r i b u t i o n . A s the

lijk. A a n g e z i e n in A m e r i k a altijd a l l e s w a t b e d r e i g e n d is v o o r d e s t a t u s q u o ,

r e c o g n i t i o n of the p o w e r of international

g e w o o n w o r d t i n g e l i j f d , k r i j g e n f i l m e r s uit m i n d e r h e i d s g r o e p e n v o l g e n s F a y e

m a s s m e d i a is u n d e r s t o o d ,

i n d i g e n o u s p e o p l e b e c a m e a w a r e that p r o d u c i n g their o w n w o r k is not

G i n s b u r g t e m a k e n m e t e e n F a u s t i a a n s d i l e m m a ( G i n s b u r g 1 9 8 9 ) . O m h e t g e l d te

sufficiënt. T h e y must control distribution. C o n s e q u e n t l y the Warlpiri

k r i j g e n d a t zij n o d i g h e b b e n o m h u n f i l m s t e m a k e n , o m t o e g a n g te k r i j g e n tot d e

people

of C e n t r a l A u s t r a l i a a r e not o n l y p r o d u c i n g their o w n v i d e o t a p e s but o w n a

m o n o p o l i s t i s c h e d i s t r i b u t i e s y s t e m e n e n e e n p u b l i e k a a n t e t r e k k e n , m o e t e n zij

l o w p o w e r television station that locally b r o a d c a s t s their w o r k ( M i c h a e l s

h u n w e r k v e r p a k k e n in e e n v o r m d i e v o l g e n s v e l e n a f b r e u k d o e t a a n d e c u l t u r e l e

1987). T h e p o t e n t i a l is e n o r m o u s . F a y e G i n s b u r g s u g g e s t s that ' . . . i n d i g e n o u s

i d e n t i t e i t d i e zij n u j u i s t p r o b e e r d e n t e b e w a r e n . C o m m u n i c a t i e d e s k u n d i g e n

m e d i a offers a p o s s i b l e m e a n s . social as well as political...for

G e o r g e G e r b n e r e n L a m / G r o s s b e w e r e n dat d e w e s t e r s e m a s s a m e d i a s l e c h t s

reproducing

a n d t r a n s f o r m i n g cultural identity for p e o p l e w h o have e x p e r i e n c e d m a s s i v e

t w e e m a n i e r e n h e b b e n o m o m te g a a n m e t m e n s e n b u i t e n d e d o m i n a n t e

p o l i t i c a l , g e o g r a p h i c , a n d e c o n o m i e d i s r u p t i o n . . T h e c a p a b i l i t i e s of m e d i a to

(Gerbner e n G r o s s 1 9 7 6 ; G e r b n e r , G r o s s , M o r g a n e n Signorielli, 1980, 1982). Of

cultuur

t r a n s c e n d b o u n d a r i e s of time, s p a c e , a n d e v e n l a n g u a g e are being u s e d

z e n e g e r e n z e g e w o o n w e g (ze d o e n a l s o f z e n i e t b e s t a a n ) o f z e m a k e n z e o n d e r -

effectively to mediate...historically p r o d u c e d s o c i a l r u p t u r e s a n d to

d e e l v a n d e d o m i n a n t e c u l t u u r , d a t w i l z e g g e n : z e s c h i l d e r e n z e af a l s e e n o n b e -

c o n s t r u c t identities that link past a n d p r e s e n t in w a y s a p p r o p r i a t e

help

d u i d e n d e variant v a n d e d o m i n a n t e cultuur. Z o w a r e n er bijvoorbeel d binnen d e

A m e r i k a a n s e t e l e v i s i e tot v o o r kort g e e n l e s b i s c h e v r o u w e n , m e n d e e d g e w o o n

c o n t e m p o r a r y c o n d i t i o n s ' ( G i n s b u r g 1989).

a l s o f z e n i e t b e s t o n d e n . A a n d e a n d e r e k a n t zijn e r o o k m e n s e n d i e b e z w a a r h e b b e n t e g e n p r o g r a m m a ' s a l s d e Cosby

Documentary Photography D o c u m e n t a r y p h o t o g r a p h y has also b e e n afflicted w i t h the crisis of r e p r e s e n t a t i o n d i s c u s s e d earlier. N e w Y o r k T i m e s ' critic R i c h a r d W o o d w a r d ( 1 9 8 9 ) d e s c r i b e d it t h i s w a y : ' T h i s d o c u m e n t a r y t r a d i t i o n , w h i c h n o t

long

a g o s e e m e d o n e of t h e m a i n s t e r n s of t h e p h o t o g r a p h y t r e e , h a s of late u n d e r g o n e a c r i s i s of c o n f i d e n c e . I g n o r e d b y a n art w o r l d t h a t f a v o r s

show,

o m d a t hier d e indruk w o r d t g e w e k t

d a t dit g e z i n r e p r e s e n t a t i e f is v o o r a l l e z w a r t e A m e r i k a a n s e g e z i n n e n .

big

In d e p o o l s t r e k e n , het r e g e n w o u d v a n d e A m a z o n e e n A u s t r a l i ë h e b b e n m e n s e n g e p r o b e e r d h e t m a k e n v a n f i l m s e n d e f i l m d i s t r i b u t i e in e i g e n b e h e e r t e krijg e n . T o e n d e i n h e e m s e b e v o l k i n g in d e g a t e n k r e e g w a t d e m a c h t w a s v a n d e i n t e r n a t i o n a l e m e d i a , b e s e f t e zij d a t h e t m a k e n v a n f i l m s a l l e e n niet v o l d o e n d e

pictures a n d h i g h prices, a n d outstrippe d by t e c h n o l o g y that gives the e d g e

w a s . D e i n h e e m s e n m o e s t e n o o k d e d i s t r i b u t i e in h a n d e n z i e n t e k r i j g e n . E n d u s

in i m m e d i a c y a n d n a r r a t i v e s c o p e to v i d e o t a p e , d o c u m e n t a r y

m a k e n d e W a r l p i r i ' s in C e n t r a a l - A u s t r a l i ë niet a l l e e n h u n e i g e n v i d e o ' s , m a a r h e b -

photography

has a l s o c o m e u n d e r harsh scrutiny f r o m p o s t - m o d e r n critics w h o

question

its t e n d e n c y to s e p a r a t e a n d m a r g i n a l i z e g r o u p s o f p e o p l e , s e r v i n g u p poor a s exotic fare for c o m f o r t a b l e

the

voyeurs.'

m e n i n g dat ' d e e i g e n m e d i a e e n volk, dat m a s s a l e politieke, g e o g r a f i s c h e e n e c o -

Unlike m o t i o n pictures or broadcast television, p h o t o g r a p h y has a l w a y s been relatively accessible. T h r o u g h o u t the twentieth century, m o s t w e r e taken by n o n - p r o f e s s i o n a l s . T h e l o w cost of the t e c h n o l o g y ,

b e n zij o o k e e n e i g e n t e l e v i s i e s t a t i o n d a t h u n w e r k in d e n a a s t e o m g e v i n g uitz e n d t ( M i c h a e l s 1 9 8 7 ) . D e m o g e l i j k h e d e n zijn e n o r m . F a y e G i n s b u r g is v a n

pictures the

relative e a s e of m a s t e r i n g the craft, a n d a c c e s s i b i l i t y of d i s p l a y a n d

n o m i s c h e ontwrichting heeft g e k e n d , d e s o c i a l e en politieke m i d d e l e n b i e d e n...voor het r e p r o d u c e r e n e n t r a n s f o r m e r e n van d e e i g e n culturele identiteit. Het v e r m o g e n v a n d e m e d i a o m d e g r e n z e n v a n tijd, p l a a t s e n z e l f s taal te o v e r s t i j g e n , w o r d t e f f e c t i e f g e b r u i k t . . . o m in d e l o o p d e r tijd o n t s t a n e s o c i a l e b r e u k e n te

h e l e n e n e e n i d e n t i t e i t te h e l p e n o p b o u w e n w a a r i n v e r l e d e n e n h e d e n o p

distribution m a k e photograph y readily available. Yet people struggling

g e p a s t e wijze met elkaar w o r d e n v e r b o n d e n ' (Ginsburg).

create a n e w cultural identity out of the ruins of the c o l o n i a l past h a v e not,

by a n d large, appropriated this technology .

Documentaire fotografie

W h i l e the n i n e t e e n t h c e n t u r y a m a t e u r t e n d e d to be affluent, e d u c a t e d

O o k d e d o c u m e n t a i r e f o t o g r a f i e is g e t r o f f e n d o o r d e al e e r d e r g e n o e m d e c r i -

a n d u r b a n , the t w e n t i e t h c e n t u r y s n a p s h o o t e r is t r u l y u b i q u i t o u s . A r t i s t s a n d

s i s . R i c h a r d W o o d w a r d , c r i t i c u s v a n d e N e w Y o r k T i m e s , o m s c h r e e f dit in 1 9 8 9

c o m m e r c i a l p r o f e s s i o n a l s w o u l d like to c o n t i n u e t h e m y s t i f i c a t i o n of t h e

a l s v o l g t : ' D e z e d o c u m e n t a i r e t r a d i t i e , d i e tot v o o r k o r t é é n v a n d e h o o f d t a k k e n

t e c h n o l o g y a n d a r g u e that only highly trained, sensitive individuals c a n

van d e f o t o g r a f i e b o o m leek, heeft recentelijk e e n v e r t r o u w e n s c r i s i s te verduren

produce a g o o d photograph. Yet most people s e e m content with the

g e k r e g e n . D e d o c u m e n t a i r e f o t o g r a f i e w o r d t niet a l l e e n g e n e g e e r d d o o r d e

a u t o c a m e r a instant m e m o r i e s of last y e a r ' s h o l i d a y . T h e v e r y p o p u l a r i t y

k u n s t w e r e l d m e t haar voorliefde v o o r grote foto's e n h o g e prijzen, m a a r m o e t het

p h o t o g r a p h y m a y b e w h y it h a s n o t a t t r a c t e d m u c h a t t e n t i o n f r o m p e o p l e

o o k a f l e g g e n t e g e n d e t e c h n o l o g i e v a n d e v i d e o t a p e , d i e v e e l d i r e c t e r is e n e e n

i n t e r e s t e d in u s i n g m e d i a to c o n s t r u c t t h e i r c u l t u r a l i d e n t i t y . T h e f a n a t i c

g r o t e r v e r h a l e n d b e r e i k h e e f t . D e d o c u m e n t a i r e f o t o g r a f i e is b o v e n d i e n s t e r k a a n g e v a l l e n d o o r p o s t m o d e r n e critici d i e h u n t w i j f e l s h e b b e n o v e r h e t feit d a t b i n n e n dit s o o r t f o t o g r a f i e g r o e p e n m e n s e n v a a k w o r d e n a f g e z o n d e r d , o v e r h e t feit d a t d e a r m e n w o r d e n o p g e v o e r d a l s e x o t i s c h v o e d s e l v o o r d e v o y e u r in zijn luie stoel.' D e f o t o g r a f i e is altijd redelijk t o e g a n k e l i j k g e w e e s t e n d a t k a n m e n niet z e g -

e n t h u s i a s m o n c e a s s o c i a t e d w i t h s n a p s h o o t i n g is n o w t o b e f o u n d

among

the c a m c o r d e r generation. A m a t e u r videos entertain us and b e c o m e t e l e v i s i o n n e w s . P e r h a p s it is a s s u m e d t h a t t h e r e a l p o w e r l i e s w i t h t e l e v i s i o n not

photographs.

T h e c r i s i s of r e p r e s e n t a t i o n in p h o t o g r a p h y is t h u s feit c h i e f l y a m o n g

its

g e n v a n f i l m of t e l e v i s i e . D o o r d e h e l e t w i n t i g s t e e e u w h e e n zijn d e m e e s t e

p r a c t i t i o n e r s a n d n o t its s u b j e c t s . D o c u m e n t a r y p h o t o g r a p h y ' s p o s i t i o n o f

foto's g e m a a k t door niet-professionele fotografen. D e lage k o s t e n van d e appara-

p r i v i l e g e is t h r e a t e n e d f r o m a n u m b e r o f f r o n t s . P e r h a p s ' . . . i t s l o s s o f

t u u r , h e t r e l a t i e v e g e m a k w a a r m e e m e n k a n l e r e n f o t o g r a f e r e n e n h e t feit dat

a u t h o r i t y h a s less to d o w i t h t h e arrival of v i d e o a n d c o m p u t e r i m a g e s t h a n

f o t o ' s o v e r a l o m o n s h e e n zijn, m a k e n d e f o t o g r a f i e z e e r t o e g a n k e l i j k . T o c h h e b -

it d o e s w i t h i t s o w n s u p e r a b u n d a n c e a n d s t e r e o t y p i c a l i t y . T h e s e n s e o f t h e

b e n d e m e n s e n d i e p r o b e r e n e e n n i e u w e c u l t u r e l e i d e n t i t e i t o p t e b o u w e n uit d e

artificiality of p h o t o g r a p h i c i m a g e s , w h i c h is s o t h o r o u g h l y i n s c r i b e d in t h e

ruïnes v a n het k o l o n i a le v e r l e d e n , z i c h dit soort t e c h n o l o g i e n o g lang niet volledig

art o f t h e 8 0 ' s , h a s its o r i g i n s n o t i n a n y a b s t r u s e . . . t h e o r y b u t i n e v e r y d a y

eigengemaakt.

A m e r i c a n e x i s t e n c e . C a m e r a p i c t u r e s c a n n o l o n g e r b e t a k e n at f a c e v a l u e ,

D e n e g e n t i e n d e - e e u w s e amateurfotograaf w a s welgesteld , goedopgeleid en w o o n d e m e e s t a l in d e s t a d . D e a m a t e u r f o t o g r a a f v a n d e t w i n t i g s t e e e u w k o m t m e n werkelijk overal t e g e n . Kunstenaars en c o m m e r c i ë l e fotografen willen d e

a n d m o s t o f u s k n o w it' ( G r u n d b e r g 1 9 9 0 : 2 9 ) . A l l a n S e k u l a , M a r t h a Rosler a n d other critics of m a i n s t r e a m

photographic

practice have argued that the d o c u m e n t a r y needs a c o m p l e t e overhaul.

m y s t i f i c a t i e v a n d e t e c h n o l o g i e g r a a g in s t a n d h o u d e n e n b e w e r e n d a t a l l e e n

Rosler c o n t e n d s that ' w h e n w h a t p a s s e d for d o c u m e n t a r y h a d b e e n

m e n s e n m e t d e juiste opleidin g e n e e n o o g voor fotograferen, e e n g o e d e foto

w i n n o w e d d o w n to i m a g e s of s u f f e r i n g a n d p a s s i v i t y o r i n e f f e c t i v e n e s s , or

k u n n e n m a k e n . T o c h lijke n d e m e e s t e m e n s e n t e v r e d e n m e t d e v a k a n t i e k i e k j e s

t o t h o s e of s m a l l h e r o e s in m i n o r b a t t l es w i t h t h e i n c u r a b l e b u r d e n s of

v a n v o r i g jaar, g e m a a k t m e t e e n v o l a u t o m a t i s c h e c a m e r a . M i s s c h i e n k o m t h e t

m o r t a l l i f e , d o c u m e n t a r y d e s e r v e s t o b e s a c k e d ' ( R o s l e r 1 9 8 3 : 1 3 ) . In

w e l o m d a t d e f o t o g r a f i e z o p o p u l a i r is d a t m e n s e n d i e d e m e d i a w i l l e n g e b r u i k e n

Dismantling

o m h u n e i g e n i d e n t i t e i t o p te b o u w e n e r niet in g e ï n t e r e s s e e r d zijn. H e t e n t h o u s i -

that p o i n t s o p e n l y to t h e s o c i a l w o r l d a n d t o p o s s i b i l i t i e s of c o n c r e t e s o c i a l

a s m e v o o r d e f o t o g r a f i e is n u o v e r g e g a a n o p d e c a m c o r d e r . A m a t e u r v i d e o ' s zijn

t r a n s f o r m a t i o n . . . a n art that refers to s o m e t h i n g b e y o n d itself' ( S e k u l a 1 9 7 8 :

Modernism,

Reinventing

Documentary,

S e k u l a c a l l e d f o r ' a n art

grappig e n ze k o m e n zelfs o p d e televisie. M i s s c h i e n d e n k e n m e n s e n w e l dat d e

862). T h e s e critics a r g u e that p h o t o g r a p h y s h o u l d c e a s e b e i n g either a

e c h t e m a c h t bij d e t e l e v i s i e e n n i e t bij d e f o t o g r a f i e ligt.

w i n d o w o n the w o r l d or a m i r r o r reflecting the c o n d i t i o n of the w o r l d

and

instead b e c o m e a h a m m e r to c h a n g e the w o r l d . T h e a u d i e n c e for their D e r e p r e s e n t a t i e - c r i s i s in d e f o t o g r a f i e is d u s v o o r n a m e l i j k e e n p r o b l e e m v a n d e fotograaf e n niet zozeer v a n d e g e f o t o g r a f e e r d e . D e b e v o o r r e c h t e positie v a n de d o c u m e n t a i r e fotografie w o r d t van e e n aantal kanten belaagd. W e l l i c ht 'heeft h e t v e r m i n d e r d e a a n z i e n n i e t z o z e e r te m a k e n m e t d e k o m s t v a n v i d e o - e n c o m p u t e r b e e l d e n , m a a r m e e r m e t d e o v e r d a a d e n d e neiging tot s t e r e o t y p e r i n g v a n h e t m e d i u m zelf. H e t i d e e d a t f o t o ' s g e k u n s t e l d zijn, z o a l s z o d u i d e l i j k blijkt uit d e k u n s t v a n d e t a c h t i g e r j a r e n , k o m t n i e t v o o r t uit é é n of a n d e r e d u i s t e r e . . . t h e o r i e

c r i t i c i s m a n d p h o t o g r a p h s h a s b e e n t h e art w o r l d a n d t h e u r b a n , e d u c a t e d disaffiliated elite but not o p p r e s s e d p e o p l e . T h e i r w r i t i n g s require a r e a d e r s h i p f a m i l i a r w i t h t h e a r c a n e j a r g o n of m a r x i s m a n d o t h e r

'elitist'

l a n g u a g e s of c r i t i c i s m . T h e i r p h o t o g r a p h s / i n s t a l l a t i o n s / e x h i b i t i o n s a r e o n l y d e c i p h e r a b l e b y d e v o t e e s o f t h e a v a n t - g a r d e art s c è n e . F r o m t h e p e r s p e c t i v e of m u l t i v o c a l i t y , t h e s e o p p o s i t i o n a l artists r e m a i n in c o n t r o l of p r o d u c t i o n . T h e subjects e n d u r e as p a s s i v e recipients of their w i s d o m .

m a a r uit d e A m e r i k a a n s e m a a t s c h a p p i j zelf. F o t o ' s k u n n e n niet l a n g e r k r i t i e k l o o s

A s s o m e o n e in a g r e e m e n t w i t h their a n a l y s i s of d o m i n a n t m e d i a a n d

w o r d e n g e a c c e p t e e r d e n d e m e e s t e n v a n o n s w e t e n dat' (Grundberg 1990:29).

u n c o n v i n c e d b y t h e i r p r o g r a m m a t i c s o l u t i o n s f o r c h a n g e , it i s h a r d f o r m e t o

A l l a n S e k u l a , M a r t h a R o s l e r e n a n d e r e critici v a n d e g e a c c e p t e e r d e f o t o g r a f i e

see a significant difference fro m conventional praxis. A s photographic

z e g g e n dat d e d o c u m e n t a i r e e e n s g o e d o p d e helling m o e t . V o l g e n s Rosler

a r t i s t s , t h e s e c r i t i c s o f c a p i t a l i s m o p e r a t e d w i t h i n t h e b o u n d s of a n art

' m o e t h e t a f g e l o p e n zijn m e t d e d o c u m e n t a i r e a l s zij a l l e e n m a a r b e e l d e n te

that c o m m o d i f i e d their activities a n d ghettoized their impact. ' T h e

b i e d e n h e e f t v a n l i j d e n , p a s s i v i t e i t of i n e f f e c t i v i t e i t , a l s zij is v e r v a l l e n tot b e e l d e n

fetishization of s e l f - e x p r e s s i o n has b e e n further e x a c e r b a t e d b y the

van kleine helden die hun eigen m i n u s c u l e gevecht leveren tegen d e o n o n t k o o m -

i d e n t i f i c a t i o n of i n d e p e n d e n t p r o d u c t i o n a s a n a e s t h e t i c activity... F o r t h e

b a r e l a s t e n v a n h e t s t e r f e l i j k b e s t a a n ' ( R o s l e r 1 9 8 3 : 1 3 ) . In Dismantling

m o s t part, p r o g r e s s i v e cultural w o r k e r s h a v e a c q u i e s c e d to the e t h o s of

Moder-

world

pleitte S e k u l a voor e e n 'kunst die openlijk ver-

m o d e r n i s t a v a n t - g a r d i s m , w h i l e c a s t i n g t h e m s e l v e s in a M a n i c h a e a n battle

w i j s t n a a r d e s o c i a l e w e r e l d e n n a a r m o g e l i j k h e d e n tot c o n c r e t e s o c i a l e h e r v o r -

against f o r c e s of 'false c o n s c i o u s n e s s ' ...while p r o g r e s s i v e artists offered a

ming... e e n kunst die verwijs t naar iets buiten zichzelf' (Sekula 1 9 7 8 : 862).

m e s s a g e of s o c i a l r e o r g a n i z a t i o n , t h e y f a i l e d to r e c o g n i z e f l a w s in t h e i r

nism,

Reinventing

Documentary

D e z e critici b e w e r e n dat d e f o t o g r a f i e m o e t o p h o u d e n m e t f u n c t i o n e r e n a l s v e n s t e r o p d e w e r e l d of s p i e g e l v a n d e w e r e l d : zij m o e t e e n h a m e r w o r d e n o m d e v e r a n d e r i n g e n m e e d e w e r e l d in t e s l a a n . H u n kritiek e n f o t o ' s zijn g o e d o n t v a n g e n d o o r d e k u n s t w e r e l d e n d e s t a d s e , g o e d - o p g e l e i d e , in h a a r e i g e n w e r e l d j e l e v e n d e elite, maar niet door d e o n d e r d r u k t e n . H u n g e s c h r i f t e n v e r e i s e n

m e t h o d s of a d d r e s s . T r a d i t i o n a l r e l a t i o n s of s e n d e r a n d r e c e i v e r w e r e

held

in p l a c e , w i t h o n e e x t e r n a l l y i m p o s e d d i s c o u r s e o f f e r e d in p l a c e of a n o t h e r , T h e m o v e m e n t d u p l i c a t e d t h e r e s t r i c t i v e h i e r a r c h y it s o u g h t t o s u b v e r t ' (Trend 1988: 10-11 ). 8

In s e a r c h i n g f o r e x a m p l e s o f a l t e r n a t i v e s t o m a i n s t r e a m

photographic

v e r t r o u w d h e i d m e t het e s o t e r i s c h e jargon v a n het m a r x i s m e e n a n d e r e 'elitaire'

p r a c t i c e , o n e is h a r d p r e s s e d to f i n d a n y t h i n g a s s o p h i s t i c a t e d as t h e w o r k e r

v o r m e n v a n k r i t i e k . H u n f o t o ' s , i n s t a l l a t i e s e n t e n t o o n s t e l l i n g e n zijn s l e c h t s t e

p h o t o g r a p h e r m o v e m e n t f r o m th e 1920s a n d 1930s (Hardt a n d O h r n 1981).

o n t c i j f e r e n d o o r d e g e n e n d i e b e h o r e n tot h e t a v a n t - g a r d i s t i s c h e k u n s t c i r c u i t .

In G e r m a n y , t w o i l l u s t r a t e d m a g a z i n e s , Der Arbeiter-Fotograf

W a t d e ' m e e r s t e m m i g h e i d ' betreft: d e z e alternatieve k u n s t e n a a r s blijven de b a a s

lllustrierte

o v e r w a t e r g e m a a k t w o r d t . D e g e p o r t r e t t e e r d e blijft d e p a s s i e v e o n t v a n g e r v a n

w o r k e r s w h o e x p o s e d c o n d i t i o n s in their factory. Credit lines w e r e often

hun wijsheid.

Ik b e n h e t e e n s m e t h u n a n a l y s e v a n d e d o m i n a n t e m e d i a , m a a r ik b e n n i e t

Zeitung

and

Arbeiter-

actively sought photo essays c o m p o s e d collectively by

a n o n y m o u s to d i s c o u r a g e n o t i o n s of i n d i v i d u a l a u t h o r s h i p . A t the height the m o v e m e n t , there w e r e d o z e n s of w o r k e r - p h o t o g r a p h e r

clubs,

o n d e r d e i n d r u k v a n d e p r o g r a m m a t i s c h e o p l o s s i n g e n d i e zij a a n d r a g e n . Ik z i e

exhibitions, international conferences, a n d e v e n an a g e n c y that

e i g e n l i j k n a u w e l i j k s v e r s c h i l m e t d e c o n v e n t i o n e l e praktijk. A l s k u n s t e n a a r - f o t o -

w o r k e r p h o t o g r a p h s t o n e w s o u t l e t s . W o r l d W a r II e n d e d t h e s e a c t i v i t i e s a n d

graaf w e r k t e n d e z e critici v a n het k a p i t a l i s m e b i n n e n d e g r e n z e n van e e n

for r e a s o n s u n c l e a r they never r e s u m e d in the W e s t .

k u n s t w e r e l d d i e h e n h u n g a n g liet g a a n e n h e n z a g a l s ' i e t s a p a r t s ' . ' D e z i e k e l i j k e

as a m o d e l of subject g e n e r a t e d p h o t o g r a p h i c praxis. A s J o S p e n c e

aandacht v o o r d e z e l f e x p r e s s i e w e r d n o g erger d o o r het zelfstandig o p e r e r e n als

o u t it w a s a r a d i c a l m o d e l o f p h o t o g r a p h y ' b e c a u s e it d o e s n o t p r e s u p p o s e

e s t h e t i s c h e a c t i v i t e i t a a n t e m e r k e n . . . V r i j w e l alle p r o g r e s s i e v e c u l t u u r - u i t d r a g e r s

t h a t y o u e a r n y o u r l i v i n g f r o m p h o t o g r a p h y , b u t t h a t y o u e a r n it i n s o m e

h e b b e n z i c h n e e r g e l e g d bij h e t e t h o s v a n h e t m o d e r n i s t i s c h e a v a n t - g a r d i s m e ,

o t h e r w a y , a n d u s e p h o t o g r a p h y a s a t o o i in s t r u g g l e ' ( S p e n c e 1 9 8 6 : 211).

distributed

It r e m a i n s u n e q u a l l e d points

Ruby C o r n e t t

Ik vroeg mijn zus een foto van me te maken op de ochtend van eerste paasdag

Mijnwerkers die naar huis gaan aan het eind van hun ploegendienst

I asked my sister to take a picture of me on Easter Morning

Miners going home at the end of the shift

(Uil/from Ewald, Wendy: Portraits and Dreams)

luït/from Ewald, Wendy: Portraits and Dreams)

The supposed role of workshops

z i c h s t o r t e n d in e e n M a n i c h e ï s t i s c h e strijd t e g e n d e k r a c h t e n v a n h e t ' v a l s e

W o r k s h o p s are u n d o u b t e d l y the m o s t w i d e s p r e a d m e t h o d

b e w u s t z i j n ' . . . d e p r o g r e s s i e v e k u n s t e n a a r s g a v e n e e n b o o d s c h a p van s o c i a l e her-

democratizing photographic practice. T h e y are to be f o u n d e v e r y w h e r e -

v o r m i n g af, m a a r z a g e n d e f o u t e n in h u n e i g e n b e n a d e r i n g niet. D e t r a d i t i o n e l e

s c h o o l s , p r i s o n s , in t h e g h e t t o s , a m o n g m i d d l e - c l a s s w o m e n , e t c . T h e y

r e l a t i e s t u s s e n z e n d e r e r o n t v a n g e r w e r d e n in s t a n d g e h o u d e n , w a a r b i j d e e n e

c o n t i n u e the nineteenth century tradition of p r o m o t i n g the e n l i g h t e n e d

v a n b u i t e n af o p g e l e g d e d i a l o o g d e a n d e r e v e r v i n g . D e b e w e g i n g k o p i e e r d e d e

amateur, o n l y n o w the recipients are not m i d d l e - c l a s s ladies and g e n t l e m e n

b e p e r k e n d e hiërarchie die het juist o m v e r w i l d e w e r p e n ' (Trend 1 9 8 8 : 10-11).

but the i m p o v e r i s h e d , the o p p r e s s e d a n d the o t h e r w i s e m a r g i n a l i z e d . W o r k s h o p s are s o m e t i m e s underwritten by corporate interests suc h as

Eén van de b e s t e en zeer ver o n t w i k k e l de v o o r b e e l d e n van de alternatieve

K o d a k or P o l a r o i d .

f o t o g r a f i e is d e a r b e i d e r s - f o t o g r a f e n b e w e g i n g uit d e t w i n t i g e r e n d e r t i g e r j a r e n

R e c e n t l y w o r k s h o p s h a v e a s s u m e d a m o r e political f u n c t i o n . T h e y are

(Hardt e n O h m ) . In D u i t s l a n d b r a c h t e n t w e e g e ï l l u s t r e e r d e t i j d s c h r i f t e n , D e r A r b e i -

b a s e d u p o n the p r e m i s e that the m a s s m e d i a t e d i m a g e s of p e o p l e are

ter-Fotograf e n Arbeiter-I lustrierte Z e i t u n g artikelen m e t foto's, g e m a a k t d o o r

distorted a n d s y m b o l i c a l l y o p p r e s s i v e . T h e r e f o r e l e a r n i n g to be y o u r

a r b e i d e r s d i e d e w e r k o m s t a n d i g h e d e n in h u n f a b r i e k a a n d e k a a k s t e l d e n . D e

own

p h o t o g r a p h e r will p r o v i d e y o u w i t h a n o p p o r t u n i t y to correct the error a n d

f o t o ' s w a r e n v a a k a n o n i e m o m i n d i v i d u a l i t e i t t e g e n te g a a n . O p h e t

reclaim y o u r i m a g e . T h e w o r k s h o p participant d e v e l o p s critical skills a n d an

v a n d e b e w e g i n g w a r e n er tientallen a r b e i d e r s - f o t o g r a f e n c l u b s , t e n t o o n s t e l l i n g e n ,

i n c r e a s e d ability to e x a m i n e m a s s m e d i a i m a g e s for their h i d d e n i d e o l o g y .

internationale c o n f e r e n t i e s e n z e l f s e e n a g e n t s c h a p dat d e f o t o ' s a a n d e

A p r o p e r a s s e s s m e n t o f t h e w o r k s h o p m o v e m e n t is n o t p o s s i b l e h e r e , b u t a n o b s e r v a t i o n is i n o r d e r . M o s t w o r k s h o p s a r e d e s i g n e d t o

hoogtepunt

n i e u w s m e d i a leverde. D e T w e e d e W e r e l d o o r l o g m a a k t e e e n e i n d e aan d e z e activ i t e i t e n e n o m o n d u i d e l i j k e r e d e n e n w e r d e n z e in h e t w e s t e n n o o i t m e e r v o o r t -

produce

recreational skills a n d d i s c o v e r the potential artist - b a s e d u p o n the

gezet.

a s s u m p t i o n that o n e h a s to have s p e c i a l talents to represent. W o r k s h o p s

V o l g e n s J o S p e n c e w a s het e e n radicaal f o t o g r a f i e m o d e l ' o m d a t d e fotografie

h e l p t h o s e n o r m a l l y n o t t a u g h t p h o t o g r a p h y t o u s e it a s a m e a n s o f s e l f -

h i e r niet g e b r u i k t w o r d t o m h e t e i g e n b r o o d m e e t e v e r d i e n e n (dat v e r d i e n t

e x p r e s s i o n but not a c t i o n . T h e y m a y i n c r e a s e the m a r k e t for

m e t i e t s a n d e r s ) , m a a r als w a p e n in d e s t r i j d ' ( S p e n c e 1 9 8 6 : 2 1 1 ) .

photographic

H e t is e e n u n i e k m o d e l v a n d o o r d e b e t r o k k e n e n z e l f g e m a a k t e f o t o ' s . men

g o o d s a n d services a n d u n c o v e r h i d d e n talent but they are s e l d o m d e s i g n e d to p r o m o t e l o n g t e r m u s e of p h o t o g r a p h y a s a t o o i for c o m m u n i t y

De veronderstelde rol van workshops

action.

T h e i m a g e s are often e n g a g i n g a n d p r o v o c a t i v e , results i n t r i g u i n g but

W o r k s h o p s zijn o n g e t w i j f e l d d e m e e s t w i j d v e r b r e i d e m e t h o d e v o o r h e t d e m o -

a l m o s t a l w a y s short term. W h e n the w o r k s h o p leaders g o a w a y s o d o the

c r a t i s e r e n v a n d e f o t o g r a f i e . M e n v i n d t z e o v e r a l - o p s c h o l e n , in g e v a n g e n i s s e n ,

c a m e r a s a n d the f u n d s a n d the n e w p h o t o g r a p h e r s . D u r i n g t he s o - c a l l e d

in d e g e t t o ' s , o n d e r h u i s v r o u w e n e t c . Zij zijn e e n v o o r t z e t t i n g v a n d e n e g e n -

' w a r o n p o v e r t y ' in t h e 1 9 6 0 s in t h e U n i t e d S t a t e s , d o z e n s of w o r k s h o p s a n d

t i e n d e - e e u w s e t r a d i t i e , w a a r i n d e a m a t e u r w e r d i n g e w i j d in d e g e h e i m e n v a n d e

photoclubs appeared a n d disappeare d as s o o n as g o v e r n m e n t funding

f o t o g r a f i e . A l l e e n zijn d e d e e l n e m e r s n u niet l a n g e r w e l g e s t e l d e d a m e s e n h e r e n ,

dried

u p . If t h e y h a d a s i g n i f i c a n t i m p a c t , I a m u n a w a r e o f it.

maar armen, onderdrukten, en andere minder-bedeelde groeperingen. W o r k s h o p s w o r d e n s o m s g e s p o n s o r d d o o r f i r m a ' s a l s K o d a k of P o l a r o i d .

The underlying a s s u m p t i o n s a n d formal instructions are usually

D e l a a t s t e tijd h e b b e n w o r k s h o p s e e n m e e r p o l i t i e k e f u n c t i e g e k r e g e n . E r

m a i n s t r e a m - that is, o n e is taugh t h o w to p r o d u c e s o m e t h i n g c a l l e d a ' g o o d ' p i c t u r e . If w e a s s u m e t h a t t h e f o r m o f a m e d i u m i s d e r i v e d d i r e c t l y f r o m a d o m i n a n t ideology, then w o r k s h o p s teach minority people h o w

w o r d t u i t g e g a a n v a n het principe dat d e b e e l d e n v a n d e m a s s a m e d i a v e r w r o n g e n zijn e n o n d e r d r u k k i n g tot d o e l h e b b e n . A l s je zelf je e i g e n f o t o ' s leert m a k e n , h e b

c o n s t r u c t a v i e w of the w o r l d c o n s o n a n t w i t h that of t h e c u l t u r e t h o u g h t t o

je e e n m i d d e l in h a n d e n o m d e f o u t e n t e h e r s t e l l e n e n d e b e e l d e n w e e r in e i g e n

o p p r e s s t h e m in t h e first p l a c e . A s M a y a k o v s k y s u g g e s t e d : ' T h e

h a n d te n e m e n . D e e l n e m e r s a a n e e n w o r k s h o p l e r e n k r i t i s c h e v a a r d i g h e d e n a a n

revolution

of c o n t e n t is u n t h i n k a b l e w i t h o u t a r e v o l u t i o n of f o r m . ' W o r k s h o p s are a

e n l e r e n d e b e e l d e n uit d e m a s s a m e d i a t e o n d e r z o e k e n o p h u n v e r b o r g e n i d e o l o -

s i g n i f i c a n t d e v i c e f o r d e m o c r a t i z i n g p h o t o g r a p h y if y o u b e l i e v e t h a t t h e

gie.

n e e d s of p e o p l e traditionally e x c l u d e d f r o m p r o d u c i n g i m a g e s are best s e r v e d if t h e y l e a r n m a i n s t r e a m p h o t o g r a p h i c p r a c t i c e , t h a t i s , i n t e g r a t e p h o t o g r a p h i c e x p r e s s i o n within the status q u o .

1 0

E e n u i t g e b r e i d e b e o o r d e l i n g v a n h e t w o r k s h o p - f e n o m e e n is h i e r niet m o g e l i j k , their

m a a r e e n p a a r o p m e r k i n g e n zijn o p h u n p l a a t s . D e m e e s t e w o r k s h o p s zijn g e r i c h t o p het a a n l e r e n va n recreatieve v a a r d i g h e d e n e n het o n t d e k k e n v a n d e k u n s t e n a a r in s p e - d e o n d e r l i g g e n d e g e d a c h t e is d a t i e m a n d s p e c i a l e t a l e n t e n m o e t h e b b e n o m iets te k u n n e n w e e r g e v e n . W o r k s h o p s h e l p e n m e n s e n d i e normaal g e s p r o k e n niet in a a n r a k i n g k o m e n m e t d e f o t o g r a f i e , a a n e e n m i d d e l tot z e l f e x -

L e t ' s briefl y e x a m i n e t h e e f f o r t s of t w o p e o p l e i n v o l v e d in p h o t o g r a p h i c w o r k s h o p s - W e n d y E w a l d a n d D e b o r a h B a r n d t . E w a l d is a N e w Y o r k p h o t o g r a p h e r w h o t a u g h t c h i l d r e n in s e v e r a l p a r t s of t h e w o r l d t o t a k e p i c t u r e s . In h e r b o o k , Portraits

and

Dreams

(1985), s h e put

together

p h o t o g r a p h s a n d s t o r i e s b y c h i l d r e n f r o m t h e p o v e r t y struck c o a l r e g i o n s of t h e A p p a l a c h i a n m o u n t a i n s in t h e U n i t e d S t a t e s . T h e i m a g e s , p a r t i c u l a r l y in t h e c o n t e x t of t h e s t o r i e s , a r e w o n d e r f u l w i n d o w s i n t o t h e a m b i v a l e n c e of g r o w i n g u p in a place w h e r e the contrast b e t w e e n t e l e v i s i o n a n d y o u r reality m a k e s l o w s e l f - e s t e e m a l m o s t logical. Like s i m i l a r efforts by

own

photo-

therapists, the activity has to i m p r o v e the c h i l d r e n ' s self-image. T h e p u r p o s e of t h i s w o r k is to p r o v i d e a n e w m e a n s of s e l f - e x p r e s s i o n a n d i n s i g h t i n t o the c h i l d r e n ' s lives - to s e e the w o r l d in a w a y w e m i g h t not o t h e r w i s e . Ewald from

says the

of this

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their

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barriers.

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have feel

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culture.'"

T h e r e a r e n o l o n g t e r m g o a l s f o r t h i s w o r k . In d i s c u s s i n g a r e c e n t

project

in India, E w a l d s a i d : ' T h e project will take a different turn w h e n I l e a v e . . . s o m e o f t h e k i d s c o u l d d e v e l o p it i n t o a l i m i t e d c o m m e r c i a l v e n t u r e ,

Ruby C o r n e t t

p h o t o g r a p h i n g m a r r i a g e c e r e m o n i e s , for e x a m p l e . O r as a p r o b l e m s o l v i n g

Zelfportret in een droom over zweven/Selfportrait in a dream about floating

d e v i c e , like d o c u m e n t i n g d r o u g h t c o n d i t i o n s . A n d p e r h a p s s o m e of t h e s e

(Uit/from Ewald, Wendy: Portraits and Dreams)

kids w o u l d be a b l e to t e a c h o t h e r k i d s . '

1 2

T h e w o r k is n o t d e s i g n e d t o

r a d i c a l i z e p h o t o g r a p h i c p r a c t i c e in t h e c o m m u n i t i e s . T h e p u r p o s e is to g i v e c h i l d r e n a n e w m e a n s of s e l f - e x p r e s s i o n a n d a s a w a y for E w a l d to p r e p a r e h e r s e l f t o p h o t o g r a p h . 'I h a v e d e v e l o p e d t w o s e p a r a t e b u t p r e s s i e , n i e t a a n e e n m i d d e l tot a c t i e . D o o r d e w o r k s h o p s w o r d e n e r m i s s c h i e n

v i l l a g e r s a l m o s t a l w a y s w o m e n w i t h w h o m I feel a spiritual tie, a n d t e a c h i n g

m e e r f o t o g r a f i s c h e a r t i k e l e n e n d i e n s t e n a f g e n o m e n of v e r b o r g e n t a l e n t e n o n t -

e l e m e n t a r y s c h o o l c h i l d r e n to take p h o t o g r a p h s of w h a t t h e y f e e l c l o s e s t t o '

d e k t , m a a r w o r k s h o p s l e i d e n m a a r z e l d e n tot e e n l a n g d u r i g g e b r u i k v a n d e f o t o g r a f i e a l s m i d d e l tot m a a t s c h a p p e l i j k e a c t i e . D e b e e l d e n zijn d i k w i j l s

complementary

w a y s o f w o r k i n g : m a k i n g p h o t o g r a p h s t h a t n a r r a t e t h e d a i l y l i f e if t h e

( E w a l d 1990: 22).

indringend

e n p r o v o c e r e n d , d e r e s u l t a t e n i n t r i g e r e n d , m a a r v r i j w e l altijd g e r i c h t o p d e k o r t e

T h e a p p r o a c h C a n a d i a n D e b o r a h B r a n d t takes to

participatory

termijn. A l s de w o r k s h o p l e i d e rs verdwijnen, verdwijnen ook de c a m e r a ' s , d e

p h o t o g r a p h y differs f r o m the S t a n d a r d w o r k s h o p e m p h a s i s o n self-

s p o n s o r s e n d e n i e u w b a k k e n f o t o g r a f e n . In d e V e r e n i g d e S t a t e n v e r s c h e n e n in

e x p r e s s i o n . T h e p u r p o s e o f h e r e f f o r t s is t o i n d u c e c o m m u n i t y a c t i o n . A

d e z e s t i g e r jaren tijdens d e z o g e n a a m d e o o r l o g t e g e n d e a r m o e d e tientallen

sociologist, w h o for s o m e time has c o n c e n t r a t e d o n participatory research,

w o r k s h o p s e n f o t o c l u b s , m a a r z e v e r d w e n e n w e e r s n e l t o e n het r e g e r i n g s g e l d

Brandt w o r k s w i t h a g r o u p w h o intervene in the acculturation p r o c e s s of

o p w a s . A l s z e al e n i g e i n v l o e d h e b b e n g e h a d , h e b ik h e t niet g e m e r k t .

i m m i g r a n t w o m e n i n C a n a d a . In Getting

D e o n d e r l i g g e n d e a a n n a m e s e n f o r m e l e i n s t r u c t i e s zijn m e e s t a l a f k o m s t i g uit d e dominant e cultuur

Immigrant

Women,

There:

Producing

Photostories

with

B r a n d t d e s c r i b e s the c o n s t r u c t i o n of p h o t o s t o r i es a s a

m e c h a n i s m for c o m m u n i t y action (Brandt, Cristall, a n d M a r i n o , 1982). T h e

dat wil z e g g e n dat m e n leert e e n z o g e n a a m d ' g o e d e '

f o t o m a k e n . A l s w e e r v a n u i t g a a n d a t d e v o r m v a n e e n m e d i u m d i r e c t is a f g e l e i d

stories resemble the foto-novelas popular a m o n g working-class w o m e n

v a n e e n d o m i n a n t e i d e o l o g i e , l e r e n m i n d e r h e i d s g r o e p e r i n g e n in e e n w o r k s h o p

Latin A m e r i c a . T h e stories are d o m i n a t e d by pictures with a m i n i m u m

e e n w e r e l d b e e l d t e c r e ĂŤ r e n dat in o v e r e e n s t e m m i n g is m e t h e t w e r e l d b e e l d v a n

c a p t i o n s , t h u s a v o i d i n g t h e p r o b l e m of l i t e r a c y . T h e a p p r o a c h is w i t h o u t a n y

d e c u l t u u r d i e h e n n u juist o n d e r d r u k t . Z o a l s M a y a k o v s k y al h e e f t g e z e g d is ' d e

' g r a n d ' t h e o r e t i c a l s c h e m e . It is p r a c t i c a l , s t r a i g h t f o r w a r d a n d p e d a g o g i c a l . It

r e v o l u t i e in i n h o u d o n d e n k b a a r z o n d e r d e r e v o l u t i e in v o r m . ' W o r k s h o p s zijn e e n

is, in t h e i r w o r d s ' a n o t h e r w a y of l e a r n i n g ' . ' W e a r e e n c o u r a g i n g a c t i v e a n d

b e l a n g r i j k m i d d e l tot d e m o c r a t i s e r i n g v a n d e f o t o g r a f i e , a l s je e r v a n u i t g a a t dat d e

d e m o c r a t i e p a r t i c i p a t i o n of all p e o p l e in a c l a s s , g r o u p , o r u n i o n l o c a l . . . W e

behoeften van m e n s e n die normaliter w o r d e n uitgesloten van enige d e e l n a m e

are e n c o u r a g i n g multiple uses of material, m u l t i p l e w a y s of learning , a n d

a a n d e f o t o g r a f i e , h e t m e e s t zijn g e d i e n d v i a d e e l n a m e a a n d e d o m i n a n t e f o t o -

m u l t i p l e f o r m s of art a n d m e d i a to e n r i c h t h a t l e a r n i n g . . . W e a r e n o t

grafie, o f w e l via integratie van hun fotografische e x p r e s s i e b i n n e n d e status

s u p p o r t i n g the telling of p e r s o n a l stories only for s e l f - e x p r e s s i o n or t h e r a p y ;

quo.

w e are s u p p o r t i n g their s h a r i n g of daily e x p e r i e n c e s , w h i c h c a n l e a d to a

1 0

clearer u n d e r s t a n d i n g of s o c i al structures, a critical a n a l y s i s a n d a r e a d i n e s s to act c o l l e c t i v e l y ' ( B r a n d t et al 1 9 8 2 : 15). T h e a c t i v i t y o f w o r k i n g t o g e t h e r

Ik w i l h i e r g r a a g n a d e r i n g a a n o p h e t w e r k v a n t w e e m e n s e n d i e z i c h b e z i g -

s o l v e a p r o b l e m is as i m p o r t a n t as t h e final p r o d u c t . T h e w o m e n

h o u d e n m e t f o t o g r a f i e - w o r k s h o p s - W e n d y E w a l d e n D e b o r a h B r a n d t . E w a l d is

t h e e f f e c t i v e n e s s o f t h e p h o t o s r a t h e r t h a n t h e t e a c h e r . In f a c t , t e a c h e r i s t h e

e e n N e w y o r k s e fotografe die o p v e r s c h i l l e n d e plaatsen ter w e r e l d kinderen l e e r d e f o t o g r a f e r e n . H a a r b o e k , Portraits

and Dreams

validate

w r o n g w o r d to use here, facilitator w o u l d be m o r e accurate. The photo-

( 1 9 8 5 ) is e e n v e r z a m e l i n g

f o t o ' s e n v e r h a l e n v a n k i n d e r e n uit d e a r m e m i j n g e b i e d e n in d e A p p a l a c h e n in d e V e r e n i g d e S t a t e n . D e b e e l d e n g e v e n , v o o r a l in c o m b i n a t i e m e t d e v e r h a l e n , e e n p r a c h t i g i n z i c h t in d e a m b i v a l e n t i e v a n k i n d e r e n d i e o p g r o e i e n in e e n o m g e v i n g

stories are e n a c t e d , not d o c u m e n t a r y . T h e y are political/action fictions. B r a n d t , a l o n g w i t h o t h e r politically c o m m i t t e d p h o t o g r a p h e r s like J o S p e n c e (1986), C a r o l e C o n d e a n d K a r l B e v e r i d g e (1982, 1990) f o u n d

documentary

f o r m t o o c o n f i n i n g to p r o d u c e the m a t e r i a l s t h e y n e e d to c o n v e y their

w a a r i n h e t c o n t r a s t t u s s e n t e l e v i s i e e n d e e i g e n w e r e l d w e l m o e t l e i d e n tot g e v o e l e n s van minderwaardigheid. Zoals soortgelijke pogingen van foto-therapeut e n m o e t d e a c t i v i t e i t l e i d e n tot m e e r g e v o e l v a n e i g e n w a a r d e bij d e k i n d e r e n .

message.

1 3

W h i l e t h e i m m e d i a t e g o a l is t o p r o d u c e m a t e r i a l s f o r t e a c h i n g

immigrant

H e t d o e l v a n h e t w e r k is e e n n i e u w e m a n i e r v a n z e l f e x p r e s s i e v o o r d e k i n d e r e n

w o m e n in C a n a d a , B r a n d t f e e l s the p h o t o s t o r i e s h a v e a w i d e r r a n g e of u s e .

e n i n z i c h t in h u n m a n i e r v a n l e v e n - e e n i n z i c h t d a t niet o p e e n a n d e r e m a n i e r t e

' T h e a i m of this project w a s to p r o d u c e a p h o t o s t o r y or storie s to

v e r k r i j g e n is.

a n d v a l i d a t e t h e difficult e x p e r i e n c e of i m m i g r a n t w o m e n l o o k i n g f o r

Over hun

dit project cultuur

zegt

van binnenuit,

ties en in de foto's om

hen

heen

buiten

hun

het

zonder

brengt

kinderen

met

Ze hebben gemeenschap

'Het

barriĂ¨res.

die zij maken...het

De meeste

minderheidsgroeperingen mensen

Ewald

wie

altijd

en denken

is heel

Kinderen hen ik heb een

spannend, zijn heel

waardering gewerkt,

geĂŻdealiseerd dat binnen

want direct

bij voor de waren

afkomstig

beeld

gehad

die gemeenschap

e m p l o y m e n t . . . T h e photostories that e m e r g e d , w e feel, represent b r o a d e r

ziet

in hun

illustrate

reladingen uit van niets

e x p e r i e n c e of w o m e n e v e r y w h e r e - the j o u r n e y to 'get there'

politically,

e c o n o m i c a l l y , a n d c u l t u r a l l y ' ( B r a n d t et a l 1 9 8 2 : 1 0 ) . T h e project h a d a v e r y specific g o al in m i n d - the d e v e l o p m e n t of t e a c h i n g m a t e r i a l s . It is u n c l e a r w h e t h e r t h e p e o p l e w h o o r i g i n a t e d it i n t e n d e d for the p e o p l e i n v o l v e d in the w o r k s h o p to c o n t i n u e u s i n g p h o t o g r a p h y . S i n c e t h e re is n o d i s c u s s i o n a b o u t h o w to i m p l a n t

the

t e c h n o l o g y into the c o m m u n i t y for other projects a n d since the project

was

b r o u g h t i n f r o m t h e o u t s i d e it i s u n l i k e l y t h a t it s u r v i v e d .

de moeite hen

trots

van het

fotograferen

te zijn op zichzelf,

waard hun

is. Onze

omgeving

gezamenl/ke

en hun

experimenten

leren

cultuur.'"

H e t w e r k k e n t g e e n l a n g e - t e r m i j n d o e l e n . O v e r e e n r e c e n t p r o j e c t in India z e i

Conclusion

E w a l d h e t v o l g e n d e : ' H e t p r o j e c t zal o n g e t w i j f e l d e e n a n d e r e w e n d i n g n e m e n a l s ik w e g b e n . . . m i s s c h i e n m a k e n s o m m i g e k i n d e r e n e r e e n b e d r i j f j e v a n , b i j v o o r -

'These

are

Lasers

in the jungle

Staccato

the

signals

days

and

of lasers

in the

beeld voor het m a k e n van huwelijksfoto's. Of m i s s c h i e n g e b r u i k e n z e het o m

jungle

p r o b l e m e n m e e o p t e l o s s e n , b i j v o o r b e e l d d o o r d e d r o o g t e in b e e l d t e b r e n g e n .

somewhere constant

M i s s c h i e n zijn e r w e l k i n d e r e n bij d i e d e k u n s t v a n h e t f o t o g r a f e r e n o p a n d e r e

Information...'

( P a u l S i m o n , ' A B o y In T h e B u b b l e '

Graceland

Album

kinderen kunnen overbrengen.'

1989)

1 2

H e t w e r k is niet b e d o e l d o m r a d i c a l e v e r a n d e -

r i n g e n in d e m a n i e r v a n f o t o g r a f e r e n v a n e e n g e m e e n s c h a p a a n t e b r e n g e n . H e t T h e c h a n g i n g w o r l d o r d e r r e q u i r e s a r e - i n v e n t i o n o f all f o r m s o f

d o e l is k i n d e r e n e e n n i e u w m i d d e l tot z e l f e x p r e s s i e in h a n d e n te g e v e n e n v o o r

representation including d o c u m e n t a r y m e d i a . D o c u m e n t a r i a n s must locate a

E w a l d is h e t e e n m a n i e r o m z i c h z e l f o p h e t f o t o g r a f e r e n v o o r t e b e r e i d e n . 'Ik h e b

s p e a k i n g position that grants t h e m s o m e political a n d moral legitimacy

t w e e verschillende maniere n van w e r k e n ontwikkeld die elkaar aanvullen: foto's

a c c o m p l i s h m e n t . T h i s r e p o s i t i o n i n g will c o n t i n u e to be f o r m u l a t e d

and

m a k e n die h e t verhaal v e r t e l l e n v a n het dagelijk s l e v e n v a n d e d o r p s b e w o n e r s

r e f o r m u l a t e d for a l o n g t i m e . C o n t r a r y to the m a r x i s t s ' a s s u m p t i o n , the

( m e e s t a l v r o u w e n , m e t w i e ik e e n g e e s t e l i j k e b a n d v o e l ) e n l a g e r e - s c h o o l k i n d e -

dialectic will never stop. This paper has concentrated u p on only one aspect

r e n f o t o ' s l e r e n m a k e n v a n w a t h e n n a a a n h e t hart ligt' ( E w a l d 1 9 9 0 : 2 2 ) .

of t h e w o r k of r e d e f i n i t i o n - t h e s h a r i n g of

authority.

D e manier w a a r o p d e C a n a d e s e D e b o r a h Brandt het begrip participatie-foto-

It h a s b e c o m e d i f f i c u l t , a t t i m e s i m p o s s i b l e t o c o n d u c t r e s e a r c h , f i l m o r p h o t o g r a p h y in m a n y p a r t s of t h e w o r l d . T h e s u b j e c t s of o u r i n q u i r y

don't

t r u s t u s a n y m o r e a n d b e s i d e s t h e y w a n t t o d o it t h e m s e l v e s . S o m e , l i k e t h e

g r a f i e i n v u l t , w i j k t af v a n d e b e n a d e r i n g d i e in w o r k s h o p s g e b r u i k e l i j k i s . In w o r k s h o p s s t a a t m e e s t a l d e z e l f e x p r e s s i e c e n t r a a l . B r a n d t s b e n a d e r i n g rich t z i c h o p h e t in a c t i e b i n n e n d e e i g e n l e e f g e m e e n s c h a p . A l s s o c i o l o g e h o u d t B r a n d t z i c h al

K a y a p o I n d i a n s of B r a z i l , a r e a l r e a d y w e l l o n t h e i r w a y t o b e c o m i n g

e n i g e tijd b e z i g m e t p a r t i c i p a t i e - o n d e r z o e k . In d i t g e v a l w e r k t e B r a n d t m e t e e n

i n d e p e n d e n t television p r o d u c e r s . P e r h a p s a n t h r o p o l o g i s t J e a n R o u c h 1975

g r o e p d i e p r o b e e r t in t e g r i j p e n in h e t a c c u l t u r a t i e - p r o c e s v a n i m m i g r a n t e n v r o u -

D. B r a n d t An Intimate Connection prophesy will be realized. ' A n d t o m o r r o w ? T o m o r r o w will be the time

c o l o r v i d e o p o r t a p a c k s , v i d e o e d i t i n g , of instant replay ('instant f e e d b a c k ' ) .

w e n in C a n a d a . In Getting

there:

Producing

Photostories

with

Immigrant

Women

b e s c h r i j f t B r a n d t h e t f o t o v e r h a a l a l s m i d d e l tot a c t i e ( B r a n d t , C r i s t a l l e n M a r i n o

T h e d r e a m s of V e r t o v a n d Flaherty will be c o m b i n e d into a m e c h a n i c a l 'cine-

1 9 8 2 ) . D e v e r h a l e n lijken o p d e f o t o r o m a n s d i e z o p o p u l a i r zij n o n d e r d e a r b e i -

e y e - e a r ' a n d o f a c a m e r a t h a t c a n s o t o t a l l y p a r t i c i p a t e t h a t it w i l l

d e r s v r o u w e n in L a t i j n s - A m e r i k a . D e v e r h a l e n b e s t a a n v o o r n a m e l i j k uit f o t o ' s e n

pass

a u t o m a t i c a l l y i n t o t h e h a n d s o f t h o s e w h o w e r e a l w a y s in f r o n t o f t h e l e n s . At that point, a n t h r o p o l o g i s t s will n o l o n g e r c o n t r o l the m o n o p o l y

h e b b e n w e i n i g o n d e r s c h r i f t e n , z o d a t je e r n i e t al t e g o e d v o o r h o e f t t e k u n n e n l e z e n . E r ligt g e e n ' h o o g s t a a n d ' t h e o r e t i s c h p l a n a a n t e n g r o n d s l a g . H e t is prak-

o b s e r v a t i o n ; their culture a n d they t h e m s e l v e s will be o b s e r v e d a n d

t i s c h , r e c h t - t o e - r e c h t - a a n e n p e d a g o g i s c h . H e t is, z o a l s zij zelf z e g g e n ' e e n

r e c o r d e d . A n d it is t h a t w a y e t h n o g r a p h i c f i l m w i l l h e l p u s ' s h a r e '

a n d e r e m a n i e r v a n l e r e n . ' ' W e p r o b e r e n a l l e m e n s e n in e e n b e p a a l d e g r o e p of

anthropology''

k l a s s e te b r e n g e n tot a c t i e v e e n d e m o c r a t i s c h e p a r t i c i p a t i e . . . W e

( R o u c h 1974: 43-44). A c c o r d i n g to R o u c h , the role of the

stimuleren

d o c u m e n t a r i a n a s a p r o f e s s i o n a l o u t s i d e r w i l l d i s a p p e a r b e c a u s e it i s

m e e r v o u d i g gebruik v a n materialen, m e e r d e r e m a n i e r e n o m iets te leren e n

unnecessary.

m e e r d e r e v o r m e n van kunst e n m e d i a o m het l e e r p r o c e s te verrijken... W e sti-

W h i l e the p o s s i b i l i t y of a m u l t i - v o c a l w o r l d of r e p r e s e n t a t i o n s o u n d s w o n d e r f u l , it m a y b e t h a t l e a r n i n g t o m a k e i m a g e s i s u l t i m a t e l y

m u l e r e n h e t v e r t e l l e n v a n e e n e i g e n v e r h a a l , niet a l s m i d d e l tot z e l f e x p r e s s i e of als v o r m v a n t h e r a p i e ; w e s t i m u l e r e n het u i t w i s s e l e n v a n d e b e l e v e n i s s e n van

d e s t r u c t i v e t h a n a n y t h i n g e l s e if y o u a r e n o t a m e m b e r o f t h e r u l i n g e l i t e .

a l l e d a g , o m d a t d a t k a n l e i d e n tot m e e r i n z i c h t in s o c i a l e s t r u c t u r e n , e e n k r i t i s c h e

Y o u g a i n a c c e s s to the m e a n s of p r o d u c i n g y o u r o w n i m a g e but in the

a n a l y s e e n d e b e r e i d h e i d c o l l e c t i e f a c t i e t e o n d e r n e m e n ' ( B r a n d t et al 1 9 8 2 : 1 5 ) .

p r o c e s s y o u l o s e t h e c u l t u r a l i d e n t i t y y o u s o u g h t t o p r o t e c t . In o t h e r w o r d s ,

H e t s a m e n a a n e e n p r o b l e e m w e r k e n is e v e n b e l a n g r i j k a l s h e t u i t e i n d e l i j k e r e s u l -

since the f o r m a l attributes a n d social practice of i m a g e p r o d u c i n g

taat. D e v r o u w e n b e o o r d e l e n z e l f d e e f f e c t i v i t e i t v a n d e f o t o ' s e n n i e t d e l e e r -

were

i n v e n t e d in a m i d d l e - c l a s s W e s t e r n w o r l d , all t h o s e w h o a c q u i r e the

k r a c h t . E i g e n l i j k is ' l e e r k r a c h t ' h i e r n i e t h e t g o e d e w o o r d : ' a a n r e i k e r ' z o u b e t e r

t e c h n i c a l s k i l l s a l s o a c q u i r e t h e w o r l d v i e w in t h e p r o c e s s a t r u l y d e p r e s s i n g

p a s s e n . D e f o t o v e r h a l e n zij n in s c Ă¨ n e g e z e t . H e t is p o l i t i e k e a c t i e / f i c t i e . N e t a l s

t h o u g h t . C e r t a i n l y t h e A u s t r a l i a n s i t u a t i o n s u g g e s t s t h a t c o - o p t a t i o n is m o r e

a n d e r e politiek g e ĂŤ n g a g e e r d e f o t o g r a f e n als J o S p e n c e (1986), C a r o l e C o n d e e n

l i k e l y t h a n a n y t h i n g e l s e . It i s h a r d f o r m e t o b e c o m e e n t h u s i a s t i c a b o u t

Karl B e v e r i g d e ( 1 9 8 2 , 1 9 9 0 ) , v o n d o o k B r a n d t d e d o c u m e n t a i r e t e v e e l b e p e r k i n g e n

a b o r i g i n a l rock a n d roll b a n d s m a k i n g M T V - l i k e v i d e o s ( M i c h a e l s 1987).

h e b b e n v o o r h e t s o o r t b o o d s c h a p d a t zij w i l d e o v e r b r e n g e n . '

In t h e e a r l y 1 9 7 0 s E d m u n d C a r p e n t e r s t u d i e d t h e i m p a c t o f W e s t e r n

" H e t d i r e c t e d o e l is m a t e r i a a l m a k e n v o o r o n d e r w i j s a a n

immigrantenvrouwen

m e d i a in N e w G u i n e a . H e w a s not e n t h u s i a s t i c . ' W e s t e r n a u d i e n c e s d e l i g h t

in C a n a d a . M a a r v o l g e n s B r a n d t h e b b e n d e f o t o v e r h a l e n v e e l m e e r g e b r u i k s m o -

in s t o r i e s a b o u t n a t i v e s w h o u s e m o d e r n m e d i a in c u r i o u s w a y s , their

g e l i j k h e d e n . ' H e t d o e l v a n dit p r o j e c t w a s t e k o m e n t o t e e n f o t o v e r h a a l of t o t f o t o -

errors

v e r h a l e n als illustratie e n b e w i j s v a n d e m o e i l i j k h e d e n van

immigrantenvrouwen

being both h u m o r o u s a n d p r o f o u n d , s u d d e n l y illuminating the very

nature

o p z o e k naar e e n b a a n . . . D e f o t o v e r h a l e n d i e o p d e z e m a n i e r o n t s t o n d e n , l a t e n ,

of the m e d i a t h e m s e l v e s . . . E v e n w h e n these stories are true, I think their

d e n k e n wij, e e n v e e l breder en veel universeler scala aan ervaringen v a n vrou-

i m p o r t a n c e is e x a g g e r a t e d . S u r e l y , t h e s i g n i f i c a n t poin t is that m e d i a

w e n z i e n - d e m o e i l i j k h e d e n d i e je m o e t o v e r w i n n e n o m p o l i t i e k , e c o n o m i s c h e n

little e x p e r i m e n t a t i o n a n d o n l y a p e r s o n of e n o r m o u s p o w e r a n d

c u l t u r e e l te s l a g e n ' ( B r a n d t e t al 1 9 8 2 : 1 0 ) .

s o p h i s t i c a t i o n is c a p a b l e of e s c a p i n g their b i n d i n g p o w e r . A v e r y n a i v e

Het project d i e n d e e e n specifiek d o e l - de o n t w i k k e l i n g van lesmateriaal. Het

permit

person m a y stumble across s o m e interesting technique, t h o u g h I think s u c h

is niet d u i d e l i j k of h e t d e b e d o e l i n g v a n d e i n i t i a t o r e n v a n h e t p r o j e c t w a s d a t d e

s t o r i e s are t o l d m o r e f r e q u e n t l y t h a n d o c u m e n t e d . T h e t r e n d is o t h e r w i s e '

d e e l n e m e r s aan d e w o r k s h o p zich ook naderhand met fotografie bleven bezig-

( C a r p e n t e r 1 9 7 4 : 1 8 8 ) . L i k e it o r n o t , t h e m e a n s o f p r o d u c i n g i m a g e s a r e

h o u d e n . O m d a t er niets g e z e g d w o r d t o v e r h o e d e t e c h n o l o g i e b i n n e n d e e i g e n

b e c o m e a v a i l a b l e to m o r e a n d m o r e p e o p l e .

l e e f g e m e e n s c h a p m o e t w o r d e n i n g e p a s t o m g e b r u i k t te k u n n e n w o r d e n v o o r a n d e r e p r o j e c t e n e n o m d a t h e t p r o j e c t v a n b u i t e n a f is i n g e b r a c h t , is h e t niet e r g waarschijnlijk dat het e e n f o l l o w - u p heeft g e k r e g e n .

It is a n a r t i c l e o f f a i t h t h a t t h e a l t e r n a t i v e m e d i a c o m m u n i t y

should

e n c o u r a g e o t h e r s to critique a n d reinterpret e x i s t i n g m e d i a w h i l e s i m u l t a n e o u s l y i n v e n t i n g n e w u s e s a n d r e l a t i o n s h i p s t o i t s f o r m s . W h a t is

Conclusie

u n c l e a r is h o w t h a t c a n b e b e s t a c c o m p l i s h e d . S h o u l d c o n c e r n e d d o c u m e n t a r i a n s intervene a n d i n t r o d u c é the t e c h n o l o g y of i m a g e

'Dit

zijn de dagen

Lasers,

ergens

van

in de

Staccato-signalen

lasers

m de

e m p o w e r m e n t is n o t s o m u c h a m e s s a g e d e l i v e r e d b y a n e n l i g h t e n e d

jungle

en permanente

production

to the as yet u n i n t e r e s t e d ? Brazilia n theorist P a o l o Freire c o n t e n d s that true

jungle

informatie.

( P a u l S i m o n , ' A B o y ' » T h e B u b b l e ' Graceland

a s it is a p r o c e s s b y w h i c h t h e o p p r e s s e d p a r t i c i p a t e i n a n d c o n s t r u c t

e n v i r o n m e n t of c h a n g e ( T r e n d 1988). T h e h i s t o r y of d e v e l o p m e n t

1989)

and

group an

projects

m e d i a w o r k s h o p s s u g g e s t s that they p r o d u c e o n l y short t e r m

effects,

n o t h i n g l a s t i n g s e e m s t o h a p p e n . A s d i f f i c u l t a s it i s f o r W e s t e r n e r s t o

D e v e r a n d e r e n d e w e r e l d v e r e i s t e e n h e r b e z i n n i n g o p alle v o r m e n v a n w e e r gave, m e t inbegrip van d e documentaire. D o c u m e n t a i r e filmers/fotografen m o e -

accept, the best policy m a y be to wait to be a s k e d .

WHAT WILL HAPPEN TO DOUG AND fvlARlNA...? WILL D 0 U 6 E V E R UN D E R S T A N p . . . ? WILL MARINA 6WE UP ON H M . . . ? IS THERE AN INTlMATE CONNECTION c£TWEEN CANADA Uit) CEiVm. AMERICA...? BETVJEEN F R E E TRA.OE. /KNO U.S. I N T E R V ENTION..•? • , I S THERE "TRUE LOVE B E V O N D FGEgTfïADe...? T U N E

t e n e e n p o s i t i e z i e n t e v i n d e n v a n w a a r u i t zij p o l i t i e k e n m o r e e l i e t s z i n n i g s in te

NEy-T

V£7AV*_,,.

If d o c u m e n t a r y ' s t r a d i t i o n a l s u b j e c t h a s b e c o m e l e s s a v a i l a b l e t h e n

b r e n g e n h e b b e n . D e d i s c u s s i e o v e r d e z e n i e u w e p o s i t i e is n o g l a n g n i e t a f g e l o -

l o g i c a l l y a n e w s u b j e c t m a t t e r m u s t b e s o u g h t . P e r h a p s it i s t i m e t o t u r n t h e

pen.

c a m e r a a w a y f r o m the exotic other, the ethnic minorities, d i s a d v a n t a g e d ,

In t e g e n s t e l l i n g tot w a t d e m a r x i s t e n d e n k e n , h o u d t d e d i a l e c t i e k n o o i t o p .

In dit a r t i k e l h e b ik m i j b e z i g h o u d e n m e t s l e c h t s é é n a s p e c t v a n d e h e r b e z i n n i n g

and

- het d e l e n v a n d e m a c h t .

s u g g e s t i n g that the m o r a l o b l i g a t i o n of t h e p r i v i l e g e d to s e e k s o l u t i o n s to

d i s p o s s e s s e d a n d f o c u s it o n o t h e r a s p e c t s o f t h e w o r l d . I a m

p r o b l e m s their c l a ss c r e a t e d in the first p l a c e be a b a n d o n e d . But the f o c u s

In s o m m i g e d e l e n v a n d e w e r e l d is h e t m o m e n t e e l m o e i l i j k e n s o m s z e l f s o n m o g e l i j k o m o n d e r z o e k t e d o e n , te f i l m e n of f o t o ' s t e m a k e n . D e v o o r w e r p e n

has

van

n e g l e c t e d . F o r e x a m p l e , if t h e c o n c e r n is p o v e r t y w h y n o t s t o p

o n z e s t u d i e v e r t r o u w e n o n s niet m e e r e n b o v e n d i e n w i l l e n z e h e t z e l f d o e n .

S o m m i g e n , z o a l s d e K a y a p o I n d i a n e n in Brazilië, zijn a l h a r d o p w e g z e l f s t a n d i g e

b e e n o n the s y m p t o m s a n d c o n s e q u e n t l y the c a u s e s have b e e n transforming

t h e p o o r i n t o i c o n s of p i t y a n d e x p l o r e its c a u s e s , that is, e x a m i n e t h e

t e l e v i s i e p r o d u c e n t e n te w o r d e n . M i s s c h i e n w o r d t d e profetie v a n d e antropoloog

s o u r c e s of e c o n o m i e p o w e r a n d d i s p l a y the lifestyl e of t h o s e w h o

J e a n R o u c h uit 1 9 7 5 w e l w e r k e l i j k h e i d . ' E n m o r g e n ? M o r g e n is h e t m o m e n t v a n

from

not

k l e u r e n v i d e o r e c o r d e r , d e v i d e o m o n t a g e , d e instant replay ('instant f e e d b a c k ' ) ' .

profit

inequities.

The

e c o n o m i e r o o t s of d o c u m e n t a r y m e d i a n e e d t o b e e x a m i n e d in o r d e r

D e d r o m e n v a n V e r t o v e n F l a h e r t y w o r d e n g e c o m b i n e e r d tot e e n m e c h a n i s c h

to d i s c o v e r w h y the u p p e r c l a s s e s h a v e b e e n s y s t e m a t i c a l l y i g n o r e d . I realize

' c i n e - o o r - o o g ' , tot e e n c a m e r a d i e z o v o l l e d i g p a r t i c i p e e r t d a t hij a u t o m a t i s c h

that I a m a r g u i n g for a kind of self-destructive reflexivity.

o v e r g a a t in d e h a n d e n v a n d e g e n e n d i e altijd v ó ó r d e l e n s s t o n d e n . D a n h e b b e n

i m a g e s are a l l o w e d to circulate b e c a u s e t h e y d o not s e r i o u s l y t h r e a t e n

a n t r o p o l o g e n niet l a n g e r h e t m o n o p o l i e o p d e o b s e r v a t i e ; zijzelf e n h u n c u l t u u r

p o w e r s t r u c t u r e o f o u r s o c i e t y . It p e r m i t s t h e m i d d l e c l a s s t o f e e l p i t y f o r t h e

Documentary the

z u l l e n h e t v o o r w e r p v a n o b s e r v a t i e w o r d e n ; zijzelf z u l l e n w o r d e n v a s t g e l e g d . O p

u n f o r t u n a t e w i t h o u t b e i n g a s e r i o u s risk to t h e i n s t i t u t i o n s that c r e a t e d t h e

d e z e m a n i e r k a n d e e t n o g r a f i s c h e f i l m o n s h e l p e n te ' d e l e n ' in d e a n t r o p o l o g i e

p r o b l e m s . A s y s t e m a t i c effort to e x p l o r e the c a u s e s of m a n y of the

1 4

problems

( R o u c h 1 9 7 4 : 4 3 - 4 4 ) . V o l g e n s R o u c h zal d e rol v a n d e d o c u m e n t a r i s t a l s p r o f e s s i -

d o c u m e n t a r i a n s v o i c e c o n c e r n a b o u t w o u l d p r o b a b l y r e s u lt in t h e e x c l u s i o n

o n e l e o u t s i d e r v e r d w i j n e n o m d a t hij o v e r b o d i g is g e w o r d e n .

of t h o s e i m a g e m a k e r s f r o m m a i n s t r e a m d i s t r i b u t i o n o u t l e t s . I a m

not

c e r t a i n it w o u l d b e s o g r e a t a l o s s a l t h o u g h it w o u l d a f f e c t t h e a b i l i t y o f Een

w e r e l d v a n w e e r g a v e w a a r i n i e d e r e e n e e n s t e m h e e f t , klinkt w e l i s w a a r

m a n y p h o t o g r a p h e r s t o e a r n a l i v i n g . If t h e r e w a s s o m e e v i d e n c e t h a t m a s s

p r a c h t i g , m a a r h e t l e r e n m a k e n v a n b e e l d e n k a n o o k h e e l d e s t r u c t i e f zijn, a l s je

c i r c u l a t i o n c o v e r a g e of s o c i a l a n d e c o n o m i e p r o b l e m s w e r e e f f e c t i v e , t h e n

niet b e h o o r t tot d e d o m i n a n t e e l i t e . J e h e b t d a n w e l d e m o g e l i j k h e i d je e i g e n

one

b e e l d e n te p r o d u c e r e n , m a a r t i j d e n s dat p r o c e s v e r l i e s je d e c u l t u r e l e i d e n t i t e i t

c o u l d a r g u e that c o m p r o m i s e is justifiable. Jo

S p e n c e p r o p o s e s a n interesting alternative to the

documentary

tradition of ferreting out the exotic the d o m e s t i c a t i o n of

photography.

'Photography can only attempt certain things c o m p a r e d with other

d i e je n u juist w i l d e b e s c h e r m e n . M e t a n d e r e w o o r d e n : a a n g e z i e n d e u i t e r l i j k e

media,

k e n m e r k e n e n d e s o c i a l e praktijk v a n d e b e e l d p r o d u k t i e zijn u i t g e v o n d e n d o o r d e

but its r a d i c a l i t y l i e s in t h e fact t h a t w e c a n p r o d u c e , p r o c e s s a n d c i r c u l a t e

w e s t e r s e middenklasse, n e e m t i e m a n d die zich de t e c h n i s c h e vaardigheden

s n a p s h o t s b y o u r s e l v e s , f o r o u r s e l v e s a n d a m o n g s t o u r s e l v e s . It i s t h e r e

e i g e n maakt ook het w e r e l d b e e l d van die klasse m e e over - e e n uiterst d e p r i m e -

the h i g h - t e c h n o l o g y - b u t - l o w - c o s t

of a m a t e u r i s m that t h e f u t u r e of

r e n d e g e d a c h t e . D e A u s t r a l i s c h e s i t u a t i e lijkt e r o p t e w i j z e n d a t b e p a a l d e g r o e p e n

p h o t o g r a p h y l i e s f o r m e . If w e t r u l y w a n t t o d e m o c r a t i z e h o w m e a n i n g s a r e

g e w o o n w e g d o o r a n d e r e z u l l e n w o r d e n i n g e l i j f d . Z o k a n ik n u n i e t b e p a a l d

p r o d u c e d in i m a g e s , w e n e e d t o r e a l i z e t h a t a l l . . . p r a c t i c e s . . . c a n . . . b e

enthousiast w o r d e n over rock-en-rollbands van aboriginals die M T V - a c h t i g e

a p p r o p r i a t e d r i g h t i n t o t h e l i v i n g r o o m . If w e c o u l d l e a r n n e w w a y s o f u s i n g

v i d e o ' s m a k e n ( M i c h a e l s 1987).

o u r c a m e r a s w e c o u l d start by telling o u r s t o r i e s in different w a y s . Initially w e c o u l d u s e t h e c a m e r a f o r a d i a l o g u e w i t h o u r s e l v e s , as in p h o t o

therapy,

A a n het b e g i n v a n d e z e v e n t i g e r jaren b e s t u d e e r d e E d m u n d C a r p e n t e r d e i n v l o e d v a n d e w e s t e r s e m e d i a in N i e u w - G u i n e a . Hij w a s niet e n t h o u s i a s t .

'Het

to d e - c e n s o r i z e o u r s e l v e s , or a s a t y p e of v i s u a l d i a r y - w r i t i n g . O n c e w e feel

w e s t e r s e publiek smult van verhalen o v e r i n h e e m s e volkere n die d e m o d e r n e

it is s a f e t o p r o c e e d w e c a n s h a r e o u r ' n e w ' s t o r i e s w i t h a l l i e s , a n d w e c a n

m e d i a o p e e n v r e e m d e m a n i e r g e b r u i k e n . D e d i n g e n d i e zij d o e n zijn g r a p p i g ,

b e g i n t o r e - i m a g ( i n ) e w h o w e a r e , b o t h v i s u a l l y a n d v e r b a l l y . If w e

were

e n c o u r a g e d to d o this as c h i l d r e n , w h o k n o w s w h a t w e m i g h t be m a k i n g the w o r l d b y the t i m e w e b e c o m e a d u l t s ? O n e t h i n g is c e r t a i n : t h e

m a a r h e b b e n o o k e e n d i e p e r e b e t e k e n i s , o m d a t zij p l o t s e l i n g h e t w a r e w e z e n of

meagre

a n d p a r t i a l v i e w of s o c i a l a n d p s y c h i c life p r e s e n t l y o n offer t h r o u g h

image

m a k i n g a n d p h o t o g r a p h y w o u l d q u i c k l y b e c o m e c l e a r e r ' (1986: 214).

v a n d e m e d i a zelf l a t e n z i e n . . . Z e l f s a l s d e z e v e r h a l e n w a a r zijn, d e n k ik n o g d a t h e t b e l a n g e r v a n w o r d t o v e r d r e v e n . N a t u u r l i j k blijkt er d u i d e l i j k uit d a t e r m e t d e m e d i a niet v e e l t e e x p e r i m e n t e r e n valt e n d a t a l l e e n i e m a n d m e t v e e l w i l s k r a c h t en raffinement

in s t a a t is a a n d e d w i n g e n d e m a c h t v a n d e m e d i a t e o n t k o m e n .

E e n naïef i e m a n d z i e t a l l e e n e e n i n t e r e s s a n t s t u k j e t e c h n i e k , h o e w e l ik d e n k d a t T h e g r a n d i o s e e x p e c t a t i o n s w e h a d a b o u t d o c u m e n t a r y m e d i a are e x h a u s t e d . It s h o u l d b e p o s s i b l e t o c o n s t r u c t a p r a c t i c e w i t h

modest

a s p i r a t i o n s o n e t h a t n e i t h e r p r e t e n d s it h a s t h e p o w e r t o c h a n g e t h e nor a d e s i re to pity but instead aid s in o u r attempt to c o m p r e h e n d

d e r g e l i j k e v e r h a l e n v a a k a l l e e n m a a r d e r o n d e d o e n e n n e r g e n s zijn v a s t g e l e g d . D e t r e n d g a a t e e r d e r in o m g e k e e r d e r i c h t i n g ' ( C a r p e n t e r 1 9 7 4 : 1 8 8 ) . O f je h e t n u

world

and

l e u k v i n d t of niet, d e m i d d e l e n v o o r h e t m a k e n v a n b e e l d e n k o m e n b i n n e n h e t bereik v a n s t e e d s m e e r m e n s e n .

critique a w o r l d g r o w n increasingly incomprehensible . Documentarians will h a v e t o l e a r n t o s h a r e t h e i r p o w e r t o r e p r e s e n t o r t h e y m a y l o s e it altogether.

H e t is bijna e e n o n g e s c h r e v e n w e t d a t d e a l t e r n a t i e v e m e d i a a n d e r e n a a n m o e d i g e n tot h e t k r i t i s c h b e k i j k e n e n h e r i n t e r p r e t e r e n v a n d e b e s t a a n d e m e d i a , d a a r b i j z e l f t e g e l i j k e r t i j d n i e u w e t o e p a s s i n g e n e n r e l a t i e s tot d e b e s t a a n d e v o r m e n o n t d e k k e n d . H e t is e c h t e r n i e t d u i d e l i j k h o e d a t h e t b e s t e k a n g e b e u r e n .

Noles 1. This paper was originally delivered as a lecture at the Fotografie Biënnale Rotterdam II. I wish to thank Hripsimé Visser for the invitation. I have developed some of the arguments presented here in a paper devoted to documentary film - see Ruby 1991. I wish to acknowledge the critical assistance I received from Jo Spence, John Stuart Katz and Bruce Jackson. 2. It is not the intent of my remarks to deny the importance of traditionally authored documentary works or to suggest that they are worthless, racist, or colonialist nor do I propose that we abandon a mainstream approach. It is counterproductive to develop a revisionist history that denies the worth of the past. Rather I submit that we live in a time when economie and political forces demand we consider alternatives to dominant practice. 3. I use the term documentary media throughout this paper as a shorthand for documentary film, video, television and photography. 4. See Dell Hymes' 'Reinventing Anthropology' (1968) for an early attempt at transforming anthropology. 5. A number of cultures have formal procedures that one must follow before being permitted to conduct any research. 6. The work of Carol Conde and Karl Beveridge (1986 and 1990) comes to mind as a photographic 'docudrama.' Jo Spence has also questioned the necessity of naturalism. 'As a photographer I had spent most of my working life trying to visual represent other people... I questioned my right to act on behalf of those I photographed, who had no control over what was done with their images. I questioned naturalism as the best way to use photography politically' (Spence 1986: 82). 7. An exception of this statement is to be found in the work of Stephen Willats with the Housing Projects in Amsterdam and the Billboard Project in Den Hague. 'Stephen Willat's work since the mid-60s has been characterized by a theoretical as well as practical concern for a social interactive model of art practice... the work evolves from a process of reciprocal participation; the work is constructed as much by the subjects as by the artistit is their choices and statements that become the works 'message"(Gibbs 1990: 16). Martha Rosler's recent Homeless installation at the Dia Art Foundation in New York city follows a similar approach. 8. I am unconvinced by Rosler's attempt to justify their work as economically necessary. 'Rosler, complaining that she has no time to work on distributing her projects beyond the art world, comments: 'part of the problem... has to do with how l've lived, always leaving town a lot to give lectures or to teach somewhere else for a few months.' To a certain extent, they have tried to resolve this by addressing issues they encounter as they travel from teaching job to teaching job. Sekula has done work about restaurant employees in San Diego, college students in Newport Harbor, and televised war games in Columbus, Ohio' (Gever 1981: 11). 9. There have been worker photo clubs in the Soviet Union since the 1920s. I know little about them nor was I able to discover any literature on the subject. 10. There are some expectations to this criticism. In Great Britain Jo Spence organized a photography workshop that was designed 'to encourage self-reliance in photographic users and makers, especially in the investigation of alternative chemical and photo technology... (This is an essential first step towards demystifying technology.) ...To encourage the photographic recording of personal, group and local history by those involved, with or without the assistance of professional photographers' (Spence 1986: 65). 11. Interview with Ewald by Sharmila Joshi, N.D. 12. Interview with Ewald by Sharmila Joshi, N.D. 13. The abandonment of documentary naturalism and realism for enacted real fictions and images constructed out of photographs appropriated from the mass media has become a way for some photographers to avoid the trap of representing the reality of others. These approaches deserve further investigation. 14. 'It is this permanent 'ethno-dialogue' which appears to me to be one of the most interesting angles in the current progress of ethnography. Knowledge is not longer a stolen secret, devoured in the Western temples of knowledge; it is the result of an endless quest where ethnographers and those whom they study meet on a path which some of us now call 'shared anthropology' (anthropologie partagée)' (Rouch 1978(1971): 7).

M o e t e n geëngageerde d o c u m e n t a i r e m a k e r s t u s s e n b e i d e k o m e n e n m e n s e n die d a a r i n n o g niet g e ï n t e r e s s e e r d zijn l a t e n k e n n i s m a k e n m e t d e t e c h n i e k v a n d e b e e l d p r o d u k t i e ? D e B r a z i l i a a n s e t h e o r e t i c u s P a o l o F r e i r e b e w e e r t dat m a c h t n i e t ontstaat door e e n b o o d s c h a p a f g e g e v e n d o o r é é n of a n d e r e verlichte g r o e p , m a a r d o o r e e n p r o c e s w a a r i n d e o n d e r d r u k t e n p a r t i c i p e r e n in e n w e r k e n a a n v e r a n d e r i n g e n in h u n o m g e v i n g ( T r e n d 1 9 8 8 ) . D e g e s c h i e d e n i s v a n p r o j e c t e n e n m e d i a w o r k s h o p s lijkt e r o p t e w i j z e n d a t z e s l e c h t s e e n k o r t e - t e r m i j n e f f e c t h e b b e n , d a t e r n i e t s b l i j v e n d s g e b e u r t . H o e m o e i l i j k d a t o o k m a g zijn v o o r w e s t e r l i n g e n , h e t is m i s s c h i e n h e t b e s t e g e w o o n t e w a c h t e n t o t je g e v r a a g d w o r d t . A l s het traditionele v o o r w e r p v a n d e d o c u m e n t a r i s t s t e e d s m i n d e r b e s c h i k b a a r is, m o e t er v a n z e l f s p r e k e n d e e n n i e u w o n d e r w e r p v a n s t u d i e w o r d e n g e z o c h t . W e l l i c h t is h e t tijd d e c a m e r a af t e w e n d e n v a n d e e x o t i s c h e a n d e r , d e e t n i s c h e m i n d e r h e d e n , de m i n d e r b e d e e l d e n , d e b e r o o i d e n , e n h e m te richten o p a n d e r e a s p e c t e n v a n d e w e r e l d . Ik w i l h i e r niet d e i n d r u k w e k k e n d a t ik d e b e v o o r r e c h t e n o n t s l a v a n h u n m o r e l e p l i c h t tot h e t z o e k e n v a n o p l o s s i n g e n v o o r p r o b l e m e n d i e zij z e l f in e e r s t e i n s t a n t i e h e b b e n v e r o o r z a a k t . M a a r d e n a d r u k h e e f t altijd g e l e g e n o p d e s y m p t o m e n e n d u s zijn d e o o r z a k e n o n d e r b e l i c h t g e w e e s t . A l s h e t b i j v o o r b e e l d o m a r m o e d e g a a t , w a a r o m d a n n u niet e e n s s t o p p e n m e t d e a r m e n a l s z i e l i g v o o r t e s t e l l e n e n o n s in p l a a t s d a a r v a n r i c h t e n o p d e oorzaken, e n de bronnen van e c o n o m i s c h e macht o n d e r z o e k e n e n de levensstijl aan de kaak stellen van hen die profiteren van de ongelijkheid. De e c o n o m i s c h e wortels van de documentaire m e d i a m o e t e n onderzocht w o r d e n o m te k u n n e n o n t d e k k e n w a a r o m d e h o o g s t e k l a s s e n s y s t e m a t i s c h buit e n s c h o t zijn g e b l e v e n . Ik r e a l i s e e r m e d a t ik h i e r p l e i t v o o r e e n s o o r t z e l f v e r n i e t i g e n d e kritiek. D o c u m e n t a i r e b e e l d e n m o g e n c i r c u l e r e n o m d a t z e d e m a c h t s structuur van o n z e m a a t s c h a p p i j niet ernstig b e d r e i g e n . Z e s t e l l e n d e m i d d e n k l a s s e in s t a a t m e d e l i j d e n t e h e b b e n m e t d e m i n d e r b e d e e l d e n z o n d e r d e o n d e r d e l e n v a n h e t s y s t e e m d i e d e p r o b l e m e n v e r o o r z a a k t h e b b e n e r n s t i g in g e v a a r t e brengen. E e n s y s t e m a t i s c h e poging o m de oorzaken van de problemen waarover d e filmer/fotograaf

z i c h d r u k m a a k t t e o n d e r z o e k e n , z o u w a a r s c h i j n l i j k l e i d e n tot

u i t s l u i t i n g v a n d e o f f i c i ë l e d i s t r i b u t i e k a n a l e n . Ik w e e t n i e t of d a t n o u z o ' n g r o o t v e r l i e s z o u zijn, al w e e t ik w e l d a t h e t v o o r v e e l f o t o g r a f e n m i n d e r b r o o d o p d e plank z o u b e t e k e n e n . A l s er e n i g b e w i j s w a s dat m a s s a l e v e r s l a g g e v i n g van s o c i ale e n e c o n o m i s c h e p r o b l e m e n e f f e c t heeft, z o u m e n k u n n e n v o l h o u d e n dat e e n c o m p r o m i s v e r d e d i g b a a r is.

J o S p e n c e heeft e e n i n t e r e s s a n t alternatief v o o r het traditionele

onderzoek

v a n h e t e x o t i s c h e - d e ' v e r h u i s e l i j k i n g ' v a n d e f o t o g r a f i e . ' F o t o g r a f i e k a n niet a l l e s w a t a n d e r e m e d i a w e l k u n n e n , m a a r h a a r g r o t e k r a c h t is g e l e g e n in h e t feit d a t w e z e l f f o t o ' s k u n n e n m a k e n e n a f d r u k k e n e n in o n z e e i g e n k r i n g k u n n e n l a t e n c i r c u l e r e n . V o l g e n s mij ligt d e t o e k o m s t v a n d e f o t o g r a f i e bij d e a m a t e u r m e t zijn h i g h - t e c h a p p a r a t u u r e n l a g e k o s t e n . A l s w e d e m a n i e r w a a r o p b e t e k e n i s s e n in b e e l d e n w o r d e n u i t g e d r u k t w i l l e n d e m o c r a t i s e r e n , m o e t e n w e o n s r e a l i s e r e n d a t alle . . . m e t h o d e s . . . o o k in d e h u i s k a m e r t o e p a s b a a r zijn. A l s w e

nieuwe

manieren van cameragebruik z o u d e n kunnen aanleren, z o u d e n w e ons verhaal a n d e r s k u n n e n g a a n v e r t e l l e n . W e z o u d e n d e c a m e r a a l l e r e e r s t in e e n d i a l o o g

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m e t o n s z e l f k u n n e n g e b r u i k e n , z o a l s in d e f o t o t h e r a p i e , o m o n s z e l f t e d e c e n s u r e r e n , of a l s e e n s o o r t v i s u e e l d a g b o e k . A l s w e o n s v e i l i g v o e l e n , k u n n e n w e o n z e 'nieuwe' verhalen delen met bondgenoten en ons opnieuw een beeld proberen te v o r m e n v a n w i e w e zijn, z o w e l v i s u e e l a l s v e r b a a l . A l s w e d a a r a l s k i n d e r e n al

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D e g r o o t s e v e r w a c h t i n g e n d i e w e h a d d e n v a n d e d o c u m e n t a i r e m e d i a zijn i n m i d d e l s u i t g e p u t . H e t m o e t m o g e l i j k zijn e e n m o d e l t e v i n d e n m e t w a t b e s c h e i d e n e r aspiraties - e e n m o d e l dat er niet vanuit gaat dat het de w e r e l d kan v e r a n d e r e n , d a t niet d e n e i g i n g h e e f t tot m e d e l i j d e n , m a a r o n s h e l p t in o n z e p o g i n g e e n w e r e l d , d i e s t e e d s o n b e g r i j p e l i j k e r w o r d t , te b e g r i j p e n e n k r i t i s c h te b e k i j k e n . D o c u m e n t a i r e - m a k e r s m o e t e n leren h u n m a c h t te d e l e n , a n d e r s raken z e d i e m a c h t h e l e m a a l kwijt.

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Noten I, Dit artikel was oorspronkelijk een lezing, gehouden op de tweede Fotografie Biënnale Rotterdam (1990). Ik wil Hripsimé Visser bedanken voor de uitnodiging. Ik heb een aantal van de opmerkingen in dit artikel nader uitgewerkt in een paper gewijd aan de documentaire film - zie Ruby 1991. Ik wil Jo Spence, John Stuart Katz en Bruce Jackson graag bedanken voor hun kritische kanttekeningen.

Ethnography. Berkeley: University of California Press. Conde, Carole and Beveridge, Karl:

2 Het is hier niet mijn bedoeling het belang van de traditioneel tot stand gekomen documentaires te ontkennen of te suggereren dat ze waardeloos, racistisch of kolonialistisch zijn. Ik zeg ook niet dat we de gebruikelijke manier van werken nu maar geheel moeten laten voor wat zij is Een revisionistische theorie waarin de waarde van het verleden wordt ontkend, leidt tot niets. Ik stel hier dat wij leven in een tijd waarin economische en politieke krachten ons dwingen alternatieven voor de dominante documentaire cultuur in ogenschouw te nemen.

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3. Ik gebruik de term documentaire media in dit artikel voor documentaire film, video, televisie en fotografie 4. Zie Dell Hymes 'Reinventing Anthropology' 11968) voor een vroege poging tot transformatie van de antropologie. 5. Een aantal culturen heeft formele procedures waaraan men zich moet houden voordat men onderzoek mag doen. 6 Bij fotografisch 'docudrama' denk ik aan het werk van Carol Conde en Karl Beveridge (1986 en 1990) Jo Spence heeft ook haar vraagtekens bi| de noodzaak van het naturalisme 'Als fotograaf had ik het grootste gedeelte van mijn leven doorgebracht met het visueel weergeven van anderen... Ik begon te twijfelen of ik wel het recht had te handelen namens degenen die ik fotografeerde, de mensen die geen inspraak hadden in wat er met hun beelden werd gedaan Ik vroeg me af of het naturalisme wel de beste methode was om de fotografie politiek te gebruiken' (Spence 1986:82)

ifeste. New York: Macmillan. Ewald, Wendy:

7. Een uitzondering hierop is te vinden in het werk van Stephen Willats, in diens Woningproject in Amsterdam en Billboard-project in Den Haag 'Vanaf het midden van de zestiger jaren wordt Stephen Willats' werk gekenmerkt door een theoretisch en praktisch streven naar een sociaal interactief model van werken met kunst het werk ontstaat uit een proces van wederzijdse deelname: het werk wordt zowel door de gefotografeerden als door de kunstenaar gemaakt hun keuzes en uitspraken vormen de boodschap van het werk' (Gibbs 1990:16) In haar installatie Homeless bij de Dia Art Foundation in New York volgt Martha Rosler een soortgelijke benadering

1986;

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8 Ik ben niet onder de indruk van Roslers poging hun werk te verdedigen als economisch noodzakelijk Rosler klaagt erover dat ze geen tijd heeft haar projecten te distribueren buiten de kunstwereld en zegt hierover: 'het probleem heeft deels te maken met hoe ik leef. vaak voor een paar maanden weg, om lezingen te houden of les te geven' Tot op zekere hoogte hebben zij geprobeerd dit probleem op te lossen door onderwerpen te behandelen die ze op hun tocht van het ene docentschap naar het andere tegenkomen Sekula heeft werk gemaakt over restaurantmedewerkers in San Diego, studenten in Newport Harbor en televisie-oorlogsspelletjes in Columbus, Ohio' (Gever 1981:11).

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9. Er zijn al sinds de twintiger jaren arbeider-fotoclubs in de Sovjet-Unie Ik weet er weinig van en heb er ook geen literatuur over kunnen vinden. 10. Deze kritiek biedt ook hoop. In Engeland organiseerde Jo Spence een fotografie-workshop die tot doel had 'het stimuleren van het zelfvertrouwen in gebruikers en makers van de fotografie, vooral wat betreft het onderzoek naar alternatieve chemische en fotografische technologie... (Dit is een belangrijke stap op weg naar het demystificeren van de technologie.) Het aanzetten tot fotografische weergave van de geschiedenis van persoon, groep of gemeenschap door de betrokkenen zelf, al dan niet met behulp van professionele fotografen' (Spence 1986: 65)

Cultures. New York: Basic Books.

II. Interview van Sharmila Joshi met Ewald. datum onbekend 12 Interview van Sharmila Joshi met Ewald, datum onbekend 13 Het vervangen van het documentaire naturalisme en realisme door in scène gezette beelden, samengesteld uit foto's uit de massamedia is voor sommige fotografen een manier geworden om de werkelijkheid van de ander niet te hoeven weergeven Deze benadering verdient nader onderzoek. 14 'Deze permanente 'etno-dialoog' is, denk ik, één van de interessantste aspecten van de huidige ontwikkelingen binnen de etnografie Kennis is niet langer een gestolen geheim, verslonden in de westerse tempels der kennis: het is het resultaat van een eindeloze speurtocht, waarbij etnografen en beschrevenen elkaar ontmoeten op een pad dat sommigen omschrijven als 'gedeelde antropologie' (anthropologie partagée)' (Rouch 1978 [1971|: 7)

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REPOSITIONING D O C U M E N T A R Y

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J>ÏUI«MIIMÏI

pjilti Cm SEIICHI F U R U Y A MÉMOIRES HRIPSIMÉ

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ALFREDO JAAR COYOTE & OUT HRIPSIMÉ

OF B A L A N C E VISSER

JULIAN GERMAIN STEELWORKS FRITS G I E R S T B E R G

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HANS A A R S M A N EAST LINDA

GERMANY ROODENBURG

Hripsimé Visser

Eigenlijk beweegt de hele discussie rond (traditionele)

The whole discussion about (traditional) documentary and

documentaire en reportagefotografie fotografie zich tussen twee

journalistic photography really gravitates between two poles.

polen. Enerzijds worden exposities en publicaties van dergelijke

On the one hand exhibitions and publications of this sort of

fotografie gerechtvaardigd door een vocabulaire in stelling te

photographic material are justified by proposing a vocabulary

brengen dat traditioneel esthetische criteria in de ruimste zin

that uses traditional aesthetic criteria in the broadest sense

hanteert; anderzijds wordt deze 'opwaardering' van de of the word; on the other hand this 'reevaluation' of the documentaire gekritiseerd vanuit de opvatting dat de kunstwereld zich deze vorm van fotografie toeeigent zonder de werkelijke betekenis duidelijk te maken.

Kritiek op de 'opwaardering' van documentaire fotografie. E e n g o e d v o o r b e e l d v a n w e r k d a t z i c h in h e t s p a n n i n g s v e l d v a n d e z e d i s c u s -

documentary form is criticized on the grounds that the art world appropriates this form of photography without making its real meaning clear.

Critique of the 'reevaluation' of documentary photography. A g o o d e x a m p l e of w o r k that c o m e s u n d e r t h e h e a d i n g o f this d i s c u s s i o n

s i e bevindt is dat v a n d e Braziliaanse fotograaf S e b a s t i a o S a l g a d o . O n l a n g s k r e e g

is t h a t o f t h e B r a z i l i a n p h o t o g r a p h e r , S e b a s t i a o S a l g a d o . R e c e n t l y h e w a s

hij e e n o v e r z i c h t s t e n t o o n s t e l l i n g in h e t S a n F r a n c i s c o M u s e u m o f M o d e r n A r t ,

g i v e n a r e t r o s p e c t i ve e x h i b i t i o n in t h e S a n F r a n c i s c o M u s e u m of M o d e r n

vergezeld van e e n door Aperture uitgegeven boek m e t teksten van Eduardo Gale-

Art, together with a catalogue p u b l i s h e d by Aperture with texts b y E d u a r d o

a n o e n F r e d R i t c h i n . An Uncertain

G a l e a n o a n d F r e d R i t c h i n . An Uncertain

Grace*

is e e n i n d r u k w e k k e n d overzicht v a n

Grace^

is a n i m p r e s s i v e s u r v e y of

werkelijk z e e r g o e d e f o t o ' s maar t e k e n t tegelijkertijd d e b e p e r k i n g e n v a n d e tradi-

g e n u i n e l y v e r y g o o d p h o t o g r a p h s b u t a t t h e s a m e t i m e it c l e a r l y i l l u s t r a t e s

t i o n e l e d o c u m e n t a i r e . Z o a l s in z o v e e l v a n d e r g e l i j k e u i t g a v e n h e t g e v a l is w o r d t

the limits of t h e traditional d o c u m e n t a r y f o r m . A s is t h e c a s e w i t h m a n y

d e f o t o g r a a f in n o g a l m e t a f y s i s c h e t e r m e n g e p r e z e n e n w o r d t e e n s e l e c t i e v a n

s u c h p u b l i c a t i o ns the p h o t o g r a p h e r is p r a i s e d in s o m e w h a t m e t a p h y s i c a l

zijn w e r k g e p r e s e n t e e r d z o n d e r a a n d u i d i n g v a n p l a a t s , jaartal e n o n d e r w e r p .

t e r m s a n d a selection of his w o r k is s h o w n w i t h o u t a n y details a b o u t p l a c e ,

( D e z e g e g e v e n s zijn v o o r d e g e ï n t e r e s s e e r d e l e z e r a c h t e r i n h e t b o e k o p g e n o -

dates o r subject. (Fort h e m o r e specialist reader these details are p u b l i s h e d

m e n ) . H e t g a a t d e r h a l v e o m d e b e e l d e n e n d i e zijn a l l e s z i n s d e m o e i t e w a a r d .

a t t h e b a c k o f t h e b o o k ) . It i s t h e i m a g e s , t h e r e f o r e , t h a t a r e i m p o r t a n t a n d

S a l g a d o b e h e e r s t d e m o g e l i j k h e d e n v a n d e f o t o g r a f i s c h e b e e l d t a a l t o t in zijn v i n -

t h e s e a r e i n e v e r y r e s p e c t w o r t h l o o k i n g at. S a l g a d o h a s a l l t h e p o s s i b i l i t i e s

g e r t o p p e n . O n o n t k o o m b a a r m a a k t d i e p e r f e c t i e zijn w e r k t o t h e t o n d e r w e r p v a n

of p h o t o g r a p h i c i m a g e r y at h i s f i n g e r t i p s . I n e v i t a b l y t h i s p e r f e c t i o n m a k e s

e s t h e t i s c h e c o n t e m p l a t i e e n a n a l y s e . W a t is hier m i s m e e ? Uiteindelijk p r e s e n -

h i s w o r k t h e s u b j e c t o f a e s t h e t i c c o n t e m p l a t i o n a n d a n a l y s i s . Is t h e r e

t e e r je h e t w e r k v a n e e n f o t o g r a a f o p e e n d e r g e l i j k e m a n i e r w a n n e e r h e t d o o r d e

a n y t h i n g w r o n g w i t h t h i s ? In t h e e n d y o u p r e s e n t t h e w o r k o f a

k w a l i t e i t v a n c o n c e p t e n v i s i e d a a r t o e a a n l e i d i n g g e e f t . M a a r juist d e z e , u i t e r a a r d

p h o t o g r a p h e r in this sort of w a y w h e n this is justified b y t h e level o f

k u n s t h i s t o r i s c h e , o p v a t t i n g w o r d t d o o r e e n aantal critici a a n g e v a l l e n o p g r o n d v a n

c o n c e p t a n d a r t i s t i c v i s i o n . B u t it i s p r e c i s e l y t h i s i d e a - a n a r t - h i s t o r i c a l o n e ,

'oneigenlijke toeëigening'.

of c o u r s e - that h a s b e e n attacked o n t h e g r o u n d s of ' i m p r o p e r

In e e n r e c e n t a r t i k e l in d e V i s u a l S o c i o l o g y R e v i e w a n a l y s e e r t D o n a S c h w a r t z

appropriation'.

het kritisch vocabulaire e n d e ' v e r p a k k i n g s m e c h a n i s m e n ' w a a r m e e w e r k als dat

In a r e c e n t a r t i c l e i n V i s u a l S o c i o l o g y R e v i e w , D o n a S c h w a r t z a n a l y z e s

van Salgado over d e grenzen van d e reportagefotografie wordt heengetild. Haar

the critical v o c a b u l a r y a n d t h e ' p a c k a g i n g m e c h a n i s m s ' w h i c h are u s e d to

a r t i k e l : On The Line:

t r a n s p o r t w o r k like that of S a l g a d o b e y o n d t h e b o u n d a r i e s of

and Photographic

Crossing

Art

Institutional

Boundaries

Between

Photojournalism

b e s t a a t uit e e n o n d e r z o e k n a a r ' h e t c o m m u n i c a t i e v e n e t -

w e r k dat rond reportagefotografie w o r d t g e w e v e n w a a r d o o r het mogelijk w o r d t

p h o t o j o u r n a l i s m . H e r a r t i c l e , On the Line: between

Photojournalism

and Photographic

Crossing Art

Institutional

Boundaries

consists of a n investigation

i n t o t h e ' c o m m u n i c a t i v e f r a m e p l a c e d a r o u n d p h o t o j o u r n a l i s m t h a t m a k e s it

e e n brug te slaan t u s s e n m a s s a m e d i a e n elitekunst, t u s s e n v e r s l a g g e v e n d e en

p o s s i b l e to bridge the separation b e t w e e n m a s s a n d elite m e d i a , reportorial

a r t i s t i e k e b e n a d e r i n g e n v a n f o t o g r a f i e ' . H a a r o n d e r z o e k rich t z i c h e n e r z i j d s o p e e n

a n d artistic a p p r o a c h e s to p h o t o g r a p h y ' . H e r i n v e s t i g a t i o n a i m s o n the o n e

analyse van d e 'retoriek die g e h a n t e e r d w o r d t d o o r kunsthistorici e n m u s e u m c o n -

h a n d at a n a n a l y s i s o f t h e ' r h e t o r i c i n v o k e d b y art h i s t o r i a n s a n d m u s e u m

s e r v a t o r e n t e n e i n d e d e a a n d a c h t d i e zij g e v e n a a n r e p o r t a g e f o t o g r a f i e o p g r o n d

c u r a t o r s , g r o u n d i n g the a t t e n t i o n t h e y g i v e to p h o t o j o u r n a l i s m w i t h i n art

van b e e l d e n d e k u n s t n o r m e n te rechtvaardigen e n anderzijds o p d e wijze w a a r o p

w o r l d n o r m s . W i t h the s e c o n d set of e x a m p l e s I p r o b e the w a y

r e p o r t a g e f o t o g r a f e n zelf h u n w e r k h e b b e n v e r p a k t o m a a n d i e n o r m e n e n c o n -

p h o t o j o u r n a l i s t s t h e m s e l v e s h a v e p a c k a g e d their w o r k w i t h r e s p e c t to the

v e n t i e s t e g e m o e t te k o m e n ' . V o o r w i e d e z e d i s c u s s i e ook m a a r e n i g s z i n s kent

n o r m s a n d c o n v e n t i o n s o f fin e art p h o t o g r a p h y ' . T h e d e v e l o p m e n t o f her

zal h e t v e r l o o p v a n h a a r a r t i k e l d u i d e l i j k zijn. F e i t e l i j k laat zij in h e t e e r s t e g e d e e l t e v a n h a a r a r t i k e l z i e n h o e e e n a a n t a l n o t i e s d i e a f k o m s t i g zijn uit d e w e r e l d v a n d e

article w i l l b e c l e a r to a n y o n e w h o is r e a s o n a b l y f a m i l i a r w i t h this d i s c u s s i o n . In f a c t , i n t h e f i r s t p a r t o f h e r a r t i c l e s h e s h o w s h o w a n u m b e r

k u n s t f o t o g r a f i e t o e g e p a s t w o r d e n o p r e p o r t a g e - e n d o c u m e n t a i r e f o t o g r a f i e . Zij

n o t i o n s t h a t o r i g i n a t e d in t h e w o r l d o f art p h o t o g r a p h y h a v e b e e n a p p l i e d t o

n o e m t : v e r g e l i j k b a a r h e i d m e t o n t w i k k e l i n g e n in a n d e r e a r t i s t i e k e m e d i a , h e t

d o c u m e n t a r y a n d journalistic p h o t o g r a p h y , notably: the possibility of

b e z i t t e n v a n e e n traditie, e e n g e s c h i e d e n i s inclusief stijlen e n g r o t e f i g u r e n , het

c o m p a r i s o n w i t h d e v e l o p m e n t s in other artistic m e d i a , the p o s s e s s i o n of a

h e b b e n van e e n e i g e n vocabulaire, het b e s t a a n v an visies, het f e n o m e e n ver-

tradition a n d a history, complete with styles a n d outstanding personalities,

n i e u w i n g , h e t p e r s o o n l i j k e e n d e m o g e l i j k h e i d tot c o m p l e x e i n t e r p r e t a t i e s . D o o r

the fact of h a v i n g a special v o c a b u l a r y a n d the possibility of h a v i n g an

d e z e b e n a d e r i n g w o r d t in h a a r v i s i e v o o r b i j g e g a a n a a n ' d e w e r k e l i j k h e i d v a n h e t

artistic v i s i o n , the p h e n o m e n o n of r e n e w a l , the p e r s o n a l signature a n d the

o n d e r w e r p ' e n d e ' m e c h a n i s c h e b e p a a l d h e i d ' v a n het m e d i u m fotografie. V e r v o l g e n s w i j s t zij o p h e t f e n o m e e n d a t f o t o g r a f e n z i c h in h u n w e r k - e n p r e s e n t a -

p o s s i b i l i t y o f a p p l y i n g c o m p l e x i n t e r p r e t a t i o n s . In h e r v i e w a n a p p r o a c h o f this sort i g n o r e s the 'reality of the subject' a n d the ' m e c h a n i c a l definition'

t i e w i j z e zijn g a a n c o n f o r m e r e n a a n h e t k u n s t c i r c u i t . B i j v o o r b e e l d b i n n e n e e n f o t o -

the m e d i u m of p h o t o g r a p h y . S h e g o e s o n to point out the p h e n o m e n o n that

a g e n t s c h a p a l s M a g n u m zijn f o t o g r a f e n z i c h m e e r e n m e e r g a a n r i c h t e n o p zelf

p h o t o g r a p h e r s h a v e b e g u n t o c o n f o r m t o t h e art w o r l d b o t h in t h e i r w a y o f

g e c o n c i p i e e r d e p r o j e c t e n d i e s l e c h t s z e e r t e n d e l e b e d o e l d zijn v o o r d e m e d i a

w o r k i n g a n d in h o w t h e y p r e s e n t t h e i r w o r k . F o r e x a m p l e , w i t h i n a p h o t o

m a a r h u n w e g v e e l a l v i n d e n in d e v o r m v a n b o e k e n , e x p o s i t i e s e n g e s i g n e e r d e

a g e n c y s u c h a s M a g n u m , p h o t o g r a p h e r s h a v e c o m e to a i m i n c r e a s i n g l y at

afdrukken.

projects that t h e y t h e m s e l v e s have c o n c e i v e d , that are o n l y very

partially

i n t e n d e d for the printed m e d i a a n d w h o s e p u b l i c outlet often takes the

In haar c o n c l u s i e n o e m t S c h w a r t z t e n s l o t t e e e n a a n t a l m a a t s c h a p p e l i j k e e n

form

of b o o k s , e x h i b i t i o n s a n d s i g n e d p r i n t s of p h o t o s .

t e c h n o l o g i s c h e factoren die e e n heroriëntatie v a n d e reportagefotografie o p korte termijn noodzakelijk m a k e n , m e t n a m e d e reductie van publicatiemogelijkheden die r e e d s ingrijpende g e v o l g e n heeft g e h a d e n zal h e b b e n v o o r het b e r o e p foto-

In h e r c o n c l u s i o n S c h w a r t z m e n t i o n s a n u m b e r o f s o c i a l a n d t e c h n o l o g i c a l factors that m a k e a reorientation of p h o t o g r a p h i c

journalism

n e c e s s a r y in t h e s h o r t t e r m , in p a r t i c u l a r t h e d e c r e a s e in t h e p o s s i b i l i t i e s of p u b l i c a t i o n that has already h a d d e c i s i v e c o n s e q u e n c e s for the p r o f e s s i o n of

journalist e n d e o p k o m s t v a n d e digitale t e c h n i e k e n die d e a a n s p r a a k o p ' d e werkelijkheid van het gefotografeerd e object' teniet zullen d o e n . N i e t z o z e e r d e z e kritiek - hij is d o o r zijn b i j d r a g e a a n d e c a t a l o g u s v a n d e

photojournalist - a n d w h i c h will c o n t i n u e to d o s o - a n d the rise of digital

grote Magnum-tentoonstelling e e n van de o n d e r w e r p e n van Schwartz ' analyse-

t e c h n i q u e s that b r i n g to a n e n d a n y c l a i m to 'the reality of the

als w e l de bezorgdheid o m d e t o e k o m s t van d e reportagefotografie

photographed

wordt

g e d e e l d d o o r Fred Ritchin, o.a. s a m e n s t e l l e r van d e Salgado-expositie en schrijver

object'.

v a n In Our Own

A l t h o u g h he m a y not a g r e e w i t h her critique, F r e d Ritchin s h a r e s her c o n c e r n w i t h the future of reportage p h o t o g r a p h y . Ritchin's contribution

the c a t a l o g u e of the large-scale M a g n u m e x h i b i t i o n w a s in fact o n e of the

Image:

The Coming

Revolution

in Photography

w a a r i n hij e e n

beeld geeft van d e mogelijkheden en c o n s e q u e n t i e s van digitale b e e l d v e r w e r k i n g . V o o r h e m is d u i d e l i j k d a t , m i t s f o t o g r a f e n z e k e r e w a a r b o r g e n e i s e n , h e t tijd-

subjects of S c h w a r t z ' s a n a l y s i s . He w a s also the c o m p i l e r of the S a l g a d o

p e r k v a n d e r e p o r t a g e f o t o g r a f i e v o o r b i j i s . W i e k a n in d e t o e k o m s t i m m e r s g a r a n -

e x h i b i t i o n a n d t h e a u t h o r o f In our

d e r e n dat h e t ' w a a r ' is w a t o p e e n f o t o s t a a t w a n n e e r b e e l d e n w e r k e l i j k v a n a t o t

Photography , 3

own

Image:

The Coming

Revolution

z o p g e b o u w d k u n n e n w o r d e n ? Dit z o u b e t e k e n e n dat d e v e r s l a g l e g g e n d e functie

in w h i c h h e g i v e s a p i c t u r e of t h e i m p l i c a t i o n s a n d

p o s s i b i l i t i e s o f d i g i t a l g r a p h i c p r o c e s s i n g . It i s o b v i o u s f o r h i m t h a t u n l e s s p h o t o g r a p h e r s d e m a n d certain s a f e g u a r d s , the a g e of p h o t o j o u r n a l i s m

will

v a n d e fotografie voorbij is. K u n s t w e r e l d e n t e c h n i e k h e b b e n ' d e w a a r h e i d van h e t g e f o t o g r a f e e r d e o b j e c t ' a f g e b r o k e n . W a t r e s t is e e n m e d i u m d a t n a a s t e e n

c o m e t o a n e n d . W h o in f a c t c a n i n f u t u r e g u a r a n t e e t h a t w h a t i s s h o w n i n a

aantal a n d e r e gebruikt kan w o r d e n als b e e l d m i d d e l e n dat uitsluitend b e o o r d e e l d

p h o t o is 'true' w h e n i m a g e s c a n quite literally b e c o n s t r u c t e d f r o m ' a to z ' ?

zal w o r d e n o p g r o n d v a n artistieke criteria.

T h i s w o u l d m e a n that the r e p o r t i n g f u n c t i o n of p h o t o g r a p h y is f i n i s h e d . T h e art w o r l d a n d t e c h n o l o g y b e t w e e n t h e m h a v e d e m o l i s h e d ' t h e truth of t h e

Alternatieven. H o e w e l ik h e t in g r o t e lijne n e e n s b e n m e t d e d o o r S c h w a r t z e n R i t c h i n

p h o t o g r a p h e d o b j e c t ' . A l l that r e m a i n s is a m e d i u m that c a n b e u s e d a l o n g s i d e a n u m b e r of other o n e s a s a m e a n s for p r o d u c i n g i m a g e s a n d

g e m a a k t e a n a l y s e s , valt h e t m i j o p d a t zij z o w e l d e m u s e a l e / k u n s t h i s t o r i s c h e b e n a d e r i n g a l s h e t g e b i e d v a n d e d o c u m e n t a i r e e n r e p o r t a g e f o t o g r a f i e zelf a l s

that will be j u d g e d e x c l u s i v e l y o n the basis of artistic criteria.

gesloten blokken opvatten met onaantastbare m e t h o d e s en concepten.

Alternatives

H o e z e e r ik h e t w e r k v a n S a l g a d o o o k r e s p e c t e e r , ik k a n n i e t a n d e r s d a n h e t e e n s

A l t h o u g h in general I a m in a g r e e m e n t w i t h the a n a l y s e s of S c h w a r t z

zijn m e t d e e l d e r s in dit b l a d g e f o r m u l e e r d e k a r a k t e r i s e r i n g v a n zijn w e r k .

Het

a n d Ritchin, I c a n n o t help noticing that they c o n c e i v e of both the a p p r o a c h

w e r k van S a l g a d o b e w e e g t zich nadrukkelijk b i n n e n e e n b e p a a l d e traditie e n

of art h i s t o r i a n s a n d m u s e u m c u r a t o r s o n t h e o n e h a n d a n d t h e field of

b e h o o r t b i n n e n d i e t r a d i t i e tot e e n v a n d e h o o g t e p u n t e n . N u k a n D o n a S c h w a r t z

d o c u m e n t a r y and journalistic photography o n the other as self-contained

m i j o n m i d d e l i j k v e r w i j t e n d a t ik o p e e n t y p e r e n d k u n s t h i s t o r i s c h e w i j z e v e r -

blocks with sacrosanct methods and concepts.

n i e u w i n g w i l k u n n e n s i g n a l e r e n m a a r z o e e n v o u d i g ligt h e t n i e t . D o o r , z o a l s D r u c -

M o r e o v e r , h o w e v e r m u c h I r e s p e c t t h e w o r k of S a l g a d o , I c a n n o t d o

k r e y schrijft, ' t e d r i j v e n o p d e r e g e l s v a n z o v e e l s t y l i s t i s c h e m o d e l l e n (...) d a t het

o t h e r w i s e t h a n a g r e e w i t h t h e d e s c r i p t i o n o f his w o r k that is p r i n t e d

e e n s a m e n s m e l t i n g is g e w o r d e n v a n d e s t i j l e n v a n d e M a g n u m f o t o g r a f e n '

e l s e w h e r e in this m a g a z i n e . S a l g a d o ' s w o r k o p e r a t e s v e r y e m p h a t i c a l l y

m i s s c h i e n n o g m e e r d o o r e e n v a a k z e e r e s t h e t i s c h e b e n a d e r i n g v a n zijn o n d e r -

w i t h i n a s p e c i f i c t r a d i t i o n a n d w i t h i n t h a t t r a d i t i o n it i s o n e o f t h e

w e r p e n toont het w e r k v a n S a l g a d o feitelijk d e b e p e r k i n g e n v a n d e traditionele

D o n a S c h w a r t z w o u l d n o d o u b t a c c u s e m e o f h a v i n g , in t y p i c a l

highpoints.

art-historical

g e ë n g a g e e r d e d o c u m e n t a i r e . H e t feit dat het w e r k van S a l g a d o v l e u g e l l a m w o r d t

f a s h i o n , w a n t e d to a c c l a i m a r e n e w a l w i t h i n t h e t r a d i t i o n , b u t t h e q u e s t i o n is

g e m a a k t d o o r in n o g a l v a g e e s t h e t i s c h e t e r m e n o v e r zijn w e r k t e s c h r i j v e n is

n o t s o s i m p l e . B y ' f l o a t i n g ' , a s D r u c k r e y p u t s it, ' o n t h e r u l e s o f s o m a n y

d e e l s h e t g e v o l g v a n d e a a r d v a n h e t w e r k z e l f : S a l g a d o p l a a t s t z i c h in e e n h u m a nistische traditie van r e p o r t a g e f o t o g r a f e n die hun e n g a g e m e n t g e s t a l t e w i l l e n

s t y l i s t i c m o d e l s (...) t h a t it e n d s u p b e i n g a f u s i o n o f t h e s t y l e s o f t h e M a g n u m photographers'

and p e r h a p s e v e n m o r e through his often

very

g e v e n in b e e l d e n v a n e l l e n d e e n u i t b u i t i n g , in z o r g v u l d i g g e c o m p o n e e r d e f o t o ' s

aesthetic a p p r o a c h to his s u b j e c t matter, S a l g a d o ' s w o r k actually e x p o s é s

v a n d e m i n d e r b e d e e l d e ' a n d e r ' . G e z i e n zijn k w a l i t e i t b i n n e n d i e t r a d i t i e v e r d i e n t

the limits of traditional political or socially c o m m i t t e d d o c u m e n t a r y

S a l g a d o z e k e r e e n n a u w k e u r i g e r a n a l y s e d a n R i t c h i n in zijn c a t a l o g u s g e e f t . In

work.

T h e fact that to write a b o u t S a l g a d o ' s w o r k in rather v a g u e aesthetic t e r m s

zijn h i e r b o v e n g e n o e m d e b o e k p l e i t R i t c h i n d a a r o o k v o o r : hij w i j s t o n d e r m e e r

is a w a y o f c a s t r a t i n g it, i s p a r t l y d u e t o t h e c h a r a c t e r o f t h e w o r k

o p d e k w a l i j k e praktijk d a t d e ' w e r k e l i j k h e i d ' o p d o c u m e n t a i r e - e n r e p o r t a g e f o t o -

itself:

S a l g a d o p l a c e s h i m s e l f in a h u m a n i s t i c t r a d i t i o n of p h o t o j o u r n a l i s t s

who

to's veelal z o n d e r enige b e k e n d h e i d m e t d e culturele achtergrond, m e t d e c o n n o -

w a n t to g i v e a f o r m to their s o c i a l c o m m i t m e n t w i t h i m a g e s of m i s e r y a n d

t a t i e s v a n s p e c i f i e k e c u l t u r e n w o r d t ' g e l e z e n ' . J a m m e r g e n o e g laat hij d e z e

exploitation, w i t h carefully c o m p o s e d p h o t o s of the less a d v a n t a g e d 'other'.

m o g e l i j k h e i d tot a n a l y s e in d e c a t a l o g u s z e l f l i g g e n .

C o n s i d e r i n g his quality within this tradition S a l g a d o certainly d e s e r v e s a m o r e c a r e f u l a n a l y s i s t h a n R i t c h i n p r o v i d e s i n h i s c a t a l o g u e . In t h e a b o v e m e n t i o n e d book, Ritchin also a r g u e s for this: a m o n g s t other things he refers to the o d i o u s practice by w h i c h the 'reality' in d o c u m e n t a r y a n d r e p o r t a g e

E e n g o e d v o o r b e e l d v a n e e n d e r g e l i j k e a n a l y s e m a a k t e R u t h W a l l e n in h e t tijdschrift E x p o s u r e naar a a n l e i d i n g van d e f o t o ' s v a n d e z w a r t e A m e r i k a a n s e f o t o g r a a f R o y D e C a r a v a . In h a a r a r t i k e l Reading Roy DeCarava

the Shadows-The

Photography

n e e m t zij d e z w a r t e c u l t u u r e n m e t n a m e l i t e r a t u u r a l s u i t g a n g s -

punt v o o r e e n z e e r b o e i e n d e en makkelijke e s t h e t i s c h e criteria o v e r s t i j g e n d e

p h o t o s is u s u a l l y ' r e a d ' w i t h o u t t h e w r i t e r h a v i n g a n y f a m i l i a r i t y w i t h t h e

i n t e r p r e t a t i e v a n zijn w e r k . D e ' w e r k e l i j k h e i d v a n d e g e f o t o g r a f e e r d e o b j e c t e n '

c o n n o t a t i o n s of specific cultures. U n f o r t u n a t e ly he d o e s not p u r s u e this line

krijgt b e t e k e n i s d o o r e e n z i n n i g e k o p p e l i n g v a n g e b r u i k t e b e e l d t a a l ( e s t h e t i s c h e

of a n a l y s i s in the c a t a l o g u e itself.

analyse) e n i n h o u d (culturele connotaties). O o k S a l g a d o verdient e e n dergelijke analyse.

A g o o d e x a m p l e of an a n a l y s i s of this sort w a s m a d e by R u t h W a l l e n in E x p o s u r e as a reaction to the p h o t o s of the black A m e r i c a n p h o t o g r a p h e r

D e z e b e n a d e r i n g v o r m t de m o g e l i j k h e i d tot e e n w e r k e l i j k e w a a r d e r i n g van

R o y D e C a r a v a . In h e r a r t i c l e Reading

the

Shadows

- the photography

Roy

(traditionele) d o c u m e n t a i r e - en r e p o r t a g e f o t o g r a f i e di e o p zinnige w i j z e d e d o o r

DeCarava ,

Schwartz gekritiseerde toeëigening weerlegt.

point of departur e for a very inspiring interpretation of D e C a r a v a ' s w o r k that

A a n d e a n d e r e kant h e e f t e e n aantal f o t o g r a f e n d e a f g e l o p e n d e c e n n i a v a n binnenuit getracht de aanspraken en m e t h o d e n van de geëngageerde

fotografie

s h e takes black culture a n d particularly black literature as her

m a n a g e s to transcend easy aesthetic criteria. T h e

reality of the

p h o t o g r a p h e d o b j e c t s ' is m a d e m e a n i n g f u l t h r o u g h a c o m m o n s e n s e

ter d i s c u s s i e te stellen, te n u a n c e r e n e n van koers te d o e n v e r a n d e r e n . H u n

c o u p l i n g of the i m a g e r y u s e d (aesthetic analysis) a n d the content

p o d i u m w a s z e k e r niet de geïllustreerde p e r s m a a r inderdaad d e t e n t o o n s t e l l i n g s-

c o n n o t a t i o n s ) . S a l g a d o also d e s e r v e s an a n a l y s i s of this sort.

(cultural

r u i m t e , d e k r i t i s c h e t e k s t e n het b o e k . In e e n r e c e n t g e s p r e k v e r t e l d e R i t c h i n m e

T h i s a p p r o a c h e n a b l e s o n e to a c h i e v e a g e n u i n e e v a l u a t i o n of

dat w e r k v a n S a l g a d o d o o r het v e r d w i j n e n e n d e r e d a c t i o n e l e v e r n a u w i n g v a n

d o c u m e n t a r y a n d reportage p h o t o g r a p h y w h i c h s e r v e s in a c o m m o n s e n s e

veel geïllustreerde bladen alleen nog maar o p tentoonstellingen door e e n groter

f a s h i o n to rebut S c h w a r t z ' s c h a r g e of m i s a p p r o p r i a t i o n .

p u b l i e k t e z i e n i s . D e v r a a g - d i e a n d e r e f o t o g r a f e n z i c h s t e l l e n - is d a n of in d i e

O n the other h a n d , d u r i n g the past d e c a d e s a n u m b e r of p h o t o g r a p h e r s

context v o r m e n c o n c e p t van d e traditionele d o c u m e n t a i r e nog v o l d o e n .

h a v e a t t e m p t e d to raise the q u e s t i o n of the m e t h o d s a n d c l a i m s of s o c i a l l y

D e m e e s t e x t r e m e r e a c t i e o p d e t r a d i t i o n e l e d o c u m e n t a i r e is t e v i n d e n bij A m e r i k a n e n a l s M a r t h a R o s l e r e n A l l a n S e k u l a . In dit b l a d zijn h u n i d e e ë n e n w e r k m e e r m a l e n o n d e r d e a a n d a c h t g e b r a c h t , t e b e g i n n e n bij M i c h a e l G i b b s ' artik e l Documentary

and its Discontents

in P e r s p e k t i e f M a g a z i n e n o . 2 3 . In zijn

e l d e r s in dit b l a d t e l e z e n a r t i k e l A Multivocal

Documentary

- Sharing

The

Power

k r i t i s e e r t J a y R u b y ' h u n w e r k a l s o p r e c h t in i n t e n t i e m a a r elitair, i n t e l l e c t u a l i s t i s c h e n t r a d i t i o n e e l h i ë r a r c h i s c h in u i t v o e r i n g . A l s e n i g w e z e n l i j k a l t e r n a t i e f v o o r d e k l a s s i e k e b e v o o g d e n d e e n s t i g m a t i s e r e n d e d o c u m e n t a i r e ziet hij e e n w e r k e l i j k ' s h a r i n g t h e p o w e r ' in e e n o p d e a r b e i d e r s f o t o g r a f i e uit d e j a r e n ' 2 0 e n ' 3 0 g e ï n s p i r e e r d e z e l f w e r k z a a m h e i d v a n a c h t e r g e s t e l d e g r o e p e n in d e s a m e n l e v i n g - d e

(traditional)

c o m m i t t e d p h o t o g r a p h y f r o m t h e i n s i d e ; t h e i r a i m h a s b e e n t o r e f i n e it a n d e n c o u r a g e it t o c h a n g e d i r e c t i o n . T h e p l a t f o r m f o r t h e i r a c t i v i t y w a s c e r t a i n l y not the illustrated journals, but the exhibitio n s p a c e , the critical text a n d the b o o k . In a r e c e n t d i s c u s s i o n R i t c h i n t o l d m e t h a t a s a r e s u l t o f t h e d i s a p p e a r a n c e of m a n y i l l u s t r a t e d m a g a z i n e s or e l s e b e c a u s e of t h e p a r a l l e l t e n d e n c y t o w a r d s stricter editorial g u i d e l i n e s , S a l g a d o ' s w o r k c a n n o l o n g e r b e s e e n b y t h e g e n e r a l p u b l i c e x c e p t in e x h i b i t i o n s . T h e q u e s t i o n -

that

o t h e r p h o t o g r a p h e r s a r e a s k i n g - is w h e t h e r t h e f o r m a n d c o n c e p t of t h e t r a d i t i o n a l d o c u m e n t a r y p h o t o is still a d e q u a t e in t h i s c o n t e x t . T h e m o s t extreme reaction to traditional d o c u m e n t a r y p h o t o g r a p h y

traditionele o n d e r w e r p e n van d e d o c u m e n t a i r e fotografie. A l s visueel antropoloog

that of A m e r i c a n s like M a r t h a R o s l e r a n d A l l a n S e k u l a . T h e i r i d e a s a n d w o r k

heeft R u b y w e i n i g belangstelling voor d e artistieke a a n s p r a k en van d e fotografie.

h a v e b e e n a n a l y z e d in t h i s m a g a z i n e a n u m b e r of t i m e s , s t a r t i n g w i t h

N e t a l s D o n a S c h w a r t z m o e t hij n i e t s h e b b e n v a n ' K u n s t e n a a r s e n c o m m e r c i ë l e

M i c h a e l G i b b s ' a r t i c l e , Documentary

f o t o g r a f e n (die) z o g r a a g d e m y s t i f i c a t i e v a n d e t e c h n o l o g i e in h e t l e v e n h o u d e n

M a g a z i n e n o . 2 3 . In h i s a r t i c l e t h a t is p r i n t e d e l s e w h e r e i n t h i s i s s u e , A

e n stellen dat s l e c h t s h o o g o p g e l e i d e , intelligente individuen e e n g o e d e foto k u n -

Multivocal

n e n m a k e n ' . G e e n e n k e l e g o e d e f o t o g r a a f zal d i t l a a t s t e o n t k e n n e n m a a r h e t is

a s h o n e s t in its i n t e n t i o n s b u t elitist, i n t e l l e c t u a l i z i n g a n d , i n p r a c t i c e ,

v o l s t r e k t o n z i n n i g o m h e t feit d a t i e d e r e e n in s t a a t is w e l e e n s e e n g o e d e f o t o t e

traditionally h i e r a r c h i c a l . He s e e s the o n l y real alternativ e to a c l a s s i c a l l y

Documentary

- Sharing

and the

its Discontents

Power,

Jay Ruby

in P e r s p e k t i e f 7

criticizes their

work

m a k e n als a r g u m e n t te gebruiken t e g e n k u n s t e n a a r s c h a p e n visie b i n n e n het

paternalistic and stigmatlzing documentary work as being a genuine 'sharing

m e d i u m fotografie. R u b y e n D o n a S c h w a r t z g o o i e n naar mijn m e n i n g het kind

t h e p o w e r ' t h r o u g h s e l f - a c t i v i t y c o m i n g f r o m g r o u p s of t h e l e s s a d v a n t a g e d

m e t h e t b a d w a t e r w e g . Feitelijk z i e n zij f o t o g r a f i e u i t s l u i t e n d in i n s t r u m e n t e l e of

s e c t o r s of s o c i e t y o n the m o d e l of t h e w o r k e r s ' p h o t o g r a p h y of t h e 2 0 s a n d

in s o c i o l o g i s c h e g e d e t e r m i n e e r d e c o m m u n i c a t i e v e t e r m e n . A u t o n o m i e is v o o r

30s - the traditional subjects of d o c u m e n t a r y p h o t o g r a p h y . A s a v i s u a l

h e n e e n b e g r i p d a t u i t s l u i t e n d t h u i s h o o r t in d e e l i t a i r e k u n s t w e r e l d w a a r z a k e n a l s

a n t h r o p o l o g i s t , R u b y h a s little i n t e r e s t in t h e a r t i s t i c c l a i m s o f

e n g a g e m e n t e n kritie k b e s m e u r d z o u d e n w o r d e n d o o r e s t h e t i c i s m e e n g e l d e n

Like D o n a S c h w a r t z he d o e s not h a v e m u c h respect for 'artists a n d

waar oprechte reportagefotografie wordt vermalen.

c o m m e r c i a l p h o t o g r a p h e r s (who) are a l w a y s k e e n to k e e p the

E r zijn f o t o g r a f e n w a a r v a n e e n a a n t a l in dit n u m m e r e n o p d e K u n s t R A I g e p r e s e n t e e r d w o r d t die d e h a n d s c h o e n die het k u n s t e s t a b l i s h m e n t h e n toewerpt op een overtuigende wijze en zonder verhullend c o n f o r m i s m e oppakken. Zij m a k e n w e r k d a t z i c h in d e r u i m s t e z i n s i t u e e r t in e e n f o t o g r a f i s c h e t r a d i t i e v a n d e d o c u m e n t a i r e . D i e t r a d i t i e is v o o r h e n g e e n g e s l o t e n b l o k m a a r e e n u i t g a n g s p u n t v o o r i n h o u d e l i j k e n f o r m e e l o n d e r z o e k , h u n e n g a g e m e n t is v a a k p e r s o o n l i j k , h u n kritiek is g e w o r t e l d in e e n ( s o m s c y n i s c h ) b e s e f v a n d e b e t r e k k e l i j k h e i d e n culturele bepaaldheid van de waarheidsaanspraken van hun m e d i u m . Noten: 1 An Uncertain Grace met essays van Eduardo Galeano en Fred Ritchin. Aperture. 1990 2. Dona Schwartz. On The Line. Crossing Institutional Boundaries Between Photojournalism and Photographic Art. in: Visual Sociology Review, winter 1990. vol.5. nr.2, p 22-29. 3. Fred Ritchin, In Our Own Image, The Coming Revolution in Photography, 1990 4. Zie recensie Timothy Druckrey over An Uncertain Grace op p. 77 5 idem 4 6 Ruth Wallen, Reading the Shadows-The Photography of Roy DeCarava, in: Exposure. Vol 27. no.4, 1990 pp 13-25 7. Zie artikel Jay Ruby op p.4 e.v.

photography. mystification

a r o u n d technology alive and argue that only well-educated a n d

intelligent

individuals can take g o o d p h o t o s ' . N o g o o d p h o t o g r a p h e r w o u l d d i s a g r e e w i t h t h i s s t a t e m e n t b u t it is c o m p l e t e n o n s e n s e t o u s e t h e f a c t t h a t e v e r y o n e is c a p a b l e o n c e in a w h i l e of t a k i n g a g o o d p h o t o g r a p h a s a n a r g u m e n t a g a i n s t a r t i s t r y a n d v i s i o n w i t h i n t h e m e d i u m . In m y o p i n i o n , R u b y a n d D o n a S c h w a r t z t h r o w t h e b a b y o u t w i t h t h e b a t h w a t e r . In f a c t t h e y s e e p h o t o g r a p h y e x c l u s i v e l y in i n s t r u m e n t a l o r s o c i o l o g i c a l l y d e t e r m i n e d t e r m s . A u t o n o m y f o r t h e m is a n o t i o n t h a t b e l o n q s e x c l u s i v e l y t o t h e e l i t i s t a r t world w h e r e matters such as social c o m m i t m e n t b e c o m e tainted

with

a e s t h e t i c i s m a n d m o n e y a n d w h e r e h o n e s t r e p o r t a g e p h o t o g r a p h y is g r o u n d to p u l p . T h e r e are p h o t o g r a p h e r s , a n u m b e r of w h o m are p r e s e n t e d in this i s s u e a n d at t h e K u n s t R A I ( A m s t e r d a m art fair), , w h o t a k e u p t h e c h a l l e n g e t h a t t h e art e s t a b l i s h m e n t t h r o w s d o w n for t h e m in a c o n v i n c i n g w a y

and

w i t h o u t r e s o r t i n g to t h e m a s k s o f c o n f o r m i s m . T h e y m a k e w o r k t h a t i n t h e b r o a d e s t s e n s e of the w o r d is s i t u a t e d in a p h o t o g r a p h i c t r a d i t i o n of s o c i a l c o m m i t m e n t a n d d o c u m e n t a t i o n . T h e y d o not treat this tradition a s a n y selfe v i d e n t fact, but rather as a poin t of d e p a r t u r e for r e s e a r c h in t e r m s of

form

a n d c o n t e n t ; their s o c i a l c o m m i t m e n t is often p e r s o n a l , their c r i t i c i s m is r o o t e d in a ( s o m e t i m e s c y n i c a l ) s e n s e of t h e relativit y a n d

culturally

d e t e r m i n e d character of the c l a i m s that their m e d i u m m a k e s to p o s s e s s the truth.

Notes: 1. An Uncertain Grace, Sebastiao Salgado, Aperture New York, 1990 2. Dona Schwartz, On The Line, Crossing Institutional Boundaries Between Photojournalism and Photographic Art, in: Visual Sociology Review, winter 1990, vol.5,no.2, p.22-29 3. Fred Ritchin.ln our Own Image, The Coming Revolution in Photography, 1990 4. See Review Timothy Druckrey on An Uncertain Grace p. 77 5. idem 4. 6. Ruth Wallen, Reading the Shadows-The Photography of Roy DeCarava, Exposure, vol.27, no.4, 1990.pp.13-25 7. See Article Jay Ruby on p. 4

Hripsimé Visser

S e i i c h i F u r u y a ' s Mémoires

is o n e o f t h e m o s t c o m p l i c a t e d a n d

S e i i c h i F u r u y a ' s Mémoires

is e e n v a n d e m e e s t c o m p l e x e e n i n d r u k w e k k e n d e

i m p r e s s i v e p h o t o g r a p h i c projects in recent y e a r s . T h e basis of his w o r k

fotografische projecten van d e a f g e l o p e n jaren. A a n d e basis van het w e r k

c o m p r i s e s a n u m b e r of series that the p h o t o g r a p h e r c o m p i l e d b e t w e e n the

e e n aantal s e r i e s die d e fotograaf t u s s e n 1 9 7 5 e n 1 9 8 8 s a m e n s t e l d e e n d e por-

years 1975 and 1988 a n d the portraits of Christine, the w o m a n w h o m

t r e t t e n v a n C h r i s t i n e , d e v r o u w m e t w i e hij in 1 9 7 8 t r o u w d e e n d i e in 1 9 8 5 e e n

m a r r i e d in 1 9 7 8 a n d w h o p u t a n e n d to h e r life in 1 9 8 5 .

staat

e i n d e aan haar l e v e n m a a k t e .

F u r u y a , w h o is J a p a n e s e , w e n t t o live in A u s t r i a a n d , a s a n y o n e

might

F u r u y a v e s t i g d e z i c h in 1 9 7 3 in O o s t e n r i j k e n r a a k t e a l s j a p a n n e r , a f k o m s t i g

d o w h o c a m e f r o m a l a n d that is s u r r o u n d e d b y t h e e n d l e s s n e s s of the s e a ,

uit e e n l a n d g e l e g e n in d e o n e i n d i g h e i d v a n d e z e e , g e f a s c i n e e r d d o o r h e t f e n o -

he b e c a m e f a s c i n a t e d b y the p h e n o m e n o n of 'frontier' that s t a n d s for

m e e n ' g r e n s ' dat staat v o o r a f s c h e i d i n g , o v e r g a n g , o m r a m i n g van e e n g e o g r a -

d e m a r c a t i o n , for c r o s s i n g o v e r a n d for the e n c i r c l i ng of a g e o g r a p h i c a l l y ,

f i s c h , c u l t u r e e l of p o l i t i e k b e p a a l d g e b i e d . T w e e v a n zijn p r o j e c t e n g i n g e n in let-

politically or culturally d e f i n e d a r e a . T w o of his projects w e r e literally

t e r l i j k e z i n o v e r dit t h e m a : Staatsgrenze

t h i s t h e m e : Staatsgrenze

about

(1980-1983), a series that originally c o n s i s t e d of 23

p h o t o s plus an introductory text, a n d L i m e s - i m a g e s of the w a l l taken

from

East Berlin, the capital of East G e r m a n y (1985-1988): twenty p h o t os a n d an introduction. Staatsgrenze

g e n o m e n vanuit Oost-Berlijn, h o o f d s t a d v a n d e D D R (1985-1988): twinti g f o t o ' s voorafgegaan door e e n inleiding. Staatsgrenze

c o n s i s t s of d o c u m e n t a r y s h o t s of places a l o n g the

borders

(1980-1983), e e n serie van oorspronkelijk

drieëntwintig foto's met een inleidende tekst e n L i m e s - b e e l d e n van d e m u u r

b e s t a a t uit d o c u m e n t a i r e o p n a m e n v a n p l e k k e n l a n g s d e g r e n s

v a n O o s t e n r i j k m e t J o e g o s l a v i ë , H o n g a r i j e e n T s j e c h o s l o w a k i j e . Bij d e f o t o ' s

of A u s t r i a w i t h Y u g o s l a v i a , H u n g a r y a n d C z e c h o s l o v a k i a . T h e p h o t o s a r e

staan teksten - uitspraken van b e w o n e r s , beschrijvingen, verslagen van gebeur-

a c c o m p a n i e d by texts - statements by the inhabitants, descriptions, reports

t e n i s s e n , v a n v e r a n d e r i n g e n d i e z i c h in d e l o o p d e r j a r e n in h e t l e v e n v a n d e

of e v e n t s , a n d of c h a n g e s t h a t h a v e t a k e n p l a c e in t h e l i v e s of t h e p e o p l e in

m e n s e n in d e z e g e b i e d e n h e b b e n v o o r g e d a a n . Z o s t a a t bij ' H a r d e g g , 1 9 8 3 ' : 'Ik

these r e g i o n s d u r i n g the c o u r s e of the years. Next to ' H a r d e g g , 1983', for

w a s n o g e e n k l e i n e j o n g e n t o e n H i t i e r in e e n c a b r i o l e t uit Z n a i m o v e r d e z e b r u g

i n s t a n c e : 'I w a s s t i l l o n l y a l i t t l e b o y w h e n H i t i e r , c o m i n g f r o m Z n a i m , d r o v e

k w a m aangereden. O p de tegenoverliggende berg hadden ze toen een reusachtig

o v e r this bridge in a convertible. O n the m o u n t a i n o p p o s i t e they h a d h u n g a

grote hakenkruisvlag g e h a n g e n e n wij kinderen begroetten h e m met onze haken-

g i g a n t i c flag w i t h a s w a s t i k a a n d w e c h i l d r e n c a m e to greet h i m w i t h

k r u i s v l a g g e n . In 1 9 6 8 , t i j d e n s d e D u b c e k - t i j d z o u d e b r u g w e e r g e o p e n d w o r d e n

s w a s t i k a f l a g s . In 1 9 6 8 , d u r i n g t h e D u b c e k e r a t h e b r i d g e w a s o p e n e d a g a i n

a l s g r e n s o v e r g a n g . In d i e tijd v e r f d e n d e O o s t e n r i j k e r s d e h e l f t v a n d e b r u g

as a border c r o s s i n g . A t that t i m e the A u s t r i a n s painted their side of the

g r o e n , d e T s j e c h e n h u n h e l f t grijs. M a a r e e n j a a r later, t o e n D u b c e k v e r d r e v e n

b r i d g e g r e e n , a n d the C z e c h s p a i n t e d their s i d e grey. But a y e a r later, w h e n

w a s k w a m e n e r t a n k s d i e d e s p o o r b a a n w e g g e h a a l d e n . S i n d s d i e n is h e t d a a r

Dubcek w a s driven out, tanks c a m e a n d took a w a y the railway tracks. S i n c e

w e e r zeer rustig.'

t h a t t i m e it h a s o n c e m o r e b e e n v e r y q u i e t h e r e . ' T h e Limes

D e s e r i e Limes

s e r i e s is m o r e d r y i n i t s c o n c e p t : t h e r e i s n o j o u r n a l i s t i c

is d r o g e r v a n o p z e t : h i e r g e e n j o u r n a l i s t i e k c o m m e n t a a r m a a r

slechts aanduidingen van topografische aard naast inmiddels historische o p n a m e n

c o m m e n t here, o n l y t o p o g r a p h i c a l e x p l a n a t o r y notes b e s i d e w h a t h a ve in

v a n e e n v a n d e m e e s t g e c o n s t r u e e r d e g r e n z e n uit d e r e c e n t e g e s c h i e d e n i s .

the m e a n t i m e b e c o m e historical s h o t s of o n e of the m o s t deliberately

W a a r F u r u y a in d e z e s e r i e s e l k e s y m b o l i e k v e r m i j d t , d e b e t e k e n i s in b e l a n g r i j k e

c o n s t r u c t e d frontiers in recent

history.

m a t e s t u u r t d o o r d e b i j b e h o r e n d e t e k s t e n o f o n d e r s c h r i f t e n , c o n c e n t r e e r d e hij

W h i l e F u r u y a r i g o r o u s l y a v o i d s all s y m b o l i s m in t h e s e s e r i e s , a n d to a

z i c h in a n d e r w e r k uit d e z e p e r i o d e n a d r u k k e l i j k e r o p f o r m e l e b e e l d c o m p o n e n t e n :

great extent u s e s the a c c o m p a n y i n g texts to u n d e r l i n e the m e a n i n g of the

d e f o t o ' s d i e hij 1 9 8 0 in A m s t e r d a m m a a k t e w o r d e n g e k e n m e r k t d o o r l a g e c a m e -

p h o t o s , in other w o r k of this t i m e he g i v e s m o r e e m p h a s i s to f o r m a l

image

characterized by l o w c a m e r a angles a n d by a (quasi)spontaneous i m a g e s t r u c t u r e w h i c h s u g g e s t t h e p r e s s u r e a n d a g g r e s s i o n o f life in a b i g city. So weit

das Auge

reicht,

r a s t a n d p u n t e n , e n e e n ( k w a s i ) s p o n t a ne b e e l d o p b o u w die verwijs t naar d e d r u k t e e n d e a g r e s s i v i t e i t v a n h e t l e v e n in d e g r o t e s t a d .

c o m p o n e n t s : t h e p h o t o s that h e m a d e in A m s t e r d a m in 1 9 8 0 a r e

a series of t w e l v e p h o t o s that F u r u y a m a d e in

R a d i c a a l a n d e r s is So weit das Auge

reicht,

e e n serie van twaalf foto's die

F u r u y a t u s s e n 1 9 8 2 e n 1 9 8 4 in W e n e n m a a k t e . D e z e b e s t a a t uit o p n a m e n v a n s t e e d s h e t z e l f d e b e s l a g e n v e n s t e r v a n zijn w o o n h u i s in W e n e n . D e f o t o g r a f i e is

V i e n n a b e t w e e n 1982 a n d 1984 is r a d i c a l l y different. T h e s e c o n s i s t o f s h o t s

h i e r letterlijk o p g e v a t a l s v e n s t e r o p d e w e r k e l i j k h e i d : h e t r a a m is e c h t e r g e e n

of in e a c h c a s e t h e s a m e m i s t e d o v e r w i n d o w of h i s h o u s e in V i e n n a .

o p e n i n g naar d e b u i t e n w e r e l d m a a r e e n g r e n s , e e n a f s c h e i d i n g t u s s e n het per-

P h o t o g r a p h y h e r e is literally t r e a t e d a s a w i n d o w o n reality: t h e w i n d o w is

s o o n l i j k e e n h e t o p e n b a r e . In d e z e s e r i e g e b r u i k t F u r u y a b e e l d e n n a d r u k k e l i j k a l s

h o w e v e r n o o p e n i n g to the w o r l d o u t s i d e but a frontier, a d e m a r c a t i o n

m e t a f o r e n , e e n b e n a d e r i n g d i e in zijn m e e s t r e c e n t e w e r k d e o v e r h a n d h e e f t

b e t w e e n t h e p e r s o n a l a n d t h e p u b l i c . In t h i s s e r i e s F u r u y a u s e s i m a g e s

gekregen.

e m p h a t i c a l l y a s m e t a p h o r s ; thi s is a n a p p r o a c h that h a s g a i n e d t h e u p p e r h a n d in his m o s t recent work. T h e s e short d e s c r i p t i o n s of his w o r k

show

D e z e k o r t e b e s c h r i j v i n g e n m a k e n d u i d e l i j k d a t F u r u y a in d e l o o p d e r j a r e n v e r schillende fotografische benaderingen heeft gehanteerd die binnen de context

h o w F u r u y a h a s u s e d d i f f e r e n t p h o t o g r a p h i c a p p r o a c h e s in t h e c o u r s e of t h e

v a n e e n s p e c i f i e k e s e r i e b e p a l e n d e n b e t e k e n i s g e v e n d w a r e n . In Mémoires

years, e a c h of w h i c h w a s d e c i s i v e a n d m e a n i n g f u l w i t h i n the context of a

hij d e v r i j h e i d g e n o m e n d e l e n v a n d e z e s e r i e s m e t e l k a a r t e c o m b i n e r e n r o n d o m

s p e c i f i c s e r i e s . In Mémoires

d e p o r t r e t t e n v a n zijn v r o u w C h r i s t i n e .

he has taken the liberty of c o m b i n i n g parts of

these series a r o u n d the portraits of his w i fe Christine.

D e p o r t r e t t e n v a n C h r i s t i n e v o r m e n - v o o r a l in d e b e e l d s e q u e n t i e v a n h e t

T h e portraits of C h r i s t i n e c o m p r i s e - a b o v e all in the p i c t u r e - s e q u e n c e s f r o m the book with that n a m e - the connecting factor; the

heeft

different

g e l i j k n a m i g e b o e k - h e t v e r b i n d e n d e e l e m e n t ; d e v e r s c h i l l e n d e b e n a d e r i n g e n in d e a f z o n d e r l i j k e s e r i e s l i j k en z e l f s h u n p e n d a n t t e v i n d e n in d e z e p o r t r e t t e n d i e d a a r -

a p p r o a c h e s in t h e s e p a r a t e s e r i e s e v e n s e e m t o f i n d t h e i r c o u n t e r p a r t in

naast o p o n t h u t s e n d e wijze C h r i s t i n e ' s v e r a n d e r i n g v a n e e n vrolijke jonge v r o u w

t h e s e portraits that in a d i s c o n c e r t i n g m a n n e r s h o w the t r a n s f o r m a t i o n

in e e n d o o r d e p r e s s i e s v e r m i n k t e n t e n d o d e o p g e s c h r e v e n w e z e n l a t e n z i e n .

C h r i s t i n e f r o m a h a p p y y o u n g w o m a n into s o m e o n e w h o is m u t i l a t e d

in by

depression a n d d o o m e d to die. T h e t i t l e , Mémoires,

D e t i t e l Mémoires

v e r w i j s t n a a r e e n t e k s t , e e n l e v e n s v e r h a a l . M a a r in

F u r u y a ' s g e v a l z o u d e t i t e l , z o a l s W i l f r i e d S k r e i n e r in e e n i n l e i d i n g v a n h e t b o e k

d e n o t e s a text, a life-story. But in F u r u y a ' s c a s e the

title, as W i l f r i e d S k r e i n e r w r i t e s in his i n t r o d u c t i o n to t h e b o o k , w a s i n s p i r e d

schrijft , g e ï n s p i r e e r d zijn d o o r d e g e l i j k n a m i g e t e k s t d i e J a c q u e s D e r r i d a v o o r zijn o v e r l e d e n v r i e n d P a u l d e M a n s c h r e e f . Bij D e r r i d a b e t e k e n t h e t b e g r i p ' m é m o i -

by a text w i t h the s a m e n a m e written by J a c q u e s Derrida for his d e c e a s e d

r e s ' niet allee n l e v e n s h e r i n n e r i n g e n m a a r o o k n a g e d a c h t e n i s , ervaring, bericht,

f r i e n d , P a u l d e M a n . In D e r r i d a ' s c a s e , ' m é m o i r e s ' m e a n s n o t o n l y

d o c u m e n t , d o s s i e r . D e r r i d a is f i l o s o o f e n s c h r i j v e r , F u r u y a f o t o g r a a f . H e t b i j z o n -

memories

of a life, but a l s o c o m m e m o r a t i o n , e x p e r i e n c e , m e s s a g e , d o c u m e n t , d o s s i e r .

d e r e v a n F u r u y a ' s p r o j e c t is d a t d a n k z i j d e k e u z e e n d e o p e e n v o l g i n g v a n b e e l d e n

D e r r i d a is a p h i l o s o p h e r a n d w r i t e r , F u r u y a is a p h o t o g r a p h e r . T h e

uit d e v e r s c h i l l e n d e s e r i e s in zijn Mémoires

r e m a r k a b l e t h i n g a b o u t F u r u y a ' s p r o j e c t is that t h a n k s to t h e c h o i c e a n d to

zichtbaar w o r d e n g e m a a k t als e v e n z o v e l e m o g e l i j k h e d e n v a n f o t o g r a f i s c h e b e e l d -

t h e s e q u e n c e o f p i c t u r e s f r o m t h e d i f f e r e n t s e r i e s i n h i s Mémoires,

taal e n b e t e k e n i s g e v i n g .

the

de door Derrida gebruikte n u a n c e s

n u a n c e s of m e a n i n g t h a t D e r r i d a m a k e s u s e of a r e r e n d e r e d v i s i b l e in t h e f o r m of a s i m i l a r n u m b e r of possibilities for p h o t o g r a p h i c i m a g e r y a n d meaning. For curriculum vitae see page 86

Voor curriculum vitae zie pagina 86

Seiichi

Furuya

Schattendorf, 1981

Seiichi

Furuya

Berlin-Ost, 1986

Seiichi

Furuya

Graz, 1983

Seii chi Furuya leibnitz. 1983

Frits Gierstberg

M A R K S OF DISTINCTION K A R E N KNORR Like e v e r y other p r o d u c t of o u r culture, p h o t o g r a p h y f u n c t i o n s w i t h i n a s o c i a l

N e t als ieder a n d e r p r o d u c t van o n z e c u l t u u r f u n c t i o n e e r t ook d e fotografie b i n n e n

s t r u c t u r e , w i t h i n a s y s t e m o f e c o n o m i e , s o c i a l a n d p o l i t i c a l r e l a t i o n s . In o u r

e e n m a a t s c h a p p e l i j k e structuur, b i n n e n e e n s t e l s e l van e c o n o m i s c h e , s o c i a l e e n poli-

present-day technocratie society the reproducible image plays a particularly

tieke v e r h o u d i n g e n . M e t n a m e in d e h e d e n d a a g s e t e c h n o c r a t i s c h e s a m e n l e v i n g s p e e l t

i m p o r t a n t r o l e . It m a k e s n o d i f f e r e n c e w h e t h e r it is i m a g e s f r o m t h e n e w s m e d i a ,

het r e p r o d u c e e r b a r e b e e l d e e n belangrijke rol. O f w e n u g e c o n f r o n t e e r d w o r d e n m e t

f r o m a d v e r t i z i n g , t h e art w o r l d o r t h e l e i s u r e i n d u s t r y t h a t w e h a v e t o d e a l w i t h :

b e e l d e n uit d e n i e u w s m e d i a , d e r e c l a m e , het b e e l d e n d e k u n s t c i r c u i t of d e vrijetijdsin-

in e a c h c a s e it is a q u e s t i o n o f a p r o d u c t i n w h i c h d i f f e r e n t g r o u p s h a v e d i f f e r e n t

d u s t r i e : het gaat s t e e d s o m e e n p r o d u c t waarbij v e r s c h i l l e n d e g r o e p e n v e r s c h i l l e n d e

i n t e r e s t s . In o t h e r w o r d s , lik e e v e r y p r o d u c t o f o u r c u l t u r e , p h o t o g r a p h y d o e s n o t

b e l a n g e n h e b b e n . M e t a n d e r e w o o r d e n , net a l s i e d e r a n d e r p r o d u c t v a n o n z e c u l t u u r

operate i n d e p e n d e n t l y of i d e o l o g y , of p o w e r relations a n d class distinctions. T h e

f u n c t i o n e e r t ook d e fotografie niet los v a n i d e o l o g i e , v a n m a c h t s v e r h o u d i n g e n e n klas-

a p p a r e n t n e u t r a l i t y o f t h e p h o t o g r a p h i c i m a g e is a l s o m i s l e a d i n g t h e n : r a t h e r

s e v e r s c h i l l e n . D e s c h i j n b a r e neutraliteit v a n het f o t o g r a f i s c h e b e e l d is d a n o o k m i s l e i -

t h a n s p e n d t i m e a s k i n g w h e t h e r a n i m a g e is g o o d o r b a d , it is m o r e i m p o r t a n t t o

d e n d , e n belangrijker d a n je af te v r a g e n : is dit e e n g o e d e of e e n s l e c h t e f o t o ? , is te

c h e c k o u t w h o is m a k i n g u s e o f it a n d t o w h a t e n d .

o n d e r z o e k e n d o o r w i e , e n w a a r t o e , hij w o r d t g e b r u i k t .

It is t h i s ' p o l i t i c s o f r e p r e s e n t a t i o n ' t h a t is c e n t r a l in K a r e n K n o r r ' s w o r k . Inspired by the t h e o r i es of Victor B u r g i n a n d J o h n T a g g , she d e v e l o p e d a w a y of

H e t is d e z e 'politiek v a n d e r e p r e s e n t a t i e ' , d i e c e n t r a a l staat in h e t w e r k v a n K a r e n Knorr. Geïnspireerd d o o r d e t h e o r i e ë n v a n V i c t o r B u r g i n e n J o h n T a g g , v o n d zij e e n

u s i n g d o c u m e n t a r y p h o t o g r a p h y ' a g a i n s t i t s e l f ' , a n d s h e m a d e a n attack o n t h e

m a n i e r o m d e traditionele d o c u m e n t a i r e f o t o g r a f i e ' t e g e n z i c h z e l f ' te g e b r u i k e n , e n

m y t h of social r e a l i s m a n d o n the n o t i o n of the p h o t o as a 'social d o c u m e n t ' .

d e e d zij e e n a a n v a l o p d e m y t h e v a n het f o t o g r a f i s c h r e a l i s m e e n d e n o t i e van d e foto

C o n t r a r y t o w h a t w a s f o r a l o n g t i m e n o r m a l in d o c u m e n t a r y p h o t o g r a p h y , t h a t

als ' s o c i a a l d o c u m e n t ' . In t e g e n s t e l l i n g tot w a t in d e d o c u m e n t a i r e fotografie l a n g e tijd

is, t a k i n g p h o t o g r a p h s of m a t t e r s that a r e far r e m o v e d f r o m y o u , s h e p o i n t e d h e r

gebruikelijk w a s , namelijk het f o t o g r a f e r e n v a n z a k e n d i e v e r van je af s t a a n , richtte zij

c a m e r a at t h e ' u p p e r c l a s s ' m i l i e u t h a t s h e h e r s e l f c a m e f r o m . F r o m 4 t o 18 K n o r r

haar c a m e r a op het ' u p p e r c l a s s ' - m i l i e u w a a r u i t zij zelf a f k o m s t i g is. Knorr, g e b o r e n in

l i v e d in t h e A m e r i c a n c o l o n y o f P u e r t o R i c o . T h i s d i s p l a c e m e n t m e a n t t h a t s h e

Frankfurt a m M a i n , l e e f d e v a n haar 4 e tot e n m e t haar 18e jaar in e e n A m e r i k a a n s e

w a s a b l e at a f a i r l y e a r l y a g e t o t a k e a c e r t a i n d i s t a n c e f r o m h e r o w n w e a l t h y

kolonie in P u e r t o R i c o . H i e r d o o r m o e t zij al vrij v r o e g in e e n p o s i t i e zijn g e w e e s t o m

m i l i e u . At the s a m e t i m e s h e h a d fairly e a s y a c c e s s to certain c i r c l e s of w e l l - t o - d o

o o k e e n z e k e r e a f s t a n d v a n haar e i g e n g e g o e d e milieu te n e m e n . Tegelijkertijd had zij

people.

vrij g e m a k k e l i j k t o e g a n g tot b e p a a l d e k r i n g e n v a n w e l g e s t e l d e n

T h e p e o p l e p o r t r a y e d i n t h e s e r i e s Belgravia

(1979-80 ) l i v e d i n t h e q u a r t e r of

D e g e p o r t r e t t e e r d e n uit d e s e r i e Belgravia

(1979-80), w o o n a c h t i g in d e gelijkna-

L o n d o n o f t h e s a m e n a m e a n d w e r e o f t e n f r i e n d s o r a c q u a i n t a n c e s o f h e r s . In

m i g e L o n d e n s e wijk, w a r e n d a n ook v e e l a l k e n n i s s e n of v r i e n d e n . Zij w o r d e n in d e z e

this early s e r i e s t h e y are d e p i c t e d in the interiors of their o w n h o u s e s . T h e

v r o e g e s e r i e a f g e b e e l d in d e interieur s v a n h u n e i g e n w o n i n g e n . D e n e u t r a l e b e l i c h -

neutral l i g h t i n g , the s y m m e t r y , the f i x e d d i s t a n c e b e t w e e n the c a m e r a a n d the

ting, d e s y m m e t r i e , d e v a s t e a f s t a n d van d e c a m e r a tot het o n d e r w e r p e n het s t a n -

subject a n d the S t a n d a r d (square) f o r m a t of the p h o t o s all a d d to the s e n s e that

daard (vierkante) f o r m a a t v a n d e f o t o ' s d r a g e n e r t o e bij, dat d e g e p o r t r e t t e e r d e n niet

the p e o p l e portrayed are not s o m u c h personalities as representatives of a class,

z o z e e r tot p e r s o o n l i j k h e d e n , als w e l tot v e r t e g e n w o o r d i g e r s v a n e e n k l a s s e w o r d e n ,

s o t h a t in fact it is a m o r e a c a s e o f a s o r t o f ' a n t i - p o r t r a i t s ' . E v e n w h e n t h e r e a r e

zodat er eigenlijk s p r a k e is van e e n soort 'anti-portretten'. O o k w a n n e e r er g e e n m e n -

no p e o p l e present, the l u x u r i o u s interiors h a v e a s y m b o l i c s i g n i f i c a n c e : t h e y refer

s e n a a n w e z i g zijn, h e b b e n d e luxe interieurs e e n s y m b o l i s c h e b e t e k e n i s : zij v e r w i j z e n

to the o u t l o o k of their o w n e r s . T h e texts that a c c o m p a n y the p h o t o s a n d w h i c h

naar d e o p v a t t i n g e n van h u n b e z i t t e r s. D e bijgaand e t e k s t e n , die m e e r het karakter van

h a v e m o r e the c h a r a c t e r of a l e g e n d t h a n a title, d e r i v e f r o m c o n v e r s a t i o n s w i t h

e e n l e g e n d a dan van e e n titel h e b b e n , zijn a f k o m s t i g uit g e s p r e k k e n m e t d e zitter s (of

t h e s i t t e r s (or t h e y a r e i n v e n t e d , i n w h i c h c a s e t h e c o n t e n t w a s a g r e e d t o

zijn g e f i n g e e r d , in w e l k g e v a l m e n achtera f m e t d e i n h o u d e r v a n i n s t e m d e ) . D e c o m b i -

a f t e r w a r d s ) . T h e c o m b i n a t i o n of the i m a g e s w i t h p r e c i s e l y t h e s e texts, that are

natie van d e b e e l d e n m e t juist d e z e t e k s t e n , i m p l i c i e t b e d o e l d o m af te r e k e n e n m e t

implicitly i n t e n d e d to settle a c c o u n t s w i t h the m o d e r n i s t idea of a p h o t o h a v i n g a

het m o d e r n i s t i s c h e i d e e v a n e e n 'puur v i s u e l e w a a r d e ' v a n e e n foto, g e e f t Knorr e e n

' p u r e l y v i s u a l v a l u e ' , g i v e s K n o r r a n e f f e c t i v e w e a p o n b y m e a n s of w h i c h h e r

e f f e c t i e f w a p e n in h a n d e n w a a r m e e haar w e r k z i c h in p o s i t i e v e zin o n d e r s c h e i d t van

w o r k is d i s t i n g u i s h e d f r o m t h e o f t e n i n a c c e s s i b l e d o g m a s of h e r t e a c h e r B u r g i n :

d e v e e l a l o n t o e g a n k e l i j k e d o g m a t i e k v a n l e e r m e e s t e r B u r g i n : d e ironie.

t h i s w e a p o n is i r o n y . In t h e s e r i e s Gentlemen

In d e s e r i e Gentlemen ( 1 9 8 1 - 8 3 ) t h e u s e of c a p i t a l l e t t e r s in t h e t e x t s r e f e r s

(1981-83) v e r w i j s t het g e b r u i k van h o o f d l e t t e r s in d e t e k s t e n

naar 1 8 - e e u w s e g e s c h r i f t e n e n d a a r m e e naar het 1 8 e - e e u w s e g e d a c h t e n g o e d dat in

t o 18th c e n t u r y w r i t i n g s a n d s o t o t h e 1 8 t h c e n t u r y c u l t u r a l i n h e r i t a n c e t h a t

d e z e c o n s e r v a t i e v e , patriarchale e n v r o u w v i j a n d i g e k r i n g e n circuleert . H e t g e b r u i k v a n

p r e v a i l s i n t h e s e c o n s e r v a t i v e , p a t r i a r c h a l , m a l e c h a u v i n i s t c i r c l e s . T h e u s e of t h e

d e v e r l e d e n tijd refereert a a n d e n o s t a l g i s c h e s f e e r in d e ' g e n t l e m e n c l u b s '

p a s t t e n s e r e f e r s t o t h e n o s t a l g i e a t m o s p h e r e of t h e s e ' g e n t l e m e n ' s c l u b s ' . ' G o o d t a s t e ' , ' s t y l e ' , ' c u l t u r e ' a n d ' c i v i l i z a t i o n ' a r e n o t i o n s t h a t m a n y of t h e s e w e l l - t o - d o p e o p l e c o n s i d e r a p p l i c a b l e t o t h e m s e l v e s . A s i n Belgravia, Life (1983-84 ) a n d Connoisseurs

Country

( 1 9 8 6 - 8 9 ), K n o r r s h o w s t h a t t h e s e c o n c e p t s

' G o e d e s m a a k ' , 'stijl', 'cultuur' e n ' b e s c h a v i n g ' zijn b e g r i p p e n d i e v e e l w e l g e s t e l d e n o p zichzelf v a n t o e p a s s i n g a c h t e n . N e t als in Belgravia (1983-84) e n Connoisseurs Country

s e x i s m a r e o f t e n a n i m p l i c i t p a r t . In Country

a l s e e n b e g r i p dat alles te m a k e n h e e f t m e t bezit.

l o v e f o r c u l t i v a t e d a n d l a n d s c a p e d n a t u r e , e x p o s i n g it a s a n o t i o n t h a t h a s e v e r y t h i n g to d o w i t h p r o p e r t y . In Connoisseurs

Life

v a n e e n k l a s s e - d e n k e n , w a a r v a n r a c i s m e e n s e x i s m e v e e l a l impliciet d e e l u i t m a k e n . In

c o m p r i s e t h e i n g r e d i e n t s o f a c l a s s - b a s e d w a y o f t h i n k i n g , of w h i c h r a c i s m a n d Life K n o r r s t r i p s off t h e m a s k o f t h e

laat Knorr in Country

(1986-89) z i e n dat d e z e b e g r i p p e n d e i n g r e d i ë n t e n v o r m e n

Life o n t m a s k e r t Knorr d e liefde v o or d e l a n d s c h a p p e l i j k e , g e c u l t i v e e r d e natuur

Knorr verleidt o n s in Connoisseurs

m e t b e e l d e n van w e e l d e r i g e interieurs in d e

p r a c h t i g s t e k l e u r en tot e e n c o n f r o n t a t i e m e t d e 'verfijnde' s m a a k v a n k u n s t k e n n e r s .

K n o r r e m p l o y s i m a g e s o f l u x u r i o u s i n t e r i o r s in t h e m o s t

Het s c h e p p e n v a n e e n k u n s t m a t i g klimaat w a a r i n b e p a a l d e o b j e c t e n v e r z a m e l b a a r w o r -

s p l e n d i d c o l o u r s t o s e d u c e u s i n t o a c o n f r o n t a t i o n w i t h t h e ' r e f i n e d ' t a s t e o f art

d e n e n zo in w a a r d e stijgen, b e h o o r t tot h u n belangrijkste b e z i g h e i d . Zij h a n t e r e n daar-

c o n n o i s s e u r s . T h e i r m a i n a c t i v i t y is t o c r e a t e a n a r t i f i c i a l c l i m a t e i n w h i c h c e r t a i n

bij z o g e n a a m d e ' k l a s s i e k e ' i d e e ë n o v e r o r d e , s c h o o n h e i d e n h a r m o n i e , e n g e b r u i k e n

o b j e c t s a r e t r e a t e d a s s u i t a b l e f o r c o l l e c t i n g a n d in t h i s w a y i n c r e a s e in v a l u e . In

kunst als alibi voo r rijkdom. D e in g l i m m e n d k o p e r g e g r a v e e r d e titels bi| d e z e s e r i e wij-

a d d i t i o n to this t h e y m a k e u s e of s o - c a l l e d ' c l a s s i c a l ' i d e a s a b o u t o r d e r , b e a u t y

z e n o p w e d e r o m i r o n i s c h e m a n i e r naar d e t e n t o o n s t e l l i n g s c o n t e x t w a a r i n Knorr haar

a n d h a r m o n y , a n d t h e y u s e art a s a n a l i b i f o r w e a l t h . T h e t i t l e s f o r t h i s s e r i e s t h a t

w e r k p r e s e n t e e r t . Zij is z i c h g o e d b e w u s t v a n haar d u b b e l z i n n i g e p o s i t i e in het g a l e-

a r e e n g r a v e d i n g l e a m i n g c o p p e r r e f e r a g a i n in a n i r o n i e f a s h i o n t o t h e e x h i b i t i o n

riecircuit. D o c h , z o is haar o v e r t u i g i n g , e e n gedeeltelijk c o n f o r m e r e n aan d e c o m m e r -

c o n t e x t in w h i c h K n o r r s h o w s h e r w o r k . S h e is w e l l a w a r e o f h e r a m b i g u o u s

ciële w e r e l d v a n d e b e e l d e n d e k u n s t is e e n v o o r w a a r d e o m te k u n n e n blijven w e r k e n .

p o s i t i o n in t h e g a l l e r y c i r c u i t . H o w e v e r it is h e r c o n v i c t i o n t h a t a p a r t i a l

D e f o t o w e r k e n van Karin Knorr m o e t e n g e z i e n w o r d e n a l s a l l e g o r i e ë n ; zij v e r w i j z e n

c o n f o r m i t y t o t h e c o m m e r c i a l w o r l d o f art is a p r e c o n d i t i o n f o r b e i n g a b l e t o

naar w a t zich buiten het b e e l d b e v i n d t , naar w a t o p d e f o t o ' s zelf o n z i c h t b a a r blijft:

continue to work.

f e o d a l e i d e o l o g i e ë n . O v e r i g e n s h e b b e n o o k d e t e k s t e n v e e l a l e e n a l l e g o r i s c h karakter,

K a r i n K n o r r ' s p h o t o w o r k s s h o u l d b e s e e n a s a l l e g o r i e s ; t h e y refer t o s o m e t h i n g t h a t is s i t u a t e d o u t s i d e t h e i m a g e , t o s o m e t h i n g t h a t r e m a i n s i n v i s i b l e

e n lijkt d e w o o r d k e u z e direct o n t l e e n d aan e e n R o m a n t i s c h v o c a b u l a i r e . Haar m e e s t r e c e n t e s e r i e , getiteld Capital (1990), c o n c e n t r e e r t z i c h o p d e financiële w e r e l d v a n d e

in the p h o t o s t h e m s e l v e s : f e u d al i d e o l o g i e s . M o r e o v e r t h e texts a l s o often h a v e

'City of L o n d o n ' , w a a r instituten als b a n k e n , b e u r s e n , b e w a k i n g s b e d r i j v e n e . d . o p

an a l l e g o r i c al c h a r a c t e r , a n d the c h o i c e of w o r d s s e e m s to be directly t a k e n f r o m

z o w e l m o d e r n e als h i s t o r i s c h e l o c a t i e s e e n b o l w e r k v a n kapitaal e n m a c h t v o r m e n .

a R o m a n t i c v o c a b u l a r y . H e r m o s t r e c e n t s e r i e s , e n t i t l e d Capital

(1990) h a s a s its

t h e m e the f i n a n c i a l w o r l d of the 'City of L o n d o n ' in w h i c h institutions s u c h as banks, the stock e x c h a n g e , security f i r m s e t c , f o r m a bulwark of capital a n d p o w e r in b o th m o d e r n a n d historical sites. For curriculum vitae see page 86

Voor curriculum vitae zie pagina 86

Karen

Knorr

The Principals of Political Economy (Uit/from: Capital, 19901

Karen

Knorr

(Uit/from: Gentlemen, 1981-1983)

Newspapers are no longer ironed, Coins no longer boiled So far have Standards fallen.

Karen

Knorr

(Uit'from: Gentlemen, 1981-19831

It was an Idea which Awakened all that was Best in him, reminding him of his own Higher nature. Chivalry, he believed, should precede all subsequent Decency in Relations between Races.

Karen

Knorr

(Uit/from: Connoisseurs, 1986-1990)

Contemplation of the Essential Forrns

Hripsimé Visser

COYOTE & OUT OF BALANCE ALFREDO JAAR In h i s w o r k , A l f r e d o J a a r c a l l s i n t o q u e s t i o n t h e t r a d i t i o n a l s u b j e c t m a t t e r o f

A l f r e d o J a a r stelt in zijn w e r k d e traditionele o n d e r w e r p e n v a n d e g e ë n g a g e e r d e

s o c i a l l y e n g a g e d p h o t o g r a p h y . A l t h o u g h h i s w o r k is b a s e d o n d o c u m e n t a r y

fotografie aan d e orde. M a a r h o e w e l hij z i c h daarbij b a s e e r t o p d o c u m e n t a i r e f o t o ' s

p h o t o g r a p h y , h e c h o o s e s to p r e s e n t h i s s u b j e c t s i n a v e r y c o n t e m p o r a r y f o r m :

kiest hij v o o r d e p r e s e n t a t i e van die o n d e r w e r p e n e e n z e e r e i g e n t i j d s e v o r m : d e licht-

t h e l i g h t b o x , c a r r i e r o f a d v e r t i s i n g . H i s w a y o f w o r k i n g is c o m p a r a b l e t o t h a t o f

bak, d r a g e r v a n r e c l a m e b o o d s c h a p p e n . Zijn w e r k w i j z e is vergelijkbaa r m e t d i e v a n

a r t i s t s s u c h a s J e f f W a l l a n d D e n n i s A d a m s : all t h r e e s t r i v e t o c r e a t e a s e n s e of

k u n s t e n a a r s als Jeff W a l l e n D e n n i s A d a m s : alle drie s t r e v e n zij naar v e r v r e e m d i n g e n

a l i e n a t i o n a n d a n e w a w a r e n e s s b y d i s r u p t i n g t h e c o d e s u s e d in i l l u m i n a t e d

b e w u s t w o r d i n g d o o r d e in l i c h t r e c l a m e s g e b r u i k e l i j k e c o d e s te v e r s t o r e n . W a a r J e f f

a d v e r t i s i n g . W h e r e J e f f W a l l carefully s t a g e s his i m a g e s in o r d e r to a n a l y s e the

W a l l zijn b e e l d e n zorgvuldig e n s c e n e e r t e n d a a r d o o r d e in d o c u m e n t a i r e b e e l d e n

c o n v e n t i o n s u s e d in d o c u m e n t a r y i m a g e s , A d a m s a n d J a a r o f t e n r e w o r k ' c l a s s i c '

gebruikelijke c o n v e n t i e s a n a l y s e e r t , v e r w e r k e n z o w e l A d a m s als J a a r v e e l a l ' k l a s s i e k e '

d o c u m e n t a r y a n d n e w s p h o t o s . T o t h e m , it is p a r t i c u l a r l y t h e f o r m a l c o n t e x t a n d

d o c u m e n t a i r e - of r e p o r t a g e f o t o ' s . Bij h e n is het v o o r a l d e f o r m e l e c o n t e x t e n d e plaat-

t h e p l a c e m e n t of t h e w o r k (often in p u b l i c s p a c e s ) w h i c h o c c a s i o n s r e f l e c t i o n a n d

s i n g v a n het w e r k (vaak in o p e n b a r e r u i m t e s) die a a n l e i d i n g g e v e n tot reflectie e n kri-

critique.

tiek.

B o r n i n C h i l e a n d s i n c e 1962 l i v i n g in N e w Y o r k , s i n c e t h e m i d d l e o f t h e

D e in Chili g e b o r e n m a a r s i n d s 1 9 6 2 in N e w Y o r k w o o n a c h t i g e A l f r e d o J a a r w e r k t

1980's A l f r e d o J a a r has w o r k e d primarily with light b o x e s . Earlier he m a d e photo-

s i n d s het m i d d e n van d e jaren ' 8 0 hoofdzakelijk m e t l i c h t b a k k e n ; v o o r die tijd m a a k t e

text w o r k s , i m m e n s e a d v e r t i s i n g s i g n b o a r d s , a s w e l l as i n s t a l l a t i o n s b a s e d o n

hij z o w e l f o t o - t e k s t w e r k e n , i m m e n s e r e c l a m e b o r d e n als installatie s o p b a s i s v a n

' f o u n d o b j e c t s ' ( o b j e t s t r o u v é s ) . T h e c e n t r a l t h e m e o f J a a r ' s w o r k is w h a t w e

' g e v o n d e n v o o r w e r p e n ' . D e c e n t r a l e t h e m a t i e k v a n J a a r ' s w e r k is w a t wij g e w o o n l i j k

u s u a l l y t e n d to call 'the third w o r l d ' , a n d m o r e s p e c i f i c a l l y c o n t e m p o r a r y s u b j e c t s

' d e d e r d e w e r e l d ' p l e g e n te n o e m e n e n m e e r s p e c i f i e k a c t u e l e o n d e r w e r p e n z o a l s het

s u c h a s t h e a b u s e o f t h e l a b o r f o r c e a n d n a t u r a l r e s o u r c e s in t h e t h i r d w o r l d b y

m i s b r u i k v a n a r b e i d s k r a c ht e n natuurlijke h u l p b r o n n e n in d e d e r d e w e r e l d d o o r ' o n t w i k -

d e v e l o p e d l a n d s , the illegal m i g r a t i o n to the rich north out of C e n t r a l a n d S o u t h

k e l d e ' l a n d e n , d e illegale e m i g r a t i e vanuit C e n t r a a l - e n Latijns A m e r i k a naar het rijke

A m e r i c a , a n d t h e d u m p i n g of c h e m i c a l w a s t e i n A f r i c a b y i n d u s t r a l i z e d W e s t e r n

n o o r d e n e n het d u m p e n v a n c h e m i s c h afval in Afrik a d o o r W e s t e r s e geïndustriali-

l a n d s . B o t h t h r o u g h the style he u s e s a s w e l l as his c h o i c e of i m a g e s , J a a r

seerde landen.

c o m m i t s h i m s e l f to a totally different c o u r s e t h a n t r a d i t i o n al e n g a g e d p h o t o g r a p h y . F o r h i m , o n e c a n n o t talk a b o u t t h e c a r e f u l l y d e v e l o p e d p h o t o - e s s a y i n w h i c h s o c i a l i n j u s t i c e s a r e d o c u m e n t e d in a w a y t h a t w i l l a w a k e n a s e n s e of r a g e a n d i n d i g n a t i o n in t h e v i e w e r . Y e t t h o s e e m o t i o n s a r e c e r t a i n l y e s s e n t i a l t o J a a r ' s w o r k , a n d a r e s u m m o n e d u p b y h i s a c t i v i t i e s . It is j u s t t h a t h i s r a g e a n d i n d i g n a t i o n a r e d i r e c t e d e q u a l l y at t h e u s u a l r e p r e s e n t a t i o n o f i n j u s t i c e s , a s at t h e social evils themselves. T h e q u e s t i o n - or the critique - w h i c h his slick, hyperaestheti c artwork

Z o w e l d o o r d e g e b r u i k te v o r m a l s in d e k e u z e van zijn b e e l d e n kiest J a a r e e n totaal a n d e r e w e g d a n die v a n d e traditionele g e ë n g a g e e r d e f o t o g r a f i e : bij h e m is g e e n s p r a k e van het zorgvuldig o p g e b o u w d e f o t o - e s s a y w a a r i n m i s s t a n d e n w o r d e n g e d o c u m e n t e e r d o p e e n wijze die bij d e kijker v e r o n t w a a r d i g i n g e n w o e d e m o e t e n o p w e k k e n . T o c h zijn d i e e m o t i e s - die o o k aan d e b a s i s v a n J a a r ' s activiteit ligge n - w e l degelijk e s s e n t i e e l ; a l l e e n richten zijn w o e d e e n v e r o n t w a a r d i g i n g z i c h e v e n z e e r op d e m i s s t a n d e n zelf als o p d e gebruikelijke w e e r g a v e e r v a n . D e vraag

of d e kritiek- d i e zijn g l a d d e , h y p e r e s t h e t i s c h e k u n s t w e r k e n o n v e r m i j d e -

u n a v o i d a b l y c a l l s u p is t h a t o f t h e e f f e c t i v e n e s s o f h i s m e t h o d . J a a r ' s w o r k is

lijk o p r o e p t is die naar d e effectiviteit v a n zijn m e t h o d e . J a a r ' s w e r k is te s i t u e r e n in

s i t u a t e d in t h e d i s c u s s i o n w h i c h h a s p l a y e d a n i m p o r t a n t r o l e w i t h i n d o c u m e n -

e e n d i s c u s s i e d i e d e a f g e l o p e n d e c e n n i a b i n n e n d e d o c u m e n t a i r e fotografie e e n

tary p h o t o g r a p h y o v e r the past d e c a d e , n a m e l y that a r o u n d the l e g i t i m a c y a n d

belangrijke rol heeft g e s p e e l d , namelijk d e d i s c u s s i e r o n d d e legitimiteit e n d e o n m o -

i m p o s s i b i l i t y of a correct (accurate, honest) depiction of 'the other'. T h e

gelijkheid v a n e e n (juiste) w e e r g a v e van ' d e a n d e r ' . H e t i n t e r e s s a n t e v a n J a a r ' s w e r k is

i m p o r t a n c e of J a a r ' s w o r k is t h a t , p r e c i s e l y t h r o u g h h i s s o p h i s t i c a t e d c h o i c e o f

dat hij juist d o o r zijn u i t g e k i e n d e k e u z e v a n f o r m e l e a s p e c t e n d e z e d i s c u s s i e tot o n d e r -

f o r m a l a s p e c t s , h e is a t t e m p t i n g t o m a k e t h i s d i s c u s s i o n t h e s u b j e c t o f h i s w o r k .

w e r p v a n zijn w e r k w e e t te m a k e n .

' G o l d in the M o r n i n g ' , J a a r ' s first larger i n s t a l l a t i o n , d a t e s f r o m 1986, a n d h a s

J a a r ' s e e r s t e g r o t e r e installatie Gold in the Morning

d a t e e r t uit 1 9 8 6 e n h e e f t als

a s its s u b j e c t t h e d a i l y w o r k i n S e r r a P e l a d a , a B r a z i l i a n g o l d m i n e . ' G o l d i n t h e

o n d e r w e r p het dagelijks w e r k in d e B r a z i l i a a n s e g o u d m i j n S e r r a P e l a d a . ' G o l d in the

M o r n i n g ' c o n s i s t s of five light b o x e s , a c c o m p a n i e d by five g i l d e d m e t a l b o x e s

M o r n i n g ' b e s t a a t uit vijf l i c h t b a k k e n , v e r g e z e l d v a n vijf v e r g u l d e m e t a l e n d o z e n , d i e

w h i c h a r e n e v e r p l a c e d at e y e - l e v e l , b u t e i t h e r a b o v e o r b e l o w it a n d e v e n o n t h e

nooit o p o o g h o o g t e maa r hetzij d a a r b o v e n , hetzij d a a r o n d e r e n z e l f s o p d e g r o n d w o r -

g r o u n d , a s a literal illustration of the ' m a r g i n a l ' p l a c e w h i c h the m i n e w o r k e r s he

d e n geplaatst als e e n letterlijke illustratie v a n d e ' m a r g i n a l e ' plek die d e g e p o r t r e t t e r d e

p o r t r a y s o c c u p y in W e s t e r n c o n s c i o u s n e s s . T h e p h o t o s d o n o t o n l y d e p i c t

m i j n w e r k e r s in het w e s t e r s b e w u s t z i j n i n n e m e n . D e f o t o ' s g e v e n o v e r i g e n s niet a l l e e n

individual m i n e w o r k e r s ; one p h o t o offers an o v e r v i e w of the m i n e , taken f r o m a

individuele m i j n w e r k e r s w e e r ; é é n f o t o t o o n t e e n o v e r z i c h t v a n e e n mijn, g e n o m e n

h i g h a n g l e , w h i l e a n o t h e r d i s p l a y s a g r o u p o f m i n e w o r k e r s , a n d a t h i r d is t h e

vanuit e e n h o o g s t a n d p u n t , e e n a n d e r e e e n g r o e p m i j n w e r k e r s e n e e n d e r d e is e e n

s t r o n g l y s u g g e s t i v e i m a g e of a n u m b e r o f m e n w a l k i n g u p h i l l , i n w h i c h t h e first

sterk s u g g e s t i e f b e e l d v a n e e n aantal m a n n e n dat b e r g o p w a a r t s loopt e n w a a r v a n d e

a p p e a r s o n l y a s a t o r s o b e c a u s e h i s h e a d is c u t off b y t h e e d g e o f t h e i m a g e .

v o o r s t e a l l e e n n o g e e n ' t o r s o ' is o m d a t zijn h o o f d d o o r d e b e e l d r a n d is a f g e s n e d e n .

At a l m o s t the s a m e p e r i o d , S e r r a P e l a d a w a s a l s o the subject for w o r k by the

S e r r a P e l a d a is in vrijwel d e z e l f d e p e r i o d e het o n d e r w e r p g e w e e s t v a n d e B r a z i l i a a n s e

Brazilian photoreporter S e b a s t i a o S a l g a d o . The differences b e t w e e n their

reportagefotograaf S e b a s t i a o S a l g a d o . D e v e r s c h i l l e n t u s s e n b e i d e r w e r k w i j z e zijn evi-

a p p r o a c h e s a r e e v i d e n t . B u t it is r e m a r k a b l e t h a t b o t h h a v e g i v e n a n a l m o s t

d e n t . H e t o p v a l l e n d e is e c h t e r dat b e i d e n h u n o n d e r w e r p e e n haast religieuze d i m e n -

r e l i g i o u s d i m e n s i o n t o t h e i r s u b j e c t . S a l g a d o d o e s t h i s t h r o u g h r e f e r e n c e s in h i s

s i e h e b b e n m e e g e g e v e n : S a l g a d o d o o r in zijn c o m p o s i t i e s te v e r w i j z e n naar o n d e r

c o m p o s i t i o n t o e a r l y R e n a i s s a n c e r e l i g i o u s p a i n t i n g s , a m o n g o t h e r s ; J a a r d o e s it

a n d e r e v r o e g - r e n a i s s a n c i s t i s c h e religieuze s c h i l d e r i j e n e n J a a r d o o r het g e b r u i k v a n

by h i s u s e of the g i l d e d b o x e s , w h i c h b r i n g to m i n d the b a c k g r o u n d in B y z a n t i n e

v e r g u l d e d o z e n d i e de a c h t e r g r o n d e n v a n B y z a n t i j n s e h e i l i g e n a f b e e l d i n g e n in herinne -

icons.

ring b r e n g e n .

T o a s t e a d i l y i n c r e a s i n g d e g r e e , in h i s r e c e n t i n s t a l l a t i o n s J a a r m a k e s u s e o f

In zijn r e c e n t e installaties m a a k t J a a r s t e e d s v a k e r g e b r u i k van f o t o ' s (portretten)

p h o t o p o r t r a i t s of i n d i v i d u a l s , a n d c o n c e n t r a t e s m o r e s t r o n g l y o n a s y m b o l i c

v a n i n d i v i d u e n e n c o n c e n t r e e r t zich s t e r k e r o p e e n s y m b o l i s c h e w e e r g a v e v a n d e mar-

d e p i c t i o n of t h e m a r g i n a l p o s i t i o n o f ' t h e o t h e r ' . T h u s i n a n u m b e r o f c a s e s h e

ginale p o s i t ie van d e ' a n d e r ' . Z o plaatst hij in e e n aantal g e v a l l e n d e l i c h t b a k k e n o p d e

p l a c e s the l i g h t - b o x e s o n the g r o u n d w i t h their back to t h e v i e w e r , w h o c a n v i e w

g r o n d m e t d e rug naar d e kijker d i e h e t b e e l d s l e c h t s kan b e k i j k e n d o o r z i c h o v e r het

t h e i m a g e o n l y b y b e n d i n g o v e r a n d s e e i n g t h e i m a g e (or s o m e t i m e s o n l y a p a r t

w e r k h e e n te b u i g e n o m in e e n a a n d e m u u r b e v e s t i g d e s p i e g e l (een d e e l van) d e

of it) in a m i r r o r a t t a c h e d t o t h e w a l l . T h i s is t h e c a s e , f o r i n s t a n c e , in h i s 1 9 8 8

a f b e e l d i n g te z i e n . Dit is b i j v o o r b e e l d het g e v a l in het w e r k Coyote

w o r k Coyote,

s e e r d is o p f o t o ' s van m a n n e n , v r o u w e n e n k i n d e r e n d i e z i c h , h o p e n d o p e e n b e t e r

w h i c h is b a s e d o n p h o t o s of m e n , w o m e n a n d c h i l d r e n w h o , i n

uit 1 9 8 8 dat g e b a -

h o p e of a b e t t e r l i f e , p a y l a r g e s u m s o f m o n e y t o b e s m u g g l e d a c r o s s t h e R i o

leven, voor veel geld door dragers, ' c o y o t e s ' over de Rio Grande, de grens tussen

Grande River, the border between M e x i c o a n d the United States, by contractors,

M e x i c o e n d e V S . laten d r a g e n .

or ' c o y o t e s ' . F o r ' C o y o t e ' J a a r d e s i g n e d a n e l o n g a t e d l i g h t b o x , w h i c h h e a l s o u s e d in h i s

V o o r Coyote O u f of Balance

o n t w i e r p J a a r e e n l a n g w e r p i g e lichtbak d i e hij e v e n e e n s g e b r u i k t e in uit 1 9 8 9 . Dit w e r k b e s t a a t uit e e n aantal l i c h t b a k k e n d i e hetzij h o r i z o n -

1989 w o r k ' O u t of B a l a n c e ' . T h i s w o r k c o n s i s t s o f a n u m b e r of l i g h t b o x e s t h a t

taal - b o v e n of o n d e r o o g h o o g t e - a a n d e m u u r w o r d e n b e v e s t i g d , hetzij verticaal t e g e n

are either a t t a c h e d to the wall h o r i z o n t a l l y, either a b o v e o r b e l o w e y e l e v e l , o r are

d e m u u r l e u n e n d , op d e g r o n d w o r d e n n e e r g e z e t . D e o n g e b r u i k e l i j k e p l a a t s i ng vindt

leaned vertically against the wall, standing o n the floor. T h e unusual placement

zijn t e g e n h a n g e r in d e a f b e e l d i n g e n zelf: s t e e d s w o r d e n e e n of m e e r d e r e p e r s o n e n -

f i n d s its c o u n t e r p a r t i n t h e i m a g e s t h e m s e l v e s , in w h i c h o n e o r m o r e p e r s o n s - a

e e n g a r i m p e i r o (goudzoeker), i m m i g r a n t e n , e e n B r a z i l i a a n se boer- aan het u i t e i n d e , d u s

g a r i m p e i r o ( g o l d p r o s p e c t o r ! , i m m i g r a n t s , a B r a z i l i a n f a r m e r - a r e p l a c e d at t h e

letterlijk in d e m a r g e , v a n het g e h e e l w i t t e vlak g e p l a a t s t .

very e x t r e m e e d g e , literally on the m a r g i n , w i t h i n a n entirely w h i t e field. For curriculum vitae see page 86

Voor curriculum vitae zie Daaina 86

Alfredo

Jaar

Air for Refugee, 1989 (light box, 100 x 100 x 150 cm broken mirror, private collection, Holland, courtesy Galerie Barbara Farber) (photo: Victor Arnolds)

Alfredo

Jaar

Out of B a l a n c e , 1988 (light box, photo, 50 x 240 x 17 cm, courtesy Galerie Barbara Farber) (photo: Victor Arnolds)

Alfredo

Jaar

Out of Balance, 1989 (light box, photo, 240 x 50 x 17 cm, courtesy Galerie Barbara Farber) (photo: Victor Arnolds)

Frits Gierstberg

STEELWORKS JULIAN GERMAIN

Consett

' T h e m o s t d e p r e s s i n g t o w n l've b e e n i n ' w a s h o w t h e w a r

photographer

T h e m o s t d e p r e s s i n g t o w n l've e v e r b e e n i n ' ('De m e e s t d e p r i m e r e n d e s t a d

D o n M c C u l l i n c h a r a c t e r i s e d t h e t o w n o f C o n s e t t w h e n h e v i s i t e d it i n 1 9 7 4 ,

w a a r ik o o i t g e w e e s t b e n ' ) . A l d u s k a r a k t e r i s e e r d e o o r l o g s f o t o g r a a f D o n M c C u l l i n

just back f r o m V i e t n a m . M c C u l l i n w a s in C o n s e t t o n a n a s s i g n m e n t f r o m

h e t E n g e l s e p l a a t s j e C o n s e t t t o e n hij e r in 1 9 7 4 - n e t t e r u g uit V i e t n a m -

the

S u n d a y T i m e s M a g a z i n e to m a k e a reportage about the t o w n a n d the

een

b e z o e k b r a c h t . M c C u l l i n w a s in C o n s e t t o m v o o r S u n d a y T i m e s M a g a z i n e e e n

C o n s e t t Iron C o m p a n y , o n e of E n g l a n d ' s b i g g e s t s t e e l w o r k s . M c C u l l i n ' s

r e p o r t a g e te m a k e n o v e r d e s t a d v a n d e C o n s e t t Iron C o m p a n y , é é n v a n E n g e -

cliché'd images, s h o w i n g Consett as a polluted and backward place, brought

l a n d s g r o t e s t a a l f a b r i e k e n . H e t c l i c h é b e e l d d a t M c C u l l i n in zijn f o t o ' s g a f -

a lot o f p r o t e s t f r o m t h e i n h a b i t a n t s . T h e y w e r e p r o u d of t h e i r C o m p a n y .

s e t t a l s s t e r k v e r v u i l d e n a c h t e r g e b l e v e n g e b i e d - r i e p bij d e i n w o n e r s v e e l p r o -

Consett Steel w a s of the best quality a n d the n a m e C o n s e t t Steel w a s

t e s t o p . Zij w a r e n t r o t s o p h u n C o m p a n y . S t a a l uit C o n s e t t w a s v a n h o o g w a a r -

e v e r y w h e r e to be f o u n d , o n all the m a n h o l e c o v e r s in L o n d o n for e x a m p l e .

dige kwaliteit, e n je k w a m d e n a a m C o n s e t t S t e e l overal t e g e n , bijvoorbeeld o p

Well-known major bridges and ships were manufactured from Consett Steel.

alle p u t d e k s e l s in L o n d e n . B e k e n d e g r o t e b r u g g e n e n z e e s c h e p e n w a r e n m e t

T h e red dust that regularly b e l c h e d f r o m the factory c h i m n e y s , penetrating

C o n s e t t Steel g e m a a k t . Het m e t regelmaa t d o o r d e f a b r i e k s s c h o o r s t e n e n uitge-

e v e r y w h e r e a n d t u r n i n g all t h e d o g s in C o n s e t t r e d , w a s p u t u p w i t h b y t h e

s t o t e n r o d e s t o f , d a t o v e r a l d o o r d r o n g e n m a a k t e d a t e r in C o n s e t t a l l e e n n o g

i n h a b i t a n t s . W h e r e t h e r e ' s dirt, t h e r e ' s w o r k , w a s t h e

m a a r r o d e h o n d e n l i e p e n , n a m e n d e i n w o n e r s v o o r lief. W a a r v u i l i s , is w e r k , w a s

motto.

T h e area of C o n s e t t w a s the s a m e size as that of the factory site. Virtually

het

Con-

motto. C o n s e t t w a s in o p p e r v l a k t e e v e n g r o o t a l s h e t f a b r i e k s t e r r e i n . B i j n a a l l e i n w o -

all t h e i n h a b i t a n t s (in 1 9 8 0 t h e r e w e r e a r o u n d 3 5 , 0 0 0 ) w e r e d i r e c t l y o r indirectly dependen t on the steelworks. The y f o r m e d a closely-knit

n e r s (in 1 9 8 0 z o ' n 3 5 . 0 0 0 ) w a r e n d i r e c t of i n d i r e c t a f h a n k e l i j k v a n d e s t a a l f a b r i e k .

c o m m u n i t y , w h i c h l i v e d in the r h y t h m of t h e t h r e e s h i f t s . T h e c a f é s w e r e

Zij v o r m d e n e e n h e c h t e g e m e e n s c h a p , d i e l e e f d e in h e t r i t m e v a n d e d r i e - p l o e -

o p e n a l m o s t all d a y . E v e r y o n e k n e w e a c h other a n d there w e r e c o u n t l e s s

g e n d i e n s t . D e c a f é s w a r e n bijna d e g e h e l e d a g o p e n . l e d e r e e n k e n d e e l k a a r e n

social activities: beauty contests, b i n g o e v e n i n g s , d a n c e s, football g a m e s

er w a r e n talloze sociale activiteiten: m e n o r g a n i s e e r d e m e t grote regelmaat

a n d the t y p i c a l l y E n g l i s h 'leek c o n t e s t s ' , w h e r e prizes w e r e a w a r d e d to t h o s e

schoonheidswedstrijden, bingo-avonden, danspartijen, voetbalwedstrijden en de

w h o g r e w the biggest a n d most beautiful s p e c i m e n s (with the special

t y p i s c h E n g e l s e - ' l e e k - c o n t e s t s ' , w a a r prijzen w e r d e n uitgereikt aan d e k w e k e r s

a d d i t i o n to the c o n t e st rules that the j u ry m a y not d i s q u a l i f y r e d d i s h

van d e m o o i s t e en grootste g r o e n t e s (met d e bijzondere t o e v o e g i n g aan het

discoloration). People lived with the certainty that there w o u l d a l w a y s be

w e d s t r i j d r e g l e m e n t d a t d e j u r y g r o e n t e s niet m o c h t d i s k w a l i f i c e r e n o p g r o n d v a n

h u n r o d e k l e u r ) . M e n l e e f d e in d e z e k e r h e i d d a t e r m e t d e ' s t e e l w o r k s ' altijd

w o r k at t h e s t e e l w o r k s a n d t h u s a l w a y s a f u t u r e . Of c o u r s e there w a s a l s o a n o t h e r s i d e to all this. T h e w o r k in the factory w a s dirty, unhealthy, exhausting and often d a n g e r o u s as well. W h a t ' s m o r e ,

w e r k , e n e r d u s altijd e e n t o e k o m s t z o u z i j n . N a t u u r l i j k w a s er o o k e e n k e e r z i j d e a a n dit a l l e s . H e t w e r k in d e f a b r i e k w a s

the relationship b e t w e e n the inhabitants of C o n s e t t a n d the factory w a s

v i e s , o n g e z o n d , v e r m o e i e n d e n vaak o o k gevaarlijk. D e relatie t u s s e n d e i n w o -

q u i t e f e u d a l , a s M a r t i n H e r r o n r e c a l l s : ' S p e n d y o u r life h e r e a n d y o u w i l l

ners van C o n s e t t en d e fabriek w a s b o v e n d i e n nogal feodaal, zoals Martin Herron

h a v e security a n d a h o l i d a y in S c a r b o r o u g h ; w e will pollute the air a n d

in h e t b o e k o v e r d e s t e e l w o r k s s c h r i j f t : ' S p e n d y o u r life h e r e a n d y o u w i l l h a v e

disfigure the landscape and y o u can get s m a s h e d on a Friday

s e c u r i t y a n d a h o l i d a y in S c a r b o r o u g h ; w e w i l l p o l l u t e t h e air a n d d i s f i g u r e t h e

night.'

In 1 9 8 0 , a s p a r t o f t h e t r e n d t o w a r d s p r i v a t i s a t i o n , t h e f a c t o r y w a s c l o s e d

l a n d s c a p e a n d y o u c a n g e t s m a s h e d o n a F r i d a y n i g h t ' ( ' B r e n g je l e v e n h i e r d o o r

(one of the first acts c a r r i e d o u t b y T h a t c h e r after c o m i n g to p o w e r ) . C o n s e t t

e n je h e b t z e k e r h e i d e n e e n v a k a n t i e in S c a r b o r o u g h ; w i j v e r v u i l e n d e l u c h t e n

w a s hit b y u n e m p l o y m e n t , a n d l o s t t h e p i v o t a r o u n d w h i c h t h e t o w n ' s s o c i a l

v e r m i n k e n h e t l a n d s c h a p e n jij k a n je v r i j d a g s k l e m z u i p e n ' ) .

a n d c u l t u r a l life h a d r e v o l v e d f o r a l m o s t 140 y e a r s . T h e a b a n d o n e d s i t e w a s

In 1 9 8 0 , in h e t k a d e r v a n e e n v e r r e g a a n d e p r i v a t i s e r i n g , w e r d d e f a b r i e k

' l a n d s c a p e d ' a n d t h e beautiful c o u n t r y l o c a t i o n is n o w b e g i n n i n g to attract

g e s l o t e n (één v a n de e e r s t e d i n g e n die T h a t c h e r na haar a a n t r e d e n b e w e r k s t e l -

tourists. T h e n u m e r o u s a t t e m p t s to b r i n g n e w f i r m s to C o n s e t t h a v e finally

ligde). C o n s e t t w e r d w e r k l o o s , e n verloor de spil w a a r het s o c i a l e e n culture

r e s u l t e d in t h e e s t a b l i s h m e n t of D e r w e n t V a l l e y F o o d s , m a n u f a c t u r e r s of

l e v e n in d e s t a d bijna 1 4 0 jaar l a n g o m h a d g e d r a a i d . C o n s e t t v i e l t e n p r o o i a a n

P h i l e a s F o g g t o r t i l l a c h i p s . T h e f i r m o n l y e m p l o y s c h e a p l a b o u r (i.e. w o m e n ) ,

w a t in h e t E n g e l s zo m o o i ' l a n d s c a p i n g ' h e e t ; z e g m a a r d e h e r i n r i c h t i n g v a n h e t

w h o e a r n l e s s t h a n w h a t t h e m e n r e c e i v e d t e n y e a r s a g o in t h e s t e e l w o r k s .

l a n d s c h a p . D o o r d e fraaie landelijke ligging k o m e n er n u t o e r i s t e n . D e talloze

A n d the e x p e n s i v e ' y u p p i e c h i p s ' are not o n sale in C o n s e t t .

p o g i n g e n o m n i e u w e bedrijven naar C o n s e t t te h a l e n , h e b b e n uiteindelijk g e r e s u l t e e r d in d e v e s t i g i n g v a n D e r w e n t V a l l e y F o o d s , p r o d u c e n t v a n P h i l e a s F o g g tor-

The project

t i l l a - c h i p s . H e t bedrijf n e e m t a l l e e n g o e d k o p e a r b e i d s k r a c h t e n ( l e e s : v r o u w e n ) in

J u l i a n G e r m a i n c a m e to C o n s e t t f o r t h e first t i m e in 1 9 8 4 w h i l e still a s t u d e n t at L o n d o n ' s R o y a l C o l l e g e o f A r t . H e h a d t h e i d e a o f d o i n g a o n T h a t c h e r ' s a l l e g e d ' e c o n o m i e m i r a c l e ' a n d d e c i d e d initially to

report

d i e n s t , d i e e r m i n d e r v e r d i e n e n d a n w a t d e m a n n e n t i e n jaar g e l e d e n in d e s t a a l f a b r i e k o n t v i n g e n . E n d e d u r e ' y u p p i e - c h i p s ' w o r d e n in C o n s e t t n i e t v e r k o c h t .

photograph

m a i n l y t h e e m p t i n e s s : t h e e m p t y s i t e w i t h its k i l o m e t r e s of p e r i m e t e r f e n c e . He returned in 1987 a n d c o n c e n t r a t e d m o r e o n the inhabitants a n d the

Het project In 1 9 8 4 k w a m J u l i a n G e r m a i n , t o e n n o g s t u d e r e n d e a a n h e t R o y a l C o l l e g e of

m o d e r n i s a t i o n o f t h e t o w n , w i t h its n e w s u p e r m a r k e t s , n i g h t c l u b s a n d r e a l -

A r t in L o n d e n , v o o r h e t e e r s t in C o n s e t t . Hij w i l d e v e r s l a g d o e n v a n é é n v a n T h a t -

estate offices.

chers v e r m e e n d e ' e c o n o m i s c h e w o n d e r e n ' en besloot aanvankelijk o m vooral d e l e e g t e te f o t o g r a f e r e n : h e t b r a a k l i g g e n d e l a n d m e t d e k i l o m e t e r s l a n g e a f r a s t e r i n -

W h i l e searching through Consett, G e r m a i n s t u m b l e d u p o n the p h o t o g r a p h i c w o r k of T o m m y H a r r i s . B e s i d e s b e i n g a s t e e l w o r k e r , H a r r i s

g e n . In 1 9 8 7 k w a m hij t e r u g e n r i c h t t e z i c h m e e r o p d e i n w o n e r s e n d e m o d e r n i -

w a s a l s o a free-lance p h o t o g r a p h e r for s o m e of the local n e w s p a p e r s d u r i n g

sering van de stad, zoals de n i e u w e supermarkten, nachtclubs e n kantoren van

t h e 4 0 ' s , 5 0 ' s a n d 6 0 ' s . E v e r y o n e in C o n s e t t k n e w h i m a n d h e a t t e n d e d all

' r e a l - e s t a t e ' h a n d e l a r e n , e e n s o o r t m a k e l a a r s in l a n d g o e d e r e n .

t h e i m p o r t a n t e v e n t s (like the a l r e a d y m e n t i o n e d c o n t e s t s , d a n c e e v e n i n g s ,

T i j d e n s zijn z o e k t o c h t d o o r C o n s e t t s t u i t t e G e r m a i n o p h e t f o t o g r a f i s c h e w e r k

etc.) in o r d e r t o p h o t o g r a p h t h e m . G e r m a i n d e c i d e d to i n c l u d e H a r r i s ' s

van T o m m y Harris. Harris w a s g e d u r e n d e d e jaren ' 4 0 , ' 5 0 e n ' 6 0 , naast m e t a a l -

p h o t o g r a p h s i n h i s p r o j e c t . In a d d i t i o n h e c o n c e i v e d t h e i d e a o f a l s o

a r b e i d e r , f r e e - l a n c e f o t o g r a a f bij e n k e l e p l a a t s e l i j k e n i e u w s b l a d e n , l e d e r e e n in

presentin g s o m e of the family p h o t o s a n d p o s t c a r d s , w h i c h w e r e

C o n s e t t k e n d e h e m e n hij w a s bij alle b i j z o n d e r e g e b e u r t e n i s s e n ( z o a l s d e h i e r b o -

brought

out during the m a n y conversations with the t o w n s p e o p l e , as authentic

v e n al g e n o e m d e w e d s t r i j d e n , d a n s a v o n d e n e.d.) a a n w e z i g g e w e e s t o m e r t e

historical d o c u m e n t s . There thus a r o s e s l o w l y a n d m o r e or less intuitively

f o t o g r a f e r e n . G e r m a i n b e s l o o t o m d e f o t o ' s v a n H a r r i s bij zijn p r o j e c t t e b e t r e k -

the c o n c e p t for a n exhibition a n d a b o o k , in w h i c h the v a r i o u s parts

k e n . D a a r n a a s t v a t t e hij h e t p l a n o p o m o o k e e n d e e l v a n d e f a m i l i e f o t o ' s e n

c o m b i n e e a c h in their o w n w a y t o teil t h e s t o r y of C o n s e t t .

a n s i c h t e n , die tijdens d e v e l e g e s p r e k k e n m e t d e i n w o n e r s o p tafel k w a m e n , als a u t h e n t i e k e historische d o c u m e n t e n te p r e s e n t e r e n . Z o o n t s t o n d l a n g z a a m e n o p m i n of m e e r i n t u ï t i e v e w i j z e h e t c o n c e p t v o o r e e n t e n t o o n s t e l l i n g e n e e n b o e k ,

The photography T h e exhibition a n d the book have b e e n put together f r o m five

different

p h o t o g r a p h i c s o u r c e s : the p h o t o g r a p h s by D o n M c C u l l i n that a p p e a r e d in

w a a r i n d e d i v e r s e o n d e r d e l e n s a m e n , d o c h elk o p e e n e i g e n m a n i e r , h e t v e r h a a l van C o n s e tt vertellen.

De fotografie

t h e S u n d a y T i m e s M a g a z i n e in 1974, T o m m y H a r r i s ' s p h o t o g r a p h s ,

T e n t o o n s t e l l i n g e n b o e k zijn s a m e n g e s t e l d uit vijf v e r s c h i l l e n d e f o t o g r a f i s c h e

a n o n y m o u s family snaps, p o s t c a r d s a n d the p h o t o g r a p h s by J u l i a n G e r m a i n

b r o n n e n : d e f o t o ' s v a n D o n M c C u l l i n z o a l s d i e in 1 9 7 4 in S u n d a y T i m e s M a g a -

himself. M c C u l l i n ' s p h o t o g r a p h s are d o c u m e n t s m a d e by an outsider a n d

zine w a r e n v e r s c h e n e n , T o m m y Harris' foto's, a n o n i e m e familiefoto's, ansichten

could cautiously be described as 'traditional'.

e n d e f o t o ' s v a n J u l i a n G e r m a i n z e l f . D e f o t o ' s v a n D o n M c C u l l i n zijn d o c u m e n taire ( r e p o r t a g e - ) f o t o ' s v a n e e n b u i t e n s t a a n d e r , e n m e t e n i g e v o o r z i c h t i g h e i d ' t r a ditioneel' te n o e m e n .

T h e p h o t o g r a p h s by T o m m y Harris also b e l o n g to the g e n r e of p h o t o j o u r n a l i s m , but are m o r e direct a n d m a d e w i t h the intention m e r e l y to record. His p h o t o g r a p h s are t h o s e of an insider, a n d depict a h a p p y ,

D e f o t o ' s v a n T o m m y H a r r i s b e h o r e n o o k tot h e t g e n r e v a n d e r e p o r t a g e f o t o g r a f i e , m a a r zijn d i r e c t e r , g e m a a k t m e t d c b e d o e l i n g o m s l e c h t s te r e g i s t r e r e n .

optimistic a n d satisfied c o m m u n i t y . H a r r i s a l w a y s t o o k o n l y t w o s h o t s at e a c h e v e n t a n d c u t t h e s e f r o m

the

Zijn f o t o ' s zijn d i e v a n e e n ' i n s i d e r ' , e n g e v e n e e n b e e l d v a n e e n v r o l i j k e , o p t i m i s -

rest of t h e f i l m in o r d e r to s a v e m o n e y . H e t o o k h i s p h o t o g r a p h s in t h e

tische en tevreden gemeenschap.

k n o w l e d g e that o n l y the e s s e n t i a l part of e a c h i m a g e w o u l d b e r e p r o d u c e d

H a r r i s m a a k t e p e r g e b e u r t e n i s altijd m a a r t w e e o p n a m e s , e n k n i p t e d e z e v a n

in the n e w s p a p e r ; the rest w a s m e r c i l e s s l y c r o p p e d out b y the editors, a n d

zijn rolletje af o m g e l d t e b e s p a r e n . Hij m a a k t e zijn f o t o ' s in d e w e t e n s c h a p d a t

s o h e a l w a y s p l a c e d h i s s u b j e c t in t h e c e n t r e of t h e f r a m e . P a r t l y b e c a u s e h e

v a n i e d e r e f o t o a l l e e n h e t e s s e n t i ë l e d e e l in d e k r a n t z o u w o r d e n a f g e b e e l d ; h e t

a l w a y s h a d to w o r k q u i c k l y , he n e v e r p a i d attention to w h a t w a s h a p p e n i n g

o v e r i g e w e r d d o o r d e r e d a c t i e m e e d o g e n l o o s w e g g e s n e d e n . Hij p l a a t s t e zijn

a t t h e e d g e o f t h e f r a m e . In t h i s w a y h e i n a d v e r t e n t l y c a p t u r e d

o n d e r w e r p d a n o o k altijd in h e t m i d d e n v a n d e f o t o . M e d e d o o r d a t hij altijd s n e l

t h i n g s t h a t t h e e d i t o r s at t h e t i m e r e g a r d e d a s u n i m p o r t a n t

numerous

m o e s t w e r k e n , l e t t e hij n o o i t o p h e t g e e n z i c h m e e r a a n d e r a n d v a n h e t b e e l d

i n d i s c r e e t , a s in t h e c a s e of t h e n a k e d f o o t b a l l e r ) , b u t w h i c h n o w m a k e t h e

(or e v e n

a f s p e e l d e . Z o d o e n d e f o t o g r a f e e r d e hij o n w i l l e k e u r i g t a l l o z e z a k e n d i e d e s t i j d s

photographs eve n m o r e e n g a g i n g . G e r m a i n deliberately c h o s e to

d o o r d e r e d a c t i e niet v a n b e l a n g w e r d e n g e a c h t (of z e l f s o n k i e s , z o a l s h e t in

the p h o t o g r a p h s in their entirety a n d in large f o r m a t (thus in a w a y that

g e v a l v a n d e n a a k t e voetballer), m a a r die d e f o t o ' s nu extra b o e i e n d m a k e n . G e r -

T o m m y Harris himself had never s e e n them). G e r m a i n w a s very c o n s c i o u s

m a i n k o o s e r d a a r o m o p z e t t e l i j k v o o r o m d e f o t o ' s in h u n g e h e e l e n o p g r o o t for-

of the fact that black a n d w h i t e p h o t o g r a p h s (and f a m i l y s n a p s too!) e v o k e

m a a t af t e b e e l d e n ( d u s z o a l s T o m m y H a r r i s z e zelf n o g n o o i t g e z i e n had). G e r -

f e e l i n g s of n o s t a l g i a for m a n y p e o p l e . Black a n d w h i t e prints, after a l l , m o r e

m a i n w a s z i ch z e e r b e w u s t v a n het g e g e v e n dat zwart-wit f o t o ' s (maar o o k f a m i -

easily admit a certain d e g r e e of identification a n d r e c o g n i t i o n , in contrast to

l i e f o t o ' s ! ) bij v e e l m e n s e n g e v o e l e n s v a n n o s t a l g i e o p r o e p e n . Z w a r t - w i t

c o l o u r p h o t o g r a p h s w h i c h p r o v i d e m o r e specific i n f o r m a t i o n a n d b e c a u s e of

foto's

reproduce

l a t e n i m m e r s m a k k e l i j k e r e e n z e k e r e m a t e v a n i d e n t i f i c a t i e e n h e r k e n n i n g t o e , in

their greater d e g r e e of 'authenticity' actually create d e t a c h m e n t . G e r m a i n

t e g e n s t e l l i n g tot k l e u r e n f o t o ' s , d i e m e e r s p e c i f i e k e i n f o r m a t i e g e v e n e n d o o r h u n

has deliberately ' u s e d ' t h e s e v a r i o u s effects of black a n d w h i t e a n d c o l o u r

grotere m a t e v a n ' e c h t h e i d ' juist afstandelijkheid c r e ë r e n . G e r m a i n heeft d e z e

p h o t o g r a p h y in o r d e r to m a k e t h e o p t i m i s t i c a n d h a p p y a u r a of H a r r i s ' s

verschillende effecten van kleuren- en zwart-wit fotografie met opzet 'gebruikt'

p h o t o g r a p h s contrast w i t h the c o o l , hard c o l o u r s of his o w n w o r k (with their

o m d e o p t i m i s t i s c h e e n vrolijke uitstraling van Harris' f o t o ' s te d o e n c o n t r a s t e r e n

rough , u n p o l i s h e d steel frames).

m e t d e k o e l e e n h a r d e k l e u r e n v a n zijn e i g e n f o t o ' s (op d e t e n t o o n s t e l l i n g in r u w e , o n g e p o l i j s t e s t a l e n lijsten).

G e r m a i n ' s p h o t o g r a p h s include portraits of isolated individuals , usually s h o w n full-length, p e n s i v e , staring or w i t h d r a w n into t h e m s e l v e s . A y o u n g

G e r m a i n s f o t o ' s b e s t a a n o n d e r m e e r uit p o r t r e t t e n v a n g e ï s o l e e r d e i n d i v i d u e n ,

c o u p l e is c y n i c a l l y d e p i c t e d i n f r o n t o f a f u n e r a l p a r l o u r . E l s e w h e r e a

v e e l a l t e n v o e t e n uit g e f o t o g r a f e e r d , p e i n z e n d , s t a r e n d of in z i c h z e l f t e r u g g e t r o k -

h u s b a n d s t a n d s d e f e a t e d l y a n d w i t h h i s h a n d s i n h i s p o c k e t s , g a z i n g at

k e n . O p c y n i s c h e w i j z e is e e n j o n g paartje v o o r d e e t a l a g e v a n e e n d o o d g r a v e r

s o m e family photos hanging crookedly on the wall.

a f g e b e e l d . E l d e r s s t a a t e e n h u i s v a d e r v e r s l a g e n e n m e t d e h a n d e n in d e z a k k e n naar e n k e l e s c h e e f a a n d e m u u r h a n g e n d e f a m i l i e f o t o 's te kijken.

T h e p a u c i t y of titles a c c o m p a n y i n g G e r m a i n ' s p h o t o g r a p h s p r o v i d e n o f u r t h e r i n f o r m a t i o n a b o u t w h a t is b e i n g d e p i c t e d . T h e y are o n l y t h e r e to

D e w e i n i g e t i t e l s bij d e f o t o ' s v a n G e r m a i n g e v e n g e e n n a d e r e s p e c i f i c a t i e

u n d e r l i n e t h e s y m b o l i s m c o n t a i n e d i n t h e p h o t o g r a p h s : A Museum, Jobs,

zijn e r s l e c h t s o m d e s y m b o l i e k in d e f o t o ' s t e o n d e r s t r e p e n : A Museum;

p l a y at l e a s t a s l a r g e a r o l e i n G e r m a i n ' s w o r k a s f a c t u a l r e c o r d i n g . T h r o u g h

Jobs;

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w e r k v a n G e r m a i n e e n m i n s t e n s e v e n g r o t e rol t e s p e l e n a l s f e i t e l i j k e

registratie.

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v a n h e t g e e n is a f g e b e e l d , z o a l s bij d e t r a d i t i o n e l e d o c u m e n t a i r e g e b r u i k e l i j k i s . Zij

S y m b o l i s m s e e m s to

subject c h o i c e (such as a b us shelter w i t h a b r o k e n w i n d o w ) , u s e of colour , the ' c h a r a c t e r s ' p o s e s , c a m e r a a n g l e a n d the like, G e r m a i n m a n a g e s to

D o o r o n d e r w e r p s k e u z e ( z o a l s b i j v o o r b e e l d e e n a b r i m e t e e n g e b a r s t e n ruit), h e t

e m p h a s i s e in a subtle w a y the d e s o l a t i o n a n d u g l i n e s s of Consett. T h e

gebruik van kleur, p o s e v a n d e ' p e r s o n a g e s ' , s t a n d p u n t e . d . , w e e t G e r m a i n d e

s o m e t i m e s lightly ironical t o n e of his w o r k t e n d s to d e v i a t e s o m e w h a t

t r o o s t e l o o s h e i d e n l e l i j k h e i d v a n C o n s e t t o p s u b t i e l e w i j z e in zijn f o t o ' s te b e n a -

d o c u m e n t a r y p h o t o g r a p h y ' s u n w r i t t e n r u l e s , o r w h a t o n e m i g h t c a l l its

d r u k k e n . D e s o m s licht i r o n i s e r e n d e v o r m v a n zijn w e r k w i j k t n o g a l af v a n d e

' c o d e s ' , w h i c h a r e a i m e d at t h e s u g g e s t i o n o f a c e r t a i n d e g r e e o f

( o n g e s c h r e v e n ) r e g e l s d i e g e l d e n in d e c o n v e n t i o n e l e d o c u m e n t a i r e f o t o g r a f i e .

o b j e c t i v i t y o r d i s t a n c e o n t h e part of t h e p h o t o g r a p h e r in r e s p e c t of h i s

D e z e r e g e l s - m e n s p r e e k t o o k w e l v a n ' c o d e s ' - zijn g e r i c h t o p d e s u g g e s t i e

s u b j e c t . It i s p r e c i s e l y b e c a u s e t h e y d e p a r t f r o m t h e s e r u l e s a n d f r o m

v a n e e n z e k e r e m a t e v a n n e u t r a l i t e i t , o b j e c t i v i t e i t of a f s t a n d e l i j k h e i d (van d e

c o n v e n t i o n s , that the v i e w e r b e c o m e s c o n s c i o u s that the

from

neutrality, formal

photographs

m a k e r t e n o p z i c h t e v a n zijn o n d e r w e r p ) . H e t is juist d o o r d a t zij a f w i j k e n v a n d e z e

represent not so m u c h a particular situation as a particular point of v i e w

' r e g e l s ' , v a n d e c o n v e n t i o n e l e v o r m , dat je a l s kijker e r v a n b e w u s t w o r d t d a t d e

about that situation.

f o t o ' s niet z o z e e r e e n b e p a a l d e situatie, a l s w e l e e n b e p a a l d e visie o p die situatie verbeelden. D o o r het naast elkaar plaatsen van d e v e r s c h i l l e n d e s o o r t e n fotografie stelt G e r m a i n tenslotte hun afzonderlijke aanspraken o p authenticiteit e n historische w e r k e l i j k h e i d binnen Steelworks

By j u x t a p o s i n g different t y p e s of p h o t o g r a p h y G e r m a i n b r i n g s u p for d i s c u s s i o n their separate c l a i m s to authenticity a n d historical reality

de presentatie

zelf t e r d i s c u s s i e .

plaatst v e r s c h i l l e n d e verhalen naast elkaar. S a m e n v o r m e n die

verhalen middels foto's een visueel d o c u m e n t van d e geschiedeni s van Consett.

the presentation Steelworks

within

itself. juxtaposes various stories, w h i c h together form a visual

d o c u m e n t of C o n s e t t ' s h i s t o r y . N o t a d o c u m e n t in the t r a d i t i o n a l s e n s e , but o n e that b e s i d e s a n a e s t h e t i c p r e s e n t a t i o n a n d a critical c o m m e n t a r y is a l s o m e a n t to be a part of that history

itself.

G e e n d o c u m e n t in d e t r a d i t i o n e l e z i n , m a a r e e n d o c u m e n t d a t n a a s t e e n e s t h e t i s c h e presentatie en e e n kritisch c o m m e n t a a r ook e e n o n d e r d e e l van die g e s c h i e d e n i s z e l f w i l zijn.

Noten 1 John Tagg. 'The Buiden of Representation'. Londen. 1988, MacMillan Education Ltd., p 65 2 Bas Vroege, Hripsimé Visser, 'OP-Positions, Commitment and cultural identity in contemporary photography from Japan, Canada, Brazil, The Soviet Union and The Netherlands', Rotterdam, 1990, 010 Publishers, p.11 3 Julian Germain, 'Steelworks. Consett, from steel to tortilla chips'. Londen, 1990, Why Not Publishing. p 83 Het boek bevat naast alle foto's van de tentoonstelling teksten van onder meer een voormalig fabrieksarbeider leen tekst uit 1937). van de in Consett woonachtige schrijver/fotograaf Martin Herron en van journalist Hunter Davies (de tekst van het Sunday Times Magazine artikel uit 1974) Foto's en teksten worden in het boek op een heldere manier afgewisseld Sommige foto's zijn helaas ondergeschikt gemaakt aan de vormgeving en daardoor wel érg klein afgebeeld Overigens is Steelworks een boeiend en bovendien (misschien iets tè| mooi vormgegeven document van een geschiedenis die zich makkelijk ook elders had kunnen afspelen (zoals in het Ruhrgebied in Duitsland, of in de Limburgse mijnstreek in Nederland)

Notes 1. John Tagg, 'The Burden of Representation', London, 1988, MacMillan Education, p.65. 2. Bas Vroege, Hripsimé Visser, 'OP-Positions, Commitment and cultural identity in contemporary photography from Japan, Canada, Brazil, The Soviet Union and The Netherlands', Rotterdam, 1990, 010 Publishers, p.11. 3. Julian Germain, 'Steelworks, Consett, from steel to tortilla chips', London, 1990, Why Not Publishing, p.83. Besides all the photographs in the exhibition, the book includes articles by a former steelworker (written in 1937), by the writer and photographer Martin Herron who lives in Consett and by the journalist Hunter Davies (the article which originally appeared in the Sunday Times Magazine in 1974). Photographs and texts alternate in a clear way, although some of the pictures are unfortunatery subordinated to the design and reproduced in extremely small format. Apart from that, 'Steelworks' is an exciting and beautifully designed (a bit too beautifully perhaps) document of a history which easily could have happened somewhere else (such as the Ruhr region in Germany or the mining area in the south of Holland).

Julian

Germain

Zonder titel/untitled, 1990

Tommy

Harris

zonder titel/untitle d (zonder datum/no date)

anon. snapshots (zonder datum/no date)

Julian

Germain

Een terrein/A Site, 1990

Julian

Germain

Bushalte in Consett. Gemaakt van Italiaans staal Consett bus station. Built w i t h Italian steel , 1990

Julian

Germain

Zonder titel/untitled , 1990

Frits Gierstberg

THE BALLAD OF SEXUAL DEPENDENCY NANGOLDIN 'I d o n ' t e v e r w a n t t o l o s e t h e r e a l m e m o r y of a n y o n e a g a i n ' , w r o t e N a n G o l d i n in t h e i n t r o d u c t i o n t o The Ballad

of Sexual

Dependency\

'Ik w i l nooit m e e r d e w e r k e l i j k e h e r i n n e r i n g a a n i e m a n d k w i j t r a k e n ' , schrijft N a n

It h a d h a p p e n e d

G o l d i n in d e inleiding v a n The Ballad of Sexual

Dependency'.

H e t w a s haar é é n k e e r

t o h e r o n c e : a f t e r h e r o l d e r s i s t e r c o m m i t t e d s u ï c i d e at t h e a g e of 1 8 ; s h e c o u l d

o v e r k o m e n : haar o u d e r e z u s , d i e o p achttien-jarige leeftijd z e l f m o o r d p l e e g d e , k o n zij

n o t r e m e m b e r h e r , at a n y rate n o t h e r v o i c e , h e r e y e s o r h o w s h e l o o k e d . W h e n

z i c h later niet m e e r h e r i n n e r e n , a l t h a n s niet m e e r haar s t e m , haar o g e n , haar uitstra-

N a n h e r s e l f w a s 18 s h e b e g a n m a k i n g a p h o t o g r a p h i c d i a r y . T h i s d i a r y b e c a m e ' a

ling. T o e n N a n zelf a c h t t i e n w a s , b e g o n zij m e t het m a k e n v a n e e n f o t o g r a f i s c h d a g -

b o a r d t o p i n h e r m e m o r i e s o n ' ; l o o k i n g at p h o t o s r e s t o r e d t h e p a s t , t h e

b o e k . Dit d a g b o e k w e r d voor haar e e n ' p r i k b o r d v o o r het g e h e u g e n ' ; het b e k i j k e n van

a t m o s p h e r e of the t i m e , the s o u n d s , the v o i c e s , the s m e l l s , e v e n the s e n s e of the

d e f o t o ' s uit het v e r l e d e n bracht (en brengt) d e s f e e r v a n d e s t i j d s , d e g e l u i d e n e n d e

p h y s i c a l p r e s e n c e of h e r f r i e n d s . T h e d i a r y b e c a m e a m e a n s t o h a v e c o n t r o l o v e r

s t e m m e n , d e g e u r e n , z e l f s het g e v o e l v a n d e f y s i e k e a a n w e z i g h e i d v a n haar v r i e n d e n

her o w n life.

terug in d e h e r i n n e r i n g . H e t d a g b o e k w e r d e e n m i d d e l o m c o n t r o l e o v e r haar e i g e n l e v e n te h o u d e n .

G o l d i n a n d h e r f r i e n d s l i v e ( d) in a w a y t h a t is f r e e of all b o u r g e o i s c o n v e n t i o n s : t h e y l i v e f o r t h e m o m e n t , a n d g o in f o r e x c e s s e s a n d a b a n d o n ; t h e y

G o l d i n e n haar v r i e n d e n leid(d)en e e n l e v e n o p e e n m a n i e r d i e h a a k s staat o p

don't h a v e a n y belief in the future a n d they e x p e r i m e n t w i t h relations a n d w i t h

i e d e r e burgelijke c o n v e n t i e : e e n l e v e n v o o r het m o m e n t , m e t o v e r g a v e , u i t s p a t t i n g e n ,

s e x , a l c o h o l a n d d r u g s . G o l d i n h e r s e l f is n o t t h e o n l y p e r s o n in h e r c i r c l e o f

z o n d e r e e n g e l o o f in d e t o e k o m s t e n v o l v a n e x p e r i m e n t e n m e t relaties, s e x , a l c o h o l

f r i e n d s w h o h a s l a n d e d u p in a d r u g s r e h a b i l i t a t i o n c e n t r e . A n u m b e r o f h e r

e n d r u g s . G o l d i n zelf is niet d e e n i g e uit haar v r i e n d e n k r i n g d i e in e e n a f k i c k c e n t r u m

f r i e n d s f r o m The Ballad

b e l a n d d e . E e n aantal v a n h a a r v r i e n d e n uit The Ballad

h a v e d i e d in t h e m e a n t i m e , s o m e o f t h e m o f A I D S .

T h e p h o t o s are an u n c o m p r o m i s i n g e x p o s u r e of the intimate s i d e of p e r s o n a l r e l a t i o n s , o f l o v e , f r i e n d s h i p a n d s u f f e r i n g . N a n G o l d i n p l a c e s h e r s e l f in t h e m i d s t of w h a t s h e calls 'her f a m i l y of friends'. Her c a m e r a r e c o r d s t h e m v e r y directly,

is i n m i d d e l s o v e r l e d e n , s o m m i -

g e n aan A I D S . D e f o t o ' s l e g g e n o n o m w o n d e n d e intimiteit van p e r s o o n l i j k e relaties, v a n liefde, v r i e n d s c h a p e n leed bloot. N a n G o l d i n b e v i n d t z i c h t e m i d d e n van w a t zij n o e m t haar

w i t h o u t f l a t t e r y o r o m i s s i o n s . E a c h o n e o f t h e s e p h o t o s is m o v i n g . P e r h a p s t h e

'familie v a n v r i e n d e n ' . Haar c a m e r a registreert h e e l direct, z o n d e r t e flatteren of w e g

m o s t m o v i n g o f t h e m is t h e s e l f - p o r t r a i t i n w h i c h s h e s t a r e s i n t o t h e c a m e r a w i t h

te laten. D e f o t o ' s zijn s t u k v o o r s t u k a a n g r i j p e n d , het zelfportret w a a r i n zij m e t b l a u w e

b r u i s e s o n h e r f a c e a n d a b l o o d s h o t e y e , after s h e h a s b e e n b e a t e n u p b y h e r

p l e k k e n in haar g e z i c h t en e e n b l o e d d o o r l o p e n o o g - in elkaar g e s l a g e n d o o r haar

b o y f r i e n d . S c è n e s in h o t e l r o o m s , o n t h e b e a c h , in c a f é s - in t h e E a s t V i l l a g e i n

vriend- in d e c a m e r a staart m i s s c h i e n w e l het m e e s t . S c è n e s in h o t e l k a m e r s , o p het

N e w Y o r k , B o s t o n , P r o v i n c e t o w n , L o n d o n a n d Berlin - o n e after a n o t h e r , t h e y

s t r a n d , in c a f é ' s - in N e w Y o r k s E a s t V i l l a g e , B o s t o n , P r o v i n c e t o w n , L o n d e n e n Berlijn-

c a t c h o u r a t t e n t i o n ; s c è n e s o f p e o p l e e a t i n g , p a r t y i n g , m a k i n g l o v e o r c r y i n g ; in

p a s s e r e n d e r e v u e ; s c è n e s v a n f e e s t e n d e , e t e n d e , vrijende e n v a n h u i l e n d e m e n s e n ;

t h e b a t h o r l y i n g in b e d ; t a l k i n g o r k i s s i n g ; a l o n e , m a s t u r b a t i n g o r j u s t s t a r i n g

b a d e n d of liggen d in b e d ; p r a t e n d of z o e n e n d ; a l l e e n , m a s t u r b e r e n d of v o o r z i c h uit

s t r a i g h t in f r o n t o f t h e m ; s h o w i n g t h e i r s c a r s , t h e i r b r u i s e s o r t h e i r t a t o o s ; e x c e p t

s t a r e n d ; littekens, b l a u w e p l e k k e n of t a t o e a g e s t o n e n d ; m e t u i t z o n d e r i n g v a n G o l d i n s

f o r G o l d i n ' s p a r e n t s , t h e s e p e o p l e a r e all a g e d b e t w e e n 2 0 a n d 4 0 .

o u d e r s a l l e m a a l in d e leeftijd e r g e n s t u s s e n d e 2 0 e n d e 4 0 jaar.

After a p e r i o d of over ten y e a r s the diary c o n t a i n e d a b o u t 700 p h o t o s . G o l d i n g a v e it t h e t i t l e The Ballad

of Sexual

Dependency.

The constantly

recurring

p r o b l e m o f r e l a t i o n s b e t w e e n m e n a n d w o m e n is c e n t r a l ; t h e s t r u g g l e

N a e e n p e r i o d e v a n m e e r d a n tien jaar b e s t o n d het d a g b o e k uit c a . 7 0 0 f o t o ' s . G o l din gaf het d e titel The Ballad of Sexual

between

Dependency.

C e n t r a a l staat het s t e e d s t e r u g -

k e r e n d e p r o b l e e m t u s s e n m a n e n v r o u w ; het g e v e c h t t u s s e n z e l f s t a n d i g h e i d e n a f h a n -

s e l f - r e l i a n c e a n d d e p e n d e n c y , t h e f a c t t h a t p e o p l e , d e s p i t e t h e all b u t i m p o s s i b l e

kelijkheid, het feit dat m e n s e n z i c h o n d a n k s d e s c h i j n b a r e o n m o g e l i j k h e i d e n h e t vaak

a n d f r e q u e n t l y d e s t r u c t i v e c h a r a c t e r o f a r e l a t i o n s h i p , s t i l l c l i n g t o e a c h o t h e r . 'I

d e s t r u c t i e v e karakter v a n e e n relatie t o c h a a n elkaar v a s t h o u d e n . 'Vaak v r e e s ik dat

a m often afraid that m e n a n d w o m e n are i r r e v o c a b l y s t r a n g e r s to e a c h other,

m a n n e n e n v r o u w e n onherroepelijk v r e e m d e l i n g e n v a n elkaar zijn, onherroepelij k o n g e -

irrevocably u n s u i t ed to e a c h other, as t h o u g h they c a m e f r o m different

schikt v o o r elkaar, alsof z e v a n v e r s c h i l l e n d e p l a n e t e n k o m e n ' , schrijft z e in The Bal-

s h e w r i t e s in The

planets',

Ballad .

lad .

G o l d i n p r e s e n t s h e r d i a r y in t h e f o r m o f a f i f t y - m i n u t e s l i d e s h o w , w i t h m u s i c

G o l d i n p r e s e n t e e r t haar d a g b o e k in d e v o r m v a n e e n vijftig m i n u t e n d u r e n d e diashow, met muziek van o.a. T h e S u p r e m e s en T h e Velvet Underground. D e z e

f r o m t h e S u p r e m e s , t h e V e l v e t U n d e r g r o u n d a n d o t h e r g r o u p s . T h i s f o r m of

v o r m v a n p r e s e n t a t i e is e s s e n t i e e l v o o r haar; d e e n k e l e foto is bij l a n g e na niet z o

p r e s e n t a t i o n is e s s e n t i a l t o h e r ; t h e s e p a r a t e p h o t o is i n n o w a y a s p o w e r f u l a s

krachtig als d e s e r i e (het boek is daarbij e e n redelijk alternatief). B o v e n d i e n overstijgt

t h e s e r i e s (a p h o t o b o o k is a l s o a r e a s o n a b l e a l t e r n a t i v e ) . In t h i s w a y h e r w o r k

het w e r k o p d e z e m a n i e r het p e r s o o n l i j k e karakter v a n het d a g b o e k . Niet alleen g e e f t

a l s o t r a n s c e n d s t h e p e r s o n a l c h a r a c t e r o f t h e d i a r y . N o t o n l y d o e s The Ballad

give

The Ballad e e n b e e l d van het l e v e n v a n haar g e n e r a t i e in d e jaren ' 7 0 e n ' 8 0 , maar

a p i c t u r e o f t h e life o f h e r g e n e r a t i o n d u r i n g t h e d e c a d e s o f t h e 7 0 s a n d t h e 8 0 s ;

c o n f r o n t e e r t d e kijker z o n d e r m e d e d o g e n m e t d e o n g e m a k k e l i j k e b o o d s c h a p dat w e l -

it a l s o c o n f r o n t s t h e v i e w e r r e m o r s e l e s s l y w i t h t h e u n c o m f o r t a b l e m e s s a g e t h a t

licht g e e n e n k e l e relatie in staat is o m d e m e n s uit zijn e e n z a a m h e i d te v e r l o s s e n .

t h e r e is m a y b e n o r e l a t i o n s h i p p o s s i b l e t h a t c a n f r e e u s f r o m o u r l o n e l i n e s s . A f t e r

N a haar revalidatie in 1 9 8 8 , m a a k t e G o l d i n talloze z e l f p o r t r e t t e n . Nie t z o z e e r o m te

h e r p e r i o d of r e h a b i l i t a t i o n , G o l d i n m a d e n u m e r o u s s e l f - p o r t r a i t s . N o t s o m u c h a s

d o c u m e n t e r e n , z o a l s in het d a g b o e k , maar o m haar identiteit t e r u g te v i n d e n . T e r u g in

d o c u m e n t a t i o n , a s i n t h e d i a r y , b u t t o r e c o v e r h e r i d e n t i t y . B a c k in N e w Y o r k s h e

N e w Y o r k m a a k t e zij e e n t w e e d e s e r i e p o r t r e t t e n v a n haar v r i e n d i n ; teder, s o m s naakt,

m a d e a s e c o n d series of portraits of her girlfriend; tender, s o m e t i m e s n a k e d , a n d

e e n e n k e l e keer s a m e n vrijend. O o k o u d e v r i e n d e n uit The Ballad k w a m e n t e r u g in d e

o n o n e o c c a s i o n m a k i n g l o v e . O l d f r i e n d s f r o m the Ballad

f o t o ' s , d e z e k e e r als m e n s e n die z i c h z i c h t b a a r uit het m o e r a s v a n h u n p r o b l e m e n

also r e a p p e a r in t h e s e

photos, this t i m e as p e o p l e w h o have visibly s t r u g g l e d to w o r k their w a y out of the m o r a s s of their p r o b l e m s , instead of s i n k i n g further into t h e m .

o m h o o g w e r k t e n , in plaats v a n er v e r d e r in te z a k k e n . G o l d i n s fotografie b e v i n d t z i c h e r g e n s t u s s e n d e s n a p s h o t e n d e m u s e u m p r i n t .

G o l d i n ' s p h o t o g r a p h y s i t u a t e s itself s o m e w h e r e b e t w e e n the s n a p s h o t a n d

Niet z o n d e r r e d e n w e e s A n d y G r u n d b e r g in T h e N e w Y o r k T i m e s bij d e b e s p r e k i n g v a n

t h e m u s e u m p r i n t . A n d y G r u n d b e r g , in h i s d i s c u s s i o n of t h e b o o k in t h e N e w

het b o e k o p d e o v e r e e n k o m s t e n m e t R o b e rt F r a n k s 77ie Americans

Y o r k T i m e s , r i g h t l y p o i n t e d t o t h e s i m i l a r i t y t o R o b e r t F r a n k ' s The

bij Frank is er s p r a k e van e e n s e r i e d o c u m e n t a i r e f o t o ' s w a a r i n d e e s t h e t i e k niet o p d e

Americans

f r o m the fifties.

uit jaren ' 5 0 . O o k 3

e e r s t e plaats staat, e n die is gericht o p het l e v e n v a n m e n s e n dat z i c h b u i t e n d e bur-

In F r a n k ' s w o r k t o o o n e c a n t a l k of a s e r i e s o f d o c u m e n t a r y p h o t o s in w h i c h t h e a e s t h e t i c e l e m e n t is n o t t h e m o s t i m p o r t a n t ; h i s w o r k a l s o f o c u s s e s o n t h e lives of p e o p l e w h o live outsid e b o u r g e o i s culture. M o r e o v e r Frank' s intentions h a v e not p r e v e n t e d later critics f r o m j u d g i n g his w o r k in p u r e l y aestheti c t e r m s . B u t t h e r e is a l s o a n i m p o r t a n t d i f f e r e n c e b e t w e e n h i s w o r k a n d t h a t of G o l d i n . N a n G o l d i n d o e s not s t a n d o u t s i d e her subjects (which of c o u r s e d o e s n ' t m e a n

gelijke cultuur a f s p e e l t . O v e r i g e n s h e b b e n F r a n k s intenties latere critici er niet v a n w e e r h o u d e n o m zijn w e r k louter in e s t h e t i s c h e t e r m e n te b e o o r d e l e n . M a a r er is o o k e e n belangrijk v e r s c h i l t u s s e n zijn w e r k e n dat v a n G o l d i n . N a n G o l din is g e e n b u i t e n s t a a n d e r (wat natuurlijk niet w i l z e g g e n dat Frank niet ' b e t r o k k e n ' w a s ) . Haar f o t o ' s k o m e n direct voort vanuit e e n relatie m e t a n d e r e n , e n niet z o z e e r vanuit e e n o b s e r v a t i e v a n h e n . ' H e t d a g b o e k is e e n v o r m van c o n t r o l e o v e r mijn l e v e n .

that Frank w a s not i n v o l v e d w i t h his). Her p h o t o s arise directly out of a relation

H e t g e e f t m e d e m o g e l i j k h e i d o m o p e e n b e z e t e n m a n i e r elk detai l v a s t t e l e g g e n . H e t

w i t h o t h e r s , a n d n o t s o m u c h o u t o f s i m p l y o b s e r v i n g t h e m c l o s e l y . ' T h e d i a r y is

stelt m e in staat o m te h e r i n n e r e n ' . 4

m y f o r m o f c o n t r o l o v e r m y l i v e . It a l l o w s m e t o o b s e s s i v e l y r e c o r d e v e r y d e t a i l . It e n a b l e s m e t o r e m e m b e r ' . 4

For curriculum vitae see page 86

Notes/Noten: 1. Nan Goldin, The Ballad of Sexual Dependency. Aperture, New York 1986, p. 9 2. The Ballad. p 7. 3. Andy Grundberg, Nan Goldin's Bleak Diary of the Urban Subculture, The New York Times, December 21, 1986, p. 33. 4. The Ballad. p. 6 Voor curriculum vitae zie pagina 86

Nan

Goldin

Van links naar rechis'from left to right Scarpota at the Knox bar, W e s t Berlin 1984 Bruce on top of French Chris, Fire Island, N.Y. 1979

Nan

Goldin

Van links naar rechts/from left to right Brian on the phone, N e w York 1981 Heart-shaped bruise, N e w York City 1980 Nan on Brian's lap, N a n ' s birthday, N e w York City 1981

Nan

Goldin

Van links naar rechts/from left to right Suzanne in The Parents' B e d , S w a m p s c o t t , M a s s . 1985 Twisting at my birthday party, N e w York City 1980 S u s a n in the buggy, P r o v i n c e t o w n , M a s s . 1976

Linda Roodenburg

EAST G E R M A N Y HANS AARSMAN

In t h e p h o t o s t h a t H a n s A a r s m a n m a d e i n 1 9 9 0 i n w h a t w a s t h e n E a s t

O p d e f o t o ' s d i e H a n s A a r s m a n in 1 9 9 0 in h e t v o o r m a l i g e O o s t - D u i t s l a n d

G e r m a n y o n the b a s i s of an a s s i g n m e n t f r o m the T e c h n i s c h e Universiteit,

m a a k t e in o p d r a c h t v a n d e T e c h n i s c h e U n i v e r s i t e i t E i n d h o v e n , is n i e t s a a n d e

E i n d h o v e n , n o t h i n g u n u s u a l is t a k i n g p l a c e .

hand.

All the critics a n d theoreticians c a n g o h o m e . N o ' m o m e n t s décisifs', n o

A l l e critici e n t h e o r e t i c i k u n n e n n a a r h u i s . G e e n ' m o m e n t s d é c i s i f s ' , g e e n

'punctums', no symbols, no involvement, no aesthetics, no atmosphere, no

'punctums', geen symboliek, gee n betrokkenheid, geen dramatiek, g e e n esthe-

f a n t a s y , n o V i s i o n o n R e a l i t y . N o t h i n g s p e c i a l , in o t h e r

tiek, g e e n s f e e r , g e e n v e r b e e l d i n g , g e e n V i s i e o p d e W e r k e l i j k h e i d . N i e t s bijzon-

words.

D o e s A a r s m a n take p h o t o s w i t h his e y e s c l o s e d ? D o e s he s q u e e z e the

ders dus.

s h u t t e r at a r a n d o m m o m e n t i n a r a n d o m l y c h o s e n p l a c e ?

F o t o g r a f e e r t A a r s m a n m e t d e o g e n d i c h t ? D r u k t hij o p e e n w i l l e k e u r i g m o m e n t o p e e n willekeurige plek op de k n o p ?

The initial impulse In h i s p r e v i o u s p h o t o p r o j e c t , Hollandse

taferelen

(Scènes of H o l l a n d ) , 1

the first s i g n s of a n e w p h o t o g r a p h i c direction c o u l d already be detected.

In zijn v o r i g e f o t o p r o j e c t ,

In t h e t e x t f o r t h e p u b l i c a t i o n w i t h t h e s a m e t i t l e , h e w r o t e a b o u t h i s i d e a of the ideal attitude for a the

photographer:

photographic

eye-catching

the

photographed.

treatment gimmicks, That

T h e p h o t o s o f Hollandse

must

no is

Aanzet taferelen^

waren de eerste tekenen van

p u b l i c a t i e s c h r i j f t hij o v e r d e w e l l i c h t i d e a l e h o u d i n g v a n d e be invisible.

self-important

carrying

special on.

composition, What

remains

'.. de fotografische

geen

all'.

Taferelen

Hollandse

e e n n i e u w e f o t o g r a f i s c h e k o e r s al te b e s p e u r e n . In d e t e k s t bij d e g e l i j k n a m i g e

in het

oog

gefotografeerde.

still rely o n the p r e v a i l i n g l a w s of

aanpak

moet

springende Verder

onzichtbaar

trucs,

geen

zijn.

interessant

Geen

fotograaf: bijzondere

gedoe.

Wat

compositie, overblijft

het

niets'.

B e r u s t e n d e f o t o ' s v a n Hollandse

Taferelen

n o g o p d e in d e f o t o g r a f i e

heer-

p h o t o g r a p h y , in w h i c h the u n u s u a l , the r e m a r k a b l e a n d the aesthetic p l a y an

s e n d e w e t t e n , w a a r i n het b i j z o n d e r e , het o p m e r k e l i j k e , e n het e s t h e t i s c h e e e n

important

b e l a n g r i j k e rol s p e l e n , in zijn s e r i e o v e r O o s t d u i t s e s t e d e n zijn d e z e n o t i e s n i e t

role; in his series a b o u t East G e r m a n cities t h e s e n o t i o n s c a n n o

longer be f o u n d .

m e e r terug te v i n d e n .

A a r s m a n tries to get rid of the w r i t t e n a n d u n w r i t t e n rules that

A a r s m a n tracht zich te bevrijden v a n d e g e s c h r e v e n e n o n g e s c h r e v e n regels

p h o t o g r a p h y m u s t o b e y if it i s t o b e t a k e n s e r i o u s l y . H i s a i m i s t o

eliminate

e v e r y s u g g e s t i o n of p r e t e n t i o u s n e s s , both in the field of f o r m a n d

content.

T h a t is a difficult task f o r s o m e o n e w h o is a n e x p e r i e n c e d

photographer,

w a a r a a n f o t o g r a f i e , w i l hij s e r i e u s g e n o m e n w o r d e n , z o u m o e t e n v o l d o e n . I e d e r e p r e t e n t i e , z o w e l o p h e t g e b i e d v a n d e v o r m , a l s v a n d e i n h o u d , w i l hij e l i m i n e r e n . V o o r e e n e r v a r e n f o t o g r a a f , b e k e n d m e t a l l e ' t r u c s ' , t h e o r i e ë n , e n t r a d i t i e s , is d a t

f a m i l i a r w i t h all the tricks of the t r a d e , the t h e o r i e s a n d traditions . P e r h a p s

e e n m o e i l i j k e o p g a v e . M i s s c h i e n is d e w e g t e r u g , n a a r e e n o n g e c o m p l i c e e r d e

the w a y back to a n u n c o m p l i c a t e d relation w i t h the m e d i u m has b e c o m e

o m g a n g m e t het m e d i u m , onmogelijk

geworden.

impossible.

Gebruiksaanwijzing der fotografie Instructions for taking photographs

I e d e r e s u g g e s t i e v a n o p z e t t e l i j k h e i d in h e t b e e l d d i e n t t e w o r d e n v e r m e d e n .

Every s u g g e s t i o n of deliberate intention in the i m a g e s h o u l d be a v o i d e d . T h a t c a l l s f o r p r e c i s i o n . B e f o r e y o u k n o w it, y o u h a v e s n a p p e d y e t

another

beautiful c o m p o s i t i o n or special m o m e n t . O r else a s y m b o l , because by

now

v i e w e r s of p h o t o s h a v e b e c o m e s o e x p e r i e n c e d in i n t e r p r e t a t i o n , t h a t t h e y will interpretate e v e r y detail of the picture a s s o m e t h i n g w i t h a s p e c i a l

D a t l u i s t e r t h e e l n a u w . V o o r d a t je h e t w e d t h e b je e e n m o o i e c o m p o s i t i e of e e n b i j z o n d e r m o m e n t te p a k k e n . O f e e n s y m b o o l , w a n t d e k i j k e r s zijn i n m i d d e l s o o k z o d a n i g g e o e f e n d in h e t i n t e r p r e t e r e n v a n f o t o ' s , d a t a c h t e r i e d e r b e e l d e l e m e n t w e l iets gezocht e n g e v o n d e n wordt. D e p o s i t i e v a n d e c a m e r a is d a a r b i j v a n g r o o t b e l a n g . D e a f s t a n d m o e t

meaning.

groot,

m a a r n i e t t é g r o o t zijn. D e m e n s e n , in v e r h o u d i n g t o t d e g e b o u w e n , n i e t t e k l e i n

T h e p o s i t i o n of t h e c a m e r a , m o r e o v e r , is of g r e a t i m p o r t a n c e . T h e

e n n i e t t e g r o o t . H u n a a n w e z i g h e i d m o e t v a n z e l f s p r e k e n d zijn. D e kijker m o e t

het

d i s t a n c e s h o u l d be big but not t o o b i g . T h e p e o p l e in relation to the

g e v o e l h e b b e n e e n t o e v a l l i g e t o e s c h o u w e r v a n e e n a l l e d a a g s t a f e r e e l t e zijn. Ide-

buildings, s h o u l d not be too s m a l l or too large. Thei r p r e s e n c e s h o u l d be

aal zijn k r u i s p u n t e n in d e s t a d . D a a r k a n d e blik ' w e g k i j k e n ' , hij w o r d t n i e t a a n a l l e

s e l f - e v i d e n t . T h e v i e w e r s h o u l d feel that he is a c h a n c e w i t n e s s of a n

k a n t e n i n g e s l o t e n d o o r g e b o u w e n . D a a r is d e k a n s o p e e n v o o r b i j g a n g e r of a u t o -

e v e r y d a y scène. C r o s s r o a d s in the city are ideal. A t a c r o s s r o a d s y o u r g l a n c e

mobiel het grootst. W a n t e e n stadsgezicht z o n d e r m e n s erop, heeft iets bela-

c a n m o v e a r o u n d ; it is n o t c l o s e d i n b y b u i l d i n g s o n a l l s i d e s . T h e c h a n c e o f

d e n s : verlatenheid. O p de vraag: w a a r o m O o s t Europa? antwoordt

a p a s s e r - b y o r a car is g r e a t e s t t h e r e . B e c a u s e a c i t y s c a p e w i t h o u t a

man:

human

Hans Aars-

b e i n g h a s s o m e t h i n g h e a v y a b o u t it: it s u g g e s t s d e s o l a t i o n . In a n s w e r t o t h e 'Er werd

question, w h y Eastern Europe, Hans A a r s m a n answers:

gebouwen 7 had buildings

been

told there.

that pedestrians Sober

colours,

walk

in large

no garish

shop

numbers windows

past and

monumental less

cars.'

der

veneld liepen.

dat

voetgangers

Sober

daar

kleurgebruik,

in groten geen

getale

schreeuwerige

langs

monumentale winkelpuien

min-

blik'.

l e d e r e e n m a g o p d e f o t o , m a a r d e d e m o c r a t i e is e i n d i g . W i e z i c h t e d i c h t bij

A n y o n e c a n b e in t h e p h o t o , but d e m o c r a c y is finite. A n y o n e w h o is

d e c a m e r a b e v i n d t , z i c h a b n o r m a a l g e d r a a g t , o p v a l t , o f n i e t t h u i s h o o r t in d e

s i t u a t e d t o o c l o s e to t h e c a m e r a o r w h o b e h a v e s a b n o r m a l l y , or is t o o

s c è n e , m a g niet m e e d o e n . N i e t s m a g d e a a n d a c h t t r e k k e n , alles e n i e d e r e e n

n o t i c e a b l e , o r d o e s n o t b e l o n g in t h e s c è n e , is n o t a l l o w e d to j o i n i n .

m o e t v o l s t r e k t v a n z e l f s p r e k e n d in h e t b e e l d p a s s e n . N i e t a l l e e n h e t

N o t h i n g m u s t a t t r a c t s p e c i a l a t t e n t i o n , e v e r y t h i n g a n d e v e r y b o d y m u s t fit i n

van d e c a m e r a dient zorgvuldig te w o r d e n g e k o z e n . O o k d e c o m p o s i t i e e n d e

t h e p i c t u r e i n a w a y t h a t is c o m p l e t e l y s e l f - e v i d e n t . N o t o n l y d o e s t h e

b e l i c h t i n g l u i s t e r e n n a u w . E e n i d e a l e b e l i c h t i n g is e e n g e l i j k m a t i g e

v i e w p o i n t of the c a m e r a h a v e to b e s e l e c t e d carefully; the c o m p o s i t i o n

and

standpunt belichting.

L i c h t is n o d i g v o o r d e s c h e r p t e d i e p t e , m a a r s c h a d u w e n zijn uit d e n b o z e . E r m o e -

e x p o s u r e a l s o call f o r p r e c i s i o n . A n i d e a l e x p o s u r e is o n e w h e r e the light is

t e n k l e u r c o n t r a s t e n zijn, o p d a t alle e l e m e n t e n z o v e e l m o g e l i j k o p z i c h z e l f b l i j v e n

e v e n . L i g h t is n e c e s s a r y to g i v e d e p t h of f i e l d , but s h a d o w s are

s t a a n e n d u s n i e t in c o n t a c t k o m e n m e t a n d e r e b e e l d e l e m e n t e n . D e c o m p o s i t i e

i n a d m i s s i b l e . T h e r e s h o u l d b e c o n t r a s t s of c o l o u r s , in o r d e r t h a t all t h e

is w e l o v e r w o g e n e n e v e n e e n s z o o n o p v a l l e n d m o g e l i j k . N i e t r o m m e l i g , d a t v a l t

e l e m e n t s r e m a i n as a u t o n o m o u s as p o s s i b l e a n d d o not therefore c o m e into

o p , m a a r u i t g e b a l a n c e e r d , w a n t d a a r zijn w e a a n g e w e n d .

c o n t a c t w i t h o t h e r e l e m e n t s o f t h e p i c t u r e . T h e c o m p o s i t i o n is s t u d i e d

and

at t h e s a m e t i m e a s u n o b t r u s i v e a s p o s s i b l e . N o t u n t i d y , b e c a u s e t h a t attracts a t t e n t i o n , but w e l l - b a l a n c e d , b e c a u s e t h a t is w h a t w e are u s e d t o . D o e s this m e a n t h a t H a n s A a r s m a n is o n l y c o n c e r n e d w i t h filling

B e t e k e n t dit d a t H a n s A a r s m a n z i c h m e t l o u t e r v l a k v u l l i n g b e z i g h o u d t ? H e b b e n zijn f o t o ' s g e e n e n k e l e i n h o u d m e e r ? Z i jn h e t s u r r e a l i s t i s c h e ' o b j e t s t r o u v é s ' waarnaar heel lang g e z o c h t is? G e l u k k i g f o t o g r a f e e r t A a r s m a n e n s c h i l d e r t hij n i e t . J e z o u zijn b e n a d e r i n g

e m p t y spaces? Don't his p h o t o s have a content any longer? A r e they just

k u n n e n i n t e r p r e t e r e n a l s v o o r t k o m e n d uit e e n g r o t e l i e f d e v o o r d e w e r k e l i j k h e i d .

surrealist 'objets t r o u v é s ' that he has spent a very long t i m e looking for?

H e t is a l s o f hij d e w e r k e l i j k h e i d z o v e e l m o g e l i j k in zijn w a a r d e w i l l a t e n , d o o r e e n

e n o r m e a f s t a n d te s c h e p p e n t u s s e n de foto e n d e m a k e r van d e foto. D e foto-

F o r t u n a t e l y A a r s m a n is a p h o t o g r a p h e r ; he d o e s n ' t m a k e p a i n t i n g s . Y o u

graaf m a a k t z i c h z e l f o n z i c h t b a a r . D e f o t o s p r e e k t v o o r z i c h z e l f . H e t e n i g e w a t

m i g h t i n t e r p r e t h i s a p p r o a c h a s b e i n g b a s e d i n a g r e a t l o v e f o r r e a l i t y . It i s

A a r s m a n d o e t is d e w e r k e l i j k h e i d d e k a n s g e v e n zijn w a r e a a r d t e t o n e n . M i s -

a s t h o u g h h e w a n t s t o a c c e p t r e a l i t y a s m u c h a s p o s s i b l e f o r w h a t it i s , b y

s c h i e n is dit e e n h e e l n a ï e v e v o o r s t e l l i n g v a n z a k e n . M a a r w e l e e n z e e r p e r s o o n -

c r e a t i n g a n e n o r m o u s d i s t a n c e b e t w e e n t h e p h o t o a n d its m a k e r . T h e

lijke e n d u s e e n p a r a d o x a l e .

p h o t o g r a p h e r m a k e s h i m s e l f i n v i s i b l e . T h e p h o t o s p e a k s f o r itself. T h e o n l y t h i n g t h a t A a r s m a n d o e s is to g i v e r e a l i t y t h e c h a n c e to s h o w its r e a l n a t u r e .

Zuivere lyriek

P e r h a p s t h i s i s a v e r y n a i v e i d e a o f t h i n g s . B u t it i s a t a n y r a t e a v e r y

H o e w e l h e t v e r g e l i j k e n v a n t w e e d i s c i p l i n e s altijd e e n h a c h e l i j k e z a a k i s ,

personal o n e and therefore paradoxical.

d r i n g t in dit v e r b a n d d e o v e r e e n k o m s t t u s s e n A a r s m a n s b e n a d e r i n g e n d e t h e o r i e ë n o v e r d e ' z u i v e r e lyriek' v a n d e V l a a m s e a v a n t g a r d e d i c h t er P a u l v a n

Pure lyricism

Ostaijen zich o p :

A l t h o u g h it i s a l w a y s i n v i d i o u s t o c o m p a r e t w o d i s c i p l i n e s , a c o m p a r i s o n

'Het

gedicht

tig,

wel

ter,

maar

heeft

geen

het gedicht. wel

het

subject,

Het

het

Ik blijft

Ik van het

is zelve

het

subject.

hoogste

goed,

Niet doch

de dichter niet het

gewich-

Ik van de

dich-

w i t h the theories of the F l e m i s h a v a n t - g a r de poet, Paul v a n Ostaijen a b o u t ' p u r e l y r i c i s m ' s u g g e s t s itself h e r e :

gedicht.'

Ihe

en:

poet,

'...ik overtuig mens;

niet eens

ik wil

tot de

als dichter,

dat de gedichten

dit is als een

verschijnen

*(1928)

aan zijn gedichten

als vrije organismen,

gekoppelde zonder

has

however,

The

der Lyriek

( 1 9 2 5 ) e n Wies

no subject,

but

the but

it is itself

poem. the

The

notion

is coupled

Moens

I of the

of myself

with

without

any

his

as poet

poems;

connection

is hardly

I want

with

H e w r o t e t h e s e t e x t s i n Gebruiksaanwijzing m a k i n g L y r i c P o e t r y ) ( 1 9 2 6 ) a n d Wies

In Nogmaals

(1928).

'Poëzie

doctoraal, met

schreef Van Ostaijen: woordkunst. noch

Poëzie

dada.

is niet:

Zij is eenvoudig

gedachte,

geest,

een

metafysische

in het

fraaie

zinnen,

who

not

the

I of

the

convincing:

poems

that

to appear

is a person

as free

who organisms,

creator.'

der Moens

Lyriek

(Instructions

for

en ik ( W i e s M o e n s a n d

myself)

In Nogmaals

poëzie 'Poetry

Zuivere fotografie

that

M a a r z o ver h o e v e n w e niet t e z o e k e n o m aan A a r s m a n v e r w a n t e g e e s t e n te

(Poetry o n c e m o r e )

= the

sentences,

art

of words.

it is not

is anchored

Poetry

intellectual

V a n Ostaijen wrote: is not:

nor

thought,

is it dada.

spirit,

It is simply

beautiful a game

with

words

metaphysics.'

Pure photography

v i n d e n . D e ' z u i v e r e f o t o g r a f i e ' t r e f f e n w e bij o u d e r w e t s e b e r o e p s f o t o g r a f e n a a n 3

poet

ideal,

later w o r k to a c h i e v e a b s o l u t e m e a n i n g l e s s n e s s a n d c o m p l e t e s e l f - e v i d e n c e .

spel

woorden.'

d i e z i c h g e h e e l b u i t e n h e t a r t i s t i e k e c i r c u i t b e v i n d e n . In ' M a d a m e d e V u e '

the

highest

In j u s t t h e s a m e w a y a s A a r s m a n d o e s n o w , V a n O s t a i j e n a i m e d i n h i s

noch

geankerd

the

their

E v e n a l s A a r s m a n n u s t r e e f d e V a n O s t a i j e n in zijn l a t e r e w e r k n a a r d e a b s o l u t e 2

It is not the

poem.'

betekenisloosheid en de volstrekte vanzelfsprekendheid. poëzie

subject.

I remains

and:

verband

schepper.'

s c h r e e f hij in r e s p e c t i e v e l i j k Gebruiksaanwijzing en

poem

momentous,

publi-

B u t w e d o n ' t h a v e to g o s o far b a c k in t i m e t o f i n d k i n d r e d s p i r i t s f or

c e e r d e A a r s m a n e e n a a n t a l f o t o ' s uit e e n b o e k d a t hij in e e n t w e e d e h a n d s b o e -

A a r s m a n . W e a l s o find this ' p u r e p h o t o g r a p h y ' in o l d f a s h i o n e d p r o f e s s i o n a l

k w i n k e l in P r a a g v o n d . H e t b o e k b e v a t f o t o ' s v a n d e g e b o o r t e p l a a t s v a n L e n i n uit

p h o t o g r a p h e r s w h o w o r k c o m p l e t e l y o u t s i d e t h e a r t c i r c u i t s . In Madame

1 9 7 0 . A a r s m a n schrijft o v e r d e f o t o g r a a f , T . B . B a c h m a n :

Vue

'De man

is een

sche

angsthazen,

graaf

mee

omgeving den

genie.

te kijken heeft

In een

die stuk om

hij een

bij zijn bevoorrechte

omgeving

voor

hem

stuk

die

bereid

te betrappen

fotografische Westerse

vermoedelijk zijn over

op ideologische

zuiverheid collega's

uitpuilt

van

de schouder

weten wordt

bureaucrati-

van de

misstappen, te bereiken,

fotoin

die

zo'n

maar

A a r s m a n p u b l i s h e d a n u m b e r of p h o t o s f r o m a b o o k that he f o u n d in a

s e c o n d - h a n d b o o k s h o p in P r a g u e . T h e b o o k c o n s i s t of p h o t o s of L e n i n ' s birthplace, dating f r o m 1970. A a r s m a n writes a b o u t the p h o t o g r a p h e r , T.B. Bachman:

zel-

'The

aangetroffen.'

man

is a genius.

bureaucratie photographer's

In h e t W e s t e n d r e i g t d e z e f o t o g r a f i e t e v e r d w i j n e n e n b i n n e n k o r t w a a r s c h i j n -

errors,

lijk o o k in O o s t E u r o p a . Z e l f s a n s i c h t k a a r t e n zijn al a r t i s t i e k v e r a n t w o o r d . D e

in an

photographic

o u d e r w e t s e k a a r t e n , w a a r v e e l o p s t a a t v o o r w e i n i g g e l d , k a n je h a a s t n e r g e n s

In an environment

toadies,

who

shoulder environment purity,

that

are

to catch like

that

doubt him

is presumably

queuing in the

this

he has

is seldom

found

act

swarming over

ideological

in achieving

privileged

with

the

of committing

succeeded in his

to look

Western

colleagues.'

m e e r k r i j g e n . Z e zijn v e r v a n g e n d o o r f r a a i e s f e e r b e e l d e n v a n a r c h i t e c t o n i s c h e d e t a i l s , in d e o c h t e n d - of a v o n d s c h e m e r i n g .

In t h e W e s t t h i s s o r t o f p h o t o g r a p h y i s t h r e a t e n i n g t o d i s a p p e a r a n d t h i s w i l l p r o b a b l y a l s o s o o n b e t h e c a s e in E a s t e r n E u r o p e . E v e n p i c t u r e

Onschuldig

postcards are artistically s o u n d . T h e old f a s h i o n e d cards, w h e r e y o u get a

A f g e z i e n v a n d e p a r a d o x a l e s i t u a t i e w a a r i n A a r s m a n v e r k e e r t , hij m o e t v e e l

lot in y o u r p i c t u r e f o r v e r y little m o n e y a r e h a r d l y p o s s i b l e to f i n d a n y

m o e i t e d o e n o m e e n r e s u l t a a t t e k r i j g e n d a t s c h i j n b a a r m o e i t e l o o s t o t s t a n d is

longer. T h e y h a v e b e e n r e p l a c e d by s p l e n d i d l y a t m o s p h e r i c pictures of

g e k o m e n , h e e f t hij e c h t e r m e t e e n n o g v e e l g r o t e r p r o b l e e m te k a m p e n . N i e t

a r c h i t e c t u r a l d e t a i l s , t a k e n at d a w n o r s u n s e t .

a l l e e n d e d i e p i n g e s l e p e n f o t o g r a f i s c h e t r a d i t i e s m o e t hij o v e r w i n n e n , m a a r o o k

Innocence

de invloed van de context waarin ze gepresenteerd w o r d e n . Ze w o r d e n tentoong e s t e l d in e e n k u n s t c o n t e x t , o p d e K u n s t R A I , w a a r d o o r z e o o k m e t K u n s t o g e n b e k e k e n zullen w o r d e n .

Q u i t e a p a r t f r o m t h e p a r a d o x i c a l s i t u a t i o n A a r s m a n f i n d s h i m s e l f i n , it m u s t cost h i m a great d e a l of effort to a c h i e v e a result that c a m e a b o u t

W a t te d o e n als z e hier b e j u b e l d e n b e w i e r o o k t w o r d e n ?

a p p a r e n t l y w i t h o u t effort. H o w e v e r h e h a s a n e v e n g r e a t e r p r o b l e m to d e a l

H e t e n i g e w a t H a n s A a r s m a n d a n h o e f t te z e g g e n is d a t hij d a a r n i e t s a a n k a n

w i t h . It i s n o t o n l y d e e p l y i n g r a i n e d p h o t o g r a p h i c t r a d i t i o n s t h a t h e h a s t o

d o e n , d a t d a t zijn s c h u l d n i e t i s . Hij h e e f t g e p r o b e e r d o m z o g e w o o n m o g e l i j k t e

o v e r c o m e , but a l s o the influence of the context in w h i c h his w o r k s are

b l i j v e n . H o l l a n d s e r k a n h e t niet.

s h o w n . T h e y a r e s h o w n in a n art c o n t e x t , in t h e K u n s t R A I , w h i c h m e a n s t h a t

M a a r h e t is natuurlijk w e l b i j z o n d e r d a t i e m a n d z o v r e s e l i j k zijn b e s t d o e t o m i e t s

t h e y h a v e to b e l o o k e d at w i t h A r t E y e s .

te m a k e n d a t N i e t s B i j z o n d e r s i s .

W h a t c a n o n e d o if h e i s p r a i s e d t o t h e s k y h e r e ? If t h a t h a p p e n s , H a n s A a r s m a n c a n s a y t h a t t h e r e i s n o t h i n g h e c a n d o

Noten: 1 'Hollandse taferelen' , Hans Aarsman. Uitg. Fragment Amsterdam 1989. 2. Zie: Paul van Ostayen, Verzameld werk/Proza II. Uitg. De Sikkel/Daamen N V / G A . van Oorschot, 1956. Pag.311 e.v. 3. 'Madame de Vue', (voorheen 'Plaatwerk'). Jaargang 1, nr 1 december 1990

Y o u c a n ' t g e t m o r e D u t c h t h a n t h a t . B u t it is o f c o u r s e r a t h e r s p e c i a l t h a t s o m e o n e t r i e s s o h a r d t o d o h i s b e s t t o m a k e s o m e t h i n g t h a t is N o t h i n g Special. Noten: 1. 2. P. 3.

Voor curriculum vitae zie pagina 86

about

it, t h a t it i s n o t h i s f a u l t . H e h a s t r i e d t o r e m a i n a s o r d i n a r y a s p o s s i b l e .

Hans Aarsma, Hollandse Taferelen, 1989, Amsterdam, Fragment. See: Paul van Ostayen, Verzameld werk/Proza II, 1956, De Sikkel/Daamen N.V./G.A. van Oorschot, 311 Madame de Vue, Jaargang 1, No. 1, 1990, Amsterdam. For curriculum vitae see page 86

Hans

Aarsman

Frankfurt am Oder, 1990 urtesy Galerie Fotomania, Rotterdam)

Hans

Aarsman

Potsdam, 1990 (courtesy Galerie Fotomania, Rotterdam]

Hans

Aarsman

Plauen, 1990 (courtesy Galerie Fotomania, Rotterdam)

Hans

Aarsman

Oost-Berlijn, 1990 (courtesy Galerie Fotomania, Rotterdam)

Frits Gierstberg

NO MOR E PHOTO'S, P L E A S E ! Masterpieces and

other

of the art of collections

photography

of Joachim

Meesterwerken

Schmid

en andere

der

collecties

fotokunst van Joachim

Schmid

A hundred and fifty years is long enough. With all the photos

Honderdvijftig jaar is lang genoeg. Met alle foto's die in de loop

taken over the last century and a half, we would be able to

van de afgelopen anderhalve eeuw zijn gemaakt, kunnen we het

cover the whole surface of the earth several times over. It is

aardoppervlak enkele malen bedekken. Het is niet ondenkbaar,

not inconceivable that within not too long a time the quantity

dat we binnen niet al te lange tijd letterlijk door die enorme

of photos will be so enormous that we will literally have to

hoeveelheid foto's moeten waden, en dat zij tenslotte tot aan

wade through them, and that in the end they will reach our

onze lippen zal stijgen.

lips. What is more, photography is particularly harmful for the

Fotograferen is bovendien bijzonder milieu-onvriendelijk; foto's

environment; photos are usually printed on plastic and contain

zijn veelal van plastic vervaardigd en bevatten schadelijke

harmful chemicals, including a number of heavy metais (such

chemicaliën (waaronder zilververbindingen!) Het lijkt daarom niet

as silver!). For this reason it would seem to be irresponsible

langer verantwoord om door te gaan met het dagelijks

to continue producing enormous quantities of photos every

produceren van grote aantallen foto's. Zeker niet wanneer we

day. This is certainly true if we realize that we by no means

beseffen dat onze oude foto's nog lang niet ten volle zijn benut.

make adequate use of our old photos.

Om é é n en ander in goede banen te leiden is vorig jaar in

The Institut zur Wiederaufbereitung von Altfotos (the Institute

Berlijn het Institut zur Wiederaufbereitung von Altfotos (Instituut

for Recycling Old Photos) was founded in Berlin last year in

voor Hergebruik van Oude Foto's) opgericht. Tegen geringe

order to put things on the right course. For a small amount of

kosten kan men hier zijn oude zwart-wit- en kleurenfoto's,

money people can bring here their old black and white and

negatieven, in onbruik geraakte dia's, automaatfoto's,

colour photos, negatives, slides that are no longer needed,

proefstroken en kontaktafdrukken kwijt. De niet meer voor

photos from photo booths, test strips and contact prints. The

hergebruik in aanmerking komende beelden worden op

pictures that are not accepted for recycling, are then

professionele wijze, dat wil zeggen milieuvriendelijk, verder

processed in a professional, that is, ecologically harmiess

verwerkt.

manner. J o a c h i m S c h m i d , p h o t o collector a n d f o u n d e r of the institute, h a s b e e n

J o a c h i m S c h m i d , f o t o v e r z a m e l a a r e n o p r i c h t e r v a n h e t i n s t i t u u t , h o u d t z i c h al

active for m a n y y e a r s in the field of o l d p h o t o s . H e h a s b o u g h t u p great

j a r e n d r u k b e z i g m e t o u d e f o t o ' s . O p v l o o i e n m a r k t e n e n bi) u i t d r a g e r i j e n k o c h t hij

quantities of o l d f a m i l y p h o t o s , s o m e t i m e s w h o l e a l b u m s in flea m a r k e t s

g r o t e a a n t a l l e n o u d e f a m i l i e f o t o ' s , s o m s o o k h e l e a l b u m s . Zijn w e r k b e s t a a t uit

and s e c o n d hand shops. His work consists of arranging these photos

het t h e m a t i s c h e n stilistisch o r d e n e n e n v e r v o l g e n s z o r g v u l d i g o p p l a k k e n v a n d i e

a c c o r d i n g t o t h e m e a n d s t y l e a n d t h e n c a r e f u l l y m o u n t i n g t h e m . In t h i s w a y

f o t o ' s . In d e l o o p d e r tijd h e e f t hij o p d e z e w i j z e e e n c o m p l e e t a r c h i e f a a n g e l e g d ,

he h a s in t h e c o u r s e of t i m e e s t a b l i s h e d a n entire a r c h i v e , w i t h a w e a l t h of

m e t e e n s c h a t a a n b e e l d m a t e r i a a l . Ik z o c h t h e m o p i n B e r l i j n

visual material. I visited h i m in Berlin. Schmid: Schmid: real

artist

'Taking

is the one who

photos

in order

sound

ecologically

material

photos

aspect

to create

knows new

speaking, to the

has become how contexts because

a totally

to exploit

superfluous the poetic

and ideas. one's

attention

That

activity. possibilities

is also is shifted

much from

The of

old

more the

conceptual.'

A short visit to t h e a r c h i v e m a k e s c l e a r h o w f a s c i n a t i n g o l d f a m i l y

naar

is degene

ten,

die nieuwe

want

'Zelf

de aandacht

fotograferen

is geheel

die de poëtische contexten verplaatst

en ideeën zich

overbodig

mogelijkheden schept

geworden.

van oude

foto's

Dat is ook veel

van het materiele

naar

het

De ware weet

kunstebenut

milieuvriendelijker, conceptuele

E e n korte e x c u r s i e d o o r het archief leert h o e f a s c i n e r e n d d e o u d e familiefot o ' s zijn. W e z i e n o n t e l b a r e f o t o ' s v a n g e l i e f d e n , v a n d a m e s bij e e n a u t o , v a n

photos

f a m i l i e s a a n t a f e l o f v o o r h e t h u i s , v a n k i n d e r e n bij d e k e r s t b o o m , v a n h o n d e n .

are. W e s e e c o u n t l e s s p h o t o s of lovers, of w o m e n s t a n d i n g beside a car, of

N i e t a l l e e n d e o n d e r w e r p e n h e r h a l e n z i c h , o o k d e m a n i e r w a a r o p ZIJ i n b e e l d zijn

f a m i l i e s at t h e t a b l e o r i n f r o n t o f t h e i r h o m e , o f c h i l d r e n a r o u n d t h e

g e b r a c h t , blijkt v a a k d e z e l f d e e n i s a l s n e l a a n l e i d i n g v o o r a l l e r l e i b e s p i e g e l i n g e n :

C h r i s t m a s tree, of d o g s . N o t o n l y d o t h e s u b j e c ts recur; the w a y in w h i c h

w a a r o m w o r d t h e t v r i e n d i n n e t j e altijd in e e n w e i d e g e f o t o g r a f e e r d ? W a a r o m

t h e y a r e p h o t o g r a p h e d is o f t e n t h e s a m e , a fact w h i c h l e a d s t o a l l k i n d s of

l a t e n m e n s e n z i c h z o g r a a g a f b e e l d e n w a n n e e r zij t o t a a n d e k n i e ë n i n z e e s t a a n ?

s p e c u l a t i o n : w h y are girl friends a l w a y s p h o t o g r a p h e d in a m e a d o w ? W h y

E n w a a r o m t o c h altijd o p d i e t r a p ? B i j z o n d e r o o k zijn d e f o t o ' s v a n in s p a n n e n d

o n d e r g o e d g e s t o k e n e c h t g e n o t e s , d i e n a a s t d e s c h e m e r l a m p of o p h e t o r a n j e

d o p e o p l e like s o m u c h to b e d e p i c t e d s t a n d i n g in t h e s e a u p to their k n e e s ?

b a n k s t e l v e r l e i d e l i j k e p o s e s a a n n e m e n . D e e n e k e e r is h e t b e e l d v a n a n d e r m a n s

A n d w h y d o t h e y a l w a y s h a v e to p o s e o n a s t a i r c a s e ? T h e p h o t o s of w i v e s

f a m i l i e l e v e n h e e l h e r k e n b a a r , d e a n d e r e k e e r d o e t h e t je h e t e r g s t e v r e z e n v o o r

in e x c i t i n g u n d e r w e a r , a d o p t i n g s e d u c t i v e p o s e s u n d e r t h e S t a n d a r d l a m p o r

w a t d e b u u r m a n a l l e m a a l in zijn vrije tijd u i t v o e r t . D e d o o r S c h m i d zelf s a m e n g e -

o n the o r a n g e s o f a a r e a l s o r e m a r k a b l e . O n o n e o c c a s i o n t h e p i c t u r e of

s t e l d e t h e m a t i s c h e s e r i e s v o r m e n bij u i t s t e k v o e r v o o r s o c i o l o g e n . N o g c o m p l e t e ,

s o m e o n e e l s e ' s f a m i l y life is i m m e d i a t e l y r e c o g n i z a b l e ; a n o t h e r t i m e

o n d e r m e e r uit a l b u m s a f k o m s t i g e s e r i e s , v e r t e l l e n h u n e i g e n g e s c h i e d e n i s , z o a l s

y o u r n e i g h b o u r g e t s u p to in h i s l e i s u r e t i m e m a y m a k e y o u f e a r f or t h e

what

bij d i e f a m i l i e w a a r p l o t s e l i n g e e n p o r t r e t v a n d e m u u r is v e r d w e n e n , of e l d e r s ,

worst. T h e themati c series that S c h m i d has c o m p i l e d are ideal material for

w a a r e e n kind plotseling ontbreekt. O m van alle w e g g e k r a s t e , u i t g e s n e d e n , o v e r -

s o c i o l o g i s t s . C o m p l e t e s u r v i v i n g s e r i e s f r o m a l b u m s a n d other s o u r c e s teil

g e v e r f d e of a f g e k n i p t e p e r s o n e n n o g m a a r t e z w i j g e n .

their o w n history, a s in the case of the f a m i l y w h e r e a portrait

Bij h e t b e k i j k e n v a n e e n s t a p e l f a m i l i e f o t o ' s d o e t z i c h e e n m e r k w a a r d i g v e r -

disappears

f r o m t h e w a l l , o r w h e r e a c h i l d is s u d d e n l y m i s s i n g . N o t t o m e n t i o n a l l t h e

s c h i j n s e l v o o r . D e a f g e b e e l d e p e r s o n e n w o r d e n i n w i s s e l b a a r , l a t e n z i c h in t y p e n

p e o p l e w h o are s c r a t c h e d out, cut out, p a i n t e d o v e r or t r i m m e d . A

o n d e r v e r d e l e n . N a e n i g e tijd b e g i n ik d a a d w e r k e l i j k f a m i l i e l e d e n e n v r i e n d e n in d e

p h e n o m e n o n o c c u r s w h e n o n e v i e w s a pile of f a m i l y p h o t o s . T h e p e o p l e

geportretteerden te h e r k e n n e n .

p o r t r a y e d are i n t e r c h a n g a b l e a n d c a n be d i v i d e d into 'types'. After a w h i l e I

Schmid: neer

ze hun

schikt, gemaakt

'De

context

m een

vind ik later

verliezen

kwijt

nieuwe

worden.

ten in je eigen die

foto's

Het

hun

zijn. Zonder

context

gepast

is dus

inderdaad

familie-album

aan

betekenis, veel

moeite

en aan

werkelijkheidswaarde,

kunnen

een

mogelijk

te vullen.

hun

nieuw om

Ik maak

ze opnieuw idee

zonder dan

wan-

ook

gerang-

really b e g i n to r e c o g n i z e m e m b e r s of m y o w n f a m i l y a n d f r i e n d s in t h e people portrayed.

ondergeschikt veel problemen nooit

striking

are

hia-

vakantiefoto's,

wel.'

Schmid:

'The

photos

removed

from

their

them

to fit

idea.

It is therefore

them

lacunae

in your

photos;

I find

into

lose

a new

and

possible

family

them

meaning,

It doesn't

context

indeed own

their

context.

their take

album.

This

value,

effort

them

subordinate

render

without

reality

much

is why

difficulty

I never

when

to a

to fill in

take

they

rearrange

any

new

any

holiday

instead.'

'High' and 'low' photography It i s a g e n e r a l l y k n o w n f a c t t h a t t h e a m a t e u r p h o t o g r a p h e r , e v e n t h o u g h h e is r e s p o n s i b l e f o r 9 9 . 9 % o f a l l p h o t o s t h a t a r e t a k e n , is s c a r c e l y m e n t i o n e d in t h e official h i s t o r y of p h o t o g r a p h y . S c h m i d r e g a r d s t h i s a s unjust. T h e d i s t i n c t i o n b e t w e e n ' h i g h ' a n d ' l o w ' p h o t o g r a p h y is c o m p l e t e l y a r t i f i c i a l , a n d is b a s e d o n t h e m y t h o f t h e s o - c a l l e d a r t p h o t o g r a p h e r . A t a c e r t a i n p o i n t , the n o t i o n that h e is a n i n s p i r e d artist b e c o m e s s o p o w e r f u l ,

Erste allgemeine Altfotosammlung

that a p h o t o g r a p h e r c a n n o l o n g e r k e e p h i s f i n g e r off the s h u t t e r :

Jahr für Jahr werden rund um die Welt unvorstellbare M e n g e n von Fotografien produziert. Wir alle tragen fast taglich d a z u bei, den heute bereits gigantischen Fotoberg zu vergröBern. D o c h kau m jemand macht sich G e d a n k e n über die Folgen d i e s e s scheinbar harmlosen Vergnügens. Die in allen Fotografien enthaltenen Chemikalien stellen eine enorme G e f a h r d u n g unserer Gesundheit dar; darüber hinaus beeintrachtigt die z u n e h m e n d e visuelle Umweltverschmutzung durch Fotografien unser D e n k v e r m o g e n - von der sittlichen Gefahrdung unserer Kinder ganz z u s c h w e i g e n . A m besten ware es natürlich, auf d a s Fotografieren g a n z zu verzichten. D a es sich jedoch in vielen Fallen nicht verhindern laBt. m u s s e n die vorhandenen Fotografien nach G e b r a u c h fachgerecht entsorgt werden. Seit Jahrzehnten warnen Fachleute aus Ost und West vor den katastrophalen F o l g e n d e s Fotobooms , d o c h die Verantwortlichen aus Politik und Wirtschaft stellen sich taub. Bis heute werden in Privatwohnungen und Betrieben Milliarden von Altfotos u n s a c h g e m a B gelagert; die dringend notwendigen Recyclingeinrichtungen l a s s en auf sich warten. U m in dieser scheinbar ausweglosen Situation ein deutliches Zeichen zu s e t z e n . wurde d a s private Institut zur Wiederaufbereitung von Altfotos gegründet. D a s Institut verfügt über alle notwendigen E i n richtungen, um Altfotos jeder Art professionell wiederaufzubereiten oder - in hoffnungslosen Fallen - umweltschonend z u entsorgen. Wir s a m m e l n gebrauchte. abgelegte und aus der M o d e g e k o m m e n e Fotos in S c h w a r z w e i B und Farbe, a u c h Sofortbilder, Automatenfotos, ganze Fotoalben, Kontaktabzüge, Probestreifen. Negative und Dias. auch beschadigte und zerschlissen e Stücke in kleinen und groBen M e n g e n . Altfotos gehören nicht in den Hausmüll. sondern m u s s en g e s o n d e n entsorgt werden. Viele Fotografien können wiederau'bereitet und noch einmal e i n e m nützlichen Zweck zugeführt werden. S e n d e n Sie d e s h a l b - der Umwelt zuliebe - Ihre gebrauchten Fotos an das Institut zur Wiederaufbereitung von Altfotos c/o J o a c h i m S c h m i d , Englische Str. 29, 1000 Berlin 10. Telefonische Auskünfte: 030 / 392 83 49 Die Teilnahme am Altfotorecycling ist garantiert kostenlos!

S c h m i d ' s v i e w t h e i d e a t h a t t h e r e s u l t is a m a s t e r p i e c e , i s p u r e s u p e r s t i t i o n . Schmid: produces of one,

the

selecting strokes and

the

critics

visual

right

can

take

Any

Important

to accept

collaborate

with in art

that

amateur

chimpanzee

- or

a photo.

photos.

and

involved

to think

material.

computer,

of luck,

interests last

'It is a misconception

inferior

this

In the

end

label

practice.

photography

set

of artist.

It is not have

modern

version

it is a question

photographers the

photography the

great

store

Galleries,

surprising;

increased

their

museums

the

strikingly

financial during

the

decades'.

A m o n g the great q u a n t i t y of p h o t o s that h e c a m e a c r o s s o v e r the y e a r s , S c h m i d regularly f o u n d work by w o r l d f a m o u s photographers. of the Art

of Photography

Masterpieces

is a s h o w t h a t c o n s i s t s e x c l u s i v e l y o f u n q u a l i f i e d

masterpieces by E d w a r d Steichen, H a n n a Höch, M a n Ray, René Magritte, Robert Frank, Harry Callahan, W i l l i a m W e g m a n and C i n d y S h e r m a n . S c h m i d h a s put a portfolio w i t h r e p r o d u c t i o n s f r o m this s h o w o n the m a r k e t w i t h s o m e s u c c e s s . T h e w o r k h a s m e a n w h i l e b e e n e x h i b i t e d in v a r i o u s p l a c e s a n d h a s m a d e its w a y to d i f f e r e n t c o l l e c t o r s . Schmid: people offer. history same paper. that

'The

average

person

are

inclined

to think.

Even

though

he is unaware

of photography, time

he knows

When is missing

will

perfectiy

a photo

does

is firmly

who

takes

He usually of the never well not

added

confuse that

meet in the

with

expectations,

form

people

whom

has

quarrel'.

of a text. for

reality.

with

erased,

picture

his

so naive a photo

foundations

is more

is frequently had

what

a photo

moreover, one

is not

precisely

theoretical

information, with

snapshots

knows

than

just

when

the

a piece

of it

concerns

S c h m i d h a s c o l l e c t e d a n d p u b l i s h e d t e x t s of this k i n d that c a m e f r o m b a c k s of p h o t o s a s a n e s s e n t i a l c o m p l e m e n t to the t h e o r y of

the

information

excess

example

as has

the

photography.

A s m a l l s e l e c t i o n : ' W e w e r e h e r e , 1 9 3 0 ' ; ' D o n ' t I l o o k f u n n y - is t h a t t h e c a m e r a ' s f a u l t ? B e s t w i s h e s f r o m H e r b e r t ! ' O n t h e b a c k of a n a p p a r e n t l y t r i m m e d p h o t o : ' O u r A n k e w i t h o n e half of D a d . P l e a s e s e n d t h i s p h o t o b a c k Dieter, it's t h e o n l y o n e w e h a v e ' . A n d : ' b e c a u s e y o u ' v e a l s o g o t a m u m ' ; ' W h a t a s h a m e , t h e p h o t o ' s n o t s o s h a r p , b u t t h a t m a k e s it a l l t h e

prettier'.

S o m e t i m e s t h e r e ' s a l e n g t h y d e s c r i p t i o n o f t h e w e a t h e r , o r a n e n o r m o u s list of n a m e s . S c h m i d p u b l i s h e d p a r t s o f h i s c o l l e c t i o n s i n Fotokritik,

a periodical that

he h i m s e l f f o u n d e d a n d p u b l i s h e d a n d w h i c h c a m e to a n e n d in 1 9 8 8 , after six y e a r s a n d a l m o s t 30 issues. O n the d i s a p p e a r a n c e of the m a g a z i n e , w h o s e c r i t i c a l a n d i r o n i e a p p r o a c h is s t i l l a p p r e c i a t e d b y c o n n o i s s e u r s , a S w i s s p a p e r d e s c r i b e d it a s ' t h e o n l y G e r m a n p h o t o m a g a z i n e o f a n y Opmep van het/Appeal from 'The Institute for Recycling Old Photos'

importance'.

Edition Fricke & Schmid Schmid: found

example

the

of people

thrown

away.

piece

missing

What

was

that

matter,

are

finds. the

is it that

they

of the archive

were

didn't

torn,

in these

what

section

These who

often

depicted

or of someone

The

'A special street.

know

usually like

also These

part

that

motivates on

their well

the

consisted

photos

from

portrait.

But

represented.

are

the

ones

is missing? people

of photos photo other

photos

Frequently that

that

booths,

that there

fascinate

Why

is the

photo

to leave

photos

for were is a

the

most.

torn?

For

themselves

street?'

' s t r e e t p h o t o ' a r c h i v e h a s a n a e s t h e t i c t h a t is e n t i r e l y its o w n . T h e

p i c t u r e s that h a v e b e e n r e c o n s t r u c t e d out of s c r a p s are b o t h f a s c i n a t i n g and

m y s t e r i o u s . T h e b e a u t y o f ' f a i l u r e s ' s u c h as d o u b l é e x p o s u r e s (the f i l m

d i d n ' t w i n d o n ) , o v e r e x p o s u r e s (the w r o n g c a m e r a setting) a n d p o r t r a i t s of p e o p l e w i t h o ut h e a d s with a tilting horizon a s b a c k g r o u n d ( s o m e o n e w a s n ' t h o l d i n g t h e c a m e r a s t e a d y ) s p e a k s f o r itself. M o r e o f t e n t h a n not

with

p h o t o s like t h e s e , d a m a g e s u c h a s f o o t p r i n t s a d d s to the effect. T h a t a c o m p a r i s o n m i g h t be m a d e b e t w e e n 'street p h o t o s ' a n d a r c h a e o l o g i c a l finds h a r d l y n e e d s t o b e s t a t e d . It is t h e t a s k o f t h e e x p e r t c o l l e c t o r t o i n t e r p r e t pictures a n d reconstruct their

the

history.

S c h m i d ' s i n t e r e st in ' o r d i n a r y ' p h o t o g r a p h y e x t e n d s to t h e u s e of p h o t o s in n e w s p a p e r s a n d m a g a z i n e s , e s p e c i a l l y the ' g u t t e r p r e s s ' w i t h their p h o t o s f r o m ' r e a l life'. U n d e r t h e n a m e of E d i t i o n F r i c k e & S c h m i d a n d in c o l l a b o r a t i o n w i t h t h e artist A d i b F r i c k e , he p u b l i s h e d l i m i t e d e d i t i o n s o f s m a l l b o o k s in w h i c h r e p r o d u c t i o n s of p h o t o s f r o m t h e s e p a p e r s a r e b r o u g h t t o g e t h e r b y t h e m e . Pictures

of the Photographer

p h o t o s o f c o u n t l e s s p e o p l e t a k i n g p h o t o s : Errata

Eine Mine im Golf

for instance has

is a m o t l e y c o l l e c t i o n o f ,

a m o n g s t o t h e r t h i n g s , the m o s t a b s u r d t r a n s p o s i t i o n s of c a p t i o n s .

Portraits

c o n s i s t s of p h o t o s of k n o w n a n d u n k n o w n p e o p l e in t h e n e w s a c c o m p a n i e d b y c a p t i o n s w h i c h a r e u s u a l l y a b s u r d : Salvador Nono

dies

at 66;

Tina

Turner,

48, performance

Dali goes

fights ahead.

for his

life;

Luigi

Een mi|n in de Golf/A Mine in the Gulf

Curiously the

Lu from Faits Divers

c a p t i o n s r e n d e r m a n y of the p h o t o s e v e n m o r e m e a n i n g l e s s t h a n t h e y a l r e a d y were.

lldition Fricke & Schmid. 19B9I

W i t h c o n s i d e r a b l e s e n s e of h u m o u r S c h m i d has exploited this

effect b y r e p r o d u c i n g a n u m b e r of h a l f - t o n e p h o t o s in a l a r g e f o r m a t

together with the relevant texts. S c h m i d ' s o b s e s s i o n w i t h the p o p u l a r u s e of p h o t o g r a p h y h a s a l s o led h i m to c o l l e c t i n g the p h o t o s f r o m s u p e r m a r k e t s etc. that are u s e d to sell h o u s e h o l d articles or o n e s w h i c h d e s p a i r i n g o w n e r s put up in the h o p e of ' H o g e ' en 'lage' Het

fotografie

is a l g e m e e n b e k e n d d a t d e a m a t e u r f o t o g r a a f , h o e w e l v e r a n t w o o r d e l i j k

v o o r 9 9 , 9 % v a n d e f o t o p r o d u c t i e , in d e o f f i c i ë l e g e s c h i e d s c h r i j v i n g v a n d e f o t o grafie nauwelijks e n i g e belangstelling geniet. O n t e r e c h t , m e e n t S c h m i d . H e t o n d e r s c h e i d t u s s e n ' h o g e ' e n ' l a g e ' f o t o g r a f i e is v o l s t r e k t k u n s t m a t i g , e n b e r u s t o p d e m y t h e van d e z o g e n a a m d e kunstfotograaf. Dat d e g e v o e l e n s van d e geïns p i r e e r d e k u n s t e n a a r o p e e n z e k e r m o m e n t zó s t e r k d e o v e r h a n d k r i j g e n dat hij z ' n v i n g e r niet m e e r k a n s t i l h o u d e n e n e r e e n m e e s t e r w e r k o n t s t a a t , is b i j g e l o o f , z o s t e l t hij Schmid: derwaardig daarvan

'Het

is een

misverstand

beeldmateriaal de computer

de selectie

kan een

van de juiste

fers,

en laten

critici

werken

zich

in de kunstfotografie

Elke foto

te denken

nemen

mee

Niet

zijn de laatste

Waar

het

uiteindelijk koesteren

bestempelen verwonderlijk:

decennia

min-

of de moderne

fotograten

als kunstenaars

praktijk

dat amateurfotografie

chimpansee

foto 's. Belangrijke

vervolgens

aan deze

opleven.

variant

om gaat, hun

Galeries,

musea

de financiële

aanmerkelijk

toevalstrefen

belangen

toegenomen.'

In d e g r o t e h o e v e e l h e i d f o t o ' s d i e h e m d e a f g e l o p e n j a r e n o n d e r o g e n k w a m , ontdekte S c h m i d met regelmaat w e r k van w e r e l d b e r o e m d e fotografen werken

der Fotokunst

Meester-

is e e n c o l l e c t i e m e t l o u t e r t o p s t u k k e n v a n o . a . E d w a r d

S t e i c h e n , H a n n a H ö c h , M a n Ray, René Magritte, Robert Frank, Harry Callahan, W i l l i a m W e g m a n e n C i n d y S h e r m a n . N i e t z o n d e r s u c c e s h e e f t S c h m i d e e n portf o l i o m e t r e p r o d u c t i e s uit d e z e c o l l e c t i e o p d e m a r k t g e b r a c h t . H e t w e r k is i n m i d d e l s o p d i v e r s e p l a a t s e n g e ë x p o s e e r d e n h e e f t zijn w e g n a a r v e r s c h i l l e n d e v e r z a melaars gevonden. Schmid:

'De gemiddelde

meen

geneigd

is te denken

heeft

Hoewel

onbekend

van de fotografie, Tegelijkertijd stukje

wordt Uil du serie Beelden van de Straat/from the series Street Pictures (colleclm/collection Fricke & Schmid)

betreft,

hij maar

Wanneer

informatie teveel

met

een

steevast

aan informatie,

verwijderd'

is met

veelal

zo naïef

als men

wat

foto

precies

de theoretische

zal hij afbeelding

beseft

papier

brekende

kiek/esmaker Hij weet

fundamenten

en werkelijkheid

al te goed

een

dat een

foto

door is dan

foto niet aan de verwachtingen in de vorm bijvoorbeeld

van waar

tekst het

toegevoegd. in onmin

alge-

van de

nimmer meer

ir het hem

bieden

geschiedenis

elkaar alleen

voldoet,

halen. een

wordt

Niet zelden geraakte

ontook

personen

A l s w e z e n l i j k e aanvulling o p de theorie van d e fotografie heeft S c h m i d derge-

f i n d i n g t h e i r l o s t p e t s . It i s a s t r i k i n g f a c t a n d o n e t h a t r e m i n d s o n e o f t h e

lijke t e k s t e n , a f k o m s t i g v a n d e a c h t e r z i j d e v a n f o t o ' s , v e r z a m e l d e n g e p u b l i c e e r d .

surrealists that these pictures of a n i m a l s a n d objects give the

E e n k l e i n e g r e e p : ' H i e r w a r e n w e , 1 9 3 0 ' ; ' W a t z i e ik er g r a p p i g uit - is dat d e

that t h e y h a v e o n l y b e e n taken to be put u p o n notice b o a r d s . E q u a l l y

c a m e r a ? G r o e t e n v a n H e r b e r t ! ' . A c h t e r o p e e n blijkbaar v e r k n i p te foto:

a b s u r d is t h e c o l l e c t i o n o f p o r t r a i t s f r o m p e r s o n a l a d s w h i c h a r e

'Onze

A n k e m e t v a d e r v o o r d e helft. S t u u r d e z e foto alsjeblieft terug Dieter, wij h e b b e n a l l e e n d i e e n e ' . E n : ' O p d a t je m a m m a o o k h e b t ' ; ' H e l a a s is d e f o t o niet z o

a c c o m p a n i e d in G e r m a n m a g a z i n e s b y t h e c a p t i o n ' o r i g i n a l

impression invariably

photo'.

In a d d i t i o n t o a l l t h e s e b o o k l e t s E d i t i o n F r i c k e & S c h m i d a l s o p u b l i s h e d

s c h e r p , m a a r d a a r o m d e s te m o o i e r ' . S o m s e e n u i t v o e r i g e b e s c h r i j v i n g v a n h e t

the ' m a s t e r p i e c e s ' ; this, h o w e v e r , led to s o m e p r o b l e m s . S o m e t i m e

w e e r , of e e n e n o r m e rij n a m e n .

the portfolio a p p e a r e d the representatives of Magritte's heirs m a d e s o m e

S c h m i d p u b l i c e e r d e d e l e n v a n zijn c o l l e c t i e s in Fulukiitik,

financial c l a i m s . Experts h o w e v e r w e r e not a b l e to attribute the

een door hemzelf

o p g e r i c h t e n u i t g e g e v e n t i j d s c h r i f t d a t in 1 9 8 8 , n a z e s jaar e n bijna d e r t i g n u m -

c o n c e r n e d to M a g r i t t e w i t h a h u n d r e d per cent certainty, a n d the

m e r s , t e r z i e l e g i n g . Bij h e t h e e n g a a n v a n h e t b l a d , w a a r v a n d e k r i t i s c h - i r o n i s c h e

fizzled out.

after

photograph affair

inslag o o k nu n o g d o o r k e n n e r s w o r d t g e p r e z e n , sprak e e n Z w i t s e r s e krant van 'het e n i g e D u i t s e fototijdschrift v a n b e t e k e n i s ' . Edition Fricke & Schmid:

'Een heb

apart

Schmid

deel

gevonden

mensen

die hun

verscheurde vaak

van Het

een

portret

foto's stuk.

het

Waarom

foto's

van zichzelf

Het 'straatfoto'-archief

veelal

niet goed

foto

gevormd foto's

vonden.

door

mij

het

verscheurd?

Maar

ook

of van een

kennis

Wat komen

andere

op straat

stond

die

ik op

bijvoorbeeld

Van deze

meest. Hoe

de foto's

uit automaten,

vertegenwoordigd.

fascineren

is de

wordt

hier

zijn goed

Die

deel?

archief

betreft

weggegooide, vondsten

er op het

mensen

straat van veelal

ontbreekt ontbrekende

er überhaupt

toe

gooien?'

k e n t e e n g e h e e l e i g e n e s t h e t i e k . D e uit g e v o n d e n

s n i p p e r s g e r e c o n s t r u e e r d e b e e l d e n zijn z o w e l f a s c i n e r e n d a l s r a a d s e l a c h t i g . D e s c h o o n h e i d v a n ' m i s l u k k i n g e n ' a l s d u b b e l o p n a m e s (film s p o e l d e niet d o o r ) , o v e r belichtingen (verkeerde camera-instelling) en portretten van m e n s e n zonder hoofd v o o r e e n s c h e v e h o r i z o n ( g e s t r u i k e l d ) s p r e e k t v o o r z i c h . B e s c h a d i g i n g e n a l s bijv o o r b e e l d s c h o e n a f d r u k k e n h e b b e n in dit v e r b a n d niet z e l d e n e e n v e r s t e r k e n d e w e r k i n g . E e n v e r g e l i j k i n g t u s s e n d e ' s t r a a t f o t o ' s ' e n a r c h e o l o g i s c h e v o n s t e n ligt v o o r d e h a n d . H e t is a a n d e d e s k u n d i g e v e r z a m e l a a r o m d e b e e l d e n te

interprete-

ren e n hun o n t s t a a n s g e s c h i e d e n i s te r e c o n s t r u e r e n . S c h m i d s b e l a n g s t e l l i n g v o o r ' g e w o n e ' f o t o g r a f i e s t r e k t z i c h uit tot o n d e r m e e r h e t g e b r u i k v a n f o t o ' s in k r a n t e n e n t i j d s c h r i f t e n , m e t n a m e in b o u l e v a r d k r a n t e n m e t f o t o ' s uit h e t ' e c h t e l e v e n ' . S a m e n m e t d e k u n s t e n a a r A d i b F r i c k e g e e f t hij o n d e r d e n a a m E d i t i o n F r i c k e & S c h m i d in b e p e r k t e o p l a g e s k l e i n e b o e k j e s uit, w a a r i n r e p r o d u c t i e s v a n f o t o ' s uit g e n o e m d e b l a d e n t h e m a t i s c h zijn. Z o t o o n t Het

Beeld

van de Fotograaf

bijeengebracht

talloze fotograferend e m e n s e n ;

Errata

is e e n b o n t e v e r z a m e l i n g v a n o n d e r m e e r d e m e e s t a b s u r d e v e r w i s s e l i n g e n v a n b i j s c h r i f t e n . Portretten

b e v a t f o t o ' s v a n b e k e n d e e n o n b e k e n d e p e r s o n e n uit h e t

n i e u w s m e t d e d a a r b i j g e p l a a t s t e , v e e l a l o n z i n n i g e o n d e r s c h r i f t e n : vecht

met

dood:

Turner,

Dali;

stierf

op 66 jarige

leeftijd:

Luigi Nono;

Mag

optreden:

Tina

48. C u r i e u s g e n o e g m a k e n d e o n d e r s c h r i f t e n v e e l f o t o ' s n i e t s z e g g e n d e r d a n z e z o n d e r t e k s t al w a r e n . M e t v e e l g e v o e l v o o r h u m o r h e e f t S c h m i d dit e f f e k t a a n g e g r e p e n o m e e n a a n t a l g e r a s t e r d e f o t o ' s in g r o o t f o r m a a t - m e t d e b i j b e h o rende tekst

na te s c h i l d e r e n .

S c h m i d s o b s e s s i e voor het populaire gebruik van fotografie heeft h e m o o k g e b r a c h t tot h e t v e r z a m e l e n v a n f o t o ' s uit s u p e r m a r k t e n e . d . , w a a r m e e h u i s r a a d t e k o o p w o r d t a a n g e b o d e n of w a a r m e e w a n h o p i g e e i g e n a r e n p r o b e r e n o m z o e k geraakte huisdieren terug te v i n d e n . O p m e r k w a a r d i g e en surrealistisch aand o e n d e w i j z e w e k k e n d e a f g e b e e l d e d i e r e n e n o b j e c t e n de indruk, dat ze er a l l e e n zijn o m g e f o t o g r a f e e r d o p p r i k b o r d e n h a n g e n . A l e v e n a b s u r d is d e v e r z a m e l i n g v a n p o r t r e t t e n uit c o n t a c t a d v e r t e n t i e s , d i e in D u i t s e t i j d s c h r i f t e n w o r d e n v e r g e z e l d v a n het bijschrift

steevast

'originele foto'.

N a a s t d e al g e n o e m d e b o e k j e s w e r d e n o v e r i g e n s o o k d e ' m e e s t e r w e r k e n ' bij E d i t i o n F r i c k e & S c h m i d u i t g e g e v e n , zij h e t n i e t z o n d e r p r o b l e m e n . E n i g e tijd n a

René

het v e r s c h i j n e n va n het portfolio m e l d d e n zich de b e l a n g e n b e h a r t i g e r s van d e e r f g e n a m e n van M a g n t t e m e i e n k e le financiële aanspraken

Magritte

Géorgette, 1937

Experts bleken ech

ter niet in s t a a t d e b e t r e f f e n d e f o t o m e t h o n d e r d p r o c e n t z e k e r h e i d a a n M a g r i t t e t o e te s c h r i j v e n , e n d e z a a k l i e p m e t e e n s i s s e r af. O o k het e e r s t e f u n c t i o n e r e n va n het Instituut v o o r H e r g e b r u i k v a n O u d e

T h e first o p e r a t i o n s of the Institute for R e c y c l i n g O l d P h o t o s w e r e a l s o n o t w i t h o u t t h e i r p r o b l e m s . In h i s p u b l i c i t y f o r t h e i n s t i t u t e S c h m i d m a d e

F o t o ' s w a s n i e t p r o b l e e m l o o s . S c h m i d m a a k t e bij d e a a n k o n d i g i n g v a n h e t i n s t i -

use of the s y m b o l of the official G e r m a n o r g a n i z a t i o n for t h e p r o t e c t i o n

t u u t g e b r u i k v a n h e t l o g o v a n d e o f f i c i ë l e D u i t s e m i l i e u b e s c h e r m i n g . Hij o n t v i n g

t h e e n v i r o n m e n t . H e i m m e d i a t e l y g o t a w a r n i n g n o t t o u s e it a g a i n ,

direct e e n w a a r s c h u w i n g t e g e n het v e r d e r e gebrui k ervan, w a t a a n t o o n t dat de

s o m e t h i n g t h a t d e m o n s t r a t e d t h a t t h e q u e s t i o n o f p h o t o g r a p h y is n o t y e t

f o t o g r a f i e o o k in m i l i e u b e s c h e r m i n g s k r i n g e n n o g niet v o o r v o l w o r d t a a n g e z i e n .

t a k e n s e r i o u s l y in c i r c l e s c o n c e r n e d w i t h t h e e n v i r o n m e n t . T h e u s e of a r e d

Ook

het gebruik va n e e n r o d e rand - d e gebruikelijke omlijsting v an a m b t e l i j k e

aankondigingen

in h e t f o r m u l i e r w a s h e m niet g e g u n d . T o c h is h e t i n s t i t u u t n u

b o r d e r o n their f o r m - t h e c u s t o m a r y w a y of f r a m i n g o f f i c i a l

government

a n n o u n c e m e n t s - w a s a l s o not p e r m i t t e d . A l l the s a m e the institute

can

al e e n s u c c e s t e n o e m e n . H e t a a n b o d is e n o r m . G e s c h e i d e n i n z a m e l i n g v a n

a l r e a d y b e d e s c r i b e d a s a s u c c e s s . T h e i r c o l l e c t i o n is e n o r m o u s . S e p a r a t e

zwart-wit en kleurenfoto's m o e t de eerste logistieke problemen het hoofd

c o l l e c t i n g o f b l a c k a n d w h i t e a n d c o l o u r p h o t o s is i n t e n d e d t o s o l v e t h e i r

b i e d e n . J o a c h i m S c h m i d zelf blijft n u c h t e r . A l s ik o p m e r k , d a t h e t v o o r v e l e n o o k

first l o g i s t i c p r o b l e m . J o a c h i m S c h m i d h i m s e l f r e m a i n s c a u t i o u s . W h e n I

e e n o p l u c h t i n g m o e t zijn o m n i e t m e e r t e h o e v e n f o t o g r a f e r e n , kijkt hij m e e e r s t

c o m m e n t t h a t it m u s t b e a r e l i ë f f o r m a n y p e o p l e n o t t o h a v e t o t a k e

l a c h e n d a a n , m a a r f r o n s t d a n zijn w e n k b r a u w e n : ' E i g e n l i j k is i e d e r e e n d i e n o g

a n y m o r e , h e s m i l e s at m e a t f i r s t , b u t t h e n h e f r o w n s : 'In f a c t e v e r y o n e

m e t e e n c a m e r a l o o p t , v e r d a c h t ; hij of zij g e e f t te k e n n e n n i e t s v a n d e

w h o still w a l k s a r o u n d w i t h a c a m e r a is s u s p i c i o u s : h e or s h e h a s n ' t

g e s c h i e d e n i s te h e b b e n g e l e e r d ! ' .

anything from

history!'

photos learnt

Uit het A r c h i e f / f r o m the A r c h i v e s (collectie/collection Fricke & Schmid)

Cindy

Stierman

zonder titel/untitled, 1984

U i l de serie Meesterwerken der Fotokunst f r o m the s e r i e s M a s t e r p i e c e s of Art

Photography

(collectie/collection Fricke & Schmid)

August

Sander

Bourgeois t w e e l i n g / M i d d l e C l a s s T w i n s , 1924

Hannah

Hรถch

zonder titel/untitled (fotomontage), 1919

Laszlo

Moholy-Nagy

H o n d / D o g , 1930

Uit de serie M e e s t e r w e r k e n der Fotokunst from the s e r i e s M a s t e r p i e c e s of A r t Photography (collectie/collection Fricke & Schmid)

William

Wegman

M a n Ray met hoed en b r i l / M a n Ray w i t h Hat and G l a s s e s , 1979

Ansel

Adams

Y o s e m i t e N a t i o n a l Park, 1956

Mark Lewis: Things Seen

invloed die een beeld in d e openbare ruimte

Mark Lewis: Things Seen

handsome male torsos derived from

Kunstruimte

kan hebben, vertrok L e w i s naar Boekarest

Art

a d v e r t i s e m e n t s for v a r i o u s c o s m e t i c

o m het gedevalueerde beeld te fotografe-

Meijerink,

ren. Het resultaat w a s te zien in de Amster-

6/10-3/11/1990

Witzenhausen

Meijerink, 6/10

Amsterdam 3/11/1990

Space

Witzenhausen

p r o d u c t s a n d c o m b i n e d t h e s e w i t h his

Amsterdam

o w n p r o v o c a t i v e texts. T h e s e intervent i o n s w e r e a m e a n s of p r o t e s t i ng a g a i n s t

damse galerie: een van d e troon gestoten Kunstruimte Witzenhauzen Meijerink in A m s t e r d a m presenteerde in oktober 1990 Things

Seen,

w e r k e n van de Canadese

Lenin, liggend in een park.

In O c t o b e r last y e a r the A m s t e r d a m

Lewis bestudeerde de betekenis- en

art s p a c e W i t z e n h a u z e n M e i j e r i n k pre-

waardeveranderingen waaraan kunst op

s e n t e d n e w p i e c e s b y the C a n a d i a n artist

kunstenaar Mark L e w i s (1957), die hij

openbare plaatsen onderhevig is. Ten tijde

M a r k L e w i s u n d e r the title Things

Seen.

the u n d e r l y i n g v a l u e s of c o m m e r c i a l c u l ture. The e x h i b i t i o n Things

Seen

featured

t w o large black a n d w h i t e p h o t o g r a p h s .

maakte in 1990. Het leek een toegift op zijn

van het b e w i n d van een politiek leider is het

In a w a y it s e r v e d as an e n c o r e to his par-

A p a r t f r o m t h e ir size (1.5 by 2 meters),

deelname aan d e Fotografie Biënnale Rotter-

beeld een directe verwijzing naar de ideolo-

t i c i p a t i o n in the 1990 Fotografi e Biënnale

t h e y are in no w a y r e m i n i s c e n t of L e w i s ' s

d a m 1990, waar voornamelijk ouder werk

gie en bijna e e n materialisering daarvan.

R o t t e r d a m , w h e r e he s h o w e d m o s t l y

earlier w o r k . T h e r e are no texts, no s m e l l

van h e m te zien w a s , zoals We Are The

Tegelijkertijd is het e e n prospectie naar d e

m a c h i n e s , no e x t r a s . T h e w o r k has u n d e r -

World

uiteindelijke vernietiging, die onvermijdelijk

o l d e r p i e c e s , i n c l u d i n g his 1988 w o r k We Are

g o n e a v i s u a l s o b e r i n g . T h e u s e of entic-

uit

1988

We Are The World

weerspiegelde de

is. Het einde van het beeld is het einde van

thematiek en werkwijze van e e n periode

het regime. Haar waarde is negatief gewor-

waarin hij zijn haat-liefde verhouding met de

den. Het feit dat e e n bevrijd volk met zoveel

media vormgaf door gebruik te maken van

passie d e standbeelden van voormalige lei-

middelen van de media zelf. De toeschou-

ders vernietigt, illustreert deze gedachte,

wer w e r d op zijn rol als voyeur g e w e z e n

evenals d e daad van de priester tijdens het

door d e confrontatie met w e r k e n van bill-

neerhalen van het beeld van Lenin. Zelf

board-afmetingen, met toevoegingen als

onderzocht Lenin eveneen s d e waardeveran-

geurmachines die van tijd tot tijd een door-

dering in kunst. Hij benadrukte het tijdelijke

dringend parfum verspreidden en in e e n

karakter en daarmee ook de tijdelijke waarde

enkel geval zelfs een gordijn dat d e toe-

die kunst voor hem moest hebben. Voor

schouwer zelf opzij diende te schuiven.

iedere n i e u w e gelegenheid moest kunst

Deze elementen maakten van d e voyeur

snel geproduceerd, maar ook vernietigd kun-

participant. L e w i s verpakte al zijn kritiek in

nen worden. Het materiaal gips werd

een bewust gekozen esthetiek. In d e serie

daarom als het m e e s t ideale b e s c h o u w d .

Burning

Het beeld van Lenin w a s echter gemaakt

(1987) trachtte hij een antwoord te

vinden op d e vraag hoe je een op zichzelf al

van brons. Daaruit blijkt dat hij kennelijk

verleidelijke afbeelding nog aantrekkelijker

geen bezwaar toonde tegen het feit dat zijn

kunt maken Hi| maakte een rangschikking

kunsttheorie in d e praktijk tegengesproken

van beelden van prachtige mannentorso's,

werd omwille van zijn politieke ideologie.

The

We Are The World

reflected a p e r i o d

in L e w i s ' s w o r k in w h i c h he g a v e f o r m to his love-hate r e l a t i o n s h i p w i t h the m e d i a by e m p l o y i n g the m e d i a ' s o w n m e a n s . The v i e w e r w a s m a d e a w a r e of his role as v o y e u r by b e i n g c o n f r o n t e d w i t h w o r k s the size of b i l l b o a r d s , c o u p l e d w i t h

ing a d v e r t i s i n g i m a g e s h as b e e n r e p l a c e d by black a n d w h i t e p h o t o g r a p h y , w h i c h is p r e c i s e l y w h a t his earlier protest h a d b e e n d i r e c t e d a g a i n s t . L e w i s has b e c o m e a practicing photographer, a n d now a l l o w s h i m s e l f to p l a y a registerin g role. It is as t h o u g h he w a n t s to r e c o n s i d e r

s m e l l m a c h i n e s w h i c h f r o m t i m e to t i m e

the aesthetic e x t r a v a g a n c e of a d v e r t i s i n g ,

e m i t t e d a p e n e t r a t i ng p e r f u m e , or in o n e

and is n o w c o n c e n t r a t i n g o n a different

c a s e , e v e n a curtain in front of a n inti-

a p p l i c a t i o n of p h o t o g r a p h y in the m e d i a ,

m a t e p h o t o g r a p h s w h i c h the v i e w e r w a s

namely documentary photography.

m e a n t to d r a w o p e n . T h e s e e l e m e n t s

T e l e v i s i o n i m a g e s of B u c a r e s t d u r i n g

t u r n e d the v o y e u r into a participant.

the R o m a n i a n r e v o l u t i o n in 1989 w e r e the

L e w i s ' s critique w a s p a c k a g e d in a c o n -

s o u r c e of i n s p i r a t i o n for o n e of the t w o

s c i o u s l y c h o s e n a e s t h e t i c i s m . In the

p h o t o g r a p h s in the e x h i b i t i o n . T h e s e

s e r i e s Burning

i m a g e s s h o w the d e s t r u c t i o n of statues,

(1987) he a t t e m p t e d to

f i n d an a n s w e r to the q u e s t i o n of h o w

i n c l u d i n g o n e of L e n i n . In o n e r e m a r k a b l e

y o u c a n m a k e a picture that is a l r e a d y

scène w e s e e a priest r a i s i n g his crucifix

s e d u c t i v e in itself e v e n m o r e attractive.

t o w a r d s this statue as it is b e i n g

He m a d e an a r r a n g e m e n t of p i c t u r es of

d e m o l i s h e d , as t h o u g h in a ritual of

die waren ontleend aan advertenties van

e x o r c i s m . F a s c i n a t e d b y this i c o n o c l a s m

verschillende c o s m e t i s c h e producten, in

a n d the i n f l u e n ce that a statue can have

combinatie met zelfgeschreven, provoce-

in t e r m s of p u b l i c s p a c e , L e w i s w e n t to

rende teksten. M e t deze ingrepen protes-

B u c a r e s t in o r d e r to p h o t o g r a p h the d i s -

teerde hij tegen d e achterliggende waarden

g r a c e d m o n u m e n t . T h e result w a s o n

van de commerciële cultuur. De expositie Things

World.

s h o w in the A m s t e r d a m g a l l e r y : a d e t h r o n e d L e n i n , l y i n g in a park.

Seen toonde niet

meer dan t w e e zwart-wit foto's. In g e e n

L e w i s h a s b e e n s t u d y i n g the c h a n g e s

enkel opzicht herinneren ze aan L e w i s ' vroe-

in v a l u e a n d m e a n i n g that art is subject

gere werk, of het zouden de afmetingen

to in p u b l i c s p a c e s . W h e n a political

(1,5 bi| 2 meter) m o e t e n zijn. Er zijn geen

l e a d e r is in p o w e r , the m o n u m e n t is a

teksten. G e e n middelen als geurmachines

direct reference to i d e o l o g y , a l m o s t a

G e e n extra's. Zijn werk heeft een visuele

m a t e r i a l i s a t i o n of it. A t the s a m e t i m e it

versobering ondergaan. Het gebruik van de

p o i n t s to its e v e n t u a l , i n e v i t a b l e d e s t r u c-

aanlokkelijke afbeeldingen uit de reclame

t i o n . T h e e n d of the m o n u m e n t is the e n d

heeft plaatsgemaakt voor zwart-wit fotogra-

of the r e g i m e , lts v a l u e h a s b e c o m e n e g a -

fie. L e w i s is praktizerend fotograaf gewor-

tivo. T h e fact that liberate d p e o p l e s des-

den en staat zichzelf nu toe een registre-

troy the statues of e x - l e a d e r s with s u c h

rende rol te spelen.

p a s s i o n illustrates this i d e a , as d o e s the act of the priest d u r i n g the d e m o l i t i o n of

Het is alsof hi| zich wil herbezinnen op de esthetische overdaad van de reclame en

the statue of L e n i n . L e n i n h i m s e l f w a s

zich nu wil richten op een andere toepassing

i n t e r e s t ed in the c h a n g e s in v a l u e that art

van fotografie in de media, nameli|k de

u n d e r g o e s . He e m p h a s i s e d not o n l y art's

documentaire fotografie.

t e m p o r a r y c h a r a c t e r but a l s o the m u t a b i l ity of the v a l u e s a s s o c i a t e d w i t h it. A r t

Televisiebeelden van Boekarest tijdens

o u g h t to be p r o d u c e d q u i c k l y for e v e r y

de R o e m e e n s e revolutie in 1990 vormden

n e w o p p o r t u n i t y , but s h o u l d also be

zijn inspiratiebron voor één van de t w e e

c a p a b l e of b e i n g d e s t r o y e d . Piaster w a s

geëxposeerde foto's. In de beelden w o r d e n

therefore r e g a r d e d as the m o s t ideal

standbeelden vernietigd, waaronder een

m a t e r i a l . T h e statue of L e n i n , h o w e v e r ,

beeld van Lenin. In e e n opmerkelijke scène

w a s m a d e of b r o n z e . It s e e m s that h e

verschijnt e e n priester tijdens het neerhalen

w a s not b o t h e r e d b y the fact that in prac-

van dit beeld, die als in e e n exorcistische rite zijn crucifix naar het standbeeld opheft. Gefascineerd door dit iconoclasme en de

tice his art t h e o r y w a s c o n t r a d i c t e d for Mark Lewis Things Seen, 1990

the sake of his p o l i t i c a l i d e o l o g y .

W h e r e a s L e n i n u n d e r l i n e s art's t e m -

der zien w e Speakers Corner, e n e e n man

porary nature, L e w i s d e f e n d s t h e v a l u e o f

die daar zijn mening kenbaar maakt. O p de

eternity. He d o c u m e n t s the d i s g r a c e d

voorgrond zijn d e hoofden van t w e e toe-

statue b e f o r e it is m e l t e d d o w n , t h e r e b y

s c h o u w e r s zichtbaar. De relatie t u s s e n deze

in a w a y g u a r a n t e e i n g the s u r v i v a l o f the

elementen is op het eerste gezicht e e n

i d e o l o g y at least, e v e n if it is a matter of

raadsel.

d o c u m e n t i n g a rejection o f the r e g i m e

Churchill domineert m e t zijn uitdagende

that u p h e l d it. T h e p h o t o g r a p h l o o k s like

houding, handen in d e zij, zijn directe o m g e -

a h o m a g e to L e n i n , o r a p o s t h u m o u s tri-

ving in het park, aldus L e w i s . Hij achtte de

bute to h i s statue, s i n c e it is s o e m p h a t i -

tijd rijp o m tegen zo'n expliciet machtsver-

cally t h e o n l y subject of the p h o t o g r a p h .

toon een daad te stellen. Zijn antwoord vond

The photographic record could also serve

hij in Choses

as a n alternative to i c o n o c l a s m . A p h o t o -

beschrijft Hug o e e n scène op de barricaden

g r a p h r e c o r d i n g t h e s y m b o l of a fallen

tijdens de Franse Revolutie. Een prostituee

r e g i m e is itself a w i t n e s s of this b y g o n e

tilt haar rok o p voor e e n politieagent. Ze

s i t u a t i o n . W h e n this s y m b o l is d e s t r o y e d ,

daagt hem uit o m o p haar te schieten. Zon-

the sole result is a n a b s e n c e w h i c h c a n -

der aarzelen geeft hij gehoor aan dit ver-

not f u n c t i o n a s e v i d e n c e .

zoek.

T h e other piece in t h e e x h i b i t i o n , titled Things

Seen,

Vues van Victor Hugo. Daarin

L e w i s interpreteerde deze directe reac-

is more than a docu-

tie als angst. Hij associeerde angst voor het

ment. It is c l e a r l y a s t a g e d scène, d i r e c t e d

vrouwenlichaam m e t angst voor d e d e m o -

by L e w i s . H e u s e d the s a m e p h o t o g r a p h

cratie. D e v r o u w als s y m b o o l voor d e d e m o -

in 1989, f r a m e d b y red c u r t a i n s , but t h e s e

cratische vrijheid, beide z o w e l aantrekkelijk

have n o w b e e n r e m o v e d . T h e piece w a s

als bedreigend. Hij liet deze hoer in

i n s p i r e d by a statue of W i n s t o n C h u r c h i l l

Seen

in a T o r o n t o park. W e a l s o see a w o m a n

Things

dezelfde rol spelen. Hij plaatste haar

tegenover Churchill e n naast Speakers Cor-

lifting h e r skirt a n d s h o u t i n g . T h e scène

p o s e . T h e s y m b o l i c v a l u e that she repre-

Waar Lenin het tijdelijk karakter van

ner. Haar provocerende houding fungeert als

takes plac e at S p e a k e r s C o r n e r , a n d w e

s e n t s refers indirectly to the text o n t h e

kunst onderstreept, verdedigt L e w i s d e eeu-

antwoord op d e pose van Churchill. De s y m -

see a m a n g i v i n g v e n t to h i s o p i n i o n . In

lectern at S p e a k e r s C o r n e r : ' S p e a k e r s

wigheidswaarde. Hij legt het gedevalueerde

bolische waarde die zij vertegenwoordigt,

the f o r e g r o u n d t h e h e a d s o f t w o s p e c -

m a y not u s e t h e d a i s f o r a n y p u r p o s e that

beeld vast voordat het o m g e s m o l t e n is. Dit

verwijst indirect naar d e tekst o p de kathe-

tators are v i s i b l e . A t first sight t h e rela-

is c o n t r a r y to t h e l a w ' . C e n s o r s h i p at a

garandeert toch het voortbestaan van d e

der van Speakers Corner: ' S p e a k e rs may

t i o n s h i p b e t w e e n t h e s e e l e m e n t s is puzzl-

spot m o d e l l e d o n a plac e set u p in L o n -

ideologie, ook al betreft het d e registratie

not u s e the dais for any purpose that is con-

ing.

don by the people made Lewis suspi-

van een afwijzing van dat regime. D e foto

trary to the law'. Censuur o p e e n plek die in

W i t h h i s defiant s t a n c e , a r m s a k i m b o , C h u r c h i l l d o m i n a t e s his direct s u r r o u n d ings in t h e park, L e w i s s a y s . H e t h o u g h t it w a s t i m e to act a g a i n s t s u c h a n explicit d i s p l a y of p o w e r , a n d f o u n d h i s a n s w e r in V i c t o r H u g o ' s Choses

Vue, in w h i c h a

cious. The Canadian Speakers Corner was

lijkt een h o m m a g e aan Lenin, of e e n 'pos-

L o n d e n juist door het volk w a s opgericht,

e s t a b l i s h e d by t h e state. A n d , a s the text

t u u m ' eerbetoon aan zijn beeld, omdat hij

w a s voor L e w i s reden tot w a n t r o u w e n . D e

i n d i c a t e s , s p e a k i n g is b o u n d b y restric-

het z o nadrukkelijk als enige onderwerp van

t i o n s . B y d e p i c t i n g this text s o clearly,

zijn foto heeft gekozen. Tevens zou de foto-

L e w i s is d r a w i n g the v i e w e r ' s attention to

grafische vastlegging e e n alternatief kunnen

the w e a k p o i n t s of C a n a d i a n d e m o c r a c y .

zijn voor het iconoclasme. E e n foto, die het

T h e t w o s p e c t a t o r s in t h e f o r e g r o u n d

scène o n t h e b a r r i c a d e s d u r i n g t h e French R e v o l u t i o n is d e s c r i b e d : a w o m a n

play t h e role of silent w i t n e s s e s , p e r h a p s

lifts u p h e r skirts in front o f a p o l i c e m a n ,

s y m b o l i s i n g t h e C a n a d i a n people . A t t h e

d a r i n g h i m to s h o o t her. W i t h o u t h e s i t a -

s a m e t i m e t h e y refer t o t h e p o s i t i o n of

t i o n he c o m p l i e s w i t h her request.

the v i e w e r . B y p l a c i n g t h e s e t w o w i t h i n

L e w i s i n t e r p r e t ed this direct reaction

symbool van e e n gevallen regime juist vastlegt, is een getuigenis van deze voorbije situatie. W a n n e e r dit symbool vernietigd wordt, heeft dat als enig resultaat de afwezigheid, die niet als bewijs kan functioneren.

the f r a m e o f the p h o t o g r a p h , L e w i s n o

Het andere geëxposeerde werk, getiteld

Canadese Speakers Corner is zelfs opgericht door d e staat. E n zoals de tekst al aangeeft, zijn er hier restricties verbonden aan het spreken. Door deze tekst z o duidelijk af te beelden, attendeert L e w i s de t o e s c h o u w e r op de zwakke punten van d e Canadese democratie. De t w e e t o e s c h o u w e r s o p de voorgrond spelen in'het werk d e rol van stille getuige, m i s s c h i e n symboliseren zij het Canadese

in t e r m s of fear, a s s o c i a t i n g fear o f t h e

l o n g e r m a k e s t h e a c t u a l v i e w e r s feel that

Things

w o m a n ' s b o d y w i t h fear of d e m o c r a c y ,

they are v o y e u r s . L o o k i n g o v e r the s h o u l -

w e r d duidelijk geënsceneerd, waarbij L e w i s

d e r s o f y o u r f e l l o w p u b l i c y o u are n o

regisseur g e w e e s t is. L e w i s gebruikte deze

l o n g e r a p e e p e r - w h i c h is w h a t he w a s

nu binnen het kader van de foto geplaatst,

foto onder dezelfde titel al in 1989, toen

more or less accusing you of previously.

geeft hij de echte b e s c h o u w e r niet meer

omlijst door rode gordijnen. Deze heeft hij

het gevoel e e n voyeur te zijn. Kijkend m e t

nu verwijderd. Aanleiding voor het werk w a s

het publiek ben je geen gluurder meer - e e n

the w o m a n s y m b o l i s i n g d e m o c r a t i e freed o m , both o f w h i c h are attractive a s w e l l as t h r e a t e n i n g . In Things

Seen

Lewis

D e a n n a Herst

m a k e s t h e w h o r e play t h e s a m e role,

!•

is meer dan e e n registratie. Er

het beeld van Winsto n Churchill in e e n park

p l a c i n g her o p p o s i t e C h u r c h i l l a n d next to

in Toronto. Naast het beeld is een vrouw te

S p e a k e r s C o r n e r . Her p r o v o c a t i v e s t a n c e

zien, die s c h r e e u w e n d haar rok oplicht. Ver-

f u n c t i o n s a s a n a n s w e r to C h u r c h i l l ' s

HIGH

Seen,

•

volk. Tevens refereren zij aan de positie van de toeschouwer. O m d a t L e w i s deze t w e e

beschuldiging die je vroeger min of meer w e l van h e m kreeg. Deanna Herst

High & Low: Modern Art and Popular Culture

tie' kan zijn voor de creatieve artistieke

Museum

Art,

Museum

nog w a t hoop kan putten. A l s uiting van fin-

15/1/91

New

York

of Modern 7/10/90

of Modern

York, 7/10/90-

Art,

geest die uit d e 'kunst m e t e e n kleine k' de-siècle sentiment had d e tentoonstelling

15/1/91

kunnen laten zien dat d e massacultuur de After a d e c a d e of c u l t u r al s t u d i e s

Na e e n d e c e n n i u m van cultuurstudies,

belangrijkste culturele factor van de twintig-

e x p o s i n g the p r o b l e m a t i c a n d p e r v a s i v e

waarin de problematische e n zeer vérstrek-

ste e e u w is g e w e e s t . M a a r dat zou zoveel

i m p a c t o f p o p u l a r c u l t u r e , a d e c a d e that

kende invloed van d e populaire cultuur w e r d

afbreuk hebben gedaan aan het privilege van d e 'Kunst m e t d e grote K' - niet de

unraveled and deconstructed nuances

aangetoond, e e n d e c e n n i u m waarin nuances

that h a u n t t h e c o n s c i o u s n e s s o f critical

die d e kritische theoreticus e n kunstenaar

moderne maar d e modernistische kunst -

t h e o r i s ts a n d artists, the M u s e u m of M o d -

bezighouden w e r d e n geanalyseerd e n ont-

dat zoiets niet mogelijk w a s . A l s het post-

ern A r t has e n t e r e d the fray w i t h a n o t h e r

manteld, verschijnt het M u s e u m of M o d e r n

m o d e r n i s m e dood is, zoals die d o m m e neo-

d i z z i n g l y reactionary a t t e m p t to legitimize

Art o p het strijdtoneel met e e n adembene-

Nietzscheaanse criticus A n d y Grundberg

its v a n g u a r d status, High

m e n d reactionaire poging haar voorhoede-

zegt in de N e w York Times, zouden w e

status te bevestigen: High & Low:

deze tentoonstelling in het M o M A kunnen

Art

and Popular

Culture.

& Low:

Modern

The show

Modern

' c h r o n i c l e s ' h o w p o p u l a r cultur e can be

Art

an ' i n s p i r a t i o n ' to c r e a t i v e artistic m i n d s

'legt vast' hoe de massacultuur e e n 'inspira-

and Popular

Culture.

De tentoonstelling

zien als e e n laatste poging o m het modernisme - waarvan volgens de postmodernisti-

sche kritiek niets deugde - te redden. Dat

westerse

past precies binnen de strategie van het

teerde

M o M A . Eindelijk toe aan e e n confrontatie

moderne

met d e 'kunst met de kleine k', kan het

bron

M o M A nu de populaire kunst gebruiken o m

in de vormen

de 'Kunst met d e grote K' uit te laten verrij-

tuur in de geïndustrialiseerde

zen, daarmee mooi het lijk van het postmo-

haar

dernisme omzeilend ! In hun grote ijver hebben de M o M a - g o e r o e s t w e e boekwerken biedwaardige god Cézanne, maar ironisch

oneel

den voor hun Cézanne van de fotografie,

tot

geïnteresseerd

landen

Wij

met

gezien

door

van de stedelijke met

kleine

dit

soort

k', niet

als minderwaardig

te laten

zien

als vallend

dat geldt

cul-

commerciële

noemen

een

bij voorbaat

maar

wordt

geaccepdie

doordachte,

'kunst

prestatieniveau

Atget.

Wij zijn

van creëren...

te doen,

genoeg maar de helft van wat zij over had-

de maar

zijn opgetrokken

en stijlen

zelfbewuste,

kunst

buiten

vielen,

van inspiratie...

manier

deze

Die

kunstenaars

weergave

gepubliceerd, meer zelfs dan voor hun eer-

voor

dat ze buiten onze

af traditi-

& Low:

Modern

Art

and

c a p a b l e of f i n d i n g in ' l o w ' c u l t u r a l f o r m a

f l o a t i n g in the o b l i v i o n of art c u l t u r e h as

little h o p e . A s a n e x p r e s s i o n of fin-de siè-

b a r e l y d i e d d o w n , e v e n after y e a r s of

cle s e n t i m e n t , the e x h i b i t c o u l d h a v e

r a t i o n a l i z a t i o n s b y t h e n director W i l l i a m

d e m o n s t r a t e d that p o p u l a r c u l t u r e w a s

R u b i n a n d by his t h e n c o - c u r a t o r Kirk V a r -

the s i n g l e m o s t p o w e r f u l c u l t u r a l f o r c e of

nedoe» O f c o u r s e the c o m p a r i s o n is m o r e

the 20th century. But this w o u l d n e g a te

e v o l v e d as it b e c o m e s clea r that R u b i n ' s

so m u c h of the p r i v i l e g e of ' h i g h ' , m e a n -

protégé, Varnedoe, with co-curator A d a m

ing not m o d e r n but m o d e r n i s t , art that it

G o p n i k , e s t a b l i s h e s his p r e s e n c e as D i r e c -

c o u l d n ' t be. Indeed if, as silly n e o - N i e t z s c -

tor of the D e p a r t m e n t of P a i n t i n g a n d

h i a n critic A n d y G r u n d b e r g s a y s in the N e w Y o r k T i m e s , p o s t m o d e r n i s m is d e a d , w e m i g h t actuall y have to think of

het

M o M A ' s s h o w as a r e s o u n d i n g g a s p to

schone

s a l v a g e that w h i c h p o s t m o d e r n c r i t i c i s m

kunsten.'

High

Culture

tradities. kunstnormen

e x p o s e d as s o f u n d a m e n t a l l y f l a w e d -

Popular

is vergelijkbaar met een eerdere

De vergelijking is duidelijk: 'Kunst met

m o d e r n i s m itself. A n d w h a t c o u l d be less

poging o m verheven kunstprodukten te

vism

and

Modern

Art

uit 1984.

determined discourse with ceremonial and tribal w o r k s is s o m e t h i n g of w h a t High

& Low d o e s for the e s t a b l i s h m e n t of

even a coherent discourse with popular c u l t u r e - c o m i c a l l y little. T h e lengthy (and angry) e x c h a n g e s c o n c e r n i n g the relation and

Modern

Art

exhibition

p o p u l a r as t r e m e n d o u s l y p o w e r f u l c u l tural e x p r e s s i o n s that d o not rely o n the

kunstcultuur is nauwelijks bedaard, zelfs niet

l e g i t i m a t i o n s of ' h i g h ' c u l t u r e for their

na d e jarenlange uitleg van de toenmalige

m e a n i n g (thankfully). T h i s in n o w a y

directeur William Rubin en de mede-organi-

s h o u l d s u g g e s t that p o p u l a r c u l t u re c a n

sator van de tentoonstelling Kirk Varnedoe.

exist o u t s i d e t h e o r y or c r i t i c i s m , a n d n o r

De vergelijking ligt nog meer voor de hand

s h o u l d it s u g g e s t that it c a n n o t b e s o u r c e

m a t e r i a l for the arts. But to r e f o r m u l a t e

zijn: A d a m Gopnik en Rubins bescher-

m o d e r n i s m in this f o r m s e e m s d i s i n g e n u -

& Low zijn

ous. W r i t i n g a b o u t reification in m a s s c u l -

entree maakt als hoofd van d e afdeling

ture, F r e d e r i c J a m e s o n w r o t e : ' Y o u d o

Schilder- en Beeldhouwkunst van het

not r e i n v e n t a n a c c e s s o n t o political art

MoMA.

and a u t h e n t i c c u l t u r a l p r o d u c t i o n b y s t u d -

Wat de tentoonstelling Primitivism Modern

Primitiv-

the efficac y of either the p r i m i t i v e o r the

objecten uit d e vergetelheid van de

meling Varnedoe, die met High

& Low W h a t

Art d i d for e s t a b l i s h i n g a

have s e e m i n g l y p r o d u c e d little g r a s p of

over het lukrake gebruik van 'niet-westerse'

Low

and Modern

Primitivism

Primiti-

De w o e d e

als w e zien w i e d e organisatoren van High

ism

s h i p of c u l t u re a n d art that f l a r e d after the

rechtvaardigen ten koste van de integriteit van d e cultuur: de tentoonstelling

S c u l p t u r e w i t h High

d i n g y o u r i n d i v i d u a l artistic d i s c o u r s e

and

w i t h class a n d political s i g n a l s . ' Y e t w h a t

Art d e e d voor het tot stand brengen

van een dialoog met het primitieve werk is

is p r o p o s e d here is bot h l e s s c o n s c i o u s

maar e e n fractie van w a t High & Low doet

and far m o r e p r o b l e m a t i c . W h a t m o d e r n

voor een dialoog met de populaire cultuur

artist f i n d in ' l o w ' c u l t u re is not m e a n i n g

weinig dus De langdurige, boze discussie

but potentia l f o r m h i d d e n in u n i n t e n t i o n a l

over de relatie tussen kunst en cultuur die

f r a g m e n t s . A n d a r e n ' t w e lucky for t h i s ? !

oplaaide na Primitivism

and

Modern

Art

heeft kennelijk maar weinig inzicht opgele-

The u n d i s g u i s e d a r r o g a n c e of the

verd in het w e z e n van d e primitieve en

o p p o s i t i o n of ' h i g h ' a n d ' l o w ' is r e v o l t i n g .

populaire cultuur. M e n realiseert zich nog

In their i n t r o d u c t o r y r e m a r k s the c u r a t o r s

steeds niet dat het uiterst krachtige cultu-

coyly explain:

rele expressiemiddelen zijn, die het etiket 'grote K' (gelukkig) niet nodig hebben. Daar-

"Low'

m e e bedoel ik niet dat de populaire cultuur

been

is more many

zich aan de theorie of kritiek kan onttrekken

tion

en ook niet dat zij g e e n bron van inspiratie

grand

kan zijn voor de kunst. Maar het moder-

inferior

nisme op deze manier herformuleren is ach-

which

modern

terbaks. Over materialisering in d e massa-

drawn

upon

cultuur zei Frederic J a m e s o n : ' M e n geeft

is in forms

zichzelf g e e n toegang tot d e politieke kunst en authentieke cultuurprodukten door d e eigen artistieke dialoog vol te stoppen met

Robert

Rauschenberg

rise

Coca-Cola Plan, 1958

that

signalen die verwijzen naar klasse en poli-

were

traditions,

by accepted

for and

that

with

involve

wise,

or commercial

these

areas

the considered

of art,

but

revalued

inspiration...

culture

representa-

and

have

styles

have

standards

artists

of urban

There

forms

unconcerned

Western

nations

(gemengde lechniek/combined painting)

problematic.

different

and

Our

associated in

interest with

the

industrialized

self-conscious, creation...

streetWe

of representation

'low',

call not

tiek.' Maar wat hier wordt b e w e e r d , getuigt

een grote K' = moderne Kunst, 'kunst met

c h a l l e n g i n g ? F i n a l l y ready for the

denigrate

van minder inzicht en is tegelijkertijd veel

een kleine k' = populaire kunst. Er is geen

encounter with 'low' culture, M o M A can

nize

problematischer M o d e r n e kunstenaars ont-

twijfel mogelijk. ' W e noemen dit soort weer-

resurrect ' h i g h ' art in the r u b b l e of the

sidered

lenen aan 'kunst met e e n kleine k' g e e n

gave 'kunst met een kleine k', niet o m deze

popular, and M o M A can detour around

sideration

betekenis maar e e n potentiële vorm, die

kunst bij voorbaat als minderwaardig af te

the c o r p s e of p o s t m o d e r n i s m ! In their

of our

verborgen ligt in fragmenten die niet als

d o e n ' zeggen d e organisatoren, alleen maar

zeal for m a s t e r y M o M A ' s p u n d i t s h a v e

kunst bedoeld zijn. En m o g e n w e daar niet

o m te laten zien dat deze prullerige

p u b l i s h e d t w o v o l u m e s , m o r e e v e n for

heel erg blij m e e zijn?!

kunstvormen op e e n hoger plan kunnen

their v e n e r a b l e deity Cézanne, a n d yet

High = M o d e r n Art, L o w • Popular Cul-

w o r d e n gebracht door d e vaardige handen

i r o n i c a l l y o n l y half as m u c h as t h e i r

ture. N o e q u i v o c a t i o n about it. ' W e call

van de waarlijk creatieve kunstenaar. Zij hoe-

Cézanne of p h o t o g r a p h y , Atget.

D e onverholen arrogantie van het onder-

that

them they irrelevant

out have

of hand

but

recog-

traditionally

been

to, or outside,

any

con-

fine

arts

of achievement

in the

con-

time.'

The p r o p o s e d e q u a t i o n is s i m p l e :

t h e s e a r e a s ' l o w ' not to d e n i g r a t e t h e m

scheid tussen 'grote K en kleine k' is weer-

ven niet bij voorbaat als minderwaardig te

zinwekkend. In hun inleiding zeggen de

w o r d e n afgedaan, dat gebeurt toch w e l

Culture

organisatoren vrolijk:

doordat zij voortdurend w o r d e n afgeschil-

attempt to l e g i t i m i z e lofty artistic p r o d u c -

c r e a t i v e t h e s e paltry e x p r e s s i o n s c a n b e

derd als voer voor de hordes modernisten

t i o n at the e x p e n s e of the integrity of c u l-

h o i s t e d to the p e d e s t a l s . T h e y d o n ' t h a v e

op zoek naar inspiratie. Het is toch te gek

ture, the 1984 e x h i b i t i o n Primitivism

to be d e n i g r a t e d 'out of h a n d ' b e c a u s e

voor w o o r d e n : zo kan zelfs d e meest onbe-

Modern

nullige krant nog e e n bron van inspiratie

a p p r o p r i a t i o n s of ' n o n - w e s t e r n ' o b j e c t s

"De kleine

k' is problematischer

verschillende geweest,

vormen die

niet

van

waren

Er zi/n

veel

weergave geënt

op de

grote

High

& Low:

Modern

Art

and

Popular

out of h a n d ' , w r i t e the c u r a t o r s but to d e m o n s t r a t e that in the h a n d s of the truly

is c o m p a r a b l e w i t h an earlier

and

Art. T h e f u r o r a b o u t the r o o t l e s s

they are d e n i g r a t e d in the i n c e s s a n t d e m o n s t r a t i o n that t h e y are f o d d e r for a

Freedom What Is Art? Why Is Art?, 1983 (Graffiti op metrotreinstel/Graffiti on subway cars, fotomontage/composite photo Henry Chalfant)

legion of m o d e r n i s t s s e a r c h i n g for i n s p i -

L o u i s A r a g o n c h a r a c t e r i z e d as the 'lost

w o r d e n , als je maar een scherpe geest - e n

ration. By g o l l y e v e n the life of the n e g -

p a t h w a y of q u o t i d i a n m y s t e r y ' e n c o m p a s -

schaar - hebt.

ligible n e w s p a p e r c a n c o n t r i b u t e to i n s p i -

ses the w o r k of c u b i s m . Y e t if it is to

ration - g i v e n s h a r p e n o u g h wit - a n d

s e r v e as the entry to the l e g i t i m a t i o n of

zien dat Hilton Kramer, initiator van de

knieën te gaan voor deze neptempel, gewijd

scissors.

p o p u l a r cultur e as u s e f ul to artistic e n d s ,

m e e s t bespottelijke modernistische tentoon-

aan het soort populaire cultuur dat g e w o o n

Hoe paradoxaal en interessant o m te

blijfselen van d e populaire cultuur van hun (Picasso en Braque) tijd...en m e n vraagt ons niet alleen stil te staan bij, maar zelfs op d e

it s e r v e s so w e l l , for, as V a r n e d o e a n d

stellingen, High & Low bestempelde als één

wordt vastgeplakt op deze vroeg-cubistische

Hilton K r a m e r , g u a r d i a n of the m o s t pre-

G o p n i k r e m i n d u s 'there w e r e no a c c o m -

van de m e e s t hemeltergende vormen van

m e e s t e r w e r k e n . ' Kramer steekt zijn kritiek

p o s t e r o u s r e r u n s of m o d e r n i s m , f o u n d

p a n y i n g m a n i f e s t o e s , or e v e n s t a t e m e n t s ,

intellectueel bedrog die hij ooit in e e n

niet onder stoelen of banken. Varnedoe en

that High

to clarify the p u r p o s e s of the inner circle

serieus m u s e u m had gezien. W a a r haalden

u n c o n s c i o n a b l e intellectual s w i n d l e s w e

of initiators'. S i l e n t artists are s o p l e a s -

de organisatoren de euvele m o e d vandaan

h a v e ever s e e n in a s e r i o u s m u s e u m ' .

antly c o m p l i a n t . T o s p e c u l a t e that p o p u -

o m zelfs maar d e suggestie te w e k k e n dat

H o w c o u l d the c u r a t o r s h a v e the a u d a c i t y

lar c u l t u r e w a s u n r e f l e c t i v e a n d d e v o i d of

de populaire cultuur te vergelijken is met

to e v e n hint that p o p u l a r culture has a

' m u l t i p l e private m e a n i n g s ' is a s i m p l i f i -

modernistische m e e s t e r w e r k e n !

position comparable with modernist mas-

c a t i o n w h o l l y i n a p p r o p r i a t e to its intents

terpieces!

a n d utterly c o n t e m p t u o u s of the citizen at

ingang van d e tentoonstellingsruimte, voor-

t h e t u r n of the c e n t u r y .

zien van replica's van krantekoppen van rond

H o w p a r a d o x i c a l a n d interesting that

& Low w a s ' o n e of the m o s t

T h e r e c o n s t r u c t e d P a r i s i a n kiosk, a d o r n e d w i t h replicas of t u r n - o f - t h e - c e n tury n e w s p a p e r h e a d l i n e s , that s t o o d at

Of c o u r s e the s h o w d o e s n ' t linger l o n g o v e r the s i g n i f i c a nt a p p l i c a t i o n of

De gereconstrueerde Parijse kiosk bij de

de e e u w w i s s e l i n g , stuitte Kramer vooral tegen de borst: 'Zij tonen de heilige over-

Gopnik zijn veel implicieter in hun kritiek, al zijn ze het w e l min of meer met Kramer eens. D e kiosk staat i m m e r s buiten de zaal vol met ' m e e s t e r w e r k e n ' van het c u b i s m e , d e collages die alle verwijzingen behalve de m e e s t oppervlakkige onmogelijk m a k e n , waarin de voorkeur wordt g e g e v en aan ironie in plaats van aan betekenis en die getuig e n van e e n grote mate van arrogantie. Wat Kramer en de organisatoren van

the d o o r w a y of the e x h i b i t i o n h a l l , w a s

High & Low met elkaar g e m e e n hebben , is

particularly r e p u g n a n t to K r a m e r : ' T h e y

de overtuiging dat het c u b i s m e de voorloper

represent the s a c r e d r e m a i n s of the p o p u -

is van d e twintigste-eeuwse populaire cul-

lar culture of their d a y ( P i c a s s o a n d B r a -

tuur. M a a r is de kiosk niet precies het soort

que) ... A n d w e are a s k e d not so m u c h to

oppervlakkig symbool (of het soort 'nep'-

reflect u p o n as to genuflec t b e f o re this

symbool, zoals Kramer zegt) dat de cubisten

counterfeit s h r i n e to the b r a n c h of p o p u -

af en toe, bij wijze van grap, van d e straat

lar culture that literally got p a s t e d into

plukten? Volgens de curatoren 'destilleerden

t h o s e e a r ly c u b i s t m a s t e r p i e c e s . ' W h a t

Picasso, Braque en Gris hun eigen beteke-

Kramer unashamedly disdains though

nissen uit het publieke w o o r d . ' Het artis-

Varnedoe and Gopnik disdain implicity.

tieke bewustzijn overvleugelt het aardse

The s u b t l e a g r e e m e n t w i t h K r a m e r is

bewustzijn. D e latente betekenis gaat aan

clear. T h e kiosk afterall s t a n d s o u t s i d e the

het praktische doel vooraf. Inherent aan het

r o o m filled w i t h the ' m a s t e r p i e c e s ' of

gebruik van d e populaire beelden w a r e n d e

c u b i s m , the c o l l a g e s that e r a s e d any but

politieke c o d e s , die in d e cubistische collage

the m o s t s u p e r f i c i a l r e f e r e n c e s , that

de rol vervulden van snedige repliek. Wat

e s c h e w e d m e a n i n g in f a v o r of i r o n y, that

Louis Aragon het 'verloren pad van het alle-

s e v e r e d the tie b e t w e e n i n t e n t i o n a n d

daagse mysterie' noemde, is van toepassing

usurpation.

op het c u b i s m e. Het kan ook heel goed

W h a t so clearly e q u a t e s K r a m e r a n d the curator s of High

& Low is a s e r i o u s -

ness that rationalizes c u b i s m as the forbearer of t w e n t i e t h c e n t u r y a s s i m i l a t i o n s of p o p u l a r c u l t u r e . But isn't the kiosk e x a c t l y the f o r m of s u p e r f i c i a l signifier, 'counterfeit' to use K r a m e r ' s w o r d , that w a s u s e d by the c u b i s t s as they c a s u a l l y g l e a n e d p u n s f r o m the streets? P i c a s s o , B r a q u e a n d G r i s , a c c o r d i n g to the c u r a t o r s ' r e l e a s e d m u l t i p l e private m e a n ings lurking w i t h i n the e x h o r t a t i o n s of p u b l i c w o r d s ' . A r t i s t i c c o n s c i o u s n e s s outdistances m u n d a n e consciousness . The ' l u r k i n g ' signifier p r e c e d e s the practica l p u r p o s e . Implicit in the u s e of p o p u l a r i m a g e r y w e r e political c o d e s that e n t e r e d c u b i s t c o l l a g e as c l e v e r repartee. W h a t

dienen als bewijs voor het feit dat de populaire cultuur voor artistieke doeleinden kan w o r d e n gebruikt, want zoals Varnedoe en Gopnik zeiden: ' E r w a r e n geen begeleidende manifesten, of uitspraken, ter verheldering van de doelstellingen van de initiatoren.' Zwijgende kunstenaars zijn altijd zo heerlijk meegaand. M a a r ervan uitgaan dat er binnen d e populaire cultuur niet w e r d nagedacht en dat er g e e n sprake w a s van 'meerdere privé-betekenissen', is een simplificatie die geen recht doet aan de doelstellingen van deze b e w e g i n g . Het is e e n grove onderschatting van de burger rond de eeuwwisseling. Natuurlijk besteedt de tentoonstelling niet te veel aandacht aan de toepassing van d e populaire kunst in het c u b i s m e. Er w a c h -

ten nog meer mysteries op ontdekking. D e

'moderne kunst' en de populaire cultuur

p o p u l a r culture in c u b i s m . T h e r e are

d e c o n s t r u c t i o n , for the r e v u l s i o n f o r

verschillende secties van de tentoonstelling:

kunnen nog veel verder w o r d e n onderzocht,

other m y s t e r i e s to r e s o l v e . T h e s e c t i o n s

t h e o r y is f r i g h t e n i n g l y e v i d e n t . E i g h t i e s

' W o o r d e n ' , 'Graffiti', 'Karikatuur', 'Strips',

maar dat zal voor een deel vergeefse moeite

of the exhibit: ' W o r d s ' , ' G r a f f i t i ', ' C a r i c a -

art is s o m e e k l y r e p r e s e n t e d that it is dis-

'Advertenties', 'Hedendaags e bespiegelin-

zijn, omdat de afkeer van de theorie duidelijk

ture', ' C o m i c s ' , ' A d v e r t i s i n g ' , ' C o n t e m p o r -

g r a c e f u l , t h o u g h it is the o n l y s e c t i o n of

g e n ' hebben allemaal betrekking op het

aanwezig is. De kunst van de tachtiger jaren

ary R e f l e c t i o n s ' , all isolate e l e m e n t s of

the w o r k that l o o k s at p h o t o g r a p h y . F o r

geschreven w o o r d . Vrijwel ieder hoofdstuk

wordt ongelooflijk zoetsappig behandeld, al

culture pertinent to the r e a d i n g . Interest-

the c u r a t o r s 'to ' d e c o n s t r u c t ' (the

in het boek begint met een zeer specula-

is dit w e l het enige hoofdstuk waarin enige

i n g l y , a l m o s t every s e c t i o n of the b o o k

p h i l o s o p h e r ' s t e r m h a d s o m e t i m e early in

tieve openingszin of -alinea:

aandacht aan de fotografie wordt besteed.

begins with a wildly speculative opening

the e i g h t i e s lost its o r i g i n a l , t e c h n i c a l

Volgens de organisatoren ' w as er niet veel

s e n t e n c e or p a r a g r a p h :

W o o r d e n : 'In den beginne w a s het woord...' Graffiti: 'Toen Picasso en Braque stopten

originaliteit voor nodig o m de manipulatieve structuur van de mediabeelden te 'deconstrueren". (De filosofische term 'deconstrue-

W o r d s : 'In the b e g i n n i n g w a s the word...'

m e a n i n g in a r g u m e n t s a b o u t the relations h i p b e t w e e n texts a n d m e a n i n g s a n d b e c o m e a v o g u i s h s y n o n y m for 'reveal' ) the m a n i p u l a t i v e structures of m e d i a

op de boulevard en hun blik o m h o o g

ren' had aan het begin van de tachtiger jaren

richtten o m te zien wat de mogelijkhe-

zijn oorspronkelijke, technische betekenis in

s t o p p e d o n the b o u l e v a r d to look u p

M e d i a art c r e a t e d a ' d i s d a i n f u l d i s t a n c e '

den waren van krant en reclamebord,

discussies over de relatie tussen tekst en

at the p o s s i b i l i t i e s in n e w s p r i n t a n d

for the c u r a t o r s . H o w c y n i c a l c a n t h e y be?

voelden zij de w i n d van de lente der

betekenis verloren en w a s e e n modieus

b i l l b o a r d s , they feit the w i n d s of m o d -

N o t o n l y d o they p r o p o s e to m a s t e r m o d -

moderniteit in het gezicht.'

synoniem voor 'onthullen' geworden.) De

e r n i t y ' s s p r i n g t i m e in their f a c e s . '

e r n i s m but to u n d e r m i n e the u s e of criti-

C a r i c a t u r e : ' M o d e r n art is full of f u n n y

cal t h e o r y as a p r o d u c t i v e force. D o they

Karikatuur: ' D e moderne kunst zit vol

mediakunst bevond zich op e e n 'arrogante

G r a f f i t i : 'When Picasso and Braque

i m a g e r y r e q u i r e d n o great originality. '

gekke gezichten. V r o u w e r met beide

afstand' volgens de organisatoren. Wat

faces. W o m e n w i t h b o t h e y e s o n the

ask t h e m s e l v e s if the a w f u l cultur e that

o g e n aan dezelfde kant van de n e u s ;

uitermate cynisch! D e organisatoren b e w e -

s a m e side of their n o s e ; m e n w i t h

m o d e r n i s m c r e a t e d is e x e m p t f r o m

mannen met oren waar hun mond hoort

ren niet alleen dat zij alles w e t e n van het

ears w h e r e their m o u t h s s h o u l d b e ;

d e c o n s t r u c t i o n , f r o m d i s d a i n ? Of c o u r s e

te zitten; g e w o n e gezinnen met de

modernisme, maar ze ondermijnen ook het

ordinary f a m i l i e s w i t h the e y e s of

not. H o w e l s e c o u l d they l e g i t i m i z e their

o g e n van woestijnratten en apeschedel s

gebruik van d e kritische theorie als produk-

desert rodents a n d the skulls of a p e s

p r e t e n t i o u s r e m a r k s ? ' N o great o r i g i n a l -

- een misvormd gezicht is het symbool

tieve kracht. Vragen zij zichzelf ooit af of d e

- a m i x e d - u p face is the h e r a l d i c

ity' is n e c e s s a r y to ' r e v e a l ' the ' m a n i p u l a -

van de moderne kunst...'

vreselijke cultuur die door het m o d e r n i s m e

e m b l e m of m o d e r n art...'

tive s t r u c t u r e s of m e d i a i m a g e r y ' . If this

S t r i p s : 'Sla d e strippagina van de N e w Yorkse kranten van vandaag de dag maar open en je ziet het paradijs van moderniteit...' A d v e r t e n t i e s : 'Wanneer w e de reproduktie van het twintig meter lange schilderij F-111 van J a m e s Rosenquist aan het eind van dit hoofdstuk openklappen, w o r d e n w e geconfronteerd met het visuele equivalent van de oerschreeuw van deze eeuw...' H e d e n d a a g s e b e s p i e g e l i n g e n : 'Eerst een klucht, dan een tragedie. Deze omkering van Marx' aforisme over de manier waarop de geschiedenis zich herhaalt, is maar al te waar voor d e geschiedenis van d e moderne kunst. Als er een lijn valt te ontdekken in alle incidentele, individuele geschiedenisse n die wij hebben opgetekend, is het w e l dat wat begon als grap, lokkertje of attractie en door d e moderne kunstenaar is getransformeerd tot mysterie, poëzie en elegie...' Redeneringen, opgebouwd uit d o m m e metaforen en veronderstellingen, leveren geen begrip en inzicht op D e tentoonstelling en de begeleidende boeken vertonen geen enkele coherente analyse. Lyrische zinnen en alinea's als hierboven lijken meer op de o n v o l w a s s e n essays van studenten dan op serieuze intentieverklaringen. Het zijn gênante hyperbolen die loodzwaar w o r d e n gebracht. De organisatoren hebben geen manier kunnen vinden o m de barrière te doorbreken, een barrière die de kunstenaar in het voordeel en de populaire cultuur in het nadeel stelde. In de begeleidende boeken w o r d en d e meest naïeve en voor de hand liggende conclusies getrokken, waarschijnlijk o m te laten zien dat deze onderzoekers ook w e l raad wisten met de archieven van de populaire cultuur. Overal in de tekst k o m e n w e foto's, krantekoppen, strips, advertenties, etc. tegen, slechts hier

geschapen w e r d vrij is van 'deconstructie', van arrogantie? Natuurlijk niet. Hoe kunnen ze anders zelf hun arrogante opmerkingen verkopen? 'Er is niet veel originaliteit nodig voor het onthullen van de manipulatieve structuren van d e mediabeelden.' A l s dat zo is, kan men zich evengoed afvragen hoeveel originaliteit er nodig is o m e e n leuke grap uit een Parijse krant te knippen. High & Low heeft meer last van ambiguïteit dan van s u c c e s . M o M A had makkelijk een aantal autoriteiten op het gebied van de populaire cultuur en haar relatie tot de kunst kunnen mobiliseren. Z e hebben in feite alleen de gebruikelijke kunstcritici aan het woord gelaten over één van de belangrijkste culturele f e n o m e n en van deze e e u w . Nergens verwijzen zij naar de analyses die er de afgelopen tien jaar gemaakt zijn van de sociale structuur van deze populaire cultuur en haar effecten. M e n zou haast gaan denken dat de populaire cultuur maar een soort randverschijnsel is, dat het wat activiteiten zijn die inspiratie leveren aan creatieve kunstenaars. Er moet een culturele en artistieke analyse plaatsvinden van d e gecompliceerde en dwingende invloed van d e alledaagse activiteiten van d e cultuur w a a r m e e ook het M o M A te maken heeft. M a a r d e problemen liggen niet alleen hier. In de bloemlezing schrijft slechts één vrouw, niet over het onderwerp de patriarchale structuur van de populaire cultuur, maar over de Independent Group. Hieruit blijkt maar w e e r dat het culturele perspectief in deze tentoonstelling ver te zoeken is.

siast over w a t ze zagen? De parallellen in ontwikkeling tussen d e

N e w York n e w s p a p e r s in the last d e c a d e of the t w e n t i e t h c e n t u r y a n d y o u see a c o r a l reef of m o d e r n i t y . . . ' A d v e r t i s i n g : ' F o l d i n g out the r e p r o d u c tion, near the e n d of this chapter, of J a m e s R o s e n q u i s t ' s e i g h t y - s ix f o o t l o n g painting F-111, w e s e e m to be c o n f r o n t e d w i t h the v i s u a l e q u i v a l e n t of this c e n t u r y ' s p r i m a l s c r e a m . . . ' C o n t e m p o r a r y R e f l e c t i o n s : 'First

High & Low is z o w e l profetie als conclusie. Het is w e e r e e n s overduidelijk dat het M o M A als instituut niet in staat is tot e e n serieus debat over cultuur. Timothy Druckrey V a r n e d o e , Kirk & G o p n i k , A d a m : H i g h & L o w : M o d e r n Art a n d P o p u l a r C u l ture. Harry Abrams, 1990. cb: $6000

ity is n e c e s s a r y t o s n i p a p u n out of a P a r i s i a n paper. High

& Low suffers its a m b i g u i t i e s

m o r e d e e p l y t h a n its s u c c e s s e s . W h i l e the institutional r e s o u r c e s of M o M A e a s i l y c o u l d m o b i l i z e a p e r s u a s i v e g r o u p of a u t h o r i t i e s o n the i s s u e s of p o p u l a r c u lture a n d its r e l a t i o n s h i p to the arts, the fact is that they d o n ' t m o b i l i z e a n y o n e b e y o n d the u s u a l art w r i t e r s to a d d r e s s o n e of the m o s t s i g n i f i c a n t c u l t u r a l i s s u e s

r e v e r s al of M a r x ' s a p h o r i s m a b o u t the

of the c e n t u r y . N o r d o t h e y d e m o n s t r a t e

w a y history r e p e a t s itself is true for

h o w c o g e n t the w r i t i n g s of the past

the history of m o d e r n art. If t h e r e ' s a

d e c a d e h a v e b e e n in a n a l y z i n g the s o c i a l

pattern that c o n n e c t s all the c o n t i n -

c o n s t r u c t i o n of p o p u l a r cultur e a n d its

gent, i n d i v i d u a l historie s w e h a v e

effects. O n e e n d s u p t h i n k i n g that p o p u l a r

c h r o n i c l e d , it's that t h i n g s w h i c h

culture is a m a r g i n a l adjunct, a set of

b e g a n as j o k e s , c o m e - o n s , a n d

p r a c t i c e s that p r o v i d e i n s p i r a t i o n to Crea-

sideshows have been transformed by

tive artists. T h e u r g e n c y of a cultural a n d

m o d e r n artists into m y s t e r i e s , lyrics,

artistic a s s e s s m e n t of the intricate a n d

a n d elegies...'

c o m p e l l i n g i m p a c t of the e v e r y d a y acts of

A r g u m e n t s c o n s t r u c t e d f r o m silly m e t a p h o r s and p r e m i s e s just d o n ' t serve to e v o k e either u n d e r s t a n d i n g or e n l i g h t e n m e n t . The e x h i b i t i o n a n d the m o n o g r a p h s t a n d as an e m b a r r a s m e n t to c o h e rent a n a l y s i s. R h a p s o d i c s e n t e n c e s a n d p a r a g r a p h s like the a b o v e s e e m m o r e like i m m a t u r e student c h a r a c t e r i z a t i o n s t h a n s t a t e m e n t s of intent. T h e y are e m b a r r a s s i n g h y p e r b o l e , but are p r e s e n t e d w i t h

the culture in w h i c h it m u s t exist is clear. But the p r o b l e m s d o n ' t o n l y exist here. In the a n t h o l o g y of r e a d i n g s p r o v i d e d there is o n l y a s i n g l e w o m a n writer a d d r e s s i n g not the i s s u e of the patriarchal structures of p o p u l a r but of the I n d e p e n d e n t G r o u p . T h i s o n l y hints at the c u l t u r a l i s s u e s w h o l l y l a c k i n g in this s h o w . High

& Low is as m u c h a portent as a

resolution. M o M A ' s continuing insolvency

p o n d e r o u s c o n s e q u e n c e . N o matter w h a t ,

as a n i n s t i t u t i o n c a p a b l e of a s e r i o u s cul -

the curators c o u l d n ' t f i n d a w a y to seri-

tural d e b a t e is o b v i o u s , a g a i n .

o u s l y break the barrier that p r i v i l e g e d lar culture. The m o n o g r a p h p r e s e n t e d the m o s t n a i v e and o b v i o u s c o m p a r i s o n s , no d o u b t d e m o n s t r a t i n g that e v e n the a r c h i v e s of p o p u l a r w e r e no m a t c h for t h e s e researchers. V i s u a l s o u r c e m a t e r i a l , n e w s p a p e r h e a d l i n e s , c o m i c strips, a d v e rt i s e m e n t s , e t c , littered the texts w i t h o n l y rudimentary discussion. Weren't these s c h o l a r s ever e x c i t e d by w h a t they w e r e finding?

V a r n e d o e , Kirk & G o p n i k , A d a m (red): M o d e r n Art and Popular Culture: Read i n g s in H i g h & L o w . Harry Abrams, 1990, pb: $2995

is s o t h e n think a b o u t h o w little o r i g i n a l -

t i m e farce, s e c o n d t i m e t r a g e d y . T h i s

artistic p r o d u c t i o n a n d d i s p a r a g e d p o p u -

en daar voorzien van een opmerking. W a r e n de onderzoekers nu nooit eens echt enthou-

C o m i c s : ' O p e n the f u n n y p a g e s of the

T h e parallel c o u r s e s of ' m o d e r n art' a n d p o p u l a r culture p r o p o s e d here w o u l d require e n d l e s s a n d , in s o m e w a y s , futile

T i m o t h y Druckre y

Foto Biënnale Enschede Enschede:

various

anders beleefd en gewaardeerd w o r d e n . A l s uitgangspunt voor e e n coherente presenta-

locations,

1-24/3/91

tie biedt deze thematiek dan ook weinig

It s o u n d s all very f i n e : the p u r p o s e of

de leegte achter d e g o e d e bedoelingen ver-

houvast en d e titel doet niet veel meer dan hullen.

the F o t o Biënnale E n s c h e d e is to s h o w the latest d e v e l o p m e n t s in p h o t o g r a p h y ,

Het is voor d e Foto Biënnale E n s c h e d e

and to offer the o p p o r t u n i t y to m a k e

traditie g e w o r d e n e e n gastland uit te nodi-

c o m p a r i s o n s by each time presenting

gen. M e t d e keuze voor Tsjecho-Slowakije

w o r k f r o m t w o c o u n t r i e s . In practice, the

w e r d een land met e e n rijke fotografiege-

result this y e a r is a p r e s e n t a t i o n of p h o t o -

schiedenis uitgenodigd. Deze historie is niet

w o r k s that are just as b a n a l as the under-

geheel o n b e k e n d gebleven. Czech

lying aim.

rnism

seerd door The M u s e u m of Fine Arts in Houston. En vorig jaar stond op de Ren-

T h i r t e e n D u t c h p h o t o g r a p h e r s a n d fifteen

contres Internationales de la Photographie in

C z e c h s s h o w e d their wor k in the R i j k s m u s e u m T w e n t h e a n d v a r o u s other

Arles de Tsjechische fotograaf Frantisek

Romy F i n k e

l o c a t i o n s in E n s c h e d e . T h e h e a d i n g of Photography

Drtikol centraal met zijn werk uit het begin

zonder titel/untitled, 1989

van deze e e u w .

w a s c h o s e n in order

to i n d i c a t e that this f o u r t h Biënnale 'is c o n c e r n e d w i t h the e x p r e s s i v e p o w e r of p h o t o g r a p h y a n d its ability to appeal to o u r aesthetic s e n s e ' .

aesthetic s e n s i b i l i t y , as this is t o o m e a g r e

Foto Biënnale Enschede

(and arbitrary) a b a s i s o n w h i c h to s u p -

Enschede:

port the c o n t e n t s of a b i a n n u a l .

1-24/3/91

niet onopgemerkt g e b l e v e n : d e Fotografie

Het klinkt mooi: de Foto Biënnale

werk van zeven fotografen (van w i e er nu

diverse

locaties,

tunately h as a very d e m o c r a t i e s p r e a d :

not d a r e d to g o b e y o n d the b o u n d a r i e s of aesthetics a n d to ask real q u e s t i o n s c o n -

E n s c h e d e stelt zich ten doel de nieuwste

e v e r y o n e has his or her o w n e x p e r i e n c e

cerning Czech photography. Just s h o w i n g

ontwikkelingen in d e fotografie te tonen,

of b e a u t y a n d aesthetic a p p r e c i a t i o n .

the 'latest d e v e l o p m e n t s ' r e m a i n s l i m i t e d

waarbij tevens in e e n twee-landen presenta-

T h u s the ' e x p r e s s i v e p o w e r ' of p h o t o g r a -

to a d i s p l a y of all sorts of v a r i a t i o n s of

tie d e gelegenheid geboden wordt vergelij-

p h y w i l l be e x p e r i e n c e d a n d v a l u e d diffe-

' c o m i c , fantastic a n d a b s u r d ' p h o t o g r a p h y

kingen te maken. In d e praktijk heeft deze

rently by e v e r y o n e . A s the b a s i s of a

w h i c h in the c a t a l o g u e are d e s c r i b e d

opzet dit jaar geleid tot e e n presentatie van

c o h e r e n t p r e s e n t a t i o n , h o w e v e r , this

u n d e r the i m p o s s i b l e t e r m ' p o e t i c i s m ' .

fotowerken die net zo weinig zegt als de

t h e m e offers little to h o l d o n t o a n d the title d o e s little m o r e t h a n veil the e m p t i n e s s b e h i n d the g o o d intentions . It is tradition of the Foto Biënnale E n s c h e d e to invite a g u e s t c o u n t r y . The c h o i c e of C z e c h o s l o v a k i a i n v o l v e s a c o u n -

Important c u l t u r a l d e v e l o p m e n t s in a w i d e r s e n s e , in w h i c h p h o t o g r a p h y p l a y s

achterliggende doelstelling. De organisatoren hebben gekozen voor

A m s t e r d a m Foto en in 1990 w a s er ook nog de tentoonstelling Fotografie

der

Gegenwart

Tschechoslowakische in het

Museum

Ludwig in Keulen. Nu is de bekendheid van het werk van een aantal Tsjechische fotografen op zich g e e n reden o m het niet meer te tonen.

een presentatie van Nederlandse en Tsje-

Ondanks het feit dat e e n aantal fotografen

e r a t i o n , w h i l e political , social a n d artistic

choslowaakse fotografie. Dertien Nederlan-

zich naar mijn smaak al te zeer verliest in

a s p e c t s are kept at a safe d i s t a n c e t o o .

ders en vijftien Tsjechen toonden hun werk

geforceerd effect en trucage (zoals het geval

A l t h o u g h the w o rk of the C z e c h

in het Rijksmuseum Twenthe en op enkele

is bij Ivan Pinkava, Vasil Stanko en Robert Novak), blijft naar mijn mening veel werk zeer sympathiek en e e n hernieuwde kennis-

tory that is not c o m p l e t e l y u n k n o w n . T h e Modernism

zes ook in E n s c h e d e aanwezig zijn). In 1989 w a s werk van Tsjechen te zien tijdens

a role, are left c o m p l e t e l y out of c o n s i d -

try w i t h a rich p h o t o g r a p h i c history, a hise x h i b i t i o n Czech

Ook de meer recente ontwikkelingen binnen de Tsjechische fotografie zijn hier Biënnale Rotterdam toonde in 1988 het

It is a pity that the o r g a n i s e r s h a v e

' A e s t h e t i c s e n s e ' is a n o t i o n that for-

Mode-

is e e n lijvige publicatie,

verschenen bij een tentoonstelling georgani-

T h e o r g a n i s e r s d e c i d e d to present Dutch and Czechoslovak photography.

Plastic

1900-1945

making zeker waard (bijvoorbeeld M i r o Svo-

1900-1945

lik en Judita Cséderové).

o r g a n i s e d by the M u s e u m of F i n e A r t s in Houston w a s a c c o m p a n i e d by a substan-

Problematisch is veeleer het ontbreken

tial book. A n d wor k f r o m the b e g i n n i n g of

van iedere referentie aan d e contekst waar-

this c e n t u r y b y the C z e c h p h o t o g r a p h e r

binnen deze fotografie haar oorsprong vindt

Frantisek Drtikol w a s featured at last

en functioneert. Het appèl aan het s c h o o n -

y e a r ' s R e n c o n t r e s Internationales d e la

heidsgevoel is voor mij niet voldoende en

P h o t o g r a p h i e in A r l e s .

een te magere (want willekeurige) basis o m een biënnale inhoudelijk te dragen.

M o r e recent d e v e l o p m e n t s in C z e c h p h o t o g r a p h y h a v e a l s o not g o n e

Het is jammer dat d e organisatoren het

u n n o t i c e d h e r e : in 1988 the Fotografie

niet hebben aangedurfd de grens van esthe-

Biënnale R o t t e r d a m s h o w e d w o r k by

tiek te overschrijden en tot werkelijke vra-

s e v e n p h o t o g r a p h e r s (six of w h o m are

gen te k o m e n ten aanzien van de - Tsjechi-

a l s o p r e s e n t in E n s c h e d e ) . In 1989 C z e c h

s c h e - fotografie. Nu blijft het 'tonen van d e

work c o u l d be seen during A m s t e r d a m Foto a n d in 1990 the M u s e u m L u d w i g in C o l o g n e put o n the e x h i b i t i o n lovakische

Fotografie

der

TschechosGegenwart.

nieuwste ontwikkelingen' beperkt tot een

Miro Svolik Soms probeer ik contacten te leggen met andere menselijke beschavingen Occasionally I Try to Establish Contacts with Other Civilizations of Man, 1990

uitstalling van allerlei varianten van 'komische, fantastische en absurde fotografie' die met d e onmogelijke term 'poëticisme'

(Uit een serie van negen foto's/From a series of nine photographs)

o m s c h r e v e n w o r d e n in d e catalogus .

Of c o u r s e the fact that the w o rk of a n u m b e r of C z e c h p h o t o g r a p h e r s is

Belangrijke culturele ontwikkelingen in

a l r e a d y w e l l - k n o w n is no r e a s o n not to

bredere zin, waarbinnen d e fotografie haar

s h o w t h e m a g a i n . E v e n t h o u g h s o m e of

p h o t o g r a p h e r s in the Foto Biënnale

andere locaties in E n s c h e d e . Onder d e noe-

plaats heeft, w o r d e n volledig buiten

the p h o t o g r a p h e r s to m y m i n d i n d u l g e

Enschede displays a mutual relationship

mer Plastic

b e s c h o u w i n g gelaten en ook politieke, maat-

t h e m s e l v e s t o o m u c h in f o r c e d effects

in t e r m s of a sort of ironie, m e l a n c h o l i e

vierde Biënnale getracht 'aan te geven dat

schappelijke en artistieke aspecten w o r d e n

and tricks (as in the c a s e of Ivan P i n k a v a ,

mentality, the w o rk of the Dutch particip-

het gaat o m het beeldend v e r m o g e n van

op veilige afstand gehouden.

Vasil Stanko and Robert Novak), I found a

ants is c o m p l e t e l y v a r i e d . W i t h the best

fotografie'. Anders g e z e g d : 'Het vermogen

lot of the w o r k v e r y p l e a s a n t a n d w e l l

w i l l in the w o r l d I w a s u n a b l e to d i s c o v e r

van e e n foto o m te appelleren aan het

worth renewing acquaintance with (Miro

any c o h e s i o n in the s e l e c t i o n . 'Latest

schoonheidsgevoel van m e n s e n . '

S v o l i k a n d J u d i t a C s a d e r o v a for e x a m -

developments' apparently means nothing

ple). W h a t is m o r e p r o b l e m a t i c is the lack of a n y r e f e r e n c e to the context w i t h i n w h i c h this p h o t o g r a p h y o r i g i n a t e s and f u n c t i o n s . It is not e n o u g h to a p p e a l to

Photography

w e r d op deze

Nu is 'het s c h o o n h e i d s g e v o e l ' e e n

Terwijl het werk van de Tsjechische fotografen in d e Foto Biënnale E n s c h e d e nog onderlinge verwantschap toont in e e n soort ironisch-melancholieke mentaliteit, is

m o r e t h a n that m o s t of the e x h i b i t o r s are

begrip met gelukkig een zeer democratische

het werk van d e d e e l n e m e n d e Nederlandse

fairly y o u n g , for o t h e r w i s e there is little

spreiding: iedereen heeft zijn eigen schoon-

fotografen volstrekt uiteenlopend. M e t d e

s i g n of a n y t h i n g n e w .

heidsbeleving en esthetische appreciaties.

beste wil van d e w e r e l d lukt het mij niet de

Hiermee zullen dus d e 'beeldende vermo-

s a m e n h a n g te ontdekken in deze selectie.

g e n s ' van d e fotografie door eenieder

M e t d e 'jongste ontwikkelingen' wordt hier

B e s i d e s the rather l a c k a d a i s i c a l s t a g e d p h o t o g r a p h s by W i n f r e d E v e r s

blijkbaar niet méér bedoeld dan dat de

gesproken wordt, ontgaat mij e n d e m e e s t e

a n d Henze B o e k h o u t a n d t h e d e a d l y d u l l

the d a n g e r of g e t t i n g stuck i n a f o r m u l a

m e e s t e exposanten tamelijk jong zijn, want

foto's blijven zo plat als een plaatje.

i m a g e s by W i l l e m W e v e r s , w h a t g e n e r a l l y

w h e r e c h o i c e s are m a d e w i t h o u t there

s e e m s to b e very p o p u l a r is the portrait

first b e i n g q u e s t i o n s a s k e d . It is to b e

sympathiek e n enthousiast evenement is,

in all sorts of f o r m s . T h e w o r k o f R o m y

h o p e d that the o r g a n i s e r s c a n s u c c e e d i n

lijkt zij in de huidige opzet het gevaar te

Finke i s by far t h e s t r o n g e s t here. T h e

o v e r c o m i n g this p r o b l e m .

sceneringen van Winfred Evers en Henze

lopen in een formule te geraken waarbij keu-

' p r o f u n d i t y ' talked a b o u t i n the c a t a l o g u e

Boekhout en de oersaaie beelden van Wil-

zes w o r d e n gemaakt zonder dat er eerst

e s c a p e s m e ; m o s t of t h e p h o t o g r a p h s are

lem W e v e r s , blijkt vooral het portret in aller-

vragen w o r d e n gesteld. Het is te hopen dat

as flat as a n illustration.

lei gedaanten zeer populair te zijn. Hierbij is

d e organisatie er in slaagt dit probleem te

het werk van R o m y Finke veruit het sterkst.

overwinnen.

voor het overige valt er weinig nieuws te ontdekken. Naast d e voor mij tamelijk lusteloze en-

H o e w e l de Foto Biënnale Enschede e e n

A l t h o u g h t h e Foto Biënnale E n s c h e d e is a c o n g e n i a l a n d e n t h o u s i a s t i c e v e n t , it

De 'diepgang' waar in de catalogus over

Leo Delfgaauw

s e e m s i n its present set-up to be r u n n i n g

Piet van Leeuwen Galerie

Fotomania,

7/11-1/12

Leo Delfgaauw

e x a m p l e V a n L e e u w e n f o l l o w e d , a s he h i m s e l f s a y s , w h e n h e b e g a n to p h o t o -

Botterdam

g r a p h ' h e a p s ' . A m o n g s t other p l a c e s ,

1990

t h e s e w e r e o n s h o w i n the e x h i b i t i o n Fotografia

Piet van L e e u w e n d e e d al aan geënsce-

Buffa,

in 1986, a r e t r o s p e c t i v e

of D u t c h s t a g e d p h o t o g r a p h y .

neerde fotografie voordat ooit iemand van de term had gehoord. Eind jaren ' 7 0 zette hij

Meanwhile, with o n e or t w o excep-

voor zijn camera humoristische scènes in

t i o n s , s t a g e d p h o t o g r a p h y is n o w o n the

elkaar die hij publiceerde in A v e n u e e n

wane. Many photographers w h o worked

Panorama, waar in opdracht werkende foto-

in this w a y h a v e i n recent y e a r s g o t lost

grafen van de toenmalige art directors veel

in their o w n n o n c o m m i t t a l a r t i n e s s a n d

artistieke vrijheid kregen.

only a few have s h o w n themselves capable o f p r o d u c i n g w o r k o f a h i g h e n o u g h

Daarnaast haalde Van L e e u w e n veel n i e u w e fotografie (o.a. van Wink van K e m -

q u a l i t y a n d i n d i v i d u a l i t y to e s c a p e o b l i v -

pen. Winfred Evers) naar zijn in 1978 opge-

ion.

richte galerie V A N in Haarlem, onder meer

A recent e x h i b i t i o n at G a l e r i e

e e n groep fotografen uit Californië. Eén

F o t o m a n i a s h o w e d that Piet v a n L e e u w e n

daarvan w a s George Legrady, naar w i e n s

is o n e of t h e latter. U n d e r t h e title

voorbeeld Van L e e u w e n naar eigen zeggen

ern Fossils

'stapelingen' begon te fotograferen. Deze

series of photogram s m a de with the help

Mod-

Van Leeuwen exhibited a

waren onder meer te zien o p d e tentoon-

of d i s p o s a b l e plastic p a c k a g i n g . O n e

stelling Fotografia

c h a r a c t e r i s t i c o f t h e s e transparent, s o - c a l -

Buffa

in 1986, een over-

zicht van de Nederlandse geënsceneerde

led 'bliste r p a c k s ' is that they p r e s e r v e

fotografie

the s h a p e of t h e p a c k a g e d object (a t o o i , or a n article o f f o o d ) e v e n after it h a s

Inmiddels is d e geënsceneerde fotografie op een enkele uitzondering na alweer o p

b e e n o p e n e d . V a n L e e u w e n put a large

haar retour Veel enscenerend e fotografen

n u m b e r of t h e s e w r a p p i n g s u n d e r t h e

verdronken de laatste jaren in hun eigen vrij-

lamp a n d e x p o s ed a quantity of photo-

blijvende artistiekerigheid e n slechts weini-

g r a p h i c p a p e r w i t h t h e light s h i n i n g

gen wisten voldoende kwaliteit e n eigenzin-

t h r o u g h it. T h e prints that w e r e p r o d u c e d

nigheid aan de dag te leggen o m aan de ver-

in this w a y s h o w a s u r p r i s i n g variety of

getelheid te ontkomen.

f o r m s , s o m e t i m e s abstract a n d s o m e t i m e s o f f e r i ng c l e a r l y r e c o g n i z a b l e

Zoals bleek uit e e n recente tentoonstel-

images: a skull; a clown's head; a

ling bij Galerie Fotomania, behoort Piet van

p l o u g h e d field a s s e e n f r o m a b o v e ; a

L e e u w e n tot de laatste groep Onder de titel Fossielen

van de moderne

d i a m o n d ; seaweed with shingle; a n

ti/d t o o n d e V a n

L e e u w e n e e n serie met behulp van plastic

P i e t van L e e u w e n

wegwerpverpakkingen gemaakte fotogram-

zonder titel/untitled, 1990

a r c h a e o l o g i c a l e x c a v a t i o n ; etc. T h e s m a l l f o r m a t of t h e black a n d w h i t e p h o t o s ( w h i c h w e r e by d e f i n i t i o n u n i q u e c o p i e s ! )

m e n . Kenmerken d voor deze doorzichtige

are m a r v e l l o u s l y beautiful d u e to t h e ir

zogenaamde 'blister'-verpakkingen is dat zij de vorm van het verpakte object (bijvoor-

op lachwekkende wijze contrasteren met

Piet van Leeuwen

beeld gereedschap of voedsel) ook na het

absurde titels (zoals Apereet

Galerie

uitpakken behouden. Van L e e u w e n legde

dreis:

e e n groot aantal ervan onder de lamp en belichtte e e n hoeveelheid fotopapier met het doorschijnende licht D e aldus vervaardigde afdrukken tonen een verrassende diversiteit aan vormen, die d e ene keer abstracte, d e andere keer duidelijke herkenbare beelden oplevert: een d o o d s h o o f d; e e n c l o w n s k o p ; een o m g e p l o e g de akker van bovenaf g e z i e n ; e e n diamant; etc. D e klein formaat zwart-wit foto's (per definitie unicaten!) zijn door hun prachtige toonschaal bovendien van een wonderlijke schoonheid. Hetzelfde geldt overigens ook voor de polaroids die o p de tentoonstelling te zien waren. M e t eenvoudige voorwerpen had Van L e e u w e n hier enkele fraaie stillevens gemaakt waarvan d e strenge composities

Ftamses

op reis en Tij-

7/11-1/12

Haarlem).

Fotomania,

s p l e n d i d r a n g e o f t o n e s . T h e s a m e is a l s o t r u e o f the p o l a r o i d s that w e r e e x h i b i t e d . Rotterdam

1990

Vrijblijvend? Natuurlijk, maar dat is het werk van Picasso ook. En voor d e theoretici

V a n L e e u w e n has u s e d s i m p l e o b j e c ts to m a k e a n u m b e r of e l e g a n t still live s w h o s e strict c o m p o s i t i o n s contrast i n a

Piet v a n L e e u w e n w a s a l r e a d y e x p e r i -

c o m i c f a s h i o n w i t h their a b s u r d titles

onder o n s : de werkelijkheid is hier geredu-

m e n t i n g w i t h s t a g e d p h o t o g r a p h y before

( s u c h a s Monkey

ceerd tot een afdruk van de s c h a d u w van d e

a n y o n e h a d h e a r d o f the t e r m . A t t h e e n d

and

pure v o r m ; het teken verwijst nog slechts

of t h e 7 0 ' s h e m a d e a s s e m b l a g e s o f

Haarlem).

naar e e n ander teken. Postmoderner kan het

h u m o r o u s scènes w h i c h he p u b l i s h e d in

niet!

A v e n u e a n d P a n o r a m a , w h e r e t h e art

Journey

bum

through

goes time:

on his

travels

Ramses

N o n c o m m i t t a l ? Of c o u r s e , but s o is

d i r e c t o r s of that t i m e g a v e their w o r k i n g

P i c a s s o ' s w o r k . A n d f o r the t h e o r i s t s

dat w e niet meer w e g g o o i e n is de verpak-

p h o t o g r a p h e r s a great d e a l of artistic

a m o n g u s : reality is r e d u c e d here to a

king!

freedom.

V a n L e e u w e n moet blijven. En het enige

In a d d i t i o n to this, V a n L e e u w e n e x h i -

print o f t h e s h a d o w o f t h e p u r e f o r m ; t h e s i g n refers to n o t h i n g b u t a n o t h e r s i g n .

bited a great d e a l of n e w p h o t o g r a p h y

Y o u c a n h a r d l y get m o r e p o s t m o d e r n

(by W i n k v a n K e m p e n , W i n f r e d E v e r s a n d

t h a n thatl

others) i n h i s g a l l e r y V A N in H a a r l e m that

V a n L e e u w e n s h o u l d m a n a g e to

he f o u n d e d i n 1978. T h e r e w a s a l s o a

escape oblivion. A n d the only thing w e

group of photographers from California.

s h o u l d n ' t t h r o w a w a y is the w r a p p i n g .

O n e of t h e s e w a s G e o r g e L e g r a d y , w h o s e

B O O K B

Recent publications on the history of Lat in American photography

Recente publicaties over de geschiedenis van de Latijnsamerikaanse fotografie

71NDOWS ON LATIN AMERICA

SOBRK L A S U P E R E I C I E BRÜNIDA DE U N ESPEJO

1NDI IIMANIlliW; KX

Contemporary

Latin

recognition aesthetics contribution

ideology,

to the

this to be true. Latin

America

in the years,

Fotografie

remains

and

the fairly

will

work

has gained

international

engagement,

combining

historicity.

The recent

Biënnale

Rotterdam

once

historical

background

unknown

despite

have

continues

review

historical

mature

and

on this subject

ongoing

article

photography

passion

However,

research

and

American

as an exciting

with

M c E l r o y , K e i t h : Early P e r u v i a n P h o t o g r a p h y , A Critical C a s e S t u d y . 1985, A n n A r b o r : U M I R e s e a r c h P r e s s , x x i v - 1 92 pp., 69 ill. b w , E n g l i s h , 23,5 x 15,9 c m , hc, I S B N 0-8357-1583-9

L e v i n e , R o b e r t M . : Images of H i s t o r y . N i n e t e e n t h a n d Early T w e n t i e t h - C e n t u r y Latin A m e r i c a n P h o t o g r a p h s as D o c u m e n t s . 1989, D u r h a m : D u k e U n i v e r s i t y P r e s s , xii-216 pp., 157 NI. b w , E n g l i s h , 27,5 x 21 c m , p b , I S B N 0-8223-0883-5, $34,95

L e v i n e , R o b e r t M . (ed.): W i n d o w s o n Latin A m e r i c a , U n d e r s t a n d i n g S o c i e t y t h r o u g h P h o t o g r a p h s . 1987, C o r a l G a b l e s : N o r t h - S o u t h C e n t e r , U n i v e r s i t y of M i a m i , 144 pp. , 138 III. b w , E n g l i s h , 27,8 x 21,2 c m , p b , I S B N 0-93501-06-1, $14,95

been

to furnish

a few

recent

beginnings

the

again

fact that

publications

Fotografie

landmarks

results.

This

on the

with

the

continent.

Latijnsamerikaanse circuit

esthetiek

gekoppeld.

the

that deal

waarin

throughout

interesting

internationale

showed

of photography

appearing

of photography

Brazilian

De hedendaagse

reeds

Dat bleek

Latijnsamerikaanse

ook onlangs

fotografie

de jaren

onderwerp

zijn verschenen

afwerpt. waarin

In dit artikel de vroegste

en passie

Rotterdam.

dat er door

heen wordt historie

fotografie

een intrigerende

aan ideologie,

Biënnale

Casanova, Rosa & Debroise, Olivier: S o b r e la S u p e r f i c i e B r u h i d a d e u n E s p e j o , F o t ó g r a f o s del S i g l o X I X . 1989, M e x i c o : F o n d o d e C u l t u r a E c o n o m i c a , 112 pp., 27/ 4 9 ill. b w / f c , S p a n i s h , 27,4 x 21 c m , p b , I S B N 968-16-3312-1

is binnen

aan historiciteit

uit de Braziliaanse

De historische is echter

een aantal

bijdrage

vrij onbekend,

recente

van de fotografie

kunstvorm, worden

achtergrond

aan van

het

werken

over

ook nu nog zijn publikaties

ondanks

belangwekkende

en de research een paar

het

en volwassen

feit dit

vruchten besproken

in dit continent

wordt

beschreven.

For many years now, the book market

Ramiro Fernandez' collection of early Cuban

has demanded an anthology of writings on

photography, one of the best of its kind and

een bloemlezing van teksten over de

staat. Een pluspunt is de presentatie van

the history of Latin American photography.

perhaps the only one comparable to the col-

geschiedenis van de Latijnsamerikaanse foto-

Ramiro Fernandez' collectie vroeg-Cubaanse

W o r k s on this matter often appear in vari-

lection of the Fototeca de Cuba in Havana'.

grafie. Werken over dit onderwerp verschijnen

foto's, één van de beste collecties in zijn soort

ous publications dispersed all over this part

These images are followed by an essay by

vaak in publikaties verspreid over het hele

en waarschijnlijk alleen te vergelijken met de

of the world and consequently prove dif-

Louis Pérez on 'Fin de Siècle Cuba' w h i c h

continent en zijn dikwijls moelijk te krijgen

collectie van de Fototeca de Cuba in Havana.'

ficult for the common reader to find.

provides an adequate historical context.

voor de gewone lezer.

W i n d o w s o n L a t i n A m e r i c a is an

Thereafter, the reknowned historian of

W i n d o w s on Latin A m e r i c a is een

essay van Louis Pérez over het 'Cuba tijdens

anthology edited by Robert M . Levine w h i c h

Brazilian photography, Bons Kossoy, covers

bloemlezing onder redactie van Robert M .

het fin de siècle', dat een goed historisch

aims, instead, to 'examine w a y s analysis of

his field in an essay w h i c h , being limited by

Levine. Het boek wil 'onderzoeken op welke

kader schept. Daarna komt de beroemde

visual images can aid social science and the

the space available, falls short of his major

manier de analyse van visuele beelden de

expert in de geschiedenis van de Braziliaanse

humanities in understanding contemporary

writings . Nonetheless, he has a chance to

sociale wetenschappen en de humaniora

fotografie Boris Kossoy aan het woord over

and past societies'.

note that a photograph presents an 'edited

inzicht kan geven in de maatschappij van van-

zijn specialiteit, in een essay dat door ruimte-

aspect of the visible world... the more w e

daag en vroeger'.

gebrek niet het niveau heeft dat we van hem

If one reads inattentively, the idea may sound new and interesting: a search, not for the history of this particular part of material culture, but rather for the history contained therein. The book is a selection of over ten essays of different length and importance w h i c h probe this approach to photography to different degrees. One of the book's high points is the presentation of

know about the context, the greater the importance of the photograph as historical document', moreover, 'iconographic d o c u ments contain an inventory of both composition and substance information w h i c h must be decoded and interpreted'.

De boekenwereld wacht al heel lang op

Voor wie niet goed leest, lijkt dit mis-

fotografie in meer of mindere mate centraal

De beelden worden gevolgd door een

gewend zijn. Desalniettemin krijgt hij de kans 7

schien een nieuw en interessant idee: niet

op te merken dat een foto een 'geredigeerd

zozeer op zoek gaan naar de geschiedenis van

aspect van de zichtbare wereld in zich draagt

dit specifieke onderdeel van de materiële cul-

... hoe meer we over de context weten, hoe

tuur, maar naar de geschiedenis die erin

belangrijker de foto wordt als historisch docu-

besloten ligt. Het boek is een selectie van

ment'. Bovendien 'bevatten iconografische

In his turn German Rodrigo Mejia con-

meer dan tien essays van verschillende lengte

documenten een hoeveelheid compositorische

tinues the important work of Eduardo Ser-

en importantie waarin deze benadering van de

en inhoudelijke informatie die gedecodeerd en

B O E geïnterpreteerd moet worden'. Op zijn beurt treedt Germén Rodrigo Mejia in het voetspoor van Eduardo Serrano en diens

K E N

bestemd een onbeduidende voetnoot te blijven

rano on Colombian photography, giving a

author, he investigates here 'the ways in

in de geschiedenis van de fotografie.

succinct account of the collection gathered

w h i c h photographers borrowed from the

by the latter in Bogota . Mejia remarks that

ideologies and goals of the prevailing elite culture and helped shape the w a y in w h i c h

Verderop in het boek geeft Levine een

belangrijke werk over de Colombiaanse foto-

redelijk goed beeld van de negentiende-

'any attempt to restore time to these time-

grafie, door de bondige beschrijving die hij

eeuwse gebeurtenissen, betoogt hij geheel

less artifacts {photographs) must be made

Latin Americans (and others) came to see

geeft van de collectie die Serrano in Bogota

terecht dat de commercie een belangrijke rol

with respect for the intention as well as the

their world.' In making his point Levine

opbouwde. Mejia merkt op dat 'iedere

speelde in de fotografie en belicht hij het feit

technical capability of the photographer, the

relies mostly upon information garnered

poging de tijd weer onderdeel te maken van

dat de foto's een produkt van de hogere

photographic {historical) context, and the

from sources other than his o w n field

deze tijdloze artefacten [foto's] gepaard moet

klasse waren. Levine past op de toenmalige

historian's interest.'

gaan met respect voor de intentie en het tech-

fotografie het motto 'orde en vooruitgang' van

nisch vermogen van de fotograaf, de fotografi-

het Franse positivisme toe. Hij bedoelt daar-

sche {historische) context en de interesse van

mee dat de fotografen de Europese mode

de historicus'.

nogal klakkeloos navolgden, de voorkeur gaven

In de rest van het boek is Levine echter op uiterst creatieve wijze bezig de historische informatie los te koppelen van de foto's en hun context, als onderdeel van de één of andere quasi-wetenschappelijke historische methode, terwijl de geschiedenis van de fotografie, de geschiedenis van de mens en de

aan culturele gelijkvormigheid boven een eigen cultuur en dachten dat conventionele beelden van een stabiele maatschappij of van technologische ontwikkelingen een correcte weergave vormden van de moderniseringsdrang van de hoogste klasse.

However, of the rest of the book, the majority is dominated by Levine's creative detatchment of the connotated historical information from the photographs and their context for the sake of some 'how-to-be-a-

research. He has also provided an extensive bibliography w h i c h , although it is not exhaustive, still serves as a valuable refer ence instrument. Based on the work of Kossoy , Levine 4

gives a quaint account of Hercules

historian-method', whereas the history of

Florence, the first man ever to fix a photo-

photography, the history of people, and the

graphic image by means of his o w n urine in

historical data contained in photographs, are

1833 in Campinas, near Sao Paulo. A s

necessarily complementary to each other.

everyone knows, Daguerre and Fox Talbot

Thus, surveying the materials he runs into

take credit for the official invention of photography, and Florence's isolated

Levine onderkent het belang van de

conjectures that are either too obvious or

historische gegevens die in de fotografie ver-

vroege Mexicaanse documentaire fotografie

partial, if not distorted. He explains himself

borgen liggen elkaar juist aanvullen. Bij zijn

wel maar beschrijft of toont nergens het werk

onderzoek van het materiaal laat hij zich ver-

by saying that 'photographs offer us

van fotografen als Romualda Garcia, Casasola,

leiden tot speculaties die of te veel voor de

momentary possession of the past, not

Guerra en Hugo Brehme. Levine probeert wel

hand liggen, of partijdig, en zelfs onjuist zijn.

enough to recreate reality, but enough to

verbanden te leggen tussen de ideologische

Hij legt uit dat 'wij door foto's heel even het

help us take possession of the space in

en politieke evolutie en de manier waarop de

verleden in bezit krijgen; het duurt te kort om

w h i c h w e feel insecure.'

fotografie zich in Latijns-Amerika een plaats

de werkelijkheid opnieuw op te roepen, maar

s u c c e s s in recreating a reasonable picture

veroverde, maar hij legt onvoldoende nadruk

het is net lang genoeg om ons de gelegenheid

of nineteenth-century events, arguing cor-

op bepaalde relevante historische kwesties.

te geven de ruimte waarin wij ons niet op ons

rectly that there w a s an economical plat-

Met name blijven de gebeurtenissen onderbe-

gemak voelen, in bezit te nemen'.

form underlying the photographic business,

licht die de aanleiding vormden voor de beel-

and describing the photographs as being

den die rond de eeuwwisseling verschenen en

produced from the vantage point of the

de weg naar de moderne fotografie openden,

upper class. Levine associates the photogra-

zoals de Mexicaanse revolutie of de Indige-

phy of that period with the dictum of French

Het is niet duidelijk waarom hij de Latijnsamerikaanse fotografie kiest voor het ontwikkelen van een methode om historische kloven te overbruggen: wat hij hier doet, is toepasbaar op allerlei landen en bovendien biedt de vroeg-Noordamerikaanse of vroegEuropese fotografie veel beter onderzoeksmateriaal dan de Zuidamerikaanse.

rijk geïllustreerd boek, mooi gedrukt op zuurvrij

pre-twentieth-century

Latin Americans

attempting to join the mainstream of w e s t ern science and culture' and thus remains a footnote to photographic history. Further on, Levine has a fair degree of

nista-beweging in Peru. Wanneer hij bijvoor-

positivist 'order and progress', meaning in

beeld Chambi en Rodriguez noemt, twee

fact that photographers were rather imita-

belangrijke fotografen uit de Andes die vanaf

tive of European fashions, accepting cultural

de jaren twintig werkzaam waren, plaatst hij

conformity to the detriment of their o w n

deze fotografen niet in historisch perspectief.

autonomous culture, and believing that con ventional images of a stable social environ-

Zo heeft Levines boek nog een aantal Levines Images of History is een dik,

achievement exemplifies 'the frustration of

ment or of technological development would

andere tekortkomingen: sommige zijn inhoude-

properly represent the upper class impera-

lijk van aard, zoals de nogal onhandige verge-

tive of directing their society towards mod-

papier. In het tweede gedeelte van het boek.

lijking tussen Latijns- en Noord-Amerika (Casa-

Photographs as Evidence, gaat hij nader in op

sola wordt vergeleken met Riis en een Peruvi-

zijn 'inhoudelijke evaluatie' methoden, zoals hij

aanse vakbondsleider met Buster Keaton, om

die ook toepaste in Windows on Latin Ame-

maar een paar voorbeelden te noemen). Deze

importance of early M e x i c a n documentary

ernity. Although Levine does recognize the

rica. In het eerste gedeelte doet hij een

vergelijkingen zijn duidelijk vanuit het stand-

photography, in his book he barely ponders

serieuze poging de stukken van de geschiede-

punt van de Noordamerikaan geschreven.

upon such considerations, nor does he fea-

nis van de vroege Latijnsamerikaanse fotogra-

Andere tekortkomingen hebben meer betrek-

fie in elkaar te schuiven en er wat lijn in te

king op de vorm van het boek, zoals het veel-

brengen. Naar eigen zeggen onderzoekt hij

vuldige snijden in foto's, waardoor waarde-

hier 'de manier waarop fotografen leentjebuur

volle historische documenten slechts gedeelte-

speelden bij de ideologieën en doelstellingen

lijk te zien zijn. Toch geeft Levines boek over

van de heersende elite-cultuur, daarmee vorm-

het algemeen een goede indruk van de vroeg-

gevend aan de manier waarop de inwoners

ste fotografische activiteit in Latijns-Amerika,

van Latijns-Amerika (en anderen) hun wereld

die ondanks de betrekkelijke isolatie gelijke

gingen zien'. De stellingen die Levine hier

tred hield met de ontwikkeling van het

poneert, zijn voornamelijk gebaseerd op infor-

medium in de rest van de wereld, een ontwik-

matie die hij niet aan eigen onderzoek ont-

keling die rijk geïllustreerd wordt met een

leende. Hij bestudeerde hiervoor een groot

grote hoeveelheid visueel materiaal. Veel van

aantal werken, die aan het eind van zijn boek

dit materiaal is afkomstig uit pnvé-collecties

in een bibliografie zijn opgenomen. De biblio-

en is zelden in het openbaar te zien.

grafie is weliswaar niet uitputtend, maar toch een waardevol naslagwerk. Levine gebruikt het werk van Kossoy

In 1977 schreef Keith McElroy zijn disser-

ture images of the work of s u c h photographers as Romualdo Garcia, Casasola,

Anon. Maaltijd in de openlucht in de Andes

ideological and political evolution w i t h the

(Uit/from Images of History)

w a y early photographic production found its role in Latin American society, he fails to It is unclear w h y he chooses Latin American photography to develop a method to fill historical gaps, for this method should be equally applicable to all nations, and the surviving materials that would facilitate such research are definitely better if one w e r e to consider, for example, North American or early European photography.

Nineteenth

Century. 1839-1876. Vanaf die tijd

place adequate emphasis upon certain relevant historical issues, s u c h as the M e x i c a n revolution or the Indigenista movement in Peru, w h i c h catalyzed photographic production at the turn of the century and consequently opened the way to modern photography. Thus, w h e n he mentions Chambi and Rodriguez, t w o important Andean photographers of the 1920's onwards, their

tatie The History of Photography in Peru in the 4

Guerra and Hugo Brehme. Whilst Levine establishes the correspondence of the

Andean Outdoor Meal

Levine's I m a g e s o f H i s t o r y is a

work is not historically connected w i t h the rest of the book.

voor een prachtige beschrijving van Hercules

is dit werk de basis geweest van talloze stu-

large, richly illustrated volume, nicely printed

Florence. In Campinas bij Sao Paulo wist Flo-

dies over de Latijnsamerikaanse fotografie, al

on acid free paper. In the second part,

rence in 1833 als eerste een fotografisch

werd het voornamelijk door specialisten

Photographs

beeld te fixeren door middel van zijn eigen

gebruikt. Een bewerking van de dissertatie is

into his methods of 'content evaluation', as

ward comparisons of Latin to North Ameri -

urine. Florences geïsoleerde poging weers-

nu in boekvorm verkrijgbaar onder de titel

he did in Windows

can issues (Casasola to Riis, or a Peruvian

piegelt 'de frustraties van de Zuidamerikanen

Early Peruvian P h o t o g r a p h y , A Criti-

first part he makes a serious attempt to

in de negentiende eeuw die aansluiting pro-

cal Case S t u d y In het boek is het tweede

assemble pieces of the history of early Latin

revealmg a US-centere d bias; others are

beerden te vinden bij de hoofdstroming van de

deel van de dissertatie (met de biografieën

American photography in order to give some

formal, such as the bad taste he displays in

westerse wetenschap en cultuur', daarbij voor-

van veertig fotografen) weggelaten. In plaats

sense to the whole. According to the

frequently cropping the photographs, giving

as Evidence, he digs further on Latin America.

In the

There are other drawbacks in Levine's book: some are conceptual, including awk-

union leader to Buster Keaton, for example),

a partial impression of what are meant to be

1876), a photographic presentation card

daarvan richt het zich op de kern van het his-

in tegenstelling tot de grands salons in Euro-

valuable historica! documents. Nonetheless,

w h i c h opened the market to virtually all lay-

torische werk.

pese stijl, die gedreven werden door buiten-

Levine's book does serve one purpose well,

ers of society 'under the protection of that

in that it documents early photographic

cardboard mount.'

gezet veldwerk verricht, een grote verschei-

activity in Latin A m e r i c a , w h i c h despite its

The development of new techniques and the

denheid aan bronnen onder de loep genomen

niet de kunst de motor was achter de fotogra-

relative isolation still equalled the evolution

resultant euphoria created by this vogue, led

en een aantal van de beste collecties van oud

fische ontwikkeling: 'De maatschappij zag de

of the medium in the rest of the world This

to high revenues for the studios, w h i c h in

fotografisch materiaal in Peru, de Verenigde

foto als symbool van technologische vooruit-

point is well illustrated by the many visual

turn allowed more room for experimentation,

Staten en Frankrijk bestudeerd. In zijn boek

gang, maar vanwege commerciële belangen

materials that this book features, many of

with the photographers eventually venturing

verzamelt McElroy genoeg controleerbare

them from private collections that are rarely

to capture exterior views. At the same time,

gegevens om zijn historische benadering van

shown in public.

emerging technological developments, s u c h

de foto's mee te onderbouwen. McElroy

McElroy heeft door de jaren heen nauw-

as the railroad, were revolutionizing the

beweert dat Peru in de tijd waarin de fotogra-

country whilst simultaneously creating a

fie ontstond een vruchtbaar land was, 'waar

doctoral dissertation The History of Photo-

demand for imagery. In general the volume

de ontvankelijkheid voor de toegepaste weten-

graphy in Peru in the Nineteenth

of production w a s high, and the surviving

schap en de praktische voordelen van de

In 1977 Keith McElroy presented his Century,

1839-1876. Since then it has been a cornerstone in Latin American photography studies, though mainly as a reference work

landers en zich richtten op de rijkere clientèle. McElroy maakt duidelijk dat de commercie en

had de fotografie ook een culturele invloed die kon worden losgekoppeld van de esthetiek van haar beelden en'zeker niet minder belangrijk was'. Daaruit volgt dat 'het kapitalisme het onbetwiste skelet was dat vorm gaf aan de studio's en de beelden'. McElroy legt verband tussen de sociale, economische en esthetische context en de gegeven situatie en laat zien hoe bepalend de ideologische belangen van de bevoorrechten waren voor de visie en aspira-

ties van de maatschappij als geheel.

for specialists. A n adaption of this work has appeared in book form and is now available

De volgende periode die McElroy

as E a r l y P e r u v i a n P h o t o g r a p h y , A

beschrijft, werd gedomineerd door de carte de

C a s e S t u d y . The book basically leaves

visite (1859-1876), een fotografisch visitekaar-

out the second volume of his dissertation,

tje, waadoor de fotografie toegang kreeg tot

w h i c h covered fourty individual photo-

vrijwel alle lagen van de maatschappij en dat

grapher biographies, and in turn, it concen-

alles 'op basis van zo'n eenvoudig stukje kar-

trates on the core of the historical work.

ton'. Nieuwe technieken en de euforie die met deze stroming gepaard ging, samen met de

Over the years, M c E l r o y has engaged in meticulous field research, revising a variety

hoge inkomsten voor de studio's, zorgden

of contemporary sources, and surveying

ervoor dat de fotografen gingen experimente-

some of the best collections of surviving

ren en hun blik verruimden. Tegelijkertijd

photographic materials in Peru, the United

schreeuwden de technologische ontwikkelin-

States and France. In his book McElroy

gen die een radicale verandering betekenden

carefully gathers plenty of verifiable data in

voor het land, zoals de aanleg van de spoor-

order to rigorously reason his historical

wegen, als het ware om beelden. De produk-

approach to the photographs. M c E l r o y

tie was over het algemeen hoog en het mate-

asserts that by the time photography had

riaal dat wij nu nog hebben, is van zeer hoge

arrived in Peru, this country had become a

kwaliteit.

fertile territory 'where the predisposition to

Als conclusie stelt McElroy dat toekomstig

applied scienc e and the practical benefits of

onderzoek zich moet richten op het wereld-

industrialization made this first of technolog-

wijde web van relaties tussen wereldsteden

ical media the perfect wedding of aesthetic

als Parijs en N e w York en de verschillende

and social aspirations, and one on w h i c h ,

Latijnsamerikaanse republieken, zoals die met

Peruvians, too, could participate and com-

elkaar harmoniëren via de drijfveer van de

pete as equals.'

industrie en de sociale interesse in de vooruitgang. In feite geeft het werk van McElroy een

In fact Peruvians would not take hold of

structurele blauwdruk die kan worden toege-

the medium until later on, for the first period, named as the 'Daguerrean Era'

past op andere landen, of met andere woor-

(1839-1859), w a s dominated by foreigners.

den 'het geschiedkundige skelet dat hier wordt

After the itinerant photographers of the very

neergezet, heeft niet alleen antwoorden opge-

beginning, the first permanent studios were

leverd, maar ook problemen opgeworpen die

settled by French and North American

nader moeten worden onderzocht. Er is een laboratorium beschreven waarin hypotheses

immigrants. W i t h the advent of paper photo-

kunnen worden getest.'

graphy in 1853, the first nationals started

Rodriguez

businesses geared to a lower class clien-

Verkrachter en slachtoffer/Rapist and Victim

Tenslotte nog één opmerking: omdat

(Uit/from Images of History)

McElroy voornamelijk geïnteresseerd is in fei-

tèle. In contrast to these, the European style grand salons served the affluent and

ten, is het begrijpelijk dat er minder aandacht

were run by foreigners. M c E l r o y makes it clear that profit, not art, w a s the driving force behind photographic development: 'the society recognized in the photograph a symbol of technological progress, but as a business photography also had a cultural impact w h i c h can be separated from the aesthetics of its imagery and w h i c h w a s no less significant'. Thus 'capitalism w a s the undisputed armature w h i c h gave form to the studios and the imagery.' Finally M c E l r o y relates the social, economie, and aesthetic context to the given situation and demonstrates how the ideological interests of the privileged shaped the visions and aspirations of the society. The next period M c E l r o y d i s c u s s e s w a s dominated by the carte-de-visite (1859-

is besteed aan de reproduktie van de foto's, images are a testimony to this.

industrialisatie ervoor zorgden dat deze eerste

die allemaal aan het einde van het boek

in de rij van technologische media een per-

staan, vlak voor de noten. Omdat het hier

that future research should account for a

fecte combinatie werd van esthetiek en soci-

beelden betreft die maar zelden te zien zijn.

global w e b of relations between such

ale aspiraties, een mediavorm waaraan ook de

hadden ze misschien beter in de hoofdtekst

metropolitan centers as Paris and N e w

Peruvianen op basis van gelijkheid konden

van het boek kunnen worden opgenomen en

York, and the different Latin America n repu-

deelnemen'.

In his conclusion, M c E l r o y suggests

blics, modulated through the industrial drive

In feite kregen de Peruvianen pas later

bovendien had er meer zorg aan het afdrukken van de foto's moeten worden besteed.

and the social interest in progress. In fact,

greep op het medium, want in de eerste

M c E l r o y ' s work sets a structural blueprint

decennia, beter bekend als de 'periode van

that could be applied to other countries, or

Daguerre' (1839-1859), speelden buitenlanders

ik hier wil bespreken, is het laatste deel van

as he says 'the skeletal history set forth

de hoofdrol. Na de rondtrekkende fotografen

de Mexicaanse serie Rio de Lui. In een conti-

here has defined not only a n s w e r s but also

van het allereerste uur, werden de eerste per-

nent dat wordt getroffen door economische

problems w h i c h await further research, and

manente studio's opgezet door Franse en

malaise, publiceert men niet vaak zulke kwali-

a laboratory has been described in w h i c h

Noordamerikaanse immigranten. Met de komst

teitsboeken, maar deze serie behoort tot de

hypotheses may be tested.'

van de papierfotografie in 1853, verschenen

beste werken over de fotografie die in de

de eerste bedrijfjes voor de lagere klassen.

afgelopen jaren verschenen zijn. De serie is

Deze bedrijfjes werden geleid door Peruvianen,

bedoeld om het plaatselijke publiek een

Finally, given M c E l r o y ' s factual concern, it seems understandable that less emphasis

De enige Latijnsamerikaanse publikatie die

B O E

K E N has been given to the reproduction of

been announced in Paris. Since that day,

photographs, w h i c h are all presented at the

photographic activity has continued without

back of the book before the notes, but,

interruption. Even in 1847, w h e n M e x i c o lost

perhaps because these images are so rarely

Texas to the United States during a territo-

seen, they could have been printed some-

rial conflict, the North American s had

what better as well as being more inte-

brought along their o w n photographers w h o

grated with the text in the book's design.

left impressive records of events behind, whilst the local studios never really lost

In ending this article, the only Latin American publication to be reviewed is the last volume of the M e x i c a n collection Rio de Luz. In a continent stricken overall by economie malaise, quality publishing is more

Executie in Uruguay/Uruguayan execution, 1893 (uit/from: Images of History)

their affluent clientèle. N e w techniques continued to be introduced and competition prompted a search for perfection and originality within the framework of that period. Casanova and Debroise conclude by

the exception than the rule, but this collec-

saying that 'the photographic portrait

tion is certainly one of the best initiatives of

became the ideal instrument for recording

photographic publications to have emerged

social appearances and progress. In this

over the last few years. The goal of the

sense photographic history can, eventually,

series is to offer the local public a c c e s s to

serve as an indicator of the evolution of

quality publications that also serve to rein-

society...)via the photograph) the new social

force cultural identity through contact w i t h

beings of the mid-nineteenth-century in

the work of a selected group of Latin

M e x i c o defined their identity and founded

American image makers.

their stand, as well as the roots of a geneo-

betaalbaar kwaliteitswerk te bieden. Daar-

daguerrotypie-camera liet zien, een paar

naast heeft het tot doel de culturele identiteit

maanden nadat Daguerre in Parijs zijn uitvin-

te stimuleren via contact met het werk van

ding bekend had gemaakt. Sindsdien wordt er

een geselecteerde groep Latijnsamerikaanse

in Mexico gefotografeerd. Zelfs in 1847, tij-

appeared; most of them are monographs on

fotografen.

dens het territoriale conflict met de Verenigde

contemporary photographers, such as

Staten, toen Mexico Texas verloor, brachten

Graciela Iturbide of M e x i c o , Hugo Cifuentes

de Noordamerikanen hun eigen fotografen

of Ecuador, and the Brazilian Miguel Rio

van één hedendaagse fotograaf zoals Graciela

mee. Zij maakten ontroerende beelden van de

Branco. Only one book has been devoted to

Iturbide uit Mexico, Hugo Cifuentes uit Ecua-

gebeurtenissen, terwijl de plaatselijke studio's

historical issues: S o b r e la S u p e r f i c i e

dor en de Braziliaan Miguel Rio Branco.

gewoon doorgingen met het werk voor hun

B r u n i d a d e u n E s p e j o , w h i c h dealt

duces in full colour a fantastic selection of daguerrotypes, ambrotypes and ferrotypes,

Vanaf 1984 zijn er negentien boeken verschenen: de meeste zijn gewijd aan het werk

Since 1984, nineteen books have

logical tree w h i c h could be projected into the future...an analysis of nineteenth c e ntury photography must value these stereotypical images...precisely because they reveal the will of unity and strength of their society.' Further on, the book wonderfully repro-

Slechts één boek was gewijd aan historische

rijke clientèle. Er werden steeds nieuwe tech-

w i t h the Casasola archive. In an attempt to

zaken: S o b r e la S u p e r f i c i e Brunida do

nieken geïntroduceerd en concurrentiemotieven

bridge the gap a little, this latest book has

including the original frames or cases in

un Espejo, over het Casasola-archief. Om de

dwongen de fotografen te streven naar perfec-

appeared. It covers nine-teenth century

w h i c h they w e r e mounted. In this w a y the

kloof een beetje te overbruggen geeft dit boek

tie en originaliteit, dat alles natuurlijk binnen

M e x i c a n photography, and differs from the

images effectively recreate the lavish

een beschrijving van de negentiende-eeuwse

de grenzen van de tijd.

others, w h i c h feature only brief introduc-

atmosphere that surrounded these objects

tions, as it includes a short essay by Rosa

in their time and gives an impression of

Casanova and Olivier Debroise. The book's

their tremendous beauty in a manner

scope is the period 1839-1859, and hence it

appropriate to present day demands. One

only covers the 'Daguerrean Era'. The essay

w i s h e s to see more w h e n the last page has

is insightful, well documented, and clearly

been turned, but it is understandable that

worded, so as to be accessible to a wide

the number of pages contained within the

audience.

book is limited by the characteristics of this

Mexicaanse fotografie. Er is nog een verschil: in de andere delen worden slechts korte inleidingen gegeven. In dit boek treft men een kort essay aan van Rosa Casanova en Olivier Debroise. Het boek beperkt zich echter tot de periode 1839-1859, de 'periode van Daguerre'. Het essay getuigt van inzicht, werd goed gedocumenteerd en helder geschreven. Het is duidelijk bedoeld voor een breed publiek.

Casanova en Debroise besluiten hun essay met de opmerking dat 'het fotografische portret een ideaal middel werd om het maatschappelijk uiterlijk en de maatschappelijke vooruitgang vast te leggen. In die zin kan de geschiedenis van de fotografie uiteindelijk dienen om de evolutie van de maatschappij te laten zien...(wa de foto's) definieerden de

If the M c E l r o y model is tested, one

collection. This book is exceptionally long, due to the addition of the essay pages,

nieuwe sociale wezens, in het Mexico rond

sees that there were patterns common to

het midden van de negentiende eeuw, hun

Peru and M e x i c o . Here again the practitio-

het model van McElroy, zien we dat er inder-

identiteit. Ze gebruikten ze om hun positie

ners were mostly foreigners, noticeably

daad bepaalde overeenkomsten tussen Peru en

mee te bepalen en de basis te leggen voor

quite a few North Americans, because of

Mexico zijn. Ook hier waren de fotografen

een genealogische boom met uitlopers in de

the geographical proximity. There were

voornamelijk buitenlanders, vooral Noordameri-

toekomst... In een analyse van de negen-

some exceptional Latin Americans working

kanen, omdat Mexico zo dichtbij Noord-Ame-

tiende-eeuwse fotografie moet men rekening

during this early period, like J . M . Balbotin

houden met deze uiterst stereotiepe beelden-

collection are hard to come by in Europe.

rika ligt. Er waren ook een paar Mexicaanse

and J . M . Diaz Gonzalez. Again, it seems

fotografen in die eerste jaren, zoals J . M . Bal-

...juist omdat ze de drang tot eenheid en

W e look forward, however, to seeing more

that in M e x i c o the ideals of progress and

kracht van de maatschappij laten zien'.

of these fine quality publications in the

botin en J . M . Diaz Gonzélez. Ook in Mexico

modernity mobilized the hopes of the higher

future.

Als we de proef op de som nemen met

lijkt het erop dat de hogere klasse zich lieten leiden door de idealen van vooruitgang en moderniteit, en dat winstbejag en prestige de fotografen en gefotografeerden hebben geïnspireerd.

Verderop in het boek staan prachtige full-

class, the same way that financial profit and

colour reproducties van daguerreo-, ambro-, en

prestige motivated both photographers and

ferrotypen, met inbegrip van de originele lijs-

sitters.

ten en kastjes. Zo laten de beelden de sfeer

authors, w h i c h tests the validity of this the-

werpen toentertijd gepaard gingen, maar ze

sis, is that in those days M e x i c o w a s very

geven ook een eigentijdse indruk van hun

unstable politically, and that despite the

die tijd politiek zeer onstabiel was, maar dat

geweldige schoonheid. Het boek bevat lang

unrest, among other practical limitations, the

ondanks de onrust en andere praktische beper-

niet genoeg foto's, maar het aantal bladzijden

development of photography w a s never discontinued. Instead it w a s encouraged, pos-

kingen de ontwikkeling van de fotografie niet

in het boek wordt beperkt door de speciale

werd onderbroken. Integendeel, zij werd juist

opzet van deze serie. Dit ene boek is toch al

sibly because it had so much in common

gestimuleerd. Misschien gebeurde dat wel

uitgebreider, als je de essay-pagina's die op

with the ideals of the well-to-do, regardless

door de affiniteit die zij had met de idealen

ander materiaal zijn gedrukt erbij optelt, maar

of their political creed, but above all

van de gefotografeerden, ongeacht hun poli-

het heeft ongeveer evenveel illustraties als de

because photography w a s inextricably linked

tieke geloof, maar de belangrijkste reden was

andere boeken in de serie.

to the evolution of a bourgeois aesthetic

toch dat de fotografie gekoppeld was aan de ontwikkeling van de zin voor esthetiek van de Mexicaanse burger. Mexico was het eerste land in Latijns-Amerika dat mocht kennismaken met de fotografie, toen de Fransman Louis Prelier op 3 december 1839 in Veracruz zijn

Vanwege distributieproblemen zijn de boeken uit deze serie in Europa moeilijk te krijgen. Ik hoop echter in de toekomst nog meer van dit soort prachtige boeken te vinden. Jorge Heredia

features approximately the same number of illustrations as the others. Unfortunately, due to the usual problems with distribution, the books in this

Jorge Heredia

A n interesting point made by the

van overdaad zien waarmee dergelijke voor-

hun stelling wanneer ze zeggen dat Mexico in

De auteurs beproeven de veerkracht van

w h i c h are printed on a different stock, yet it

taste in M e x i c a n society. M e x i c o w a s the first Latin America n country to enjoy photography, w h e n Frenchman Louis Prelier demonstrated his daguerrotype camera in Veracruz, on December 3rd, 1839, only a few months after Daguerre's invention had

Notes/Noten 1. Haya, Maria Eugenia, 'La Fotografia Cubana en el Siglo XIX'. Dirección de Artes Plasticas y Diseno. Havana, 1982 2. Kossoy. Boris. 'Origens e Expansao da Fotografia no Brasil: Século XIX', MEC/Funarte. Rio de janeiro, 1978 3. Serrano, Eduardo, Historia de la Fotografia en Colombia, Museo de Arte Moderno de Bogota, Bogota, 1983 4. Kossoy, Boris. 'Hercules Florence. 1833: A Descoberta Isolada da Fotografie no Brasil', Livraria Duas Cidades Ltda, Sao Paulo, 1980 5 Interview with Ortiz Monasterio, Pablo, head editor of the collection 'Rio de Luz', Aperture no. 109, winter 1987, pp. 73-76

Madame de Vue M a d a m e d e V u e , P O b o x 14658, 1001 LD A m s t e r d a m , p u b l i s h e d quarterly, 58 pp., bw/fc, D u t c h , 28x21 c m , Dfl.15

Madame de Vue

twenties. Madame de Vue reproduces

een heldere verteltrant. De introductie bij dit artikel is verzorgd door de kunsthistoricus

mainly reportage work from the thirties and 'Voorheen Plaatwerk' staat er in kleine

Frido Troost, die zich opwerpt als een enthou-

together give a good impression of Van der

rode letters op de omslag van Madame de

siast pleitbezorger voor de herwaardering van

forties: forty-two photographs, w h i c h Randen's qualities. The photos reveal an

Vue, fotoblad, eerste jaargang, nummer 1.

Van der Randens teruggevonden foto's. Hij

approach characterized by a sympathetic

Betekent dit een vervolg op het tijdschrift dat

noemt vooral de foto's van het Jordaanoproer

eye and a lucid narrative style. The intro-

in maart 1988 voor het laatst verscheen of is

prachtig. Helaas zijn daarvan geen voorbeel-

Vue bears the words 'formerly Plaatwerk' in

duction to this article w a s written by art

het een nieuw begin? 'Wat wil Mme de

den in deze portfolio opgenomen.

little red letters on the cover, volume 1,

historian Frido Troost, w h o emerges as an

Vue?', zo vraagt de redactie zich in de inlei-

number 1. Does this mean the magazine is a

enthusiastic champion of the revaluation of

ding af. ' M m e wil niets, Mme is?', is de reto-

tal contemporaine portfolio's afgedrukt. Twee

sequel to Plaatwerk, w h i c h last appeared in

Van der Randen's refound work. He singles

rische vraag waarmee zij antwoordt. Het

Nederlandse fotografen, Siebe Swart en

M a r c h 1988, or is it a new start? 'What

out the photography of the Jordaan Riot

redactioneel elimineert vervolgens een aantal

Michèle Talens, werkten ver buiten de vader-

does M m e de Vue want?' , ponder the

(Amsterdam, 1943) as especially pleasing. A

mogelijke uitgangspunten: 'In haar blad staat

landse grenzen. Talens brengt met zeventien

editors in the introduction. ' M m e doesn't

pity that no examples have been included in

geen maatschappijbeeld centraal, worden geen

foto's een ode aan het moederschap in katho-

want anything, M m e just is', is their own

this portfolio.

dingen aangetoond, staat niets ter discussie.'

lieke landen als Italië, Ierland, Polen en Bel-

Hiermee distantieert Madame de Vue zich van

gië. In de begeleidende tekst wordt de bijzon-

temporary portfolios are published. The

haar illustere voorgangster Plaatwerk, waarvan

dere aandacht voor de band tussen moeder en

Dutch photographers Siebe Swart and

de sociale fotografie mede het gezicht

kind vlot psycho-analytisch gemotiveerd. De

Michèle Talens both worked far beyond

bepaalde. 'Wat Mme mooi vindt, komt in

foto's uit deze reeks die net iets meer laten

their native borders. Talens s h o w s seven-

Mme de Vue.' Met zo'n uitspraak kun je alle

zien dan een eenduidig portret van een moe-

teen photographs w h i c h constitute an ode

kanten op.

der met een baby, zijn het spannendst. Wat

The photography magazine Madame de

quizzical answer. The editors then go on to eliminate a number of possible concepts: 'Her magazine is not based on a specific v i e w of society, she does not demonstrate points, she does not discus s issues.' In this sense Madame de Vue distances herself from her illustrious forebear, w h o s e look included a substantial element of social

Besides this historie series, t w o con-

to motherhood in catholic countries such as

Vastgesteld kan worden dat Madame de

Naast deze historische serie is een twee-

oudere kinderen en enige bijzondere voorwer-

photography. 'Whatever M m e finds beauti-

Italy, Ireland, Poland and Belgium. In the

Vue geen camera's of videoapparatuur test,

pen in de achtergrond geven deze foto's een

ful, will appear in M m e de Vue.' It's the

accompanying text, the special interest in

geen annonces kent en geen theoretiserende

meerwaarde die de hele serie ten goede komt.

kind of statement that leaves one free to do

the mother-child bond is subjected to a

artikelen over fotografie publiceert. Wat zij in

anything.

smooth psycho-analytical exposition. The

dit eerste nummer wel doet, is ruimte bieden

de bruggen van N e w York en fotografeerde de

most interesting photographs of this series

aan zes zeer verschillende portfolio's en een

stad als een beeldhouwwerk, omgeven door

are the ones w h i c h s h o w just bit more than

column van J a n Mulder.

licht dat bijna tastbaar wordt.

does not test cameras or video equipment,

a straightforward portrait of mother and

Pièce de résistance van de eerste Madame is

steers clear of small ads and does not

baby. A few older children and some special

een serie van Wiel van der Randen. Deze

publish theorizing articles about photogra-

objects in the background give these images

fotograaf heeft een indrukwekkend oeuvre

regelmatig verrassende beelden op. Dat bleek

phy. What the magazine does in this first

something extra, w h i c h is to the benefit of

achtergelaten, dat kortgeleden in de archieven

vorig jaar november nog in De Moor in

issue, is to give space to six very different

the series as a whole.

van uitgeverij De Spaarnestad werd herondekt.

Amsterdam en dat blijkt ook uit de resultaten

Van der Randen werkte zo'n vijfentwintig jaar

van een project van Wendy Ewald in de Ame-

It is clear enough that M a d a m e de Vue

portfolios and to a column by J a n Mulder. The pièce de résistance in the first Madame is a series of works by W i e l van der Randen. This photographer left an impressive oeuvre w h i c h w a s recently rediscovered in the archives of publishers De Spaarnestad. Over a period of about twenty-five years, Van der Randen worked for a variety of periodicals including De Katholieke Illustratie and Panorama. His career began in the

Siebe Swart erected his tripod under

Siebe Swart zette zijn statief neer onder

Wanneer kinderen in de gelegenheid worden gesteld om te fotograferen, levert dat

the bridges of N e w York and photographed

voor verschillende tijdschriften als De Katho-

rikaanse Appalachen. Zij liet schoolkinderen

the city as sculpture, bathed in a light that

lieke Illustratie en Panorama en begon zijn

hun directe omgeving en hun eigen dromen

is almost tangible.

carrière in het begin van de jaren twintig.

fotograferen. Bertien van Manen - zij publi-

Madame de Vue reproduceert vooral reporta-

ceerde in 1986 al eens een serie in Plaatwerk

W h e n children are given a chance to take photographs, it can result in surprising

ges uit de jaren dertig en veertig: tweeën-

over de bewoners van deze afgelegen mijn-

pictures. This w a s demonstrated a n e w last

veertig foto's die samen een goede indruk

streek - schrijft over deze foto's: 'Hun foto's

November in De M o o r in Amsterdam, and it

geven van Van der Randens kwaliteiten. De

waren direct en ongekunsteld'. Daar valt wei-

can also be seen in the results of a project

foto's vormen een beeld van een werkwijze

nig aan toe te voegen, dat moet je zien.

by W e n d y Ewald in the American Appala-

die gekenmerkt wordt door een milde blik en

D E

V L U C H T

V A N D E

U I V E R

Bart Sorgedrager bespreekt de pinhole-

B O E

K E N

fotografie, die Philippe Dufour in het kader

diversiteit van de opgenomen series en de

chians. In the project she persuaded school-

van de Mission Photographique de ia DATAR

presentatie ervan, lijken zeker levensvatbaar.

children to photograph their immediate sur-

maakte. Achtentwintig fotografen gaven in dit

In deze fotografie staan maatschappijbeelden

roundings and their o w n dreams. Bertien

little confusing. Each series has its o w n let-

verband hun visie op het veranderende land-

centraal, worden dingen aangetoond en stelt

van M a n e n , w h o also made a series about

tering style and typeface. Sometimes this is

schap. In de begeleidende tekst stelt Sorge-

men zaken ter discussie. Daarbij blijkt

the inhabitants of this isolated region for

to the advantage of a particular series

drager de geschiedenis van het kijken en de

Madame de Vue een gepassioneerd bescherm-

Plaatwerk in 1986, writes about these

(Aarsman on Bachman), sometimes the all

fotografie aan de orde.

ster van de éénogige muze: als een wat

images: 'Their photographs are direct and

too prominent layout is distracting (Wiel van der Randen).

bemoeizuchtige, maar vooral warmhartige

unaffected. There's not much to add to that,

doet dit in de vorm van een boekbespreking

Mme de Vue levert ook entertainment. Zij

houdster van het pension voor overwerkte

you just have to see them.'

door Hans Aarsman en de synopsis van een

fotografen.

theaterstuk van Jan Mulder. Ik hoop dat bei-

Han Schoonhoven

The visual design of M a d a m de Vue is a

Madame de Vue can comfortably stand

Bart Sorgedrager d i s c u s s e s the pinhole

den een vast contract is aangeboden

will be offered a permanent contract.

comparison with Plaatwerk. The underlying

photography, w h i c h Phillipe Dufour did in

concept, as it emerges in the diversity and

the context of Mission

the presentation of the published series,

Photographique

de la

DATAR. Twenty-eight photographers gave

definitely seems a viable one. Social images

onevenwichtig: elke serie is voorzien van een

their perception of the resulting changes in

are central to this photography, points are

eigen fond en belettering. Soms werkt dat in

the landscape. In the accompanying text,

demonstrated and discussio n is not evaded.

het voordeel van zo'n reeks (Aarsman over

Sorgedrager deals with the history of look-

Madame de Vue is thus revealed as a pas-

Bachman), soms leidt de al te nadrukkelijke

ing and of photography.

sionate patroness of the one-eyed muse: as

De vormgeving van Madame is nog wat

lay-out teveel af (Wiel van der Randen).

M m e de Vue also provides entertain-

Madame de Vue kan een vergelijking met

ment. There is a book review by Hans A a r s -

Plaatwerk eenvoudig doorstaan. De uitgangs-

man and a synopsis of a theatre play by J a n

punten, zoals die naar voren komen in de

Mulder. I hope that both these contributors

Wien, Mein

a rather meddlesome but nonetheless warm-hearted landlady for over-worked photographers. Han Schoonhoven

quilhtyl, colours and smells, our o w n mood - numerous factors play a role in our personal experience of a city. W h a t w e are left

Van een fotoboek over een beroemde stad als Wenen verwacht men in eerste instantie

with after a visit like this is usually not the

een verzameling foto's van historische gebou-

tourist sights, but rather the 'unimportant'

wen, markante stadsgezichten, straten, plei-

details: a street sign, a particular colour, a

nen, parken, etc. De meeste 'stedenboeken'

cloud formation, the wind on the water, the

laten op min of meer documentaire wijze zien

parapet of a bridge, etc. Our memory often

hoe een bepaalde stad er op zijn mooist uit-

consists of fragmentary images that are

ziet. Meestal schijnt de zon, zijn de straten

charged with emotion, that often have the

leeg, is er geen verkeer en zien we de

character of a dream.

bezienswaardigheden vanuit ideale standpun-

Wien, Mein is a photobook by Maria

ten. De sfeer die de foto's in dergelijke boe-

Theresia Litschauer about the city of

ken uitademen, staat veelal in schril contrast

Vienna. Or, to be more precise, it is a

met die welke wijzelf tijdens een bezoek ter

photobook about ütschauer's

plekke hebben ervaren. Het weer, het ver-

experience

keersgeraas (of juist de opvallende rust), geu-

photos of unremarkable and unimportant

ren en kleuren, onze stemming - talloze facto-

places in a very unusual fashion: w i t h a

ren spelen een rol bij de persoonlijke beleving

polaroid camera equipped with a telephoto

personal

of the city of Vienna. She took

van een stad. Wat ons achteraf van zo'n

lens. The photos that she made in this way,

bezoek is bijgebleven, zijn veelal niet de toe-

of stuffed animals, escalators, a fairground

ristische bezienswaardigheden, maar juist

w h e e l or a church fluor, for example, were

'onbelangrijke' details: een verkeersbord, een

made into cibachrome enlargements. The

bepaalde kleur, een wolkenformatie, de wind

result of this technique is that the original

over het water, een brugleuning etc. Onze her-

colours and contours are blurred, and in

innering bestaat vaak uit gefragmenteerde,

many of the pictures there is an 'unheim-

met emoties beladen beelden, die niet zelden

liche' atmosphere produced by juxtaposing

het karakter van een droom hebben.

alternately over and underexposed parts. These pictures have a powerful and turbu-

Wien, Mein is een fotoboek van Maria

Wien, Mein

Theresia Litschauer over de stad Wenen. Of,

werkwijze negeert de documentaire eigen-

beter geformuleerd, het is een fotoboek over

schappen ten gunste van de expressieve en

Litschauers beleving van de stad Wenen, Zij

suggestieve mogelijkheden van het medium.

fotografeerde onopvallende en onbelangrijke

Zij heeft niet de stad gefotografeerd, maar

plaatsen op een zeer ongewone manier: met

haar herinnering eraan, die wordt gekenmerkt

een polaroidcamera voorzien van een telelens.

door een mengeling van fascinatie en afkeer,

De op deze wijze gemaakte foto's van bijvoor-

van aantrekking en afstoting - precies wat je

beeld opgezette beesten, roltrappen, een ker-

voelt wanneer je de foto's bekijkt.

misrad of een kerkvloer heeft zij - uitvergroot

lent effect; they d i n g to the retina as afterimages after one has closed the book,

Het boek is (overdreven) luxe uitgevoerd

L i t s c h a u e r , M.T.: W i e n , M e i n . 1990, Vienna. Niederösterreichisches Landesmuseum, 50 pp. 20 ill. fc. German/English. 33 x 31.5 cm, hc, ISBN 85460-21-6

as though you had just been looking into a strong light. Litschauer has breathed life into the objects and places that she has photographed. She has not photographed the city but her memory of it, a memory

One would expect a photobook about a

that is characterized by a mixture of fasci-

famous city such as Vienna to consist in

nation and dislike, attraction and revulsion -

the first place of a collection of photos of

exactly what you feel w h e n you look at the photos.

- op cibachrome laten reproduceren. Het

met steeds één foto per pagina. Daar waar

historical buildings, striking views of the

resultaat van deze techniek is een vervaging

twee foto's tegenover elkaar zijn geplaatst, is

city, streets, squares, parks, etc. M o s t

van de oorspronkelijke kleuren en contouren,

soms naar beeldrijm gezocht. Wat mij betreft

books about cities s h o w in a more or less

en in veel beelden een 'unheimische' sfeer

The book is expensively produced with

had dit niet gehoefd, maar dat is een kleinig-

documentary fashion how a particular city

door afwisselende over- en onderbelichte

only one photo per page. On the few o c c a -

heid in dit overigens zeer fascinerende boek.

looks at its best. Usually the sun is shining,

sions where two photos are placed on

delen. Het zijn krachtige en onrustig aandoende beelden, die na het dichtslaan van het

the streets are empty, there is no traffic

opposite pages, she sometimes tries to pro-

and w e see the sights from ideal vantage

boek als nabeelden op het netvlies beklijven,

duce an effect of visual rhyming. In my

points. The atmosphere in this sort of book

alsof je net in een felle lamp hebt gekeken

opinion this w a s a mistake, but that is a

is often in sharp contrast with our o w n

Litschauer heeft de gefotografeerde objecten

small detail in this otherwise very fascinat-

experience of a city. The weather, the noise

en plekken tot leven geroepen, bezield Haar

ing book.

of traffic (or maybe even the striking tran-

Reinhard Matz: Rëume oder Das Museale Zeitalter.

Reinhard Matz: Raume oder Das Museale Zeitalter

their aesthetic qualities. In the process of taking his photos

Reinhard M a t z w a s educated in art

he has collected and aranged them and dep-

photography and studied philosophy, German

rived them of their history, so that they can

and media studies. A t present he works as

be accomodated to a purely aesthetic way

a freelance photographer and prepares

of seeing. Experience and the depiction of

specialist publications about photography for

space coincide here. Photography makes it

various German museums. Raume oder Das

possible to experience space in a restful

Museale

and undisturbed way. According to M a t z it

kunstzinnige fotografie en studeerde filosofie,

has combined a portion of his photographic

is for this reason that photography is

germanistiek en mediakunde. Hij is thans

work with one of his o w n essays. The book

regarded as a luxury item, and even as a

werkzaam als vrij fotograaf en verzorgt in

comprises some twenty beautifully printed

form of art given the hectic pace of present

dienst van diverse Duitse musea wetenschap-

black and white photos of a similar number

day life.

pelijke publicaties over fotografie. In Raume

is the first time that he

of large interiors of mainly historical W e s t ern European buildings: the central station in Brussels, the station in Milan, a hall in the Doges' Palace in Venice, a hall in the M u s e u m of Fine Arts in Budapest, the casino hall of the castle of Mariënburg, etc.

Matz, Reinhard: Raume oder Das M u s e a l e Zeitalter. 1990. Cologne. DuMont, 58 pp, 20 ill, bw, german, 30 x 37 cm, hc, ISBN 3-7701-2557-6, DM 78.-

oder Das Museale Zeitalter

It may well be the case that M a t z ' s

is een gedeelte

'Andachtsbilder' (my term, FG) - images for

van zijn fotografische werk voor het eerst

contemplation - are some sort of response

gecombineerd met een essay van zijn hand.

to the 'intense longing for more peace and

Het boek bevat een twintigtal prachtig

concentration' that is such a feature of the

gedrukte zwart-wit foto's van evenzovele grote

present time, but it is not clear to me h o w a photo can reproduce the experience of

sche gebouwen, waaronder het centraal sta-

between the way that w e experience space

space. Not only is perspective unalterable in

tion in Brussel, het station van Milaan, een

and the present postmodern age. Our

a photo (as M a t z himself admits); in my

zaal in het Dogenpaleis in Venetië, een zaal in

experience of space, in M a t z ' s opinion,

opinion the aesthetic experience of the

het Museum voor Schone Kunsten in Boedapest, de casinozaal van het slot Mariënburg.

depends on both personal and cultural fac-

thing that is photographed (literally!) cannot

tors. Whenever w e enter a space, w e

be treated separately from the photographic

unconsciously allow it to influence us. The

elements (surface, range of tones, e t c ) .

space can evoke feelings of security, make

Matz jumps in his fairly short essay

us curious or even cause us to experience anxiety. The spaces that M a t z has chosen

fotografie. De fotografie vertelt niet langer meer iets over de werkelijkheid, maar over de blik van de fotograaf, en is daarmee introvert, zelfreflectief geworden. Deze op zich al problematische redenering plaatst Matz ver-

Reinhard Matz volgde een opleiding in

interieurs van Westeuropese, veelal histori-

In his essay Matz draws a parallel

dende relatie met de buitenwereld, zoals de schilderkunst dat was met de komst van de

Matz has made his spaces 'museumfahig':

Zeitalter

aan de werkelijkheid is bevrijd van haar bin-

volgens in het perspectief van het postmodernisme, waardoor je als lezer het spoor behoorlijk bijster raakt: in de huidige, postmoderne tijd, zo betoogt hij, viert de 'musealisering' van onze leefwereld hoogtij. Ondanks - of juist dankzij - een enorme consumptie van allerlei goederen trachten we zoveel mogelijk voor het nageslacht te bewaren. Nog nooit werden zoveel musea gebouwd als nu. Dit alles heeft gevolgen voor onze manier van kijken, die steeds meer op deze musealisering is gericht: onze omgeving wordt in toenemende mate gestileerd, schoon en overzichtelijk gehouden, en presentabel gemaakt. Net als in een museum raken objecten uit onze omgeving los van hun (historische) context, en worden door ons nog slechts om hun esthetische kwaliteiten gewaardeerd.

In het bijbehorende essay legt Matz een verband tussen onze gevoelsmatige beleving

Al fotograferend heeft Matz zijn ruimtes

van ruimte en het huidige postmoderne tijd-

'museumfahig' willen maken: hij heeft ze ver-

from experience of space to postmodernism;

vak. Ruimtebeleving, zo betoogt Matz, is zowel

zameld, geordend, en van hun geschiedenis

from museumifying to photography and real-

persoons- als cultuurgebonden. Wanneer wij

beroofd, zodat ze voor puur esthetische

(he distinguishes between different types)

ity; from the disintegration present in our

een ruimte binnentreden, laten wij deze (onbe-

beschouwing geschikt zijn, zo stelt hij. Bele-

have one factor in common: that because of

society to the crisis in the visual arts (but

wust) op ons inwerken. De ruimte roept

ving èn afbeelding van ruimte zouden in deze

their shape or their size, they do not work

his cultural pessimism has already been put

gevoelens van geborgenheid op, maakt

beelden samen vallen. Fotografie maakt een

directly on our feelings, but do arouse our

in perspective by the prelude to recent

nieuwsgierig of boezemt ons juist angst in. De

rustige, ongestoorde beleving van ruimte

curiosity. In other words: these are spaces

developments in the former Eastern bloc

ruimtes die Matz heeft geselecteerd (hij

mogelijk: in het hectische hedendaagse leven

that w e cannot easily assimilate but w h i c h

countries; he is writing in December 1989).

onderscheidt verschillende typen) hebben

wordt zij daardoor als een luxe, ja zelfs als

nevertheless have an attraction for us.

M y greatest objection to this book then has

gemeenschappelijk, dat zij door hun vorm of

kunst ervaren, aldus Matz.

to do with the large number of themes in

grootte niet direct voor onze gevoelens toe-

such a short text, w h i c h means that his line

gankelijk zijn. doch wel nieuwsgierig maken.

of argument is not always that clear or

Met andere woorden, we krijgen niet gemak-

M a t z ' s theme is this subjective experience of space 'Raumempfinden', and particularly of large spaces that are no longer used - he himself uses the term 'anachronistic' spaces. This means that he is definitely not concerned with the photogra-

coherent. A well worked out essay would

kelijk vat op deze ruimtes, maar zij oefenen

have been more to the point.

wel aantrekkingskracht op ons uit.

All of the photos are razor-sharp and

Het gaat Matz om deze subjectieve ruim-

Het mag zo zijn dat Matz' 'Andachtsbilder' (term FG) tegemoetkomen aan het de huidige tijd zo kenmerkende '..intens verlangen naar grotere rust en concentratie..', het is mij niet duidelijk hoe een foto de beleving van ruimte kan overbrengen. Niet alleen ligt in een foto

phy of architecture as such, nor even in the

aesthetically sound shots of interiors. Once

tebeleving ('Raumempfinden'), en dan met

het perspectief muurvast (wat Matz nota bene

first instance with the documentary proper-

this has been said, however, the thing that

name van grote, niet meer in gebruik zijnde -

zelf ook constateert), maar bovendien is mijns

tjes of photography. M a t z ' s argument is that

strikes one about these photos is that they

hij spreekt zelf van 'anachronistische' - ruim-

inziens de esthetische beleving van het gefo-

after 150 years of loyal service to reality,

in fact hardly teil one anything. But perhaps

tes. Het gaat hem dus niet om de gefotogra-

tografeerde (letterlijk!) niet los te zien van het fotografische (oppervlak, toonschaal, etc).

photography is now set free from its obliga-

this observation only goes to prove that I

feerde architectuur an sich, en in eerste

tory relation with the outside world, just as

have a postmodern, museumifying point of

instantie dus ook niet om de documentaire

happened to painting with the advent of

view.

eigenschappen van de fotografie. Matz stelt,

photography. Photography no longer provides information about reality, but rather

dat de fotografie na 150 jaar trouwe dienst

Matz springt in het vrij korte essay van ruimtebeleving naar postmodernisme; van musealisering naar fotografie en werkelijkheid; van verval in onze maatschappij naar de crisis

about the point of view of the photographer,

in de beeldende kunst (maar relativeert zijn

and this means that it has become introvert

cultuurpessimisme echter al in de inleiding

and reflective. M a t z then places this already

aan de recente ontwikkelingen in het voorma-

problematic issue within the perspective of

lig oostblok; we schrijven december 1989).

postmodernism, at w h i c h point it gets dif-

Mijn grootste bezwaar tegen dit boek betreft

ficult for the reader to keep track: in the

dan ook de veelheid van onderwerpen in zo'n

present postmodern age, he argues, the

korte tekst, die maakt dat het betoog niet

'museumifying' of the world w e live in is in

overal even helder en samenhangend is. Een

its heyday. Despite - or just because of -

goed uitgewerkt essay was hier op zijn plaats

our enormous consumption of all different

geweest.

kinds of goods, we try to save as many

De foto's zijn stuk voor stuk ragscherpe,

things as possible for our descendants. Never have so many museums been built as

esthetisch zeer verantwoorde interieuropna-

at the present time. All this has conse-

men. Het bijzondere aan deze foto's is dat ze

quences for our w a y of seeing, which is

eigenlijk verder nauwelijks enige zeggings-

increasingly influenced by this phenomenon

kracht hebben. Maar misschien is deze consta-

of museumifying: our environment is becom-

tering juist de bevestiging van mijn postmo-

ing increasingly stylized, kept neat and

derne, musealiserende blik. FG

orderly and made presentable. Just as in museums, objects from our immediate environment are detached from their (historical)

Reinhard Matz

context, and are no longer valued except for

Voormalig warenhuis Merkur/Former department store Merkur, Berlin 1981

Sebastiao Salgado: An Uncertain Grace

lar of the venerated tradition of 'concerned photography". Quite a remark to fuif ill. It is far to common to attempt to build around

Op de flap van dit boek wordt Salgado

talent an aura of authenticity that is unat-

beschreven als 'wereldberoemd beoefenaar

tainable or that showers the work of

van de eerbiedwaardige traditie van de 'geën-

documentary with 'lyricism' in the face of

gageerde fotografie'. Dat is heel wat om waar

actuality. A n d , conversely, it is also common

te maken. Het is veel te gemakkelijk om talent

to deconstruct the work of documentary as

te verpakken in een aura van onbereikbare

inherently flawed, encompasse d in subjec-

authenticiteit, waardoor de documentaire iets

tivity that belies unconscious political intent.

lyrisch krijgt. En omgekeerd is het ook te mak-

To weave a way through the myth and

kelijk om de documentaire als per definite

the flaws is no simple task. Salgado's work

imperfect aan te merken, omdat er een soort

is emphatic and blunt. It relies on the rigors

subjectiviteit in wordt gebruikt, die het onbe-

of so many stylistic models, often a bit too

wust hanteren van politieke bedoelingen

evident, that the work is hybrid of the styles

onmogelijk maakt. Zich een weg banen tussen

of the lineage of M a g n u m photographers. In

mythe en imperfectie is niet gemakkelijk. Salgados werk is duidelijk en direct. Het drijft op

some ways it demonstrates the limitations

de regels van zoveel stylistische modellen

of 'concerned photography' and in other

(soms wat te duidelijk) dat het een samen-

ways reveals that the urgency of content has much to do w i t h the urgency of the

smelting is geworden van de stijlen van de

Sebastiao

Magnum-fotografen. In sommige opzichten

Salgado

Tijdens Angola's tweede vrijheidsoorlog

toont het de beperkingen van de geënga-

During Angola's Second War of Liberation, Angola, 1975

geerde fotografie. In andere opzichten laat het

image. But all this aside, Salgado's images are sympathetic and compelling characterizations. Whether they fuif ill hyperbole like Ritch-

zien dat het dwingende van de inhoud veel te maken heeft met het dwingende van het

in's is doubtable:

beeld Hoe het ook zij, Salgados beelden zijn

'Salgado's

sympathieke, indringende schetsen.

work, while confined

moment by the mechanics drawn less to celebrating

Of het werk voldoet aan de hyperbolen

instant's

die Ritchin gebruikt, is twijfelachtig:

arbitrariness,

its ephemeral

camera beperkt blijft tot het moment, heeft

mythic, entwining

niet de bedoeling de willekeur moment en rijn materiële

van het

aanwezigheid

eternity,

profundity, and to locating

presence.'

the epic', 'an iconic landscape', 'the forces

van het

of light and dark'. These constraints compel

moment, de vluchtige diepzinnigheid ervan, tot omsluitende

manifes-

expresses a 'resonating lyric', 'a sense of

te verheerlijken en in te dammen, maar is eer-

uiting te brengen en een mythische,

its

In Ritchin's characterization, Salgado

verschijningsvormen

der bedoeld om de eeuwigheid

and taming an

its material

tations, but more to articulating

'Salgados werk, dat door de techniek van de

to the

of the camera, is

the images fu If ill a hope in Ritchin that the

alles

mighty document can mystify and hence

te creëren.'

'affirm values' and 'moral conviction'. To overburden this work with the mythos of

In Ritchins beschrijving dragen Salgados

modernist virtuosity seems unnecessary.

beelden elementen in zich van 'een galmende lyriek', 'het epos', 'een iconisch landschap',

Salgado's work does invoke noble meanings.

'de krachten van licht en donker.' Deze beper-

Yet it does so through a command of the

kingen doen Ritchin hopen dat het machtige

moment, a moment utterly entwined in

document iets geheimzinnigs wordt en 'waar-

materiality. For Ritchin to rhapsodize about

den en morele overtuigingen kan vastleggen.'

the sublime ephemerality of these images

Het werk overladen met de mythen van de

constructs them as outside material mean-

modernistische virtuositeit lijkt mij niet nodig.

ing. Clearly this is not the case. The political effects of the images are evident in their

De nobele betekenis van het werk van Salgado is ook zo wel duidelijk. Deze betekenis is

Sebastiio

gelegen in de beheersing van het moment,

Salgado

Vluchtelingen uit Eritrea komen aan bij het Wad Sherifay kamp

een moment dat verweven is met de materia-

Refugees Arriving from Eritrea to the Wad Sherifay Camp, Sudan, 1985

liteit. Ritchins lyrische opmerkingen over de plaatst ze buiten de materialiteit. En dat is

the circumstances in countries he has

of these stunning images undermines their

den is duidelijk, omdat er krachten mee in

political effect. Their honest drama might

werking worden gezet die zich keren tegen de

seem spectacular by modern standards. If

afschuwelijke onderdrukking. Geld dat wordt

they aspire to the heroic it is because their

ingezameld bij de opening van tentoonstellin-

subjects endure brutal material circumstan-

gen van Salgados werk komt direct ten goede

ces. If they can be absorbed into the main-

aan de mensen in de landen waarin hij

stream of photographic history seamlessly, gewenste traditie te bieden hebben. Als ze uit

Het esthetiseren van deze verbijsterende

een verzadigd publiek nog wat aandacht kun-

beelden ondermijnt het politieke effect ervan.

nen wringen en zelfs een moment van mede-

Naar moderne normen gemeten is het eerlijke

lijden kunnen afdwingen, komt dat omdat ze

drama dat zij laten zien wellicht spectaculair.

meedogenloos fotografisch zijn. Ontdaan van

Als de beelden al heroïsch te noemen zijn.

hun mythische fictie spreken deze beelden de

komt dat doordat de gefotografeerden in

actualiteit aan. Zij vinden daarin het individu:

wrede materiële omstandigheden moeten

wanhopig, hongerlijdend, trots, gevangen in de

leven. Als de beelden moeiteloos in de foto-

werkelijkheid.

dat doordat ze de naiëven nog een zo vurig

ing Salgado's openings is to directly affect

W h a t is plain is that the aestheticization

niet terecht. Het politieke effect van de beel-

grafische geschiedenis te passen zijn, komt

oppression. M o n e y s raised at benefits dur-

worked in.

sublieme vluchtigheid van deze beelden

gewerkt heeft.

mobilization of forces opposed to horrifying

Sebastiao Salgado: An Uncertain Grace G a l e a n o , E. & R i t c h i n , F.: A n U n c e r tain G r a c e - S e b a s t i a o S a l g a d o . 1990, A p e r t u r e , N e w Y o r k , cb, 156 pp., 140 ill.(bw, d u o t o n e ) , I S B N O 89381 421 O, $60, Dfl.115,80.

it is because they yet offer to the naive a tradition so fervently claimed. If they can w r e n c h attention from a saturated public and command a moment of compassion, it is because they are unrelentingly photographic. Stripped of the fiction of myth, these images interrogate actuality and find the individual whole, desperate, starving, proud, caught in the real.

Timothy Druckrey

The book jacket for this monograph cites Salgado as 'a world-renowned exemp-

Timothy Druckrey

Toto Frima: 50 x 60

Toto Frima: 50 x 60 F r i m a , T o t o : 50 x 60. 1990, Amsterdam, Fragment. 94 pp, 46 ill, fc, Dutch, 20 x 26,5 cm, hc, ISBN 90 6579 044 6, (introduction by Honnef. K.|, Dfl. 59,90

zelf', schrijft Klaus Honnef in de inleiding van

'Toto Frima has just one theme: herself',

haar verwoede pogingen om een eigen identi-

'Toto Frima heeft slechts één thema: zich'50 x 60'. Dat klopt. Frima maakt al jaren gebruik van peperdure polaroid-fotografie

writes Klaus Honnef in the introduction to

teit te ontdekken. Zij heeft zich daarbij toege-

50 x 60. That's right. For years Frima has

legd op het 'zelfbeeld', een genre waarin de

been using very expensive polaroid photo-

met nogal wat symboliek gepaard gaande

graphy in frantic attempts at discovering her

afbeelding van het eigen lichaam veelal een

o w n identity. She plods away at the genre

emancipatorische en/of

of 'self-image', in whic h the representation

betekenis heeft.

of her o w n body, accompanied by quite a lot

maatschappijkritische

Honnef heeft de gelegenheid te baat

of symbolism, usually has a liberatory and/or

genomen om een kort historisch betoog te

socio-critical significance.

houden over het zelfportret en de afbeelding

Honnef has taken the oportunity to

van de vrouw in de kunst. Hierin laat hij

make a short, historical argument about the

namen van illustere kunstenaars als Mantegna

self-portrait and the representation of

(Italiaans, 15e eeuw), Renoir (Frans, 19e eeuw)

T o t o Frima

women in art, mentioning in passing such

en Sherman (Amerikaans, 20e eeuw) de revue

zonder titel/untitled

illustrious artists as Mantegna (Italian, 15th-

passeren. Maar alle kunsthistorische perspec-

century), Renoir (French, 19th-century) and

wooden clogs or a half-undressed Frima.

tieven ten spijt: Frima's gekunstelde polaroids

Sherman (American, 20th-century).

Even the book's beautiful full-colour printing

zijn alleen dan interessant, wanneer men een

despite all these art historical perspectives,

is of no avail. That one theme of Toto Frima

voorliefde koestert voor de symboliek van

Frima's mannered polaroids are only inter-

simply evokes just one feeling for me: bore-

kokosnoten, bollen wol, houten klompen of

baten. Dat éne thema van Toto Frima roept bij

esting for those w h o harbour a fondness for

dom.

een half ontklede Frima. Ook de mooie fuII-

mij maar één gevoel op: verveling.

But

the symbolism of coconuts, balls of wool,

anthologies/anthologieën B a l s e l l s , D a v i d : P r i m a v e r a Fotog r a f i c a. 1990, Catalonia, Departament de Cultura de la Generalitat de Catalunya, 195 pp, 66 ill, fc/bw, Catalan/Spanish/English, 22 x 24 cm, pb, ISBN 84-393-1299-7 B a s s i n , A l e x a n d e r : Izbrana S l o v e n s k a Fotografija (Aktualni Trenutek). 1980, Ljubljana, Kabinet slovenske fotografije, 28 pp. 17 ill, bw, Czech. 12 x 23.5 cm, pb B o s c o , J o a o (ed): F o t o g r a f o s x f o t o s . 1990, Rio de Janeiro, 32 pp, 14 ill. bw, Brazilian/English. 21 x 21 cm, pb Fogler, J a n u s (ed): 6x9. 1991, Warsaw, Arts und Film Publishers/WAiF G a s s a n , A r n o l d (ed): E x t e n d i n g Straight P h o t o g r a p h y . 1989, Ohio, The Trisolini Gallery. 28 pp. 12 ill, bw. English. 21.5 x 28 cm, pb K a r t t u n e n , U l l a : La P h o t o g r a p h i e et la P h i l o s o p h i e . 1990, Lahden Kirjapaino, the Photographic Museum of Finland, 54 pp, 19 ill, fc/bw, French/Finnish, 21 x 29.7 cm, pb, ISBN 951-9086-35-8 K a r t t u n e n , U l l a (ed): B e a u t y a n d M a d n e s s . 1990. Helsinki, the Photographic Museum of Finland, 146 pp, 137 ill, fc/bw, Finnish/Swedish/English, 19.5 x 21 cm, pb, ISBN 951-9086-33-1 K o v i c , B r a n e : 150 Y e a r s of P h o t o g r a p h y in S l o v e n i a . 1990, Ljubljana, Mestna Galerija, 196 pp, 161 ill, bw, Slovene/English, 21 x 29.6 cm, pb L a m b e r t , J e a n Pierre (ed): U n petit p a n d e m u r b l a n c . 1987, Galerie Jean Pierre Lambert, 56 pp, 25 ill, fc/bw, French, 22 x 28 cm, pb, ISBN 2-907194-00-3 L i c h t s c h r i j v e n . 1990, De Gele Rijder/Het Blad, 16 pp. 17 ill. bw, pb, ISSN 0168-6852

M o d e r n a M u s e e t s : P a r a d i g m . 1990. Stockholm. Museet i Moderna Museet, 54 pp, 23 ill, bw, Swedish, 22.5 x 27.5 cm. pb, ISBN 91-7100-396-7 M u s é e d ' A rt m o d e r n e d e la Ville d e P a r i s : Images Inventées. 1990, Tours, Paris-Musées, 80 pp, 56 ill. bw. French, 21.5 x 23.5 cm, pb, ISBN 2-87900-012-2 Newton, Helmut: Helmut Newton's llustrated N o . 3: I w a s there. 1991, München, Schirmer/Mosel. 32 pp, 32 ill, duotone, 30 x 38.5 cm, pb, ISBN 3-88814-405-1, DM 38,P a n h u y s e n , P a u l (ed): Het A p o l l o h u i s 1985-1990. 1990, Eindhoven, Het Apollohuis Eindhoven, 144 pp, 513 ill, bw, English, 21 x 30 cm, pb. ISBN 90-71638-12-X P o i n s o t , J e a n - M a r c (ed): Le Deja La La C r e a t i o n Artistique. 1989, Rennes, Centre d'Histoire de l'Art Contemporain. 104 pp, 44 ill, fc/bw, French. 16.8 x 22.8 cm, pb, ISBN 2- 906872-02-4, FF 90 T a h t i n e n , Ritva (ed): F i n n i s h P h o t o g r a p h i c Y e a r b o o k . 1990, Helsinki, The Photographic Museum of Finland. 159 pp, 101 ill, fc/bw, Finnish/Swedish/English, 19.5 x 21 cm, pb, ISBN 951-9086-36-6 T a n i g u c h i , M i y a b i (ed): T r e n d '89, A s p e c t s of C o n t e m p o r a r y P h o t o g r a phy. 1989, Kawasaki City Museum, 88 pp, 58 ill, bw, Japanese/English, 16 x 24 cm. pb V a l o , L a m m i n : Israelin V a l o k u v a u s t a . 1989, Helsinki, Suomen valokuvataiteen museo, 23 pp, 19 ill, fc/bw, Finnish, 21 x 21 cm, pb, ISBN 951-9086-34-X W e b e r , B r u c e : Bear P o n d B o o k. 1991, München, Schirmer/Mosel, 202 pp, 104 ill. duotone, English, 20.5 x 25.4 cm, cb, ISBN 3- 88814-320-9, DM 98.-

colour-druk van dit overzichtsboek mag niet

monographies/monografieën B o s s h a r t , B a r n a b a s : P o i n t s of T i m e . 1989, Switzerland, Barnabas Bosshart, 101 pp, 62 ill, bw, English/Chinese, 23.5 x 33.5 cm. pb Bot, M a r r i e : P h o t o g r a p h e r . 1990, Amsterdam. The Amsterdam Art Foundation, 40 pp. 37 ill, bw. English/Dutch, 22 x 28 cm, pb B r o h m , J o a c h i m : B e r l i n Fotoprojekt 11. 1990, Berlin und München, Siemens AG. 20 pp, 6 ill. fc/bw, German/English, 21 x 28 cm, pb Eisfeldt, D o r t e : S c h n e e b a l l . 1990, Góttingen. European Photography, 56 pp, 29 ill, bw, German/French/English/Dutch, 16.5 x 12.5 cm, hb, ISBN 3-923283-20-2 Iguiniz, F e l i p e : C r e a t i o n U s i n g P h o t o g r a p h y . 1990, Spain, Gelma-sal-Mondragon, 79 pp, 77 ill. fc/bw. Spanish/English, 23 x 30 cm. pb. ISBN 84-404-8158-6 G e t l i n g e r , Fritz: G e t l i n g e r P h o t o g r a p h i e r t B e u y s . 1990, Köln, DuMont Buchverlag Köln, 208 pp, 116 ill, bw. German, 25.5 x 31 cm, cb. ISBN 3-7701-2673-4 Hata, Y o s h i o : Hanako-Days with 'Shaver Starcross 288' Bio-mechalloid. 1990. Osaka, Norio Inada, 70 pp, 71 ill, fc/bw. Japanese/English, 23.5 x 29.5 cm, hb, ISBN 4-8339-0514-0 H e n d e r i k s e , J a n : M o d e r n T i m e s . 1990, Kiel, Kulturamt der Landeshauptstadt Kiel, 67 pp, 35 ill, fc/bw, German/English, 23 x 27 cm, pb Holzhauser, Karl Martin : Lichtmalerei. 1990, Germany, Edition Marzona. 71 pp. 46 ill, fc, German, 21 x 29.7 cm, pb H o s o e , E i k o : G a u d i . 1990, Paris, Centre D'Etudes Catalanes, Paris, 55 pp, 22 ill, Teknocrom. French/Spanish/ Catalan, 21 x 29.6 cm, pb

L y o n , D a n n y : I Like to Eat R i g h t o n the Dirt. 1989, New York, Bleak Beauty/Filmhaus, 56 pp, i22, fc/bw, English, 35.5 x 28 cm, pb, ISBN 0-9620992 M a t s u b a r a , K e n : V e r t i c al a n d H o r i z o n tal. 1990. Tokyo, PS Gallery, 16 pp, 10 ill, Fresson, Japanese/English, 18 x 26 cm. pb Mylayne, Jean-Luc: Jean-Luc Mylayne 1989-1990. 1990, Paris. Musée Des Beaux Arts-Calais, 50 pp, 18 ill. fc, French, 25 x 27 cm, pb Ouwerkerk: Schwarz Weiss & Braun. 1990. Rotterdam, Centrum Beeldende Kunst Rotterdam, 20 pp, 15 ill, Dutch, 21 x 29.7 cm, pb P o u p e l , A n t o i n e : Dix A n s A p r è s . 1990, Ville d'Harfleur, Service Culturel de la Ville d'Harfleur, 20 pp, 15 ill, French. 20 x 19.5 cm, pb Sert, J o s é M a r i a : E t u d e s P h o t o g r a p h i q u e s 1905-1945. Paris, Galerie Micèele Chomette, 56 pp, 35 ill, bw, Spanish/French, 24 x29 cm, pb S h i r a o k a , J u n : J u n S h i r a o k a . 1988, Norfolk, The Chrysler Museum. 16 pp. 14 ill, bw, English, 28 x 21.5 cm, pb, ISBN 0-940744-56-2 S t a n o , T o n o : T o n o S t a n o . 1990. Vydavatel'Stvo Osveta, 95 pp, 69 ill, bw, Czech/ English, 19 x 19 cm. pb. ISBN 80-217-0231-1 Thormann, Otmar: Low Moral. D r e a m i n g D o g s . 1990, Salzburg, Edition Fotohof im Otto Muller Verlag. 64 pp, 34 ill, fc/ bw, German/English, 24.5 x 30.5 cm, ISBN 3-7013-0807-1 Z w e r v e r , T o n : S k u l p t u r e n V o o r Het M o m e n t . 1991, Haarlem, Galerie Tanya Rumpff, 26 pp, 10 ill, fc/bw, Dutch, 20 x 25 cm, Pb

RIP Arles ontdekt Latijns-Amerika

tuur, Postbus 3007, 2001 D A Haarlem (E.

De 'ontdekking' van de fotografie van

1 juli 1991

H e n s e n 023-143507). De inschrijving sluit o p

Houston FotoFest to show work by more than 500 photographers

RIP Arles discovers Latin America T h e ' d i s c o v e r y ' of Latin A m e r i c a n

Latijns-Amerika staat centraal in Arles van 5

p h o t o g r a p h y is t h e f o c u s of this y e a r ' s

W o r k b y m o r e t h a n 500 p h o t o -

R e n c o n t r e s Internationales d e la P h o t o -

g r a p h e r s w i l l be s h o w n f r o m 7 M a r c h

Internationales de la Photographie biedt in

Capi-Lux Alblasprijs voor Ad van Denderen

g r a p h i e in A r l e s , 5-11 J u l y 1991. B e s i d e s

until 5 A p r i l 1992, at t h e H o u s t o n F o t o -

die week, naast vele tentoonstellingen, der-

De Capi-Lux Alblasprijs 1990 is dit voor-

a m u l t i t u d e of e x h i b i t i o n s , there w i l l b e

Fest, w h i c h is c o n c e n t r a t i n g its attention

jaar toegekend aan A d van Denderen voor

thirty w o r k s h o p s o n offer d u r i n g t h e

o n p h o t o g r a p h y f r o m Latin A m e r i c a a n d

zijn gehele oeuvre. Het juryrapport bena-

week.

Europe. M o d e r n work from the Soviet

tot e n met 11 juli 1991. D e Rencontres

tig workshops.

U n i o n will also be s h o w n .

Houston FotoFest laat werk zien van ruim 500 fotografen

drukte vooral zijn onafhankelijkheid e n inte-

Houston FotoFest presenteert het werk

esthetische kwaliteit van zijn werk. Van Den-

m o r e t h a n 200 c u r a t o r s , critics, p u b l i s h e r s

van ruim vi|fhonderd fotografen van 7 maart

deren maakte onder andere foto-essays over

a n d c o l l e c t o r s to attend the M e e t i n g Place

tot e n met 5 april 1992 FotoFest richt de

d e Koerden in Turkije, over mijnwerkers in

where professional and amateur photo-

aandacht o p fotografie uit Latijns-Amerika e n

België e n het mijnwerkersstadje W e l k o m in

g r a p h e r s c a n s h o w their p o r t f o l i o s .

Europa Daarnaast zal er een tentoonstelling

Zuid-Afrika.

griteit als documentair fotograaf en de

T h e o r g a n i s e r s are e x p e c t i n g that

Corrections

van modern werk uit d e Sovjetunie te zien zijn

Rectificaties D e organisatie verwacht meer dan

tweehonderd curatoren, critici, uitgevers e n

Robert M a p p l e t h o r p e ' s photograph

In Perspektief No. 40 werd op pagina 20

Man

in Polyester

Suit,

1980 in P e r s p e k t i e f

de foto van Robert Mapplethorpe Man in

N o . 40, p a g e 20, w a s by a c c i d e n t r e p r o -

verzamelaars voor de Meeting Place, waar

Polyester

duced in mirror-image. This photograph

professionele e n amateurfotografen hun

beeld afgedrukt. Deze foto staat hier juist

portfolio's kunnen tonen.

afgedrukt.

Suit,

1980 per abuis in spiegel-

n o w a p p e a r s as it s h o u l d b e . L e n a T u z z o l i n o ' s p h o t o g r a p h i n Pers-

In Perspektief No. 4 0 werd o p pagina 34

Merillon wint World Press Photo

de onjuiste titel Liggende

D e Franse fotograaf Georges Merillon

richt,

man. half

pektief N o . 40, p a g e 34, w a s i n c o r r e c t l y titled Reclining

opge-

1988 vermeld bij de foto van Lena Tuz-

(fotopersbureau Gamma ) ontving op 24 april

zolino. De betreffende foto heeft echter

Robert M a p p l e t h o r p e

de Golden Eye Trophy voor de World Press

geen titel.

Man in Polyester Suit. 1980

Merillon wins World Press Photo

Photo 1990 in de N i e u w e Kerk in Amsterdam. Merillon krijgt de prijs voor zijn foto Mourning

in Kosovo.

De foto toont e e n

slachtoffer van d e gewelddadigheden tijdens de nationalistische demonstraties in Kosovo, op bed gelegen e n omringd door vrouwen uit zijn dorp. D e World Press Photo-tentoonstelling werd gehouden van 30 april tot e n met 29 mei in de N i e u w e Kerk in A m s t e r d a m , naast de overzichtstentoonstelling 35 jaar Press

World

Photo.

Man, 1988. T h i s p h o t o -

g r a p h h a s n o title.

The French photographer Georges

N A T I O N A L P H O T O G R A P H Y C O N F E R E N C E I99 'EUROPEAN CURRENTS' St John's College • •

E S T*

projects

Thursday 26 to

Merillon ( G a m m a photo press agency) r e c e i v e d the 1990 W o r l d P r e s s P h o t o ' s G o l d e n E y e T r o p h y at a c e r e m o n y i n the N i e u w e Kerk i n A m s t e r d a m o n 24 A p r i l . His w i n n i n g p h o t o Mourning

Kosovo

s h o w s a v i c t i m of t h e v i o l e n c e that o c c u r red d u r i n g t h e n a t i o n a l i s t d e m o n s t r a t i o n s in K o s o v o , l y i n g o n a b e d a n d surrounded by w o m e n from his village. The W o r l d P r e s s P h o t o e x h i b i t i o n w a s

Nieuwe opzet voor Bath Festival

h e l d f r o m 30 A p r i l u n t il 29 M a y i n t h e N i e u w e Kerk i n A m s t e r d a m , t o g e t h e r with

Het Bath Festival heeft een nieuwe opzet gekregen. 26 Galeries presenteren in d e gerenoveerde A s s e m b l y R o o m s tentoonstellingen met het werk van één of t w e e

key debates for independent

kunstenaars. Verder wil de organisatie e e n

photography in the 1990's.

kans geven aan e e n aantal jonge e n onbe-

Including portfolio sessions,

kende kunstenaars De Bath Contemporary Art Fair 1991 wordt gehouden van 2 3 tot en met 27 mei.

t h e r e t r o s p e c t i v e 35 Years

A conference addressing

World

Press

Photo.

[_ ,_ , /

___________

New structure for Bath Festival T h e Bath Festiva l h a s a c q u i r e d a n e w

workshops a n d exhibition

structure. 26 g a l l e r i e s are p r e s e n t i n g work

openings.

by o n e o r t w o artists in t h e r e n o v a t e d A s s e m b l y R o o m s . The organisers also

Provincie Noord-Holland geeft foto-opdrachten De provincie Noord-Holland stelt f 45.000 beschikbaar voor opdrachten aan professionele fotografen. De fotografen moeten in Noord-Holland w o n e n . Ook de opdrachten, op gebieden van reportage-,

Projects U K . I Black Swan C o u r t ,

fie moeten e e n link m e t Noord-Holland heb-

Voor e e n aanvraagformulier e n toelichting kunt u contact o p n e m e n met de provincie Noord-Holland, Dienst W E 3 , bureau Cul-

'Fcreign

Trade'

by Miro

Svolik

C o n t e m p o r a r y A r t Fair is taking plac e f r o m 23-27 M a y 1991.

New address for Fragment

Ncwcastlc upon Tync

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van één jaar

y o u n g a n d u n k n o w n artists. T h e Bath

Westgate Rond.

NEI

ben. Het gaat voorlopig o m een experiment

w a n t to g i v e a c h a n c e to a n u m b e r o f

Contact: Beryl G r a h a m ,

The p u b l i s h e r s F r a g m e n t U i t g e v e r i j

I S GGreat Britam F r o m Britain

h a v e m o v e d to L i n d e n g r a c h t 168, 1015 K L

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i-il City ot Newcastle l M upon Tyne

O Veroordeling Mader bevestigt anti-seksualisme onder het mom van bescherming van het kind

Mader Conviction Confirms Anti-Sexualism under the Guise of Child Protection On December

28,

an Amsterdam at Amsterdam's innocent the

photographs depicting the

- one

court

the

nude

abuse'

activity of a

and

on his

240b

of article

exhibition

was

exhibition penis

of the 240b

Criminal

Code.

and

the

found

also

This

of a nude

to constitute,

naakte,

time

child

in and

het

en penis

artikel

eerste

maal

240b

aan het

te zien

tentoonstellen

van het

foto's

240b

toepaste

dat het tentoonstellen in enigerlei

van een vorm

gekenmerkt

die

dertien verklaarde

- ĂŠĂŠn

van een

- alle foto's

een twee

Intermale. van

De rechtbank

van Strafrecht

artikel

werd

boekwinkel

waren.

jongen

door van

tentoonstellen

de andere

Wetboek

Mader

tentoonstellen

van de twee

van een jongen,

dat een rechtbank

in Nederland

Donald

het

in de Amsterdamse

kind, dat niet is betrokken

child.

voor

bevonden

half op zijn zij liggende

onder keer

kinderen

die ook in 1987

dat door

torso

de fotograaf

veroordeeld

niet schuldig

foto's,

echter

other show

first

werd

andere

the the

1990 werd

in Amsterdam van naakte

Mader

two

of a boy,

rechtbank foto's

found

of the

Op 28 december

children

photographs

- brought

of a photograph

has been

was

other

back

convicted

of nude

Mader

thirteen

that the

lying

of article

in sexual

While

the torso boy

by a court that the

'sexual

declared

Mader

photographs

exhibiting

depicting

the proscriptions

engaged

two

bookstore. with

a smiling,

first application

itself,

the

Donald

exhibiting

Intermale

The Netherlands not

photographer

for

in connection

1987 show,

under

1990,

court

van

glimlachende, te zien

vielen.

waren

Dit was

en ook de foto van een

van seksuele als 'seksueel

eerste naakt

activiteit, misbruik'.

blijft de vraag of het onvrijwillig m e e w e r k e n

O n its face, article 240b prohibits , a m o n g other t h i n g s , the e x h i b i t i o n and

aan e e n foto het tentoonstellen van de foto

sale of a p h o t o g r a p h of a m i n o r e n g a g e d

strafbaar maakt of dat er e e n andere oplos-

in ' s e x u a l c o n d u c t , ' a t e r m left u n d e f i n e d

sing moet w o r d e n gezocht, bijvoorbeeld e e n

by l a w m a k e r s . In d e f i n i n g that t e r m , the

civiele procedure tegen de persoon die d e

court h e l d that ' s e x u a l c o n d u c t ' i n c l u d e s

foto's tentoonstelt voor inbreuk op de pri-

not m e r e l y s e x u a l c o n d u c t as w e nor-

vacy. Dit is e e n belangrijke kwestie, vooral

m a l l y u n d e r s t a n d it, but a l s o the depic-

gezien d e uitspraken van dr. Frits Wafelbak-

tion of ' n u d i t y (of a minor ) w h i c h is

ker, a l g e m e e n erkend expert op het gebied

a r o u s i n g . ' U n f o r t u n a t e l y , the court d o e s

van de kinderpsychologie in Nederland, die

not clarify t o or for w h o m the n u d i t y

zei dat er in Nederland en daarbuiten g e e n

m u s t b e a r o u s i n g o r offer a n y s u g g e s t i o n

studies bekend zijn waaruit op enigerlei

as to w h a t d e g r e e of a r o u s a l m i g h t be

wijze blijkt dat naakt poseren op zich slecht

n e c e s s a r y to i n v o k e the l a w ' s a p p l i c a t i o n .

zou zijn voor minderjarigen.) Het bewijsma-

N e i t h e r d o e s the court d i s c u s s a n y other

teriaal dat tijdens d e zitting naar voren w e r d

factors w h i c h m i g h t be relevant in m a -

gebracht, w e e s echter op het tegenoverge-

king a rational d e t e r m i n a t i o n as to w h e n

stelde: dat de personen op d e foto's w e l

n u d i t y is ' a r o u s i n g ' a n d w h e n it is m e r e l y

degelijk hun t o e s t e m m i ng hadden g e g e v e n .

nudity. P e r h a p s f e a r i n g that its d e c i s i o n

EĂŠn van de personen op d e gewraakte

m i g h t be p e r c e i v e d as h o m o p h o b i c , the

foto's, inmiddels 23 jaar oud, liet tijdens het

court, at trial, d i d rule out, albeit d i s i n-

proces o n o m w o n d e n w e t e n dat hij zich

genuously, any alleged homosexua l

nooit g e d w o n g e n had gevoeld tot poseren.

attraction o n the part of the defendant. d i d it b e c a u s e I w a n t e d to', w a s his a n s -

O p het eerste gezicht verbiedt artikel

'Ik deed het omdat ik het wilde', w a s zijn

w e r to the c o u r t ' s p r o b i n g the i s s u e of

240b, onder andere, het tentoonstellen en

antwoord toen het hof vroeg of hij t o e s t e m -

its ' f i n d i n g ' that the s u b j e c t s in the t w o

c o n s e n t . M o r e o v e r , he testified that o n c e

verkopen van een foto van e e n minderjarige

ming had gegeven. Bovendien zei hij dat hij

p h o t o g r a p h s w e r e 'not, in reality, free to

he r e a c h e d the age of 18, h e a g a i n c o n -

die zich schuldig maakt aan seksueel

later, op 18-jarige leeftijd, nogmaals toe-

d e c i d e it (they) w i s h ( e d ) to c o o p e r a t e ' in

s e n t e d to the p h o t o g r a p h i n g a n d to the

gedrag, e e n term die door de opstellers van

s t e m m i n g had g e g e v e n voor het fotografe-

b e i n g p h o t o g r a p h e d a n d w e r e thus ' m i s -

sale of e x h i b i t i o n of all of the n u d e

d e w e t niet wordt gedefinieerd. In haar defi-

ren en voor d e verkoop van alle naaktfoto's

u s e d ' b y the p h o t o g r a p h e r . H a d the pro-

p h o t o g r a p h s take n of h i m b y the p h o t o -

nitie van d e term besliste de rechtbank dat

die d e fotograaf ooit van h e m had gemaakt.

s e c u t i o n offered a n y e v i d e n c e to s u g g e s t

g r a p h e r . H o w the court s u b s t i t u t e d its

' s e k s u e e l gedrag' niet alleen betrekking

Het w a s een uiterst bizarre vertoning o m te

m i s u s e or a b u s e , the lack of c o n s e n t

o w n d e t e r m i n a t i o n o n the i s s u e of ' c o n -

heeft op w a t wij normaliter onder deze term

zien hoe het hof haar eigen interpretatie van

m i g h t h a v e h a d s o m e r e l e v a n c e . (That

sent' for the t e s t i m o n y of the a c t u a l s u b -

verstaan, maar ook op het afbeelden van 'de

het begrip ' t o e s t e m m i n g ' niet wilde opge-

w o u l d still leave the q u e s t i o n w h e t h e r a

ject w a s bizarre i n d e e d .

naaktheid (van e e n minderjarige) die seksu-

ven, ook al b e w e e r d e n de gefotografeerden

eel opwinden d is.' J a m m e r g e n o e g geeft de

dat er w e l degelijk sprake w a s van vrijwillig-

rechtbank niet aan voor w i e de naaktheid

heid.

T h e b a s i s for the C o u r t ' s d e c i s i o n w a s

j u d i c i a l c o n s t r u c t i o n of legal incapacity to c o n s e n t to b e i n g p h o t o g r a p h e d

should

D u r i n g the 60s, D u t c h jurists c a m e to reject the v e r y c o n c e p t of o b s c e n i t y l a w s ,

r e n d e r the e x h i b i t i o n of the p h o t o g r a p h a

b e c a u s e there w a s no s o c i a l c o n s e n s u s

c r i m i n a l act or w h e t h e r the s i t u a t i o n s u g -

as to the m e a n i n g of o b s c e n i t y a n d the

gests s o m e other r e m e d y , for e x a m p l e , a

l a w s left it up to j u d g e s to d e t e r m i n e

c i v i l suit a g a i n s t the e x h i b i t o r for i n v a s i o n

w h a t m a t e r i a l s w e r e fit to be c e n s o r e d .

of privacy. T h i s is an i m p o r t a n t q u e s t i o n ,

J u d g e s w e r e e x p e c t e d , to p a r a p h r a s e

particularly in light of the trial t e s t i m o n y

A m e r i c a n jurist Felix Frankfurter, 'to k n o w

of dr. Frits W a f e l b a k k e r , s p e a k i n g o n

it w h e n t h e y see it' - in other w o r d s , to

b e h a l f of the N I S S O (The N e t h e r l a n d s '

a p p l y their o w n p e r c e p t i o n s , f e e l i n g s ,

Institute for S o c i a l - S e x o l o g i c a l R e s e a r c h ,

prejudices, a n d m o r a l i t y in d e t e r m i n i n g

that there are no scientific s t u d i e s in T h e

D u t c h s t a n d a r d s of a c c e p t a b i l i t y . A s

N e t h e r l a n d s o r e l s e w h e r e e v e n tendin g to

f o r m e r v i c e - p r e s i d e n t of the A m s t e r d a m

s u g g e s t that p o s i n g n u d e for p h o t o -

R e c h t b a n k a n d f o r m e r c h a i r m a n of the

g r a p h s p e r s e is h a r m f u l to minors. )

C r i m i n a l D i v i s i o n , S . S l a g t e r , p o i n t e d out

H o w e v e r , the e v i d e n c e d e d u c e d at trial

in a n i n t e r v i e w in N R C H a n d e l s b l a d in

p o i n t e d to p r e c i s e l y the o p p o s i t e c o n c l u -

F e b r u a r y 1991, the a p p l i c a t i o n of article

s i o n : that the s u b j e c t s w e r e , in fact, c o n -

240b p r e s e n t s ' p r e c i s e l y the s a m e p r o b -

senting.

l e m s as back in the 60s.'

o p w i n d e n d is. Evenmin geeft zij aan w e l k e staat van s e k s u e le opwinding onder het W e t b o e k van Strafrecht valt. Bovendien probeert de rechtbank op g e e n enkele andere manier rationeel vast te stellen w a n n e e r naaktheid opwindend is en w a n n e e r niet. Waarschijnlijk uit angst dat haar beslissing als homo-vijandig zou kunnen w o r d e n uitgelegd, w e e s d e rechtbank op de zitting, zij het niet rechtstreeks, iedere verdenking van h o m o s e k s u e l e geneigdheid van de beklaagde van d e hand. Basis voor de beslissing van de rechtbank w a s haar 'bevinding' dat d e personen op de t w e e foto's 'in feite niet vrij waren g e w e e s t o m te beslissen of ze m e e wilden w e r k e n ' aan d e foto's en dus 'misbruikt'

A s w a s the c a s e w i t h the o b s c e n i t y

w a r e n door de fotograaf. A l s de aanklager

p h o t o g r a p h s , n o w 23 y e a r s o l d , stated

l a w s , there is certainly no c o n s e n s u s in

bewijzen had kunnen aandragen voor mis-

u n e q u i v o c a l l y at trial that he never feit

D u t c h s o c i e t y w h i c h w o u l d s u p p o r t the

bruik, dan had d e opmerking over onvrijwil-

o b l i g a t e d to p o s e for the p h o t o g r a p h e r . 'I

c e n s o r s h i p of M a d e r ' s p h o t o g r a p h s o n

ligheid nog enige relevantie gehad. (Dan

T h e subject of o n e of the o f f e n d i n g

In d e zestiger jaren begonnen Nederlandse juristen te twijfelen aan het idee achter d e obsceniteitswetten, omdat er g e e n maatschappelijke o v e r e e n s t e m m i n g bestond over het begrip obsceniteit en d e rechters op grond van de bestaande w e t t e n zelf maar m o e s t e n bepalen welk materiaal verboden moest w o r d e n . M e n verwachtte van rechters, o m met de Amerikaanse jurist Felix Frankfurter te spreken, dat zij 'obsceniteit w e l zouden herkennen als ze ermee geconfronteerd w e r d e n ' - met andere woord e n : rechters w e r d e n geacht hun eigen observaties, gevoelens , vooroordelen en zedelijkheidsopvattingen aan te spreken bij het bepalen van wat er in de Nederlandse samenleving al dan niet aanvaardbaar w a s . Voormalig vice-president van d e A m s t e r d a m s e rechtbank en voormalig voorzitter van d e Strafkamer, S. Slagter, zei in e e n interview in N R C Handelsblad van februari

' c h i l d p r o t e c t i o n ' or any other g r o u n d s -

the c o u r t ' s w o r d s , d e p i c t ' n u d i t y w h i c h is

'precies dezelfde problemen oplevert als in

1991, dat de toepassing van artikel 240b

is echter het anti-seksualisme dat eruit

Het m e e s t alarmerend in de zaak M a d e r

a fact attested to by n u m e r o u s articles in

a r o u s i n g ' - are not the e q u i v a l e n t s of

d e jaren zestig.'

spreekt. Door d e naaktheid te seksualiseren,

the p r e s s critical of the p r o s e c u t i o n a n d

s e x u a l a b u s e . N o r is there a n y t h i n g , other

Zoals ook al met d e obsceniteitswetten

maakt het hof (zoals Laura M a r k s over de

its t h e o r i e s a n d of the c o u r t ' s d e c i s i o n

t h a n acute p a r a n o i a , to s u g g e s t that the

het geval w a s , bestaat er binnen de Neder-

situatie in d e Verenigde Staten opmerkte)

before a n d s i n c e the trial ( i n c l u d i n g in

c e n s o r s h i p of a n e x h i b i t i o n of s u c h d e p i c -

landse samenleving zeker g e e n consensu s

seksualiteit 'tot iets o b s c e e n s ' . Afbeeldingen

N R C H a n d e l s b l a d a n d De V o l k s k r a n t ) ; b y

t i o n s h a s a n y t h i n g to d o w i t h the protec-

over een verbod op de foto's van Mader op

waarin de nadruk ligt op de geslachtsdelen

the t e s t i m o n y of the e x p e r t s w h o

t i o n of c h i l d r e n .

grond van 'bescherming van het kind' of op

of waarin allerlei erotische gevoelens of

a p p e a r e d o n b e h a l f of the d e f e n s e ; b y the

welke andere grond dan ook. Dat er abso-

bedoelingen w o r d e n vastgelegd, gesugge-

C O C , w h i c h justifiably c o n d e m n e d the

luut g e e n c o n s e n s u s bestaat, blijkt uit een

reerd of becommeptarieerd - of afbeeldin-

d e c i s i o n as h o m o p h o b i c ; by S t i c h t i n g

groot aantal artikelen in d e pers (onder meer

gen, o m met het hof te spreken, van ' e e n

M a r t i j n , w h i c h a l s o f o u n d the d e c i s i o n

in N R C Handelsblad en D e Volkskrant)

prikkelende naaktheid' - zijn nooit gelijk te

d i s c r i m i n a t o r y ; a n d by c o m m e n t s f r o m

waarin het proces en de daaraan ten grond-

stellen met seksueel misbruik, alle mooie

n e w s c o m m e n t a t o r s a n d talk s h o w h o s t s

slag liggende theorieën, a l s m e d e d e beslis-

w o o r d e n van het hof over 'bescherming van

w h o failed to s e e w h a t all the f u s s w a s

sing van het hof voor en na het proces ter

het kind' ten spijt. Het verbieden van derge-

a b o u t o v e r the p h o t o g r a p h s . If M a d e r c a n

discussie w e r d e n gesteld. Het blijkt ook uit

lijke afbeeldingen heeft niets te maken met

be c o n v i c t e d for e x h i b i t i n g his p h o t o -

d e getuigenissen van de experts die als

de beschermin g van het kind, het is hooguit

g r a p h s , as m o s t c o m m e n t a t o r s have

getuigen a décharge w e r d e n opgeroepen,

e e n uiting van acute paranoia. Net zoals bij

o b s e r v e d , t h e n no o n e is safe f r o m a

Like the o b s c e n i t y l a w s , article 2 4 0 b , at least as read by the A m s t e r d a m court, only reveals a discomfort with sexuality itself a n d r e p r e s e n t s a t h i n l y - v e i l e d a t t e m p t to i m p o s e that d i s c o m f o r t o n u s all. It is interesting to n o t e , w h e n c o n s i d e r i n g the c o u r t ' s a r g u m e n t , that article 240B d o e s not p r o h i b i t the a c t u a l p h o t o g r a p h i n g of the m i n o r a n d , a l t h o u g h it is certainly a p o s s i b i l i t y , it is far f r o m clear

uit d e reactie van het C O C , dat d e beslissing

d e obsceniteitswetten, laat artikel 240b,

c r i m i n a l p r o s e c u t i o n . M o r e to the point,

terecht veroordeelde als homofobisch, uit

althans in de interpretatie van de Amster-

h o w e v e r , is the fact that article 240b, like

that the D u t c h c o u r t s intend to e x t e n d article 247, p r o h i b i t i n g s e x u a l a b u s e of a

het commentaar van de Stichting Martijn,

d a m s e Rechtbank, slechts zien dat men niet

the o b s c e n i t y l a w s , rests d a n g e r o u s l y o n

die de beslissing ook discriminerend vond

met seksualiteit o m weet te gaan en het

the p o w e r of j u d g e s to d e c i d e for every-

m i n o r , to c r i m i n a l i z e the p h o t o g r a p h i n g

en uit de reacties van verslaggevers en pre-

eigen ongemak op de ander probeert af te

o n e e l s e - a n d m o s t e s p e c i a l l y the indi-

of a m i n o r e n g a g i n g in ' n u d i t y w h i c h is

sentatoren van talkshows die niet begrepen

schuiven.

v i d u a l s i n v o l v e d - w h a t is s i m p l y ' n u d i t y '

arousing'.

a n d w h a t is s e x u a l a b u s e .

Lawrence A. Stanley *

waar al die drukte nu voor nodig w a s . Uit de verdediging van het hof blijkt dat Als M a d e r kan w o r d e n veroordeeld voor

artikel 240b het fotograferen van de minder-

But in the final a n a l y s i s , w h a t is m o s t

het tentoonstellen van zijn foto's, zo merk-

jarige op zich niet strafbaar stelt. Het is niet

ten de m e e s t e commentatoren op, dan kan

erg waarschijnlijk (al bli|ft het natuurlijk altijd

a n t i - s e x u a l i s m . W h i l e s e x u a l i z i n g n u d i t y,

in feite iedereen strafrechtelijk w o r d e n ver-

mogelijk) dat de Nederlandse rechters dit

the court (as Laura M a r k s points out in

volgd. Waar het eigenlijk op neerkomt is dat

artikel waarin seksueel misbruik van e e n

the A m e r i c a n context) ' o b s c e n i f i e s ' s e x u -

artikel 240b, net als de obsceniteitswetten,

minderjarige wordt verboden, zullen uitbrei-

ality. S i m p l y put, d e s p i t e all the c o u r t ' s

rechters de macht in handen geeft te beslis-

den en het fotograferen van een minderja-

' c h i l d p r o t e c t i o n ' rhetoric, d e p i c t i o n s

sen voor anderen - en met name voor de

rige 'in (prikkelend) naakte toestand' straf-

w h i c h s u p p o s e d l y f o c u s u p o n or

betrokken personen - wat ' g e w o n e naakt-

baar zullen stellen.

e m p h a s i z e the g e n i t a l s , or w h i c h c a p t u r e ,

heid' is en wat seksueel misbruik is en ik

Lawrence A. Stanley

vind dat e e n uiterst gevaarlijke ontwikkeling.

s u g g e s t , reflect, or c o m m e n t u p o n erotic f e e l i n g s or i n t e n t i o n s - or w h i c h , to u s e

A AUSTRIA - OOSTENRIJK

d i s t u r b i n g a b o u t the M a d e r d e c i s i o n is its

Sherbrooke Village, Nova Scotia

Cambridge

Wien

Sherbrooke Village National

Imogen Stidworthy -

Lausanne

G a l e r i e F a b e r , -15/6: L e o Kandl; 21/6-17/

E x h i b i t i o n C e n t r e , 1/7-9/9: 'Other Chil-

'Convergence'.

2 1 / 6 : Nuit de la Photo.

8: 'Fotografiesammlung Dr. Walter'; 13/9-

dren'.

GERMANY - DUITSLAND

t e s ' ; J a c q u e s Thévoz

Musée de l'Elysée, -2/6: 'Acquisitions récen-

19/10: Laurence Salzmann - 'Bath Scènes'.

Edmonton,

SWITZERLAND - ZWITSERLAND

C a m b r i d g e D a r k r o o m , 4/6-23/6:

Alberta

Graz

T h e E d m o n t o n A r t G a l l e r y , 1/9-13/10:

Frankfurt

F o r u m S t a d t p a r k , 3-29/9: Nan Goldin.

' A n i m a M u n d i - Still Life in Britain'.

L . A . G a l e r i e , -8/6: Joan Fontcuberta

4-27/10: Internationale Gruppenausstellung z u m Symposion über Fotografie XII; 5-7/10:

FINLAND

Rêve'; Fausto Gerevini - 'Val M a g g i a ' . 12/6-

'Paper Gardens'

8/9: 'Nouveaux itinéraires en S u i s s e ' .

THE NETHERLANDS - NEDERLAND

Bielefeld

Symposion über Fotografie XII.

BELGIUM - BELGIË

Helsinki

F o t o f o r u m S c h w a r z b u n t , -14/6: 15

Rotterdam

T h e P h o t o g r a p h i c M u s e u m of F i n -

Students - 'Zeitgemase Menschenbilder'.

P e r s p e k t i e f , -30/6:Roshini K e m p a d o o

l a n d , -11/8: I K . Inha - 'From S h a d o w to

Charleroi

'Culturele identiteit en representatie'; -6/7-

Light'; 16/8-29/9: Helsinki Festival; 4/10-10/

Essen

M u s é e d e la P h o t o g r a p h i e , -16/6:

11: ' A s p e k t e Zeitgenossischer Deutscher

M u s e u m F o l k w a n g , -23/6: 'Stadtbilder';

'Photographes estoniens' ; Paul Caponigro -

Fotografie.

-30/6: Garry Winogrand

' L a nature profonde'; 'Lauréats du neuvieme Prix National Photographie Ouverte'.

FRANCE - FRANKRIJK

CANADA

Paris

Swift Current, wan

'Une rétrospective';

Julie Sauter & M a x Jacot - ' L a Suisse en

Saskatche-

G a l e r i e B o u q u e r e t & L e b o n , 4/6-13/7: Dörte Eissfeldt; 14/7-31/7: Artistes de la Galerie.

N a t i o n a l E x h i b i t i o n C e n t r e , 29/6-30/ 8: Justin Wonnacott - 'Keep this place'; Pierre G u i m o n d - ' P h o t o m o n t a g e s '.

GREAT BRITAIN - GR00TBRITTANNIE

18/8: W a r r e n Neidich - 'American History 'Bilder aus der

realen W e l t ' ; 18/7-29/8: Elfi Fröhlich -

Utrecht

'Überwindung der Grausamkeit'; 12/9-20/10

C a f é - r e s t a u r a n t Z e e z i c h t , 2/6-29/6:

Alfried Krupp von Bohlen und Halbach-Stif-

E d w i n Boering - 'Fragile'.

tung - Stipendiaten 1988/89'; 24/10-28/11 : Nan Goldin.

USA - VERENIGDE STATEN

Karlsruhe

New

B a d i s c h e r K u n s t v e r e i n , -9/6: 'Early

I n t e r n a t i o n a l C e n t e r of P h o t o g r a -

Soviet Photography'.

p h y , -9/6: Sebastiao Salgado - 'Un Uncer-

SWEDEN - ZWEDEN Rawdon, Québec

Reinvented'; 24/8-29/9: Rob Nypels.

Newcastle upon Tyne

York

tain Grace'.

Chicago

P r o j e c t s U K , -30/6: M i r o Svolik-'A Czech

Stockholm

T h e A r t I n s t i t u t e of C h i c a g o ,

t i t e c h n i q u e d e R a w d o n . 3/6-1/9:

for N e w c a s t l e ' ; 26/9-28/9: National Photo-

J o h n Pfahl - 'A Distanced Land'.

'Other Children'

F o t o g r a f i s k a M u s e e t , -4/8: 'Equal T o ' ;

graphy Conference - 'European Currents'.

-31/8: ' S u m m e r J o y ' .

Centre d'interprétation

mul-

6/9:

Seiichi Furuya Geboren/bom: 1950. Izu (J) Beroep/profession: fotograaf/photographer Opleiding/education: Tokyo College of Photography, Tokyo (J) Publicaties/publications: 1980: Camera Austria No. 1 1981: AMS, Camera Austria, Graz; Camera Austria No. 6. 1983: Camera Mainichi, Tokyo. 1989: Mémoires. Camera Austria. Eenmanstentoonstellingen/one man exhibitions: 1982: Fuji-Salon, Tokyo (J). 1975: Fotogalerie im Schillerhof, Graz (A). 1979: Galerie im Taxispalais, Innsbruck (A). 1980: Fotogalerie im Forum Stadtpark, Graz |A). 1982: Nagase Fotosalon, Tokyo (J); Canon Photo Gallery, Amsterdam (NL). 1983: Galerie /Stern, Steyr (A); Kulturhaus der Stadt Graz, Graz (A). 1988: Neue Galerie am Landesmuseum Joanneum, Graz |A). 1990: Perspektief, Rotterdam (NL). Groepstentoonstellingen/group exhibitions: 1979: Fotogalerie im Forum Stadtpark, Graz (A). 1981: Forum Stadtpark, Graz (A); Wiener Secession, Wien (A). 1982: Rheinisches Landesmuseum, Bonn (D). 1983: Fotogalerie Forum, Tarragona (E); Museum des 20. Jahrhunderts, Wien (A), 1984: Galerie Gabriel, Wien. 1985: Arbritage Gallery, New York (USA); Municipal Art Gallery, Los Angeles. 1988: Forum Stadtpark, Graz (A); Fotografie Biënnale Rotterdam (NL). 1990: Fotografie Biënnale Rotterdam (NL).

Karen Knorr Geboren/born: 1954, Frankfurt am Main (D) Woonplaats/residence: London (GB) Beroep/profession: fotograaf/photographer Opleiding/education: L'Atelier, Paris; Academie des Beaux-Arts, Paris; Harrow College of Art and Design, London; Polytechnic of Central London, London; Postgraduate research in photography at P.C.L. Publicaties/publications: 1980: About 70 Photographs. Arts Council of Great Britain, London. 1981: Furor 4, Geneva. 1982: European Photography, Göttingen; Lichtbildnisse. Landesmuseum, Bonn; Strategies, The British Council, London; Phototextes. Musée D'Art et D'Histoire, Geneva. 1983: L 'Architecture, Sujet, Objet ou Prétexte?; Gentlemen, Formation of Nation and People, London. 1984: New Beginnings. Pentonville Gallery, London; The Fifth Sydney Biënnale, Sydney; Britain in 1984, Photographer's Gallery, London; Models. The Pentonville Gallery, London. 1985: Revisions, Cambridge Darkroom, Cambridge; Magnificent Obsession, Parachute, Toronto. 1986: Parachute, Montréal; Photography Politics, London; Théatre des Réalités, Contrejour, Metz. 1987: Framing Feminism; Compostures, Musée d'Art Moderne de la Ville de Paris, Paris. 1988: The Stamp of the Breed, Ten 8 No.. 29, Birmingham; Foto/con-l text. Perspektief No. 31/32, Rotterdam; The Contemporary, Camera Austria No. 27, Graz: Other Than Itself, Manchester. 1991: Marks of Distichon, London Eenmanstentoonstellingen/one man exhibitions: 1980: Belgravia, La remise du Pare, Paris. 1983: Gentlemen, Samia Saouma, Paris. 1985: Gentlemen. Samia Saouma, Paris 1986: Connoisseurs, Riverside Studios. London. 1987: Connoisseurs, Samia Saouma, Paris; Compostures, ARC, Paris; Gentlemen, Salon du Livre, Geneva. 1989: Vues de L'Esprit, Galerie Art et Essai, Galerie du Cloitre. Rennes. 1990: Vues de L'Esprit. Galerie Ie Lieu, L'Orient. 1991: Capital, Salama-Caro Gallery, London. Groepstentoonstellingen/group exhibitions: 1978: The Photographer's Gallery, London; The Half Moon Gallery. London. 1980: Thames Television Bursary Award Show, London; Second Brunei Photoshow. Uxbridge; B2 Gallery, London; Centre D'Art Contemporain, Paris. 1981: I.C.A., London; Chapter Arts, Cardiff; B2 Gallery, London; Landesmuseum, Bonn; Woodlands Art Gallery, London; SICOF, Milano. 1982: Kingston Museum and Art Gallery, London, Sunlounge and Fairfield Halls. London; Musée d'Art et d'Histoire. Geneva; Nouvelle Galerie des Philosophes. Geneva;

The John Hansard Gallery. Southampton; 1983: Sheffield City Polytechnic, Sheffield; The Pentonville Gallery, London; Riverside Studios, London; PS1. New York. 1984: Ravensbourne College of Art and Design, Kent; Gallery 400, Chicago; Samia Saouma, Paris; The Fifth Sydney Biënnale, Sydney; University of Tasmania, Tasmania; The Pentonville Gallery, London; The Photographer's Gallery, London; Palud No. 1. Lausanne. 1985: Cash/Newhouse, New York; Art Resource Centre, Toronto; Eye Level, Halifax; Optica Gallery, Montréal; Museum of Photographic Arts, San Diego; Camerawork, London; John Hansard Gallery, Southampton; Cambridge Darkroom, Cambridge; Camerawork, London; Musée des Beaux-Arts, Mulhouse; Fotofestival, Malmö. 1986: The Watershed, Bristol; Metz pour la Photographie, Metz; Palais de Tokyo, Paris; Museotram Pour la Photographie, Nord Pas-de-Calais. 1987: Kettles Yard, Cambridge; Anina Nosei, New York; Forum Stadtpark, Graz |2x). 1988: The Crypt, London; P.A.C., Milano; Victoria and Albert Museum, London; Pomeroy Purdy Gallery, London; Queen Elizabeth Hall, London; Musée d'Art Moderne de la Ville de Paris, Paris. 1989: SalamaCaro Gallery. London; Photo Biënnale, Enschede; Camarawork, London; Barbican Centre, London; Musée d'Art Contemporain, Montréal; Ikon Gallery, Birmingham; Wexner Centre, Ohio; Galerie des Bastions. Geneva; Cambridge Darkroom, Cambridge. 1990: Salama-Caro Gallery, London; Stills Gallery, Edinburgh; Hayward Gallery, London; Impressions Gallery, York; Cornerhouse, Manchester; National Museum of Modern Art, Kyoto; National Museum of Modern Art, Tokyo; Brewery Arts Centre, Cumbria; Fotobiennale, Vigo. 1991: Salama-Caro Gallery, London; KunstRAI '91, Amsterdam.

Alfredo Jaar Geboren/born: 1956, Santiago, Chile Beroep/profession: fotograaf/photographer Opleiding/education: The American Center, Santiago - BA Film making; University of Chile, Santiago MA Architecture Eenmanstentoonstellingen (geselecteerd)/one man exhibitions (selected): 1990: Insam Gleicher Gallery, Chicago (USA); Meyers & Bloom Gallery, Los Angeles (USA); Diane Brown Gallery, New York (USA); London Regional and Historical Museums, London. Ontario |C); La Jolla Museum of Contemporary Art, California (USA); Seattle Art Museum, Washington (USA); Carnegie Mellon Art Gallery, Pittsburgh (USA), Laumeier Sculpture Park, St. Louis (USA); The New Museum of Contemporary Art, New York (USA). 1991: Galeria Benet Costa, Barcelona (E); Galeria Oliva Arauna, Madrid (E); Galerie Gabriëlle Maubrie, Paris (F). Groepstentoonstellingen (geselecteerd)/group exhibitions (selected): 1990: San Francisco Museum of Modern Art, San Francisco (USA); Kansas City Art Institute, Kansas (USA); The New Museum of Contemporary Art, New York (USA); Cleveland Center for Contemporary Art, Cleveland (USA); Wright State University Art Galleries, Dayton (USA); Terrain, San Francisco (USA); Perspektief, Rotterdam (NL); The Betty Rimer Gallery, Art Institute of Chicago (USA). 1991: Friends of Photography, San Francisco (USA); Stephen Wirtz Gallery, San Francisco (USA); Galerie Pierre Huber, Geneva (Switzerland).

L A

Julian Germain Geboren/born: 1963, London (GB) Beroep/profession: fotograaf/photographer Opleiding/education: Trent Polytechnic, Nottingham; Royal College of Art, London Publicaties/publications: Julian Germain, Steelworks. Consett, from steel to tortilla chips, Londen, Why Not Publishing, 1990; Ashford and Folkstone. Cross Channel Photographic Mission, Folkstone. CCPM. 1990. Eenmanstentoonstellingen/one man exhibitions: 1985: Fresh Fields, Blackfriars Art Centre, Blackfriars; 1989: Steelworks, Side Gallery, Newcastle. Groepstentoonstellingen/group exhibitions: 1984: Roads.to Wigan Pier, Impressions Gallery, York; 1987: Soaps, Camerawork Gallery, London; 1988: My Family, My History, Myself, Untitled Gallery, Sheffield; 1990: Ashford and Folkstone. Cross Channel Photographic Mission, Eurotunnel Exhibition Centre, Folkstone; 1990: Steelworks, Impressions Gallery, York: Perspektief, Rotterdam.

Hans A a r s m a n Geboren/born: 1951, Amsterdam (NL) Beroep/profession: fotograaf/photographer Opleiding/education: Rietveld Academie. Amsterdam (NL) Publicaties/publications: 1984: Kerk in Verandering, Plaatwerk No. 5, Amsterdam; l.s.m./in collaboration with Theo Baart, De Riba-pers danst. 1989: Hollandse taferelen/Dutch Scènes, Fragment, Amsterdam; Hollandse taferelen/Dutch Scènes, Perspektief No. 36. 1990: Pleidooi voor een realistische fotografie. Raster No. 49. Eenmanstentoonstellingen/one man exhibitions: 1977: Galerie De Fotovriend, Amsterdam (NL). 1982: Galerie Interactie, Amsterdam (NL). 1986: Galerie im Wedding, Berlin (D). 1988: Stedelijk Museum, Amsterdam (NL). Groepstentoonstellingen/group exhibitions: 1984: Rijksmuseum, Stedelijk Museum. Amsterdam (NL). 1986: Museum Fodor, Amsterdam (NL). 1987: Stopera, Amsterdam (NL). 1990: Fotografie Biënnale Rotterdam (NL).

Nan G o l d i n Geboren/born: 1953, Washington D.C. (USA) Beroep/profesion: fotograaf/photographer Opleiding/education: School of Fine Arts. Boston; Tufts University. Boston; Imageworks, Cambridge (USA). Publicaties/publications: 1975: Popular Photography; 1977: Gay Community News. Boston; Boston Globe, Boston (USA) 1981: Catalogue for PS1, New York (USA); Lichtbildnisse, Rheinisches Landesmuseum, Bonn (D). 1982: Bomb Magazine; October (summer issue); Kunstforum (August issue); Details Magazine (fall), New York. 1983: Picture (spring); New Trends, The Gallery of World Photography, New York; Recent Portrait Photography, Taft Museum, New York 1984: Pleasure and Danger: Exploring Female Sexuality. Columbia University Press. 1985: Art after Midnight, St. Martin's Press. 1987: Mothers and Daughters. Aperture, New York (USA). 1988: Frauen sehen Manner, Frankfurt. (D). 1990: Aperture, erotic issue (Nov). 1991: Appearences, Fashion Photography Since 1945. Literatuur/literature: 1984: Art News (Nov). 1985: Village Voice (Feb); Artforum (Summer). 1986: Interview (Nov); Artforum (Oct). 1987: Artnews (Jan); New York Times (Sept.21); Arts Magazine (Nov); Artforum (Nov). 1991: Perspektief (Jan) Groepstentoonstellingen/group exhibitions: 1973: Project. Inc. Cambridge (USA) 1977: Atlantic Gallery, Boston (USA). 1979: Picture/Photographs. Castelli Graphics. New York (USA). 1980: Likely Stories. Castelli Graphics. New York (USA); Texas Gallery, Houston, Texas (USA). 1981: New Wave/New York. PS1, New York (USA); Couches, Diamonds. Pies. PS1, New York (USA). 1982: Rheinisches Landesmuseum,

Bonn (D); Faces Photographed, Grey Art Gallery, New York (USA). 1983: Young American Artists, Studio 10, Chur (S); Recent Portrait Photography. Taft Museum, Cincinnati (USA); Newcastle Polytechnic Art Gallery, Newcastle (GB). 1984: The Family of Man. PS1, New York (USA); Portrait Show, Institute of Contemporary Art, Philadelphia (USA); Innocence and Sophistication, Baskerville & Watson, New York (USA). 1984: Female Perceptions of Male Sexuality, Art City, New York (USA); New Narrative Photography. Ledel Gallery, New York (USA); Live Stills, De Facto. New York (USA); Self Portrait Show, Museum of Modern Art, New York (USA); Talking Back to the Media. Amsterdam (NL). 1986: Midtown Review. International Center of Photography, New York (USA); Last Dance, The Palladium, New York (USA). 1987: Scared to Breath, Perspektief, Rotterdam (NL); Art and Photography, Interactions since 1946, Los Angeles County Museum, Los Angeles (USA); Portraits, Faces of the Eighties. Virginia Museum of Art, Richmond, Virginia (USA); Symposium for Photography, Graz (A). 1988: Lifelike, Lorence Monk Gallery, New York (USA); Real Faces. Whitney Museum. New York (USA). 1989: New Acquisitions. International Museum of Photography, George Eastman House, New York (USA); Thomas Segal Gallery, Boston (USA). 1990: Pace MacGill Gallery, New York (USA); Fashion Photography since 1945, Victoria and Albert Museum, London (GB); Provocations. Robert Klein Gallery, Boston (USA); The Indomitable Spirit, International Center of Photography, New York (USA); Figuring the Body, Museum of Fine Arts, Boston (USA); Contemporary Social Document, Centro de Estudos Fotograficos, Vigo (E); Galerie du Jour, Paris (F); Urbi et Orbi, Paris (F); An Army of Lovers, PS 1. New York (USA). 1991: Erotic Desire, Perspektief, Rotterdam (NL): Get Real, York University, Toronto (C); Fourth Wall. Amsterdam (NL); Something Pithier and More Psychological, Simon Watson Gallery, New York (USA); KunstRAI, Amsterdam (NL). Diashows en solotentoonstellingen/slideshows and one person exhibitions: 1979: Mudd Club, New York. 1981: The Kitchen. New York; Artists Space, New York. 1982: The Collective for Living Cinema, New York. 1983: Bowery Project, New York Tin Pan Alley, New York. 1984: Galerie Het Venster. Rotterdam; Moderna Museet. Stockholm (Sweden). 1985: The Collective for Living Cinema. New York; Whitney Biennial. New York; Edinburgh 39th International Film Festival. Edingburgh (GB); Institute of Contemporary Art, 'Currents', Boston; Christninster Gallery, New York. 1986: Berlin Film Festival, Berlin (Germany); Image and Sound Film Festival, Den Haag (NL). 1987: Symposium for Photography IV, Graz (A); Stedelijk Museum. Amsterdam (NL); Musée de L'Elysée, Nuit de la Photo, lausanne (S); Rotterdam Theatre Festival, Rotterdam (NL); Hirshorn Museum of Art, Philadelphia (USA). 1988: FotoFest, Houston (USA); Sackler Museum, Harvard University, Cambridge (USA); Couples, Pace MacGill Gallery, New York. 1989: Brandts Kleaderfabrik, Odense (Denmark); University of Industrial Art, Helsinki (Finland); ICA Theatre, London. 1990: Hopkins Film Center, New Hampshire (USA); Pace MacGill Gallery, New York. 1991: Berlin Fotofest, Berlin (D); Forum Stadtpark. Graz (A); Urbi et Orbi. Paris; Museum Folkwang, Essen (D); Thomas Segal Gallery, Boston (USA).

F O T O D O K M a g a z i n e - issues selec

ART DOCUMENTATION

Abbreviation

1990, vol. 9, nr. 2, Summer 1990, vol. 9, nr. 4, Winter

1991, vol. 5, nr. 1, Febr.

ArD ArD

90/2 90/4

LIST O F P E R I O D I C A L S

ART DOCUMENTATION

Bid 91/1

BEELDING

J BILDTIDNINGEN

1990, nr. 2 3. issue 47 1990, nr. 4, issue 48

BLACKFLASH

1990, vol. 8, nr. 2, Summer

Bla 90/2

BRENNPUNKT

1991, nr. 1

Bre

C A M E R A INTERNATIONAL

1990, issue 25, may - june

Bil 90/47 Bil 90/48

91/1

Cal 90/25

B I L D T I D N I N G E N

BLACKFLA5H brennpunkt camera

USA, Arts Libraries Soc. of North America, 3900 E. Timrodstreet, Tucson, AZ 85711 ISSN: 0730 - 7187, 4x p.a., $ 45 Netherlands (NL), Maandblad voor kunsten, P.O.Box 13097, 2501 EB Den Haag, 10 p. a„ Hfl 50

Sweden (S), Fotograficentrum, P.O.Box 15310, Stockholm, S - 104 65 ISSN: 0348 - 3959, 5x p.a., Skr 250 Canada (CDN), A Quarterly Publication of the Photographers Gallery, Saskatoon, c/o The Photographers Gallery, 2nd Floor, 12 - 23rd Street East, Saskatoon, S7K 0H5, Sask. ISSN: 0826 - 3922, 4x p. a., $ 8 Germany (D), Berlin Magazin für Fotografie, Ed. DIBU/LV Berlin im VDAV, red: Waghauseler Str. 8, 1000 Berlin 31, ISSN: 0932 - 7231, 4x p.a., DM 20

France (F), 51, rue de l'Amiral Mouchez, 75013 Paris. ISSN: 0765 - 9849, 4x p.a., 420 Ffr

INTERNATIONAL

C M P BULLETIN

1988, vol. 7, nr. 4 1989, vol. 9, nr. 1 - 2

EUROPEAN PHOTOGRAPHY

1990, vol. 11, nr. 3, issue 43

EXPOSURE

1990, vol 27, nr. 4, Fall

FOCUS

1990, 1990, 1990, 1990, 1991,

nr. nr. nr. nr. nr.

2, febr 3, march 11, nov 12, dec 3, march

FOTO

1990, 1990, 1990, 1990, 1991, 1991,

nr. nr. nr. nr. nr. nr.

KATAL0G

1990, 1990, 1990, 1990,

vol. vol. vol. vol.

2, 2, 3, 3,

Exp 90(27)/4

90/2 90/3 90/11 90/12 91/3

Ft 90/9 Ft 90/10 Ft 90/11 Ft 90/12 Ft 91/1 - 2 Ft 91/3

11 12 1 - 2 3

1990, nr. 1 1990, nr. 2

EP 90/43

Fc Fc Fc Fc Fc

GKF BULLETIN

C M P 88(7)/4 CMP 89(9)/1 - 2

GKf 90/1 GKf 90/2

nr. nr. nr. nr.

3, 4, 1, 2,

march june sept dec

Kat Kat Kat Kat

90(2)/3 90(2)/4 90(3)/1 90(3)/2

Q W BULLETIN

USA, California Museum of Photography, University of California, 3824 Main Street, Riverside, CA 92521 ISSN: 0731 - 2377, 5x p.a., $ 25

EUROPEAN PHOTOGRAPHY

exposure

Germany (D), Ed.: Andreas Muller - Pohle, P.O.Box 3043, D - 3400 Göttingen, ISSN: 0172 - 7028, 4x p.a., DM40 / $30

USA, Society for Photographic Education, Campus Box 318, Univ.of Colorado, Boulder, CO 80309 ISSN: 0098 - 8863, 4x p.a., $ 30

Focus

Netherlands (NL), Maandblad voor Foto en Video, Uitgeverij Focus, postbus 15435, 1001 MK Amsterdam, 11x p.a., Dfl 150

[Fl®lïïl®

Netherlands (NL), Universeel tijdschrift v.d.fotografie, Uitgeverij Foto vof, Postbus 3, 3830 AA Leusden, 10x p.a., Dfl 145

Netherlands (NL), GKf, Nieuwe Keizersgracht 58, 1018 DT Amsterdam, 4x p.a..

Denmark (DK), Kvartalstidsskrift for fotografi, Museet for Fotokunst / Brandts Klaedefabrik, Brandts Passage 37 & 43, DK - 5000 Odense C , ISSN: 0904 - 2334, 4x p. a., Dkr 275

M A D A M E DE VUE

1990, vol. 1, nr. 1, dec

PERSPEKTIEF

1991, issue 40, jan

PHOTO METRO

1990, vol. 9, issue 84, Nov

PHOTO REVIEW

1990, vol. 13, nr. 3, Summer 1991, vol. 14, nr. 1, Winter

PHOTOGRAPH COLLECTOR, THE

1989, 1990, 1991, 1991,

vol. vol. vol. vol.

PHOTOGRAPHIC JOURNAL,

1989, 1989, 1989, 1989, 1990, 1990, 1990,

nr. nr. nr. nr. nr. nr. nr.

8, aug 9, sept 10, oct 12, dec 2, febr 3, march 5, may

1990, 1990, 1990, 1990,

nr. nr. nr. nr.

2, 3, 4, 5,

PROFESSIONELE

THE

FOTOGRAFIE

RECHERCHE PHOTOGRAPHIQUE, LA

10, 11, 12, 12,

nr. nr. nr. nr.

8 4 1 2

april/may june/july aug/sept oct/nov

1939, issue 7 1990, issue 8, febr

MdV

90/1

91/40

P ER S P EKT I EF

Photo Metro PhR 90/3 PhR 91/1

REVIEW

PhJ PhJ PhJ PhJ PhJ PhJ PhJ

89/8 89/9 89/10 89/12 90/2 90/3 90/5

PF PF PF PF

90/2 90/3 90/4 90/5

RPh 89/7 RPh 90/8

1990, vol. 7, nr. 2 1990, vol. 7, nr. 3

S A N FRANCISCO C A M E R A W O R K

1990, vol. 17, nr. 1, spring

SFC

1990, vol. 17, nr. 4, winter

VRB 90/4

Rui 90/2 Rui 90/3

90/1

VISUAL RESOURCES

Netherlands (NL), Quarterly Photography Magazine, Perspektief, Centrum voor Fotografie, Sint - Jobsweg 30, 3024 EJ Rotterdam, ISSN: 0167 - 9104, 4x p.a., $ 35

94103, 10x p.a., $ 4 0

' " Avenue, Langhorne, PA 19047 ISSN: 0363 - 6488, 4x p.a., $20

USA, The Newsletter for Collectors, Curators and Dealers, The Photographic Arts Center Ltd., 163 Amsterdam Ave. 201, New York, NY 10023 ISSN: 0271 - 0838, 12x p.a., $ 125, -

TPC 89/10 TPC 90/4 TPC 91/1 TPC 91/2

RUIMTE

ASS0CIATI0N BULLETIN

Netherlands (NL), P.O.Box 14658, 1001 LD, Amsterdam, 4x p.a., Dfl 60

IPhotographic Journal

PF U Rechtte PHOTOdRAPHIQUE

[ ruimte ] s f

c a m e r a w o r k

VRA

Great Britain (GB), , Royal Photographic Society/ed. Roy Green, The Octagon, Mil som Street, Bath, Avon BA1 1DN, ISSN: 0031 - 8736, 12x p.a., £ 50

Netherlands (NI), Vakblad voor visuele comunicatie, Postbus 47957, 2504 CG Den Haag, ISSN: 0188 - 9991, 6 x p.a., Dfl 120

France (F), Histoire - Esthetique., Paris Audiovisuel, 35 rue de la Boétie, 75008 Paris, ISSN: 0983 - 8430, 2x p.a., US$ 20

Netherlands (NL), Quarterly magazine Foundation for Women in the Visual Arts (FWVA, Stichting Vrouwen in de Beeldende Kunst (SVBK), Entrepotdok 66, Amsterdam, 1018 AD ISSN: 0169 - 3077, 4x p.a., Dfl47.50

USA, S.F.Camerawork Inc., 70 Twelfth Street, San Francisco, CA 94103, 4x p.a., $ 35

USA, p/o Joy Bouin, Slide and Photograph Collection, Dept. of History of Aart, Tappan Hall, University of Michigan, Ann Arbour M l 4 8 1 0 9 - , 1357 ISSN: 1046 - 9001, 4x p.a., $ 40

Abbreviations of Countries

INDEX S Y S T E M

Collections: Dr Robert Bingham, USA - photographic apparatus 041 Collections: Keystone - Mast Archive 041 Colour Photography 021 Commercial Photography 019, 035, 037. 039,

A list of abreviations of names of countries. as used in this

1 General Includes genetal intfoductions. annuals. magazines, bibliogra

edition of Fotodok

Commission

phies. leference works. encyclopaedias. dictionanes. elc

2 Photography theory Includes theory, philosophy, criticism, aesthethics of photo graphy

3 Photography and society Includes photography and politics, photography and feminism, propaganda, copyright. Ihe photographic industry tor rather those articles in which the social importance of photography is emphasised. amateur pholography

4 Social/documentary graphy

Includes photo journalism. press pholography, social pholography. purely documentary photography

5 Applied photography Includes scientific pholography. design, photographs as book illuslralions, commercial pholography

Education/training/workshops

Includes all types of photographic education 7

Collections/museums/galleries

Includes all articles of collections, collectors museum collections. museum policy (artisticsl. museum and gallery exhibiti ons nol bound to particular subjects

Biographies/monographs

Includes biographical articles and interviews about a single photographer, and biographical monographs/collections

9 Iconography Includes thematic aspects ol portfolio and more general accounts ol types of subiects in photography landscape, portrait. etc

10 Photographic technology Includes technological developments in photography and special techniques. such as the pinhole camera

History of photography

Includes in addition to the history ol photography also the photograph as historical document

12 Photography and money Includes auctions, prizes, purchasing policies, Government po licies towards photography. patronage, subsidies, etc

Photography by Country

Includes articles related to photography produced in one country Ihe articles are filed by Country Name

Photography Festivals

Includes articles on Pholography festivals Earlier Fotodok issues indexed these articles under Exhibition Fteviews

Short Index to the

Austria (Oostenrijk)

AUS B

Australia Belgium

Bulgaha

Brasil

CDN

Canada

Czechoslovakia

Germany

DDR

•

photo-

Bibliography

The electronic version of EOIOOOK includes a modest' keyword - system Ihe printed Short Inde» shows the keywords used to inde» the absttacted articles Ihe keys used to inde» ihi' i|itH|i.iphv nl photographs and/ui articles are to be lound in the Iconography. part 2 Subject by Geography Ihe WHAT, depicted on photographs and/or tteated in articles, can be found in the lirst part ol the Iconography.

Index of Book Reviews A list ol reviewed books, sorted on Photographer (monographsl ot Author Anonymus books are sorted by Title

Index of Exhibition Reviews Comprises reviews on exhibitions, sorted on Title; mentioned are the curalorlsl. the prmcipal Inslitution. and (mdividuall Photographer

Index of Photographers A list of photographers that have published a portfolio (indica led by the P - suffix); or who have been treated e»tensively in an absttacted article (indicated by the C - suffix)

Photography

Committed

Computenzation

Eastern Germany

Great Britain

Greece

010 030

054. 056. 058. 062, 063, 066, 069. 080. Documentmg Art Documenting Photographs Education in Photography Equivalence IStieglitz) Erotic Photography Eroticism and Photography 022.

Hungary =

001 071 016 007, 012. 015

Italy

MD IR

India Ireland

Family

Album

Family

Photographs

Japan

Farm Security

Uthuania MA

Maroc

Feminism and Photography Feminist Anti Censorship Taskforce.

N NL

Norway

NZL

Netherlands New Zealand

Portugal

PE PL

Peru =

RC RCH

RSA S SF SU TC TR USA YU

009, 010, 058 008 1984

FACT.

022 023 023 048 041

Group

Chile

History History

of Photography: of Photography:

E F

086 046, 070. 075

Finland

History

of Photography:

050. 061, 072

Sovjet Union

History History History History

ol ol ol of

IND J NL USA

Togo

Turkey USA

Yugoslavia

Bibliography

Photography Photography Photo

see Keystone

Archives: Archives.

see Nederlands see Spaarnestad

090 024.039

Art and Art with

Photography Photography

View Company

archive 041

Foto Archief Archief. Haa'lem.

042 NL 054 026

002. 008. 016. 021. 086. 087. 089 Art Workers Coalition 023 075, 076 Auctions 013 Authenticity 090 Bauhaus (USA) 057 Bauhaus uit de Heidenwereld,

magazine,

NL 069

002. 004, 005, 073, 076 045 003. 047, 050, 054, 056, 057, 058, 061

Black Emergency Cultural Black Photographers

Coalition

023 005, 047, 065, 092

Blad. magazine. NL Calotypes Cameraless Photography Cameraless Photography see also Cliché Verre Process Cameraless Photography see also Photogram Cartes de Visite Censorship 013, 018, 021, 023, 028. 077. Cinema

USA

South - Africa Sweden

Archives:

Bibliography Bill Boards Biography

FSA,

ol of of of

033 034 Agencies: see Hollandse Hoogte NL 056 Agencies: see Magnum Agency 033 Agencies: see Omnipress, NL 064 Al DSand Photography 017, Amateur Photography 014, 015. 027. 069 Anthropology and Photography 020. 027 Architectural Photography 016. 052. 074 Architecture and Photography 067 Archives 003. 007. 042. 043 003 Archives, Photography

Berichten

025. 027,

Administration,

History History History History

Argentina Taiwan

Short Index to the Abstract Advertising Agencies,

087 001 001 040 011 022 024

025. 027

Group Material Guerrilla Art Action Hand Colourmg

Poland

and Photography

Cliché Verre Process Colab. group Collections. Photography, Japan Collections Calilornia Museum of San Francisco. USA

as Book lllustration as Historie Document as lllustration

Photographer Photographic Photographic Photographic Photographic Photographic Photographic Photographic Photographic Photographic

as Author Apparatus Art Unions Collage Infrastructure Infrastructure: Infrastructure Infrastructure: Infrastructure Infrastructure

B BG CS D E GB

Photographic Photographic

Infrastructure Infrastructure

IND NL

Photographic Photographic Photographic Photographic Photography Photography

Infrastructure: Infrastructure: Infrastructure Infrastructure and Money and Society

Photography

as Art

009. 016. 017. 026. 030. 031. 032. 034. 038, 038, 043, 049.

France

Collections

Cultural Studies and Photography De Morgen, /ournal. B Documentary Photography

Spain

009, 013, 056

of Photographic

Conservation and Preservation Contests: Werner Mantz Prize Criticism of Photography

Denmark

062. 063. 065, 070

Photography

Photograph Photograph Photograph

039 075 002 002 071 084

026, 035 002 023 073 Photography, 041

Photographic Photography Photography: Photography:

Photography: Photography Photography: Photography:

Apparatus 007, 011, 014. 041, 050. 071 CS 059 D 050. 052

082 073 019, 052. 054, 069. 074

009. 010, 035, 041. 058. 065. 066, 072. 090 Hollandse Hoogte, agency, NL 034 Homophobia 017 Humo, magazine. B 030 Iconography 020 Image & Text 010. 064. 091 Itinerary Photographers Katholieke Illustratie, de, NL. magazine Keystone View Company archive Lensless Photography see Cameraless graphy Life, magazine, USA Lmked Ring, The, group. GB Literature and Photography

046 054 041 Photo002 009 072 010, 011. 027

Look, magazine, USA 009 Los Angeles Artists Protest Committee 023 Magazines see Berichten uit de Heidenwereld. NL 069 Magazines: see Blad, NL 039 Magazines: see De Morgen, /ournal. B 030 Magazines see Humo. magazine, B 030 Magazines see Katholieke Illustratie, de, NL, magazine 054 Magazines: see Life, magazine, USA 009 Magazines see Look, magazine, USA 009 Magazines see Ons Suriname, magazine, NL 069 Magazines: Magazines:

see Panorama, magazine, NL see The Indepenent, journal. GB

Magazines see Ti/d. De, magazine. Magnum Agency Manipulated Photographs Manual Multiple Museum

Image Policy

Technique

Nederlands Foto Archief. Neue Sachlichkeit

NFA, NL

036

031 038 056 091 068 091 044,045 042, 043 019. 052. 057

Night Photography

066

Office Office

058 058

ot Indian Affairs. OAI. USA ol War Information. OWI. USA

Omnipress,

agency.

Ons Suriname,

magazine.

Painting and Photography Palladium Printing Panorama, Patronage Philosophy Photo Photo

magazine, NL and Photography and Photography

Books Diary

Photogram

033 NL

069 012, 048 068 036 021, 023, 077 012. 026 087 064 057

075 073 026. 037 007 041 084 064 030 078 079 044 086 031. 040. 081 082

016. 040. 042. 043. 093, 095 PL 085 S 089 SU/Lithuania 084 USA 094 076 014, 025

007. 026, 051, 057. 062. 067. 078. 080, 083, 086. 089 Photography by Country. CHI 051 Photography by Country: E 086, 088 Photography Photography Photography Photography

by by by by

Country Country Country Country

GB IND Taiwan USA

004, 080. 081 082 051 041. 092

Photo/ournalism 013. 026. 030. 031. 033. 034. 036. 038. 049. 054. Pictorialism Platmum Prints Poetry and Photography Polaroid Photography 021,

056 072 068 011 091

Politics Politics

077

and Art and Photography

018, 021, 023. 028. 045. 047. 056. 065. 077. 078. 084 Pornography 018.022 Portrait

Photography

012. 017. 053

Posters Presentation Presentation

of Photographs of Photographs:

Bill Boards Cartes de

Presentation

of Photographs.

Family

045 045 Visite 071

Album 025. 027

Presentation of Photographs Press Photography

Posters

045 026. 066

Prinling Techniques Printing Techniques: Calotypes Prinling Techniques: Palladium Printing Printing Techniques: Platmum Prints Prizes: Werner Mantz Price, NL Propaganda and Photography Propaganda Kompagnie. Germany. WW II Propaganda with Photographs 069. 018. Psychoanalysis

and Pholography

022. 025, 027

Psychology and Photography Racism and Photography Rails, magazine. Reference Tool

063 005, 006, 047

037 001, 002, 003, 004. 076

Religion and Photography Representation and Photography Representation

020

006. 017. 018, 023, 047. 056 008, 024

of Women

Rural Electnfication

068 075 068 068 016 065 029 029

Administration,

REA,

USA 058

Science and Digital Imagmg Science and Photography Sculpture and Photography Sexual Politics

026 026 091 017, 028

Sexual Representation Sexuality and Photography

022 022, 028, 077

Sociology and Photography Sociology of Photography Spaarnestad Archief. Haarlem, Staged Photography

027 020 NL, archives 054 048, 055, 087

Stereotypmg Streef Photography

006 047, 049, 090

Studio Photography Surrealism and Photography

020 048. 050

Technical Development ol Pholography 014 The Indepenent, /ournal, GB 031 Theory of Photography 006. 007, 008, 010 Ti/d, De, magazine. NL United States Housing Authority,

038 USHA,

USA 058

Visual Resources War Photography Werner Mantz Prize Women Against Violence Media. WAVPM. 1976 Women Photographer

in Pornography

and

001 029 016 the 022 074

INDEX TO THE BIBLIOGRAPHY 1 001

dacted

in New

An extensive report on the 18th Annual ARLIS/NA (Art Libraries Society ol North America), held in New York, February 1990. Topics ranged Irom sessions on new relerence tools and government documents on art, to art historiography and library exhibitions Special mention should be made of: Sessions on Authority Work in Documenting Art and Photography Collections: First Experience with the Art and Architecture Thesaurus, News on Imaging Technology IVideodisc vs. digital

002

The Impact

the Literature culties

ol Personal

of Cameraless

in the Literature

an's Response

A r D 90/2/55 - 95 and Cultural

Bias on

Photography:

Diffi-

and the

Librari-

- Blank, Peter P.

This paper focuses on the inherent difficulties in investigating the history of cameraless photography (eg. cliché verres) These problems have a historical foundation in photography's less than enthusiastic reception by the art world, and with the photographic communities' refusal to accept cameraless processes as a valid expression of the photographic medium Since photography was not viewed as a legitimate art torm by the art world establishment, it was excluded for many years from the basic art research sources and bibliographies. In spite of a long and distinguished tradition of cameraless photography. it was not viewed as a valid photographic pursuit by some of the powerful tastemakers in the photographic establishment in the USA This lack of encouragement had a profound impact on the quantity ol literature on cameraless photography in the USA. which in turn led to a shortage of appropriate retrieval terminologies in the art reference sources The lack of a comprehensive index to the Journal literature of photography also contributes to the difficulties for research in photography, and research in cameraless processes in particular. Art librarians must develop oustanding skills in their prolession to guide the arts researcher through such diflicult research topics (Journal Abstract). (An earlier version of this paper received the 1990 Gerd Muehsam Award of the ARLIS/NA).

A r D 90/2/96 - 100

003 Preserving the Ephemeral: New Access to Artists' Files, Vertical Files and Scrapbooks. Hughston Milan Every library has some form of vertical file, atranged by artist, place, or subject The author concentrates on new reference tools and publications that access these types of materials in one of two ways: 1 by actually reproducing the items in the archive of files, 2 by providing a guide to the collections Formats considered: microforms, printed guides, online databases, and CD - ROM/videodiscs Among the publications reviewed are the New York Public Library's Artists Files on Microfiche by Chadwyck - Healy, 1989, the Museum of Modern Art Artists Scrapbooks. 1986: the Archives of American Art (1981 - 1985]: George Eastman House Interactive Catalog (online collection catalog, accessible by modem or videodisc and containing biography files on photographers as well as bibliographic citations and holdings not only at Eastman House but of other institutions as well). ArD 90/4/179 - 181 004 Bntish Photographic Sources. A selective bibliography, 1979 - 1990. - Stathatos, J o h n Bibliography primarily covering the practice of fine - art photography in Britain over the last decade, 1979 - 1990 The bibliography contains sections on Individual Artists, Group Catalogues, and Other Sources, as well as adresses of publishers and bookshops. EP 90/43/48 005 Selected Bibliography on African can Photographers - Willis, Deborah

Ameri-

A bibliography containing some 90 references to books and catalogues and almost 50 articles (mostly from the last 2 decades) Exp 90(27)/4/47 - 50

heap has peculiar

attraction

and critical

unre-

to certain

temperaments.

simplyfying

the world and can only

jectivity

of (press) photography.

and mentioned a

campaign against photojournalism in Israël The

or Who

The article's main topic is Creating the Canon: Writing (photography) history (the title ol the original lecture, delivered at the Talking Pictures conference, Totonto. 1987, Irom which this paper is derived) The author states that the-

fami-

The sacred is inclined to beat a retreat before the assault of

nation

the technical know - how of scientific knowledge. Neverthesacred. In this sense photography is a canonical example of

sian photojournalism. The most remarkable contributions came

the phenomenon The sacred is omnipresent in every aspect:

mer's 'Heber Springs Portrait), Michael Lesy (on the ama-

from Arnold Drapkin and Felix Rosenthal - Drapkin,

in the printing and development that is accomplished by the

teur photographer Rizzuto), and others. The authors main argu-

Moscow based Time photojournalist, on the really new photo-

miracle of light born of darkness. in the taking of the photo-

ment concerns the concept of oeuvre: that body of

journalism in Russia, and Rosenthal, a Russian active for Time

graph and of course in the disquieting and equivocal vocabu-

in Moscow, on self - censorship in Russian press photogra-

lary of exposition

phy. (Dutch)

tion, masqué,

that has been prepared the maker him/herself, supervision

for public presentation or at least under

his/her

press

icónes

Family icons) - Fré-

get, and Josef Albers), Julia Scully (on Michael Disfar-

work

the hostile

de manage,

Photographs.

vosti Press, lectured on the new possibilities of the new Rus-

Anatoli Bogolomov, No-

PF 90/5/92 - 93

The author stresses here the necessity of

less. the technical can sometimes find itself corrupted by the

(exposure and exhibition in French). fixa-

and révélation

(development and revelati-

on), not to mention the directly religious character of ceremo-

scholarship, and an annotation distinguishing between images

014

redacted by the photographer and those selected by others-

que) - Bernard, Denis / Gunthert, A n d r é

here as a basis for a description of that dimension of sacred-

IDanish/English)

Subtitled: Amateur photography or the democratization of the

ness which inhabits the minutae of everyday life. Most marri-

automaton A socio - historical review of the historical deve-

age photographs taken in the studio articulate two types of

lopment in photographic technology As the magazines sum-

domain meshed together but which can be filtered out sepa-

mary indicates: The individual's

rately There is the ordinary

Kat 90(2)/4/34 - 42

008 Het verdriet - Gevers, A n s

van Lorelei

(Lorelei's

Sorrows)

Article on selfportraiture by women, often blurred, often full of movement. The author poses the question as to whethet this making volatile of the body is that groundbreaking. Do women escape social reality in this manner by trying to escape the gaze full of desire. or are these portraits only 'the emperor's new clothes'? (English/Dutch) Rui 90/3/8 - 15

Oublier

Maren

terview

Stange:

FSA & the new ones. An In-

in which

- Hansen, Henning Photography

of in

Ideal

Ameri-

with all the other

cerned"

say

"government"

supercedes

since the

photographer

level which displays the trivia

of everyday life. Then there is the other. bathed in light. preserved from the tracé of quotidian banality. The first is the domain of the profane and the second is the realm of the sa-

and

this is made possible

precisely

because

certain

marriage photograph has the power of consecrating the home

been

where it is exhibited. The photographic image, as family icon,

stage

in modern

technical

development

has

the family

environ-

As this infiltrates

ment so a concomitant product

the concealment When applied

de - specialization

takes place together

of its mechanical to the quotidian

know - how allows

shares the space of household life. a world which oscillates the

with

workings.

environment, one to ignore

cred. Pinned to the wall or standing on the side - board, the

between the sacred and the profane. The elective territory of the marriage photograph is in the home, a sacred place where the rules of behaviour are re written and which is intros-

metechni-

pective and detached from the profane. (Magazines Summmary) (French/English Summary)

RPh 90/8/22 - 27

(French/English Summary) RPh 90/8/16 - 19

021

Little

Glass

Houses

- French, Frank

to look

Account of the censorship debate in Saskatoon's city council

"documentary",

caused by Evergon's exhibit at the Mendel Art Gallery, or-

were beginning

at in the 30's media would "trustworthy",

myriads

way

knowledge

cal know - how

that people

by the

technical

mentary

le, that in competing

of mo-

nies associated with marriage photographs, which will serve

now no longer needs

chanical

photographs

techni-

assimilation

family photography

photography,

ca, 1890 - 1950 (1989) Deals with the notion of docustyle: FSA documentary as a culmination of sty-

(Forget about

is aptly charactehzed

amateur

professional

manufactured

Interesting interview with the author of Symbols Life: Social Documentary

la technique

dern technology

reached. 009

and "socially

con-

The differences in the uses of color vs black &

015

Leurres

(Pitfalls

et illusions

and lllusion

du portrait

familie

in the family portrait) - Buisi-

ganized by the Canadian Museum of Contemporary Photography.

ne, Alain

white are discussed. Other topics: The development of photo-

Of all photographic genres the family photograph. which re-

journalism and post - war museumification

Bla 90/2/3 - 4,18

cords only a private world, aquires a quality of anonymity the

022

mentary style; the new documentary - represented in diffe-

tastest. Once it is separated from its context in the family it

beeld) - Gibbs, Michael

rent ways by Meiselas, Peress, and the self - referential

no longer conveys meaning and passes us by It no longer re-

and deconstructive line of people like Martha Rosler, Se-

tains the identity which it was intended to perpetuate and

kula, etc; the relationship between documentary and Visual

commemorate. (Shortened Magazines SummaryXFrench/Eng-

An essay on the history of pornography, its connection with photography and recent debates concerning this issue, with references to Bataille and Lacan. Chapters are entitled The Sight of the Body, What do men want?, and What do women wanf/MDutch/English) P 91/40/5 - 9

of the docu-

Anthropology. A good up - to - date bibliography concerning

lish Summary)

RPh 90/8/57 - 60

the FSA and documentary concludes the interview (Danish/ English)

Kat 90(2)/4/55 - 58

010 Reading American vidE.

Photographs

- Nye, Da-

An in depth review of Alan Trachtenberg's book: Reading American Photographs: Images as History, Mathew Brady to Walker Evans (19891 Trachtenberg's book is a discourse on the creation of a social meaning, because meanings are not fixed, values cannot be taken for granted, that what an image shows depends on how and where and when, and by whom, it is seen. As the reviewer states: Because photographic meaning is a social construction, it requires a comprehensive archaelogy Trachtenberg's task is to examine not only the photographer's intentions but also the social construction of meaning that has given certain images resonance in American culture. Trachtenberg discusses 5 photographic projects thoroughly: 1 early portraiture (especial Mathew Brady's); 2. visualizing the Civil War; 3 depicting the American West as part of government explorations; 4. photographing the industrial city (Stieglitz vs. Lewis Hinel. 5. Walker Evans' depiction of America during the 30s. Citing Trachtenberg: (The book) contains the history of participation by photographers in the making of America, the illumination of its culural patterns, the articulations of its social and political contradictions. (English) Kat 90(3)/1/54 - 55

016 Werner Mantz Prijs leidt tot discussie (The WM.Prize leads to discussions) - Coumans, Willem K. A comment on the fact that the German photographer/artist Thomas Struth received the 1990 Werner Matnz Prize. The author proposes changing the prize system to a commission policy (Dutch) Ft 91/1 - 2/8 - 9 017 Portraits of People with AIDS (Portretten van mensen met AIDS) - Crimp, Douglas The author criticizes the stereotyping done by photojournalists and art - photographers depicting People with AIDS Analyzing Nicolas Nixon's and Rosalind Solomon's pictures of People with AIDS, and Stashu Kybartas videotape Danny. the author concludes that: there is a deep explanation for portrayal of People with AIDS (PWA 's), and especially of gay male PWA 's, as deseperately ill...These images are not intended to overcome our fear of disease and death .. nor are they ment to reinforce (them) as victim or pariah...rather, they are 'phobic' images., (maintaining) the comfortable fantasy that AIDS would spell the end of gay promiscuity. or perhaps of gay sex altogether, which has pervaded American and Western European culture for a decade now. (Dutch/Englishl P 91/40/60 - 66

018 Naked Aggression Druckrey, Timothy 011

The Poetic

Image:

Photography,

Equivalen-

ce, and Art - Peterson, Brian A brief discussion of the poetic content of photographs, with Equivalance.

012

To See Ourselves

- Shevelev, Hyman Rap-

hael Some musings on the motives of portraiture and some of its

File? - Coleman, A . D .

Les photographies

liales (Marriage churet, Maurice

ob-

(Naakte Agressie)

A brief essay on American power politics and moral preaching, the propagandistic use of photography in recent politics, and the war on culture and censorship in the USA. (Dutch/Englishl P 91/40/16 - 20

PhR 91/1/8 - 13 From Practi-

020

editor David Rubinger lectured on the assumed

unredacted archive, on Oiane Arbus, E J. Bellocq, Eugene At-

013 East - West Photo, Helsinki. Contact Confrontatie Integratie en Integriteit

Heaps and Wholes,

process

against

007

The Circular

vializing

be a personal statement. Israëli photographer and picture -

sed are the temperaments of Szarkowski (on Winogrand's

directions.

On Redaction:

ty-

Discus-

Reprint of Baily's article in Ten.8, 1988, nr. 31. p.36 - 49. dealing with some of the theories. ideas and issues which have intuenced the authors work on race and representation since the early 1980's Exp 90(27)/4/37 - 46

Empties

unre-

than in

noting that Ihe

reference to Stieglitz's notion of

Photography Theory

006 Re - Thinking Black Representations: Positive Images to Cultural Photographic ces - Bailey, David A .

in photography

visual art medium,

pes of curatoria!

York City —

storage on Compact Disc).

more mulch heaps of imagery

by their makers

any other

General ARL IS/NA

re are surely dacted

P hJ 89/10/483 - 485

Photography and Society en

Report on a symposium entitled East - West Photo organised by the University of Industrial Arts Helsinki David Faddy, Polytechnic of London, claims that committed photography doesn't change anything and that photography is a tri-

019 Alles op zijn plaats. Het moderne interieur in de fotografie 1933 - 1968. (Modern interior in photography 1933 - 1968) - Elligens, Adriaan Introduction to the exhibition entitled Everything in its place The modern interior in photography 1933 1968, dealing with three remarkable Dutch (commercial) photographers: Jaap d'Oliveira and his colleague Hans Spies and Jan Versnel Spies and d'Oliveira received their training in Germany with Hugo Schmölz. Influenced by the Neue Sachlichkeit, they specialised in modern architecural photography and interiors and were mainly employed by designers After the war. Jan Versnel was prominent in Dutch architectutal photography (Dutch) Ft 90/10/82 - 85

023

Looking

at Pornography

Résistance,

Agitation

(Pornografie

& Collaboration

- Le-

vi, David Introduction to the work of so - called guerrilla artists who use photography and text in order to enter the arena of representation. wherein the contest of meaning is fought through manipulation of symbols. Primary issues adressed by current collaborative guerrilla groups government censorship and funding, abortion rights, AIDS, homeless, institutionalized racism and sexism. The following groups of artists are presented Margaret Crane/Jon Winet; Kerr & Malley; Durant & Finley; Sisco, Hoek, Avalos, Small and others in San Diego; Boy With Arms Akimbo; Demolished by Neglect in Detroit. Art Against AIDS/On the Road S F C 90/1/3 - 7

024 me)-

Eroticism in Advertising Mertz, Paul

(Erotiek

in de recla-

The authors conclusion - and subtitle of this article - is: Erotic desire in advertising is far from excessive. After a short introductory discussion of sexist representation of women in advertising during the 70's. the author examines the use of erotics in advertising worldwide. (Dutch/English) P 91/40/56 - 59 025 L 'imagi - mère (The Maternal M o i s d o n , S t é p h a n ie

Image)

A psychoanalytical essay on the maternal image. To quote the Magazines Summary: At the birth of our seeing is our mother's face and then our mourning as we experience the relentless obliteration of this image If the child discovers his unity of self in the mirror it is from his mother's face, another type of reflecting screen, that he acquires his identity. This original link in our way of seeing. this pnmal image, remains and will remain at the centre of all images, of all representations; in the very eye of the labyrinth When the inevitable tragedy occurs and the link is undone then the individual will search ceaselessly through the fragments of the world in the hope of rediscovering this original image This particular image pursued by photography. overwhelming and disquieting when stalking the mother's face. providing perhaps a better understanding of the photographic process, is the family photograph. (French/English Summaryl RPh 90/8/67 - 71

026 l e monde des images, les territoires de la photographie (The world of images, the sites of photography) — Rouille André Issue nr. 7 of La Recherche photographique is dedicated to the symposium Le monde des images, les territoires

F O T O D O K de la photographie.

orgamsed by Paus Audiovisuel, in the

context ol the Mois de la Photo. Paus 126 - 27 November

ak in their own creative

voices

we have seen before.

more directly

than

Exp 90(27)/4/51 - 54

1988) The magazine contains all the lectutes given. and some

ol the discussions that took place The lust part ol the symLa lorce de

lm Kopl und im Bauch

hold Misselbeck

Interview

mit

Rem-

- Hinterkeuser. Ralph

A discussion of the exhibition and collection policy of the

Applied Photography

photography department of the Museum Ludwig in Köln,

posium dealt with philosophical and art - historical questions Lectutes by photography critic Régis Durand

044

since 10 years headed by Misselbeck (German) 033

Omnipress

EP 90/43/10 - 12

lévidence (Conclusive Forcel; aesthetics professor Thierry

Interview with Ronald Speyer, founder ol Dutch photo

de Duve I want to be a machine, philosopher Mario

agency Omnipress. especialised in Sports (Dutch)

Costa Photographie et phénomenologie de la présence (Pho-

045 PF 90/2/38

tography and the phenomenology of presencel The second

Museal

- Tnvial - S c h m i d , Joachim

The author makes some critical remarks on museum policies and discusses alternative practices by visual artists like the

pan ol the symposium discussed developments in scientihc

034

imagery/photography and the effects of computer - based

Introduction to the Dutch photo agency Hollandse Hoogte, which works mainly with Dutch photographers Recently they have initiated commissions for photographic essays (like Magnum) (Dutch) PF 90/2/48 - 49

the Fauna - project by Joan Fontcuberta and Formigu-

046

Antoine Coudert, un photographe

(AC

an itinerant

fourth pan were devoted to applied photography in |ourna

035 Glamour fotografie; Douglas Kirkland. Slenzak: Hollywood heroes on photography Hoeneveld Herman

hsm, publicity. and relations with developments in cinema

graphics Lectutes by physics professor Francois Becker L'image dans Ie monde scientilique (Images in science), medical professor Emmanuel Cabanis Images nouvelles de

Hollandse

Hoogte - HoenevekJ, Herman

Sprayer of Zürich. the Gran Fury artists collective, and era (German)

EP 90/43/9

images as a visual technological catastrophe). the third and

Introduction to the work of Dutch press photographer Wiel van der Linden, staff photographer of the Cathohc Dutch magazine, de Katholieke Illustratie. Part of his work is in the Dutch Spaarnestad Archief, Haarlem, NL A short bio graphy is included. According to the author, 'his photographs of the day - to - day life in the thirties and forties are a very good document on that society' The portfolio shows some remarkable pictures of sniper fire at the Dam on May 7, 1945, a day before the Liberation of Amsterdam, and of the treatment of female Dutch collaborators the following day. (Dutch) M d V 1990/1/14 - 23 055

Ron -

onbekende character) -

Biographies/monographs

l'anatomie; architect Alain Renaud De l'image numérique comme catastrophe technologique du visuel (pixel - based

054 Wiel van der Randen een grootheid (WvdR, un unknown Troost, Frido

photographer)

ambulant

- Malveau, Régi-

'* Gebruik

mi/n fotografieën

ven (I use my photographs

om te

overle-

to survive) - Perree.

Rob

ne / Nicita, Jean - Mare

Interview with Dutch photographer/visual artist Jean Ruiter

Glamour photography has existed for decades, especially in

Research on the itinerant photographer Antoine C o u -

on the sculptutal chatactet of his staged photogtaphs (Dutchl

Lecturers Éliséo Véron Que voit - on du monde Images

the USA. reaching its zenith in the thirties, with a second wa

dert|1868 - 19101 A hundred photographic plates wete disc-

dans Ie discours de l'information. director of the Vu agency

ve at the end ot the fourties The author traces wfiat is left

overed in the attic of a town hall in Corrèze. signed A . Cou-

ol this photographic tradition. Interviews with two successful

dert and a few dates 1908 - 1909 Coudert's photography

Hollywoord photographers Douglas Kirkland and Ron

portrayed rural society at the beginning of the century in the

Slenzak (Dutch)

Haute Corrèze IFrench/English Summary)

Christian Caujolle

La photographie dans la presse; cine-

ma critic Serge Daney A n d r é Gunthert

Du defilement au défilé: histouan

Le portrait virtuel de la photographie en

publii itc art - historian Michel Melot

PF 90/4/10 - 18

Photographie et in

telligence artificielle; philosopher/urbanist Paul Virilio La

036 Fotoredaktie: Wilco

techmque de l'instant ou la machine a clicher (French)

Part of a series on the photography policies of Dulch periodi-

RPh 89/7/1

Panorama

047 Reading the Shadows - The Photography Roy DeCarava - Wallen, Ruth

tians - apparance; psycho - analyst Daniël Sibony Une

02S Art and 'Perversion'. Censonng Images ol Nude Children (Kunst en 'Perversiteit'; Het verbod op naaktfoto's van kinderen) - Stanley, Lawrence A .

- Kalbfleisch.

cals This time the photo editor of the Dutch weekly Panorama is interviewed (Dutch)

027 La Familie (The Family) - Rouillé, A n d r é Ihematic issue of La Recherche Photographique. no 8. dedicated to the phenomenon of Family Photographs As the editor states Une photographie hasardeuse |An audaci ous photography) Sevetal of the published essays are absttacted see authors Malveau/Nicita, Bernard/Gunthert, Maurice Fróchuret, Alain Buisine and Stóphanie Moisdon More evocative and literay contributions by Sylvie Aubenas, Anne Marie Garat, Roland Jaccard, Mélène Cixous, Denis Roche, Jacques Henric, André Rouillé. Michel Melot, Patrick Zachmann, Serge Tisseron. and Daniël Sibony I his issue is beautifully illustrated by some photographic essays on family photographs and albums (French/English Sum maryl RPh 90/8/1 90

Fc 90/3/86 - 88

037 Fotoredaktie: Rails - Kalbfleisch, Wilco Interview with Manen Sindeten. chief editor of the Dutch ma gazine Rails which is given away (ree on Dutch trams (Dutch) Fc 90/12/92 - 94 038 Fotoredaktie: De Tijd - Kalbfleisch, Wilco In a series on the photography editotial policy of periodicals. the author interviews Peter Morée and Robin van Rheenen. picture editors ol the Dutch weekly De Tijd (Dutchl Fc 90/6796 039 Fotoredaktie: fleisch, Wilco

Blad voor Bladen - Kalb-

Interview with Ronald Kraayeveld. chief editor of the Dutch Public Relations magazine Blad voor Bladen, sponsored by the Dutch publisbet VNU Topics concern the magazines photography policy and design (Dutch) Fc 90/2/76 - 78

reaching attempts by the US Government to prevent nude photos being made ol children Prosecution arguments vary from child pornography to promoting pedophilic sexual desires IDutch/English) P 91/40/10 15

4 Social/documentary photography 021 Een foto is veel erger aan een dode soldaat (A photograph is much worse than a dead soldier) - Baarda, Frits A short primer on war photography propaganda, censorship and deception With short statements by literary and visual lournalists on the censorship imposed during the recent Culf War (Dutch) Fc 91/3/27 31 030 De Morgen: Het Vlaamse gezicht Belgische fotoiournalistiek (De Morgen mish image of Belgian photoiournalism) veld, Herman

van de the Fle- Hoene

Belgian photographers Herman Selleslags and Patrick de Spiegelere give the» opinion on contemporary photoiournalism in Belgium Selleslags works for the Belgian magazine Humo. and De Spiegelare works for the Belgian journal De Morgen - two magazines with some respect fot photoiournalism in Belgium (Dutch) PF 90//14 17

Education/training/workshops

040

Het zwarte

(The Black Hole

gat oftwel:

een jaar na dato

Eddie Interview with photographers one year after they left the AKI. Enschede and the West Surrey College of An and Design, Farnham, GB A Black Hole? (Dutch) Ft 90/9/38 - 51

7 Collections/Museums/ Galleries 041 Guide to Collections A guide to the holdings of the California Museum of Photography. San Francisco, USA comprising I the Robert Bingham collections of historie cameras and photographic apparatus, 2 the archives ol the Keystone View Company 11860 1963), some 350000 original stereosco pic prints; 3 the so called Setzet - Alexander/Friends of Pho tography Collection. including some 500 photogtapts by master photographers Access to (most of) the collection is possible by artist name or photographic processes used Some pho tographers archives are stored at the CMP the Haines Panoramic Photography archive (1905 1950); the Raoul Gradvohl aichive (Hollywood portraiture. 1940 1960). the F. Allan Morgan archive INew York studio photograp her, 19301 - 19401; Harry Pidgeon Negative Collection la photographic adventurer. active 1890 19401

Pictures

sentation

of the Edge

and the Margins

Photographic of Society

Repre-

- Sichel,

042 Twee gesprekken (Two interviews) nekom, Josephien van

- Ben-

The Nederlands Foto Archief recently obtained the negative archives of Dutch photographers Cas Oorthuys and Hans de Boer Both were members of the GKf, a Dutch photography union The author interviews the photcgraphers widows about then dealings with the NFA (Dutch)

Kim

GKf 90/2/4

A review of 2 proiects that record the edges of social existence Margaret Morton s The Architecture pair

Building

Types of the Homeless.

of Desdocumenting

habitats rathet than inhabitants. and Carlota Duarte's Odella

A Hidden

Survivor.

an intimate interior portiait

According to the author. the result is a photography

that allows

documentary

the dispossessed

to spe-

043 Stichting Bool, Flip

Nederlands

Fotoarchief

Teun Hoeks

beeld vatten'

'Ik wil het liefst

alles in één

- Roos, Robbert

Interview with Dutch painter/photographer Teun Hoeks co A monograph of his humorous surrealistic work was published in 1990 under the tille Hoofdpersoon,

with an introduction

by Antje von Graevenitz (Dutch)

Bid 1991/1/4 - 5

041 77>e Eye That Sees, For a photograph by William Klein. - Hansen, Henning Introduction to classic and new work by American photograp her William Klein - exhibited at the Museel fot Folokunst. Odense, Danmark In a separate chapter, the author analyses a 1983 photogtaph entitled Pope at Lourdes A bibliography of Klems books, exhibitions and films is included (Danish/ Fnglishl Kat 90(31/2/41 - 42

with Sebastiao Salgado - Bloom,

As the interviewer John Bloom states in his introduction Salgado is able to articulate in visual terms the crises and ironies o! modern culture, also links his audience with the archetypal realm of the human condition Topics discussed the position of photoiournalism; the relationship between politics and art/aesthetics. Salgado's distrust of Cartier - Bresson's Decisive Moment, the integration of the photographer with the sub|ect of his photographs; the spiritual aspect in his photography The interview is accompanied by an extensive portfolio, including his senes on the Serra Pelada, Brazilian gold mine. starvation portraits in the Sahel, and some of his series The Archeology ol Industrialism. P h M 90/84/4 20

057 Nordic Pictonalist looks at past influences and present conceptions - Schwftters, Ernst A biographical narratrve by this Norwegian photographer, son of German artist Kurt Schwitters. about the first Rayograms. his contacts with Moholy - Nagy. his war - time experiences in London P hJ 90/5/252 - 255 Peter Sekaer - Soerensen, Annemette

A biography of Peter Sekaer (1901 - 19501: left Denmark when he was 17, came in contact with Ben Shahn and Walker Evans, worked as a photographer for the Rural Electufication Administration (REA) Sekaet published an article in US Camera. August 1941. on the differences between working lor FSA and other governmental agencies, like the REA Katalog reprints a Danish translation of Sekaet's article on pages 53 54 (Danish/English) Kat 9O(2)/4/50 - 52 059 ( evels of Consciousness: Sorlien. Sandy

Josef Sudek -

A review of Sudeks exhibition at the Philadelphia Museum of Art 060

PhR 91/1/2 Fox Talbot - his life. family.

and

character

- Roberts, Chris Introduction to the life and work of Fox Talbot Earlier deh

050

Herbert List. A Presentation

- Hansen,

vered as a paper at the 42nd Annual Conference of the So

Henning

ciety of Photographic Scientists and Engineers. SPSE. Boston,

Introduction to exhibition and portfolio of German photogtap-

USA

P hJ 89/9/408 - 411

her Herbert List Some biographical data are given. A bibliography of books by and publications on List completes this

061

article (Danish/English)

(II) - Roberts, Chris

Kat 90(3)/2/6 - 8

Fox Talbot - his Me, lamily

and

character

Concluding part of a biography of Talbot ILargely denved 051 Chinsan Long venerable Chinese with a camera - Rogers, Hélène

artist

Interview with a typical Chinese art photographer, Chinsan Long - acknowledged as the father of Chinese photography He became the first Chinese newspaper photographer. for the Shanghai Eastern Times, and was a founding membei of the Photographic Society of China He has exhibited in more than 1000 exhibitions He talks about his philosophy and me thods of composite art photography Ph J 90/5/201 - 204 052 Maastricht eert ochtend!otograal Werner Mantz (Dulch city Maastricht honours morning photograpger Mantz) - C o u m a n s , Willem K. Short introduction and biography of well known German photographer Werner H Mantz. who recorded the expansion of Cologne for the German architect Wilhelm Riphahn He estabiished a second studio in Maastricht in 1932 and photo graphed the new architecluie in the Netherlands Emigiated in 1938 to Maastricht (Dutchl Ft 90/12/42 - 46

from the fox biography by Arnold. 1977) PhJ 89/10/476 - 478 062 M i c h è l e Talens de opdracht commission) - Roepers, Nicole

053 Arnold N e w m a n. portrait masterExtracts ftom a transcript of the remarks Newman made while photographing Colin Ford at the Makers of Photographic History programme. on his work, his philosophy, fame and photography P hJ 89/10/444 - 445

(M T.: the

Report on the selections made by the Amstetdams Fonds voor de Kunst regarding their yearly commissions to documentary photographers Interview with the only woman photographer selected Michèle Talens Her commission documenting the lives of immigrant women in Amsterdam (Dutch) Rui 90/3/38

063 De Piëta - Waal. Miekede Interview with Dutch photographer M i c h è l e Talent, on her series Mother

and Child

Her piefa's' were photographed

in such Cathohc countries as Italy. Ireland, Poland, and Belgium (Dutch) 064 (Linda

(NFA) -

An introduction to the Nederlands Fotoarchief (NFA) in Botterdam, which conserves the negative archives of many Dutch photographers The archive is attempting to automate access by means of video technology Prints of the negatives can be ordered (Dutch) GKf 90/2/6 7

056 Interview John

058 048

- Ja-

Interview with former picture editor ot the Sunday Times and The Observer about the prospects of pnMOJM nalism. especially in Great Britain (Dutch) PF 90/ > <j 032

A re - reading of the (published) photographs by American black photographer Roy DeCarava The authot leans heavily on the Signifym(g) theory elaborated by Henry Louis Gates on the rhetoncal strategies employed by African American wnters In (very) shorthand notation A complex renaming ntual. a verbal play where the signifier is doubled and redoubled, presenting both Standard and new defmitions of a term simultaneously. a kind of doublé voiced discourse. whereby the lineal relationship between signifier, signified. and concepts is broken by an array of doublé voiced rhetoncal structures that create an alternate black system of meaning Interpreting photographs as texts allows us to isolate. inventonate and structure all the "historical" elements ol the photograph in a new way. to read the photograph in a fresh light. Exp 90(27)/4/13 - 26

one year after) - Marsman.

CMP 8 9 / 1 - 2 / 1 - 6 4 The Independent

vering his printing methods, hand - colouung and influences

The account of a concerned lawyer of the bewildering and far

031 Fotoiournalistiek cobson, Colin

RPh 90/8/8 - 13

Ft 91/1 - 2/53

M d V 1990/1/34 - 45

Linda Troelier Troelier:

TBC - AIDS -

Tagebuch

TB - AIDS Diary) - Coleman, A.D.

Working in the form of photo

collage, the American('| pho

togtapher Linda Troeller began to explore the issue of contagious disease and stigma, along with their impact on the human imperative of community Ihese concerns, which the emergence of the Aids - crisis had foregrounded in het con-

F O T O D O K 9.2

sciousness, were linked to her own family history. An interview (German/English)

Iconography by Geography

EP 90/43/52 - 54

tions of early Japanese photographs and related visu-

simply a healthy varioty of practices and stiategies The au-

al documents Information is given on the acquisition policy of

thor distinguishes a unifying theme among the profusion of

newly formed Japanese museums Some useful bibliographic

strategies deployed today in the photobased visual arts: an

information is provided.

almost universal rejection of what could be called the bur-

Angola

056

Belgium

030

Brazil

056

Czechoslovakia

079

074

An investigation into the relationship between American black

Czechoslovakia,

photographer James Van DetZee and Marcus Garvey, organi-

Ethiopia

zer of the Universal Negro Improvement Association (UNIA).

France

Garvey requested Van DerZee to put together as complete a

France,

065

For the Record:

J a m e s VanDerZee.

Garvey. and the UNIA Photographs

Marcus

- Birt, Rodger

photogtaphic record as was possible of UNIA - related activi-

Prague

Haute Corrèze

Great Britain

the metaphorical

029

to claim that black was beautiful (or handsome), the ideo-

Japan

073

logue (Garvey) and the photographer (Van DerZee) set out to

Kuwayt

029

provide a legacy that challenged the ptevalent stereotypes of

Mali

056

black men and women' (Otiginally published in The Internatio-

Mexico

056

nal Review of African American Art, 1989).

An Anomaly

in the

- Coleman, A . D .

052 056,082

019,054 062

The author distinguishes between camera art ol printmaking,

vision and the

and thus between the

photograph

052

NL, Middelburg,

Stadhuis

074

NL, The Hague,

Tournooiveld

074

Sahei

056

075

Photography and Money Teynard Images set Multiple

Surinam

069

Record

Taiwan

051

A book, entitled Egypte

are the ultimate object. The author concludes: one should col-

USA

lect Weston's images, but also Weegee's books and issues of

USA,

New

York, Harlem

newspapers and magazines with his images. (English)

USA,

New

York, Tompkins

as object. Weegee's

Kat 90(2)/3/18 - 23 067

Interview

(Interview

met Kim Zwarts en Wiel

with K.Z. and WA

I-

10 068

through

magie

that

representation.

In this vein the author reviews the works of Mari Mahr, Craigie Horsfield, Roger Palmer, Willie Doherty, Verdi Yahooda, M o n a Hatoum, Susan Trangmar, Keith Arnatt and Yve Lomax Portfolio's of these photographers are included, along with short introductions by Susan Butler, Martin Caiger - Smith, Hilary Gresry, lan Walker and John Stathatos This overview of new British photography is complemented by a 4 - page Selective Bibliography, 1979 - 1990 concerned

primarily

ce of fine art photography

with the

in Britain

(German/English)

practi-

over the last

EP 90/43/20 - 26

INDIA

Auction 082

et Nubie, containing 160 salt

The development

of Indian photography

Banerjee, Susanta

prints by French civil engineer Felix Teynard. was sold at

A brief history of photography in India; its recent photograp-

066

an auction in Paris for $ 750.000. The book with the tipped -

hic infrastructure.

032

in prints was published in 1858.

Square Park

Photographic technology Platina & Palladium.

can finally escape

058. 065. 090

Arets

Geerlings, Sonja

use of the residual

the photograph

decade.

prints are only in - befweens but Weston's prints for example

as image and the photograph

vrier and Lingwood, and referring to J o h n Tagg's disa-

M.H.)-

Rui 90/3/16 - 21

074

NL, Maastricht

Citing Che-

greement with Barthes, the author states: It is

Irak

Weegee as 'Printmaker':

activity

Monograph on one of the first Dutch female professional photographers, Maria Hille - bom in Hamburg, Germany. By the end of the 1850's she had broken new ground in the field of architectural photography. She illustrated an architectural Journal with tipped in copies of her photographs In addition, she was one of the prime movers in the 19th century architectural discourse on photography's potential to document buildings right down to the finest detail. The author also explores the problems involved in reconstructing the careers of woman photographers who worked for or (like Maria Hille) owned or co - owned a photographic firm. lEnglish/Dutch)

India

Marketplace

and staged

Zondervan, Annet

into

narratives,

046

Germany,

066

worlds

of imaginary

070

time where a black man was considered dangerous for daring

NL. Leiden

fabricated

the creation

ty? The Architectural

Photography

or Reali-

pure fiction,

grafe Maria Hille (1827 - 1893). (Illusion

standing of the power of photography 'In a society and at a

NL, Amsterdam

Architectuurfoto-

059

ties Garvey appears to have demonstrated a shrewd under-

Exp 90(27)/4/7 - 12

den of representation resulting in an escape Waan of Werekelijkheid?

056

080

Köln

VRB 90/4/35 - 37

Part 1 - Swart, Siebe

P hJ 90/5/218 - 221

T P C 91/1/1

ITALY 076 The Cutting Edge: New Auction Sources and Computer Projects - Backlund, Caroline H.

083

A detailed article on the major changes that have taken place

toni - Thijsen, Mirelle

/ nudi al maschile:

Aldo Palazzolo and Danilo Sar-

Dialogue between Dutch photographer Kim Zwarts and

Part 1 of a 3 part series on printing on platinum and palladi-

in the past few yeats concerning Auction Literature. Re-

Art historical introduction to the theme of the Male Nude in

Dutch architect Wiel Arts, on such topics as photography and/

um paper Instructions are provided, as well as recipes.

visions in previously existing publications are mentioned; and

Photography. As the author states: The feminist

as art; architecture and photography. (Dutch)

(Dutchl

major new sources are discussed The author distinguishes

against

between Current

dia, as well as the explosion

Ft 90/9/20 - 27

9.1

Ft 91/3/88 - 90

History of Photography

Iconography 069

Animals 087 Architecture 052,067 Architecture: Archeological Sites, Egypt 075 Architecture: Buildings, Homeless build Temporanes 032 Architecture: Industries 057 Architecture: Religious, Churches 074 Architecture: Secular, Townhalls 074 Cityscape 052. 058, 059, 069 Fashion 037 Interiors 019 Interiors: Schools 019 Interiors: Shops 019 Interiors: Theaters 019 Landscape 011, 051. 057, 069 Nature 011 Nude, Children 028 Nude, Female 008, 077 Nude, Male 021. 077. 083 Peoples: Indians, Surinam 069 Pnrlraits

012. 037. 053. 058

Portraits, Portraits,

Black People Children

Portraits, Portraits, Portraits, Portraits, Portraits: Portraits:

Family Mother and Child Mothers Women Artists, Cinema-Stars. People with AIDS

Portraits:

Politicians,

006 028, 077

Marcus

015. 020, 027, 046, 064 063 025 032 Hollywood 035 017, 064 Garvey,

USA,

1924

Fotografie

in Suriname

Soldiers Studio Portraits Workers, Mining

029 069 Industry,

Mine 056 070 008,048

Railways Sellportraits Starvation Still Life War, Kuwayt,

Gold

056 050, 055, 057, 059, 090, 091 Liberation,

1991

(Photography

in Su-

rinam) - Coppens, Jan

Indexes.

Phce

Retrospective

Guides

and Online

SaData-

ge culture

erotic

imagery

and body politics

struggle

in mass

me-

of homosexual

ima-

in the last ten

years

bases. For the photography community, of special interest

have led to an enormous

are: Leonard's Index of Art Auctions (1980 - ). L'Officiel des

as erotic and sexual object.

Arts (Paris, 1989 - , also entitled International Auction Re-

graphers Aldo Palazzolo and Danilo Sartoni. (Dutch)

Review of an exhibition at the Rotterdam Museum voor Vol-

cotds); The Photogtaphic Art Market (New York. 1981 - I; The

kenkunde (ethnographic museum) of their collection of histori-

Atronix Index: Photographs at Auction 1951 - 1984; The Inter-

cal photographs from Surinam The exhibition catalogue by

national Guide to Nineteenth - Century Photographers (1988)

Steven Wachlin contains a list of some 50 commercial photo-

New and technologically sophisticated is the World Auction

graphers active in Surinam in the period 1840 - 1940, and an

Monitor by Centrox Corporation: the system prompts subscri-

084

extensive bibliography The exhibition intends to show the so-

increase

of male

nudes

Portfolio by Italian photoFt 90/10/74 - 80

LITHUANIA Officiële

Bond van Fotografen

sold at an auction (by fax or fast mail) Sales results are later

neveld. Herman

(Dutchl

reported

Short account on the professional status of the photographers

ArD 90/4/175 - 178

Union in Lithuania)

Litouwen

(Official

Ft 90/12/82 - 85

Photographers

bers to request advance information on works of art to be

cial and historical development of this former Dutch colony.

- Hoe-

union in Lithuania. A remarkable account of the massive de070 Edouard Baldus. les albums du Chemin de fer du Nord (EB. and the Chemin du Nord Photographic Albums) - Daniël, Malcolm

077

It has until now been genetally held that the Chemin de fer du Nord. Ligne de Paris è Boulogne. A l b u m de vues photographiques was commissioned by the great banker and industrialist of the Second Empire, James de Rothschild from Edouard - Denis Baldus. one of the pioneers of photography, and was presented to Queen Victoria on the occasion of her state visit to Paris in 1855 Although this pho tographic essay appears to anticipate the thematic and aesthetic concerns of the modernists in easel - painting in the course of the following 20 years, Baldus's work has never been the subject of any setious study The author examines the different vetsions of the work and proposes a new set of dates for most of the plates together with the inclusion of the work of some of Baldus's contemporaries The proposed re arrangement and new dates for the plates suggest that received opinion about Baldus and the albums need to be questioned (Magazines Summary) (French/English Summary)

otganizations and the insidious consequences they have had

RPh 90/8/82 - 89

065 Portraits: Portraits: Portraits:

les. Sales

Sales Records.

stereotyped

071 The Silver Image: Cartes de Visite and the Albumen Process - D o m m a s c h , Hans S. / Silversides. Broek An account of the history of the albumen process, and the development of the carte de visite A short chapter on conservation and preservation practices is included, as well as a short note on Identification PhJ 89/9/435 - 437

029 072 Bombshell at Russell Sqaurei F. Holland Day and The Royal Photographic Society - Hannum, Gillian Greenhill How it was that the most important eatly exhibition of avant garde American pictorial photography came to be held at The Royal Photography Society. October 1900, then considered a bastion of photographic conservatism. Deals with conflict between Alfred Stieglitz and Holland Day over the leadership of the new American pictorialist school. PhJ 89/12/568 - 570 073 teenth

Photograph - Century

Collections:

Depictions

Nine-

Japan - Maddox, Brent

The author notes that there is a lack of large research collec-

Art on the Front Lines - Perloff, Stephen

A diary of Censorship in the U S A . from November 1989 until September 1990, indicating its far - reaching effects on for individual artists.

(Dutch)

PF 90/2/6-11

POLAND

PhR 90/3/2 - 12 085 Bitter Freedom Bobrowski, Ryszard

Photography by Country

BULGARIA 078 Bulganan Photography: ture - Georgieff Anthony

portation of Lithuanian people by Stalin to Siberia, in 1941.

the shattered

struc-

A report on the political and artistic situation in Bulgaria A portfolio of Bulgarian new photogtaphy is included. (English)

The Crisis

of Polish Arts.

A short account of the effects the diastic economie reforms in Poland are having on Polish Arts Most photography and art related peiiodicals, pieviously subsidised by the state have ceased publication Mention is made of Foto. Fotografia. Sztuka. and Projekt. (English) EP 90/43/17 - 18

SPAIN

Kat 9O(2)/3/30 - 35

CZECHOSLOVAKIA 079

Letter

from Prague - M r é z k o v é , Daniela

Some thoughts on the influence the new political and social climate in Czechoslovakia will have on their art and photography. /f may lose its specific feature of ambiguity and mystery (English) EP 90/43/18

G R E A T BRITAIN 080 Inscriptions and Inventions: British graphy in the 1980s - Jeffrey, lan

086 Interview: David Balsells - Bauret, Gabriel Interview with David Balsells. one of the founders of the Forum gallery in Tarragona. organizer of the biennal Primavera Fotografica in Barcelona, co - founder of the photography department of the Miro Foundation in Barcelona. On the development and current state of Spanish photographic arts and its related photographic infrastructure. The interview serves as the introdudion to a remarkable portfolio of contemporary and some older Spanish photography, including works by Vallhonrat, Rafael Vargas, Carles Fargas, Humberto Rivas, and Koldo Chamorro (French/English)

Photo-

Danish translation of the English text by lan Jeffrey. originally published in the exhibition catalogue 'Inscriptions and Inventions British photography in the 1980s' (British Council. 1987) (Danish) Kat 90(2)/4 - 20 081 Abbild und Metapher Zur Britischen Fotografie der 80er Jahre (Representation and Metaphor. Photography in Britain during the 1980s) Stathatos, J o h n An appraisal of British Photography during the 1980's. considered in relation to the cultutal background in which it originated The author states that a consideration of "British" photography in the sense of a search for spurious national characteristics has become largely irrelevant as opposed to the issue of photography IN Britain... Instead of a British style. there is

Cal 90/25/12 - 16 087 Dr. Ameisenhaufen's J o a n / Formiguera, Pere

Fauna - Fontcuberta,

A Danish reprint of parts from the oiiginal Spanish edition of Fauna, 1989 Some 15 illustiations are included (Danishl Kat 90(2)/4 • - 31 088 Contemporary dentoft, Astrid

Spanish

photography

- Nor-

Survey of recent developments in photographic culture in Spain, after 40 years of Franco and the transition to a social - democracy Photogiaphers featured Mare Viaplana & Mabel Palacin, Rafel Vargas, and Jorge Ribalta A special chapter is devoted to the Aquariana series by Manel Esclusa (Danish/English Summary) Kat 90(3)/2/14 - 16

SWEDEN OH

Letter

bodies;

INDEX OF BOOK REVIEWS trom Sweden

Author - 77f/e

- L u n d s t r ö m , Jan -

Resisting

the AIDS mythology.

1989. MIT Press. Cambridge. Mass

Society - M u s e u m organised by the Nordika Musset in Stockholm , solo exhibitions by two of Sweden's most well known and influential photographers Oawid and Gunnar Smoliansky Photogtaphy seems to have completely invaded the Swedish att wotlri (Danish/English Sumaryl Kat 90(21/3

- 59

1989, Aperture Ft 90/11/82

Index to Photographers

Capi - L'ux Alblas

Prijs

No 15. 1990. PF 90/4/31

10 Jaar. 1990, Capi - Lux Al-

blas Stichting

PF 90/4/38 Fotografie

in Nederland.

1989, SDU Pu-

blishers, Den Haag Two Masters

and John

Revisited:

Gutmann

Carlotta

Corpron

Histoire

- Coleman. A D .

Review of two retrospective exhibitions one of American fe male absttact photogtapher Carlotta Corpron (mfluenced by Moholy and Kepes), and two exhibitions of street photographer 091

Art Directors Rotavision

De Nieuwe

USA 090

Aperture issue 116. Photostroika. Foundation, New York

J o h n Gutmann

tnformed

Ob/ects

PhR 91/1/6 - 7,13

Fc 90/2/53

Ft 91/1 - 2/40

Hollands Dossier 1980 - 1990. een decennium fotojournalistiek. 1990. Focus Publ Amsterdam/SDU Pu bhshers. Den Haag Ft 90/10/90 PF 90/4/38

- Earle, EdwardW.

This issue of CMP Bulletin seems to be the catalog to the tnformed Objects exhibition cutated by Edward W. Earle. featuring the American artists Zeke Berman (photo gtaphy as sculptuel. Rick McKee Hoek (Codex series, grid of 28 - 36 appropriated' images), and William Paris (photographs as eficient and penettating Instruments of thoughtl Includes artists statements and a short introduction by Earle C M P 88/4/1 3? OU A Contemporary Portfolio - Jones, Kellie The author posed the following 2 questions to ten African American photographers 'as a framework for exploring ideas of aesthetics and the process of art - making' 1 What organizational pnncipals structure yout work', 2 Who are some of the other photographers and artists you look at or find interesting Photographers responding were Accra Shepp, Adger W. Cowans, Fern Logan, Mikki Ferrill, Dawoud Bey. Jeffrey Scales, Deborah Willis, Albert Chong. Todd Gray. and Carrie Mae Weems A photo by each of these is published 7

Hoorn

in Beeld, zes fotografen

en hun visie op

Hoorn, 1990, Drukkerij Edecea, Hoorn Landschap

in Nederland.

PF 9O/4/40

1990, Gary Schwarz Publ /SDU

Publishers. Den Haag Nmeteenth

Ft 91/3/67

- Century

sity of New Mexico

Photographs

Art Museum.

at the

Photography cus/SDU

Annual

Renaissance,

of the Netherlands.

drie teksten

093

Fotografie Biënnale Rotterdam II - O p -

posftions. - Broekman. Wim Interview with Bas Vroege, curatot of the O p - positi-

gtaphy and cultural identy, the 'new documentary' (Dutch) Ft 90/9/74 - 81 094 F ried Eyes man, A D .

Houston Fotofest 1990 - Cole-

An insiders review of the Houston FotoFest 1990, comptising some 29 inhouse exhibitions displaying 2400 pho tographs - and outdoors some 70 exhibitions more Apart from some history, and reviews of several exhitxts. the author has some afterthoughts on Fotofest's immediate futute building an adequate support structute and enlarging the local and regional audience EP 90/43/13 16 095

Noorderlicht

Groninger

Vruchten

- Mars-

man, Eddie An account of the photographic infrastructure of the Dutch province of Groningen, the history of the USVA Fotogalerie and the upcoming November Groningen Fotografiemaand (Dutch) GKf 90/2/11 096

Mois de la photo 1990

Réflexion'

'Après

Ie Deluge

- Thijsen, Mirelle

Interview with Jean - Luc Monterosso. organiser of the Paris Mois de la Photo since 1980 A look back In the last ten years. photography has established itself as an artistic medium; There is a necessity for historical reflection. In 10 years a history of photography should be developed Another topic discussed the establishment of La Maison Européene de la Photographie in Paris (with Monterosso as artistic directot) (Dutchl Ft 91/3/28 - 31

1990, FoPF 90/4/51

van Luce Irigaray.

taald en becommentarieerd.

postmoderne.

ver-

Rui 90/3/31

Stad in de ruimte.

1990, Fragment Publ. Amsterdam Ft 90/12/116 Ft 01/3/68

Vanishmg

verhalen,

vrouwelijkheid

Presence.

of Nature and Photography. Kat 90(2)/4/4/

1989. Rwoli Publ, New York

A d a m s , Ansel (phot.)/ Alinder, Mary Street/ Still man, Andrea Gray (eds.) - Letters and Images 1916 - 1984 - Ansel Adams. 1990. Bullfinch Press / Little, Brown & Co.. Boston Ft 90/9/53 TPC 8 9 / 8 - 9 / /

(ed.) - The American

Wilderness.

1990. Bullfinch

Press

- Immagmi

Scoperte,

hed

Ft 90/11/87

Avery, Sid (phot.l/Schikel, Richard (txt.)- Hollywood at Home: A Family Album 1950 - 1965 Photographs by Sid Avery. 1990, Crown. USA TPC 91/2/5 Ballerini. Luigi/ Traub. Charles (eds.) - Italy observed m Photography and Literature. 1988. Rwoli Publ. New York TPC 89/8 - 9/11 Bayer, Herbert (phot.) and Archive

The Herbert

at the Denver

Bayer

Art

Col-

Museum.

1989, University of Washington Press, Seattle TPC 8 9 / 8 - 9 / 1 2 Bennekom, Kors van (phol I Bernlef J . (txt.) De familie

Van Bennekom.

1990, Bert Bakker Publ.

Amsterdam

Fc 90/12/22 Ft 90/12/116 PF 90/5 /O

Bertiau. Herman (phot.) - Bruxelles Labor 8, C F C - Editions

Intime. 1990. Fc 90/6/76

Besnyö, Eva (phot.) - Zeeland Toen. 1990. Werk groep Eva Besnyö Fragment Publ, Amsterdam Ft 90/11/83 Boccazzo - Varotto. Attilio

(photl/Valcanover,

Franceso (txt.) - Venice 360 degrees. Verlucca

1987, Priuh & PF 90/4/36

Boffin, Tessa/ Gupta, Sunil (eds.) - Ecstatic

Anti-

PhJ 90/3/130

Fiedler, Jeannine (Hrsg.) - Fotografie

am Bau-

haus. 1990. Dirk Nishen Verlag. Berlin

EP 90/43/55 Warhol:

tory Years. 1989. St Martin's Ptess

The fac-

T P C 89/8 -

9/11

Fleischhauer, Carl/ Brannan, Beverly W. (eds.) Documenting

Chadwick, Helen (phot.)/Warner. Marina (txt.) Enfleshmgs.

Roger

ol the 1850's, 1990. South

1990, Jo Brunenberg, self - publisAmerica,

1953 - 1943. 1988, University

of California Press, Berkeley

TPC 89/8 - 9/9

1989, Secker & Warburg, London EP 90/43/58

Forbes, Heather - Beautiful Ambrotypes, early photographs. 1990. Travelling Light. London Ft 90/11/87

Chargesheimer (phot.)/ Muthesius, Angelika (ed.) - Chargesheimer

1924 - 1971. 1990. Benedikt Ta-

schen Verlag

Fufton, Marianne - Eyes of Time

Ft 90/10/90

lism in America,

Photojourna-

1989. Little. Btown & Co.. Boston TPC 89/8 - 9/8

Charpentier, Peter - Werken

in de

Fotografie.

1990, Uitgeverij de Ruiter, Gormchem

PF 90/4/39

Gautrand, Jean - Claude - Photographer's 1990. Van Gennep. Amsterdam

Cooper. T h o m a s Joshua (phot.) - Dreammg Gokstadt.

1990. Greame Murray. Schotland

Ghirri, Luigi (phot.) - Paesaggio ta. Milano

Italiano. 1990. ElecFt 90/12/116

Goldberg, Vicky (ed.) - Photography

in Print.

TPC 89/8 - 9/6

Dalton, Stephen (phot.)/Bailey, Jill (txt.) - Af The Waters Edge. 1989, Century Hutchinson PhJ 89/12/563

G o o d r u m . Charles - Treasures

Desvergnes. Alain (phot.) - Yoknapatawpha. Ie pays de William Faulkner. 1990. Marval Editions, Paris

G r a n ö , Veli (phot.) - Onnela.

Ft 90/11/83 Doherty, Willie (phot.)/Fisher. Jean (txt.) - Unknown Depths. 1990. Ffotogallery. Cardiff/Orchard Gallery. Derry/Third Eye Centre. Glasgow P 91/40/76

Conservation.

in Archeology

and

1989. Cambridge University Press. Cambrid

PhJ 90/3/131

Duarte, Carlota (phot.) - Odella A Hidden Survivor. 1990. Umversity of New Mexico Press. Albuquerque

1989.

University of New Mexico Ptess, Albuquerque

ArD 90/2/119

Dorell, Peter G . - Photography

Paris,

Fc 90/12/23

the

Ft 90/10/90

Cowling, Mary - The Artist as Anthropologist The Representation of Type and Character in Victorian Art. 1989. Cambridge University Press. Cambridge

Congress.

of the Library

1991, Harry N Abrams. New York T P C 91/2/4 1990

Kat 90(3)/1/56

Groot, Paul - Engelen, scenario's voor beeldende kunst. 1990, Picaron Editions, Amsterdam Bid 91/1/28 Guichaoua, Yann (phot.) - Dakar 90. 1990. Hachette. Paris PF 90/4/38 Hellebrand, Nancy (phot.)/Hagen, Charles (txt.) Nancy Hellebrand: Writing. 1989, Pace/McGill Gallery, New York PhR 90/3/51 HUI. Paul (phot.) - White

Peak Dark Peak. 1990 Kat 90(31/2/53

Exp 90(271/4 51 Hockney, David (phol l Joyce. Paul (txt.) Dubreuil. Pierre (phot.)/ Jacobson, T o m (ed.) Pierre Dubreuil:

Photographs

1896 - 1935. 1989.

Hockney

on Photography

Paul Joyce.

David

Conversations

1988. Harmony

with

T P C 89/8 - 9/12

University of New Mexico Press, Albuquerque TPC 8 9 / 8 - 9 / 1 1

Holden, Robert - Photography lia: The Mechanical

Dunford, Penny - A Biographical Artists

Dictionary

in Europe and America

AustraBook.

TPC 89/8 - 0/7

since A r D 90/4/206

Eder, Josef Maria - Das

in Colonial

Eye and the Illustrated

1988. Hordern House. Sydney

1850. 1990, University of Pennsylvania Press, Philadelphia

Ft 90/12/116 Ft 91/3/66

- Photographer

Bank Board. London

Finkelstein, Nat (phot.) - Andy Brunenberg, Jo (phot.)/Coumans, Willem K. (txt.)

Women

Adams. Ansel (phot.)/ Stillman Andrea Gray

spreen het

Fenton

1990. SUA Publ. Amstetdam Rui 90/3/34

Fc 90/3/83

lection

Meaning.

1990. Perdu Publ. Amster

dam

ons xhibition in Rotterdam Statements on such topics as documentary photogtaphy and the media - monopolies; photo

Univer-

TPC 91/1/5

Utopia Postutopia Configurations Culture in Recent Sculpture and 1987. MIT Press. Cambridge. Mass

Photography Festivals

mythen,

1990, University of

New Mexico Press. Albuquerque

Exp 90(27)/4/27 - 31

B r ü g m a n n , Margret - Verstilde kende beelden:

S F C 90(17)/1/29

de voir, 1990, Centre National de la Photogtaphie.

Pans

Rui 90//36

Fenton, Roger (phot.)/Lloyd, Valerie (txt.) Bolton, Richard (ed.) - The Contest

Report on the photography activities in 1989 in Sweden the Photography at Göteborg. a symposium Photography -

Publ, Köln

P 91/40/83

Erik annual conference of the European Society for the History of

1990, Rivers

Oram Press, London

Magazine Issue PAGf

Hopkinson, T o m (ed.) - Assignments 3; The British Photographers' Association Yearbook. 1989. Phaidon Press. Oxford PhJ 89/12/563

Pigmentverfahren.

1926(19901, Lindemanns Buchhandlung, Stungart Ft 91/1 Eggleston, William (phot.) - The Democratie rest. 1989. Secker 8, Warburg. London

-2/43

Hoy, Anne H. (ed.) - Fabrications. Staged. Altered. and Appropriated Photographs. 1987. Abbeville Press, New York Kat 90(2)/4/47

For-

PhJ 89/12/563

Jacob, Mary Jane/ Goldstein, A n n / Rorimer, An nel Singerman, Howard - A Forest of Signs

Elligens, Adriaan - Alles op zi/n plaats. 1990. Joh Enschedé & Zonen, Haarlem Ft 91/3 66

in the Crisis of representation.

Art

1989, MIT Press. Cam

bridge, Mass /Museum of Contemporary An, Los Angeles TPC 89/8 - 9 9

Eskind, Andrew/ Drake. Greg (eds.) - Index American

Photographic

Collections,

& Co.. Boston

1990, 6.K. Hall TPC 91/2/3

Essamba, Angele Etoundi (phot.) - Passion. An Dekker, Amsterdam

1989,

Rui 9O/2/20

Jay, Bill/ Moore. Margaret (eds.) - Bernard On Photography,

1989. Gibbs

Smith

Karttunen, Ulla (ed.) - Seaufy and Madness: nish Photographic

Yearbook.

Kat 90(3)/1/57

Keefe, Laurence/ Inch, Dennis photograph.

Fin-

1990. Photogtaphic Mu

seum of Finland Evans, Walker (phot.)/Mora. Gilles (txt.) - Walker Evans: Havana 1933. 1989. Pantheon Books. New York / Contreiour. Paris Fc 90/6 77

Shaw

T P C 89/8 - 9/5

The Life of a

1990, Focal Press

Ft 91/1 - 2/40

Kat 90f2)/4/59 Kelaranta, Timo (phot.) - Prossese/a, Evans. Walker (phot.l Maharidge. Dale/ William son, Michael - And Their Children After Them. 1989, Pantheon Books, New York TPC 89/8 - 0/6 Evans, Walker (phot.) - Amerika, jahren

der Depression.

München

Bilder aus

den

1990. Schirmer/Mosel Verlag.

1990 Kat 90(3)/1

King, S. Carl - The Photographic Impressionists of Spain A History of the Aesthetics and Technique of Pictorial Photography. 1989. Edwin Mellen Press. Lewiston. NY. USA ArD 90/2/119

Ft 90/12/116

Fehr, Michael/ Kuhn, Annette (eds.) Marianne Pitzen's Schneckenhaus: matriarchale Gesellschafts - und Museumentwurle . 1990, Wienand

Klich. Kent (phot.) - The Book of Beth. 1989. Aper ture Foundation. New Yoik GKf 90/1/5 Kooiman, Geert (phot.) -

Schrijversgezichten,

1990, CPNB, Amsterdam

Ft 90/9/5?

Cost of Living,

1989?. Cornerhouse Press. Manchester EP 90/43/58

the world as seen by

Mag-

num photographers.

1990, Andre Deutsch, London

Plachy, Sylvia (phot.) - Unguided ture Foundation, New York

Tour. 1990, AperFt 90/12/116

PhJ 90/3/128

liam - Zeitblende. Photographie,

Funf Jahrzehnte

Magnum

Leijerzapf, Ingeborg Th. (ed.) - Het museum

van Auguste

Grégoire,

Post Wolcott Marion (phot.)/Hurley, F. Jack (txt.) - Marion Post Wolcott: A Photographic Journey. 1989, University ol New Mexico Press. Albuquerque

fotografisch Fc 90/2/53

Lemmens, Frans (NL) - Algerian

Dust.

T P C 89/8 - 9/8

sterdam

PF 90/4/36

Raven, Arlene (ed.) - Art in the Public Interest, 1989, UMI Press, Ann Arbor S F C 90(17)/1/4

photographic

prints.

19th

Company. Rochester 1990, Photofind Gallery, New York PhR 90/3/51

Strindberg

som fotograf,

Photograp-

Sundt, Christine L. - Conservation Collections.

and Resources.

ArD 9O(9)/2/109 Research

Rempel, Siegfried - The Care of

Photographs,

1988. Nick Lyons Books

T P C 89/8 - 9/6

Grace. 1990, Aperture

Foundation, New York

Until

1990. The Modern Museum ot Art, New York

T P C 90/4/4

9/11

keit und Weiblichkeit schichte.

von

in Kunst und

Mannlich-

Kunstge-

as History,

Matthew

Photo-

Brady

Tuija Lindström.

1989,

Bil 90/47/60

V e n e t i ë , Robbert van/ Zondervan, Annet schiedenis

Sayag, Alain (ed.) - De la photographie graphie, Paris

comme Bil 90/4/45

Schick, Ron/ Van, Julia - The View from

Space:

American

1972,

Astronaut

Photography.

1962 -

1990, Clarkson N Potter Publ. New York Lundström, Jan - Erik - Nordiska Nordic

Landscapes.

landskap

PhR 90/3/51

grafie.

van de Nederlandse

Schles, Ken (phot.) - Invisible

1990, 010 Uitgeverij, Rotterdam

1989 Fc 90/2/5?

Vinski, Vladimir (phot.) - Hotel

Fragment Publ, Amstetdam

McCullin, Don (phot.) - Open Skies. 1989. Jonathan

Sexton, J o h n (phot.) - Quiet

McWilliams, J o h n (phot.) - Land of deepest Shade, 1990. Aperture, New York Ft 90/12/116 Moerkerken, Emiel van (phot.)/Berg, Nanda van Foto's.

P 91/40/78

Czechoslovak

Photography,

1989, Mlada fronta Bil 90/4/43

Nachtwey, J a m e s (phot.) - Deeds Thames S Hudson, New York

of War, 1989, PhJ 89/12/562

Namuth, Hans (phot.) - Los Todos Santeros. 1989, Dirk Nishen Publ. London PhJ 89/10/464

Sherman, Cindy (phot.)/Danto, Arthur C. (txt.) -

Warhol:

Untitled

Art, New York

Film Stills. 1990, Verlag Schirmer/Mosel, Mün-

chen

Neusüss, Floris M. - Das Fotogramm in der Kunst des 20. Jahrhunderts. Die Andere Seite der Bilder - Fotografie ohne Kamera, 1990, DuMont Buchverlag, Köln EP 90/43/55 Newhall. Nancy - From Adams to Stieglitz, Pioneers of Modem Photography, 1990, Aperture, Miller ton Ft 90/11/83

samhallet.

i det

postmoderne

1989, Carlssons Boklörlag

The work

of Victor

Best Sellers;

Hundred

Stock

Top Moneymaking

One

Photos.

Moore 8i Moore, New York

1990.

PF 90/2/31

Sloane,

Smith, Joshua P. (ed.) - The Photography

of In-

vention:

1989,

American

Pictures

of the 1980's.

MIT Press. Cambridge, Mass

Kat 90(2)/4/46

Söderberg, Rolf - Edward Munch / August Strindberg - fotograf! som verktyg och experiment (Photography as a Tool and an Experiment).

Stad

Bil 90/47/6?

berties:

AIDS and Cultural

Dynamische Ft 90/11/82

Weaver, Mike (ed.) - British Nineteenth

Century:

1989, Serpent's

Photography

The Fine Art

in the

Tradition,

1989,

ArD 90(9)/2/l 19

W e g m a n , William (phot.)/ Kunz, Martin (ed.) William Wegman. Paintings, Drawings, Photographs, Videotapes. 1990, Harry N. Abrams Co.. New York Fc 90/11/28 Welty Eudora (phot.l/Price, Reynolds (intro) Welty

Photographs,

Press of Mississippi. Jackson

1989. University ArD 90(91/4/210

P 91/40/79

graphy West Grapics, Carmel

Photographer

- Brett Weston.

Mi-

1989, PhotoT P C 90/4/7

White, Minor (phot.)/ Bunnell, Peter C. (ed.) - Minor White: The Eye That Shapes. 1989, Little, Brown & Co /Boston An Museum, Princeton University TPC 8 9 / 8 Wiener, Andy (phot.) - Cautionary nerhouse Press, Manchester

Bil 90/47/59

ke and Douglas

9/11

Tales. 1990, CorP 91/40/82

Willis - Thomas, Deborah - Black

Photographers

1940 - 1988. 1989, Garland Publishing. New York T P C 89/8 - 9/7

Stam, 1990. Harry N. Abrams Co, New T P C 91/2/5

Annual

Steele - Perkins, Chris (phot.) - The

TPC 91/2/4

Principle.

York. USA, curator: Yad V a s h e m Biënnale, Critical

Venice, Realism.

Houston

Winogrand. Garry (phot.)/Szarkowski,

Pleasure

1989, Cornerhouse Press, Manchester EP 90/43/58

J o h n (txt.)

from the real world. 1989. Thames & Hud-

son, New York

PhJ 89/8/364

Wojnarowicz, David /McCormick, Carlo/ White Curtis/ Carlin, J o h n / Wojnarowicz, David (txts)/

Stone, Sascha (phot.) - Sasha Stone. Fotografien 1925 - 1939. 1990, Dirk Nishen Verlag, Berlin Ft 90/10/90

Blinderman, Barry (ed.) -

Tongues

of Flame,

nr.

PhR 91/1/20

1990,

Ft 90/10/36

Perspektief. Centre for Photography. Rot-

terdam. NL, curator: Michael Gibbs Fotofest

P 91/40/69

1990. organizers: Fred Baldwin Kat 90(3)2/49 PF 90/2/59

de l'lmage

Professionelle,

curator: Vin-

cent Bertomeu Making

Good

Moermansk,

PF 90/4/20

Time, California Museum of Photography. Fc 90/3/83

Photo Club Murmansk, Murmansk. SU

Oppositions, Fotografie Biënnale Rotterdam, 1990, Perspektief, Centre for Photography, Rottetdam, NL, curator: Bas Vroege

Bil 90/48/40 Kat 90(3)2/46 P 91/40/67

Peru:

Imagenes

de Ayer y Hoy (A

of the photographs temporary

work),

of Martin

Photos

in Fodor/Foto's

con-

in Fodor, Fodor Museum, P 91/40/72

vu pai les photographes,

Rencontres

and

P 91/40/74

Amsterdam, NL Picasso ris, F

retrospective

Chambi

Circulo de Bellas Artes, Madrid, E, cu-

rator: Luis de Toledo

d'Arles

Musée Picasso, PaBid 91/1/31 Ft 90/9/82

1990,

Rückschau

auf DDR - Fotografie.,

Kunstsammlungen, Cottbus, DDR Souvenir

de voyage,

1990.

University Galleries of Illinois State University. Normal PhR 90/3/51

Staatlichen Bre 91/1/15

Tropenmuseum, Amsterdam, NL Bid 91/1/33 Ft 91/3/32

The Art of Photography 1839 - 1989, Royal Academy of Arts, London. GB, curators: Mike Weaver/ Norman Rosenthal/ Daniël Wolf PhJ 89/9/405 PhJ 89/9/400 Tjarda Sixma,

Weston, Brett (phot.)/Coke, Van Deren (txt.) Master

Stange, Maren - Symbols of Ideal Life: Social Documentary Photography in America 1890 1950. 1989. Cambridge University Ptess, Cambridge

York

Iss. page Index Jewish Museum. New

PF 9O/4/20

(eds.) - The Art ot Photography: 1839 - 1989. 1989, Yale University Press, New Haven PhJ 89/9/403 TPC 89/8 - 9/5

TPC 91/1/5

1990. 1990, Daguerrian Society, USA

The

Li-

S F C 90(17)/1/29

PF 90/4/24

Squiers, Carol (ed.) - The Critica! Image Essays on Contemporary Photography. 1990, Bay Ptess. Seattle Kat 90(3)/2/52

Palmquist, Peter E. - The Daguerrian

Parr, Martin (phot.)/Chessyre, Robert (txt.) -

Analysis,

Tail

- Figments

Palmquist, Peter E. - Shadowcatchers: A Directory of Women in California Photography Before 1901. 1990, Petet E Palmquist Publisher T P C 91/2/4

Andy

1988, Museum of Modern

1950 - 1990. 1990, Duo/Duo. Rottetdam

Stam Twins (phot.(/Grundberg, A n d y (txt.) -

Mag., Ghetto.

P 91/40/77

TPC 89/8 - 9/10

(txt.) - Eudora Speksnijder, Aad (ed.) - Rotterdam,

Title

Weaver, Mike/ Wolf, Mike/ Rosenthal, Norman

1990, Open Air, Dublin/lmpressions Gallery, York P 91/40/76

Rui 90/3/37 O n g , James - Photography

A Retrospective.

Cambridge University Press, New York the North:

Exhibition

A Day in the Warsaw

Wall:

Sloane, Victor (phot.l/McAvera, Brian (txt.) -

Bil 90/47/60

Oele, Anneke/ Walinga, Ingeborg - Blikken over en weer: vi/f kunstenaars zoeken hun plaats in het museum. 1989, Gemeentemuseum Arnhem, Arnhem

Ft 90/10/90

Watney, Simon / Carter, Erica (eds.) - Taking Sloan, Mark - Hoaxes, Humbugs and Spectacles: Astonishing Photographs of Smelt Wrestlers, Human Projectiles, Giant Hailstones. Contortionists, Elephant Impersonators, and Much, Much More!, 1990, Villard Books. New York PhR 91/1/19

INDEX OF EXHIBITION - REVIEWS

Ft 90/10/54

1990.

Bre 91/1/43

1989, Altabeta Förlag

Nordstrom, Gert. Z. - Bilden

van

Warhol, Andy / McSchine, Kynaston (ed.) -

Marking M r é z k o v é , Daniela/ Remes, Vladim - Roads

in het voorjaar

Ft 90/9/52

1989, De

Bezige Bij, Amsterdam

De akkerbouwacties

1990. 1990, Vancouver Art Gallery, Vancouver

Light. 1990, Little,

PF 90/4/39

Wall, Jeff (phot.)/Zaslove, Jerry (txt.) - Jeff

PhJ 89/8/37?

den (txt.) - E. van Moerkerken:

Vogelaar, Marianne (txt.)/ Bijman, Sjan (ed.)

PF 9O/4/40

1989.

Fc 90/2/52

Cape

Ft 91/3/66

Indus-

1990, Fragment Publ., Amsterdam

San Francisco, USA

City, 1990. Braus.

Ft 90/9/53

Brown & Co., Boston Martens, Peter (phot.) - Cruel Compassion,

Monumenten,

Journées

Ge-

PF 90/4/37

City. 1990, Twelve-

trees Press. Pasadena, Calif. Makos, Christopher (phot.) - Warhol.

Mexico,

T P C 89/8 - 9/9

and Harla Kaplan

architectuurfoto-

1990, Misset, Doetinchem

1989. Alfabeta Förlag Bil 90/47/61

- New

Kat 90(3)/1/54

Heidelberg Lindström, Tuija (phot.) -

Evans. 1989, Hill and Wang, New York

un des beaux - arts. 1989, Centre National de la Photo-

1989, Dietrich Reimer Verlag, Berlin Rui 90/3/37

ETC Förlag, Stockholm

Now.

Ft 90/12/116 Ft 91/3/68

Konstruktionen

Images

American

Fc 91/3/24

Lindner, Ines/ Schade, Sigrid/ Wenk, Silke (eds.) - Bliek - Wechsel:

Methods

1990. Kendall & Hunt, Dubuque

Szarkowski, J o h n (ed.) - Photography

Walker

T P C 89/8 -

for

PF 90/2/84

graphs:

Press, Albuquerque

Practices

ArD 9O(9)/4/208

chin, Fred - Un Uncertain

1941 - 1943. 1989, University ot New Mexico

T P C 89/8 - 9/6

1989, University of New Mexico Press, Albuquerque

triële

1989, Visual Re-

sources Association, USA

Salgado, Sebastio (phot.)/Galeano, Eduardo/ Rit-

mcle,

Ptess

P h M 90/84/29

Levinthal, David (phot.) /Levinthal, D a v i d / T r u Chro-

A Ses-

1989, University of lowa

Zilvold, Rien (phot.)/Nijhof, Peter (txt.) -

hers. 1990. Harry N. Abrams Co., New York

deau, Garry - Hitier

East: A Graphic

Celebration.

W o o d , Nancy (ed.) - Heartland

Sullivan, Constance (ed.) - Women

Trachtenberg, Alan - Reading moves

Per 1989, Kalej-

Bil 90/47/62

1986, Eastman Kodak

Levinstein, Leon (phot.VGee, Helen (intro) (txt.) Leon Levinstein,

quicentennial

doskop

Swan, Lois - Art Information: Reilly, James M. - Care and Identification - century

W o o d . J o h n (ed.) - The Daguerreotype:

Ft 91/3/67

Strindberg, August (phot.)/Hemmingson,

Slide and Photograph

Sahara / Sahara

1990, SDU Publishers, Den Haag/Focus Publ., Am-

Vision, 1990, Aperture

Ft 90/12/117

1989. SDU Publishers,

Den Haag

Algérien.

1990, Marval Editions, Paris

1989, Schirmer/Mosel Verlag, München EP 90/43/55

An American

(txt.) - August Plossu, Bernard (phot.) - The Garden of

Lacouture, Jean/ Ritchin, Fred/ Manchester, Wil-

Paul Strand,

Foundation, New York

Lacouture, Jean/ Ritchin, Fred/ Manchester, William - In Our Time:

Strand, Paul (phot.)/ Greenough, Sarah (ed.)

fotowerken,

Gemeentemuseum Arnhem. Bid 91//32

William Wegman: paintings, drawings, photoworks. and videos. Stedelijk Museum, Amstetdam, NL P 91/40/71

Guillumet. Jordi IF.19531

INDEX OF PHOTOGRAPHERS part 1 Photographer

C a l 90/25/27

Magazine, Issue PAGE

PF 90/2/38 Kat 90<3)/1/52

Güler, Ara (1R.1928)

Kat 90(2]/3

C - CURRICULUM VITAE. B - BOOKREVIEW.

Hamoen. Marco INL. 19621

E - EXHIBITION REVIEW. V - VIDEOMAKER

PF 90/4/46 Kat 90(31/1/25 Bid 91/1/4

Hoeks. Teun (NL.1947) Ft 90/11/61

Hoeven, Miep ter (NL.1933)

Ft 90/12/106

Arnatt. Keith (GB.1930) Arnold, Bill (USA.19411 Bachman, T.B. (Stil

EP 90/43/32 Fc 90/2/1(1 M d V 90/1/26

P.C

PhR 91/1/14

P P

Bamber, Roger |GB|

P h J 90/2/59

Batlle, J o s e p (E.195BI

Cal 90/25/30

IM:

Ft 90/9/54

Beernink. Gerlo (NL. 1956') Fc 90/11/51 Berman Zeke IUSA.1951) C M P 1988/4/5 Bergström. Pelle IS') Bil 90/47/3

Blok, Diana (NL.19521

081

Baden, Karl (USA|

Becker, Christine (DDR)

P.C

091

Fc 9 0 / 2 7 /

Fc 90/6/44

Sarabia, José (P/E/USA.1934 i Cal 90/25/75 Sartoni, Danilo Ft 90/10/74

PF 90/2/6

l'C

PhJ 90/5/253 p

Kat 90<2)/3/37

023 078

Sekaer, Peter (DK/USA.1901

046 023

Ft 90/10/44 Kat 90(3|/2/26

p PC

049

Bil 90/47/46

P.C

PC p

S i m m o n s . Laurie

Bil 90/48 3 S F C 9O/1/10

p p p PC

078

p 1' c

Spies. Hans INL.1905 19781 Steege, Peter van der INL) Stokvis. Berry (NL.1944')

1' c p.l p

P.C

Ft 91/3/43

078

Dolcet, Juan IF.1914)

Cal 90/25/66

P.C

Downing, J o h n (GB) Driezen, Corneille (B'l

P h J 90/2/54 Ft 90/11/66

Fargas. Carles (E.19611 Ferrol, Manuel (1,1932)

Cal 90/25/36 Cal 90/25/74

IM:

P.C

087

P.C

List, Herbert ID.1903

1975) Kat 90(31/2/4 Ft 90/10/40 EP 90/43/29

050

004 051

P h J 90/5/201

Fc 90/6/25 EP 90/43/44

P.C IM:

IM:

Marler, Cindy (/NL, 1954] Masats, R a m ó n (E. 19311 Matuschka, (USA)

Cal 90/25/67 PF 90/2/50

c e

Ft 90/10/49

Mende. Hans W . ID.1948)

Kat 90(2)/3/52

P.C

Kat 90(31/1/46

Fc 90/12/52 P 91/40/60

PF 90/5/44

Fc 90/11/30

PF 90/3/52 Ontanon, Francisco (1,19221 Cal 90/25/70

P.C

P 91/40/79

Ft 90/10/77 Bil 90/47/32 C M P 1988/4/21

P.C p

PI p

Ft 91/1 - 2/72 Wlodarczyk, Mimi Lola (USA/D.1961)

065

080

Bailey, David A . Banerjee, Susanta

Cal 90/25/80

Ft 91/35?

l'C

PF 90/2 H

IM:

Ft 90/10/72 PF 90/2/31 - 35

Posthuma. Ruud (NL)

Author - Title Baarda, Frits

Pozerskis, Romualdas (SU.1951)

Kat 90(31/2/41

J a c o b s o n , Colin

P.C

034

PF 90/2/6

084

18 ArD 90/4/179 - 1R1 PF 90/moi - 9

035

Exp 90(271/4/27

31 Fc 90/2/76 - 78 Fc 90/3/86 88 Fc 90/6/96 - 98 Fc 90/12/92 94 S F C 90/1/3 - 7

Levi Strauss, David

Kat 90(21/3/58 - 59 V R B 90/4/35 - 37

Malveau, Régine M a r s m a n . Eddie

RPh 90/8 8 - 13 Ft 90/9 38 - 51 GKf 90/2 11

030

003 031 080 092 039 036 038 037 023 089 073 046 040 095

P 91/40/56 59 RPh 90/8 67 - 71

025

024

046 088

Nye, David E.

Kat 90(31/1/54

010

PhR 90/3/2 12 Ft 91/1 - 2/53

077

088

Perloff, Stephen Perree, Rob Peterson. Brian Roberts, Chris

PhR 91/1/8 - 13 PhJ 89/9/408 - 411 PhJ 89/10/476 - 478

036 030 066 023

Roepers, Nicole Rogers, Hélène

Rui 90/33/38

Rouillé, A n d r é Schmid, Joachim

055 011 050 061

062

PhJ 90/5/201 Bid 91/1/4 - 5 RPh 89/7 l 80

051 048

RPh 90/8 l - 90

027 045

EP 90/43 9 PhJ 90/5/252 - 255

026

057

Shevelev, Hyman Raphael 007 Sichel Kim Silversides, Broek Soerensen, Annemette Sorlien, Sandy

P.C

081

Kat 90(21/4/20 Fc 90/3/38 Bil 90/47

080

Stanley, Lawrence A . Stathatos, John Swart, Siebe

067

Thijsen, Mirelle

029

Bauret, Gabriel Cal 90/25/12 - 16 Bennekom, Josephien van GKf 90/2 4 - 5 Bernard, Denis RPh 90/8/16 19 Birt, Rodger C. Exp 90(271/4/7 -12 Blank, Peter P. ArD 90/2/96 - 100

036 042 014 065 002

Bloom, J o h n

20 EP 90/43/17 - IR

056

GKf 90/2 6 - 7 Ft 90/9/74 ei

043 093

032

085

PhJ 89/10/483 - «BS Exp 90(271/4/51 54 PhJ 89/9/435 - (37 Kat 9O(2)/4/50 52

032 071 058 059

P 91/40/10

028

EP 90/43/20

081

EP 90/43/48 90

004

083 096

Ft 91/3/88 Ft 90/10/74

Troost, Frido Waal, Mieke de

M d V 90/1/34

Willis, Deborah Zondervan, Annet

012

PhR 91/1/2 - 4

Ft 91/3/28 M d V 90/1/14

Wallen. Ruth

PhM 90/84/4

PF 90/mei/48

019

EP 90/43/40

Magazine Issue PAGE Fc 91/3/27 3'

044

079

P.C

p p PC

049

EP 90/43/10 - 12 PF 90/mei/14 - 17

Kat 90(21/4/4

Jeffrey, lan

009 050

EP 90/43 18

076 006

Bool, Flip Broekman, W i m

072

RPh 90/8/8 - 13 Kat 90(31/2/14 16

ArD 90/4/175 - 178 Exp 90(27)/4 37 46 PhJ 90/5/218 - 221

Bobrowski, Ryszard

PhJ 89/12/568 - 570 Kat 90(21/4/55 58 Kat 90(31/2/6 - 8

Nordentoft, Astrid

Bre 91/1/24 - 31

Ft 90/9/21

AUTHORS INDEX Backlund, Caroline H.

p p

IM:

Ft 91/3/48

083

014

Schwitters, Ernst p

022

Roos, Robbert

088

P 91/40 5 - 9

L u n d s t r ö m , J a n - Erik

PhJ 89/8/364 Kat 90(21/4/35

078 008

RPh 90/8 16

M r é z k o v a , Daniela Nicfta, Jean - Mare

1' p

021 067

Rui 90/33/8 - 15

p p

020

Ft 90/9/20 - 27

Gibbs, Michael Gunthert. A n d r é

Moisdon, Stéphanie

Fc 9 0 / £ 4 6 S F C 90/1 R Winogrand. Garry (USA.193ff> - 1984)

019 087

Kat 9O(2)/3/30 - 35

Gevers, A n s

p PC

31 RPh 90/8/22 - 27 Bla 90/2/3 - 4 18

064

PC Pc

Kat 90(21/3/17

091

Kat 90(31/1/5

Pisula, Anna (PL/Nll PF 90/4/52 Pla Janini, Joaquim (F.1879 - 1970)

Prins, Lieve IB/NL) Rai, Raghur (IND)

Kat 90(21/4/21

Fréchuret, Maurice

Maddox, Brent

P.C

p PC

Pedersen. Heine (DK)

080

063 062

IM:

Cal 90/25/52 P.C Kat 90(21/3/31 P.C Kat 90(2)/3/40 P

Formiguera, Pere

1980)

Cal 90/25/78

Kat 90(21/4/21

Hughston, Milan

023

Ft 91/3/22 Fc 90/3 42 Webb, Boyd (N2L/GB.1947I Kat 90(2)/4/17

Zwarts, Kim (NL. 19561

018 091

PF 90/4/10

Zilvold. Rien (NI .195/1 Zimmerman, J a n IS')

071

059

PF 90/4/59 PF 90/2/44

Withoos. Hans (NLI Wrtte. Brigitta (NLI

070

P 91/40/16 20 C M P 1988/34/1 -32 Ft 90/10/82 - 85

Hoeneveld, Herman

004

017

RPh 90/8/82

019

PC p

P.I

Fontcuberta, Joan

Jones, Kellie Kalbfleisch. Wilco

016

P 91/40/60

PhJ 89/9/435 - 437

Daniël, Malcolm D o m m a s c h , Hans S.

Hinterkeuser, Ralph

Kat 90(31/2/15

Wijnen, J o s van (NL.1959'1 Winet, J o n (USA)

017

052

Ft 91/1 - 2/8 - 9

Hansen, Henning

Weegee (H/USA.1899 - 1968)

KJ'

091

Ft 90/1242

Hannum, Gillian Greenhill

Viaplana Canudas, Mare 1F.1962) Vlug, Annette (NL.1964') Vlugt, Ger van der (NLI Vlugter. Inge INL, 1963)

IM:

Kat 90(21/4/9 Fc 90/6/44

Ft 90/10/82

Yahooda, Verdi (GB.1952)

Parr, Martin (GB.1952) Pas. Will (NLI

P.C

052

p PC

IM:

078

Fc 91/3/51 Fc 90/11/37

Cal 90/25/26

Paris, William (USA. 1954)

Vering, Henrik (DK?) Verschuuren, Hans (NLI

069

Coumans, Willem K.

Mertz, Paul

Rui 90/3 2 Kat 90(21/3/49

081

Minguez. Pablo Perez IE.19471

Palazzolo. A l d o (1.1948) Palotai, Gabor

Cal 90/25 34 Bre 91/1/16 - 22

Vogelzang, Leo (NI)

C M P 1988/4 13 Ft 90/9/59

058

Fc 90/11/4?

Cal 90/25 ??

Versnel, J a n (NL. 1924)

Ft 90/12/42 Ft 90/9/86

Melo, José IP/NL.1951)

Vargas, Rafael IE. 19591 V e h , Nico (D.19581

090

Geerlings, Sonja Georgieff, Anthony

V e n , Lidwien van de (Nl.1963)

PI PC

Luider, Emile (NL/F.1959?) Mahr, Mari (RCH/GB. 19411

Palacin Lahoz. Mabel IE.1964) Kat 90(31/2/14

Garcia Pérez, Martin (E. 19631

P.C

V a n derZee, James (USA.1886 19761 Exp 90(27)/4/7 - 12

Long, Chinsan IRC.18921

Ortiz - Echagüe, José IE.1886

IM'

P.C

Rui 90/3/38 Fc 90/11/37

Vallhonrat, Javier (F. 1953)

000

M d V 90/1/34

p PC

087

P.C

Talens, Michèle INL.1961)

PF 90/2/20

Oorthuys, Cas (NL.1908 - 1975)

P P.C

Urban Center for Photography (USA) De troit S F C 90/1 18

Norman. Adrienne (USA.1964'1

P.C

Bil 90/48/20

EP 90/43 52

O m m e r e n , Hans van (NL. 19481

Fontcuberta, J o a n (1.1955)

Tabrizian, Mitra IGB.1953)

EP 90/43/36

Nooyer, Flip de (NL)

p p

Troeller, Linda

Mjaaland. Thera - Annelise

C.P

M d V 90/1/46

Swart, Siebe INL.1957)

PF 90/3/46 M d V 90/1/4

Trangmar. Susan (G8.1953)

Natkiel, Max INL.1942I Nixon, Nicholas (USA.1947I

Ewald, Wendy (USA)

P.C

p P PC

F 088 P.C

1976) PhR 91/1/2

Ft 90/12/20 Ft 90/11/74 Cal 90/25/24

McKee Hoek, Rick IUSA.1947)

F 023 P.E F F

P.C

Mantz, H. Werner (D/NL.1901 1983)

l Dubbelman. Guus (NL.1958?) Fc 90/6 'H P Dufour, Philippe IF.I955I M d V 90/1/51 IM Dupuy, Philippe - Gérard (F, 1948)

PF 90/5/22

PF 90/5/59 Lampe, J a n - Clemens (NL. 1938)

Lomax, Yve (GB.1952) 047

P.F

Tjon A J o e . Robert (NL) Toorn, Mike van den (NLI

Lockey, Francis IGB.1796 - 18691

Ft 90/10/82 Ft 90/9 44

Sudek, Josef (CS, 1896 Suister, Ed (NLI

Cal 90/25/58

LevenfeW, Rafael IE. 1955) Cal 90/25/32 Link. O. Winston (USA.1914'1 Fc 90/12/25

064 066 007

Ft 90/12 82 - 85

French, Frank Kat 90(31/1/6

Bil 90/48/27

IM:

Lenssen. T h e d (NL)

057

Sherman. Cindy (USA.1954)

Kat 90(2)/3/38

Lanting. Frans INL/USAI Lele, Ouka (E.1957)

1950) Kat 90(21/4/50

Lamoth, André Pierre |F/NL,I931|

083

094

Kat 90(21/3/18 - 23 Kat 90(21/4/34 42 PhR 91/1/6 - 7.13

Elligens, Adriaan

015

Coppens J a n

Druckrey, Timothy Earle, Edward W.

Schytte, Joergen IDK7.1939)

Keshiyan. Garo (BGI

Bil 90/48/4

056

Schwitters, Ernst |D/N,1918'|

S F C 90/1/12

IM:

CF'

C a l 90/25/33

078

Kerr 8. Malley (USA)

Ft 91/1 - 2/22

EP 90/43/13 - 16 EP 90/43/52 54

Crimp, Douglas

Sanchez, America (RA/E.1939)

Kat 90(2)/3/36 Kazlauskas, Juozas (SU/Lithuania. 19411

Lamboo, W i m (NLI

Exp 90(271/4/13 Fc 91/3/44

Guardans, Xavier (1,1954)

P.C.

Laguillo, Manoio (E.19531

P.C

Dewilde, Robert |B|

Gerritsen, Reinier (NL 1950) PF 90/5/30 G o m e z , Francisco 11.19181 Cal 90/25/77 Gordillo, Fernando (1,19331 Cal 90/25/66 Graham, Paul (GB.19561 Kat 90(2)/4/5 Groot, Reindert (NL) PF 90/3/14

P.C

Cal 90/25/28

Kyurdyan, Takor IBG)

019

Gavrilova. Nely (BG.19641 Geoffroy Thierry

P h M 90/84 4

Ft 9 1 / 1 - 2 / 8 6

Cal 90/25 42 Garcia Rodero, Cristina 11,1949)

RPh 90/8 57 - 60

055

Salgado, Sebastio (BR, 1944)

Krzyzanowski, Michel Szulc (NL.1949)

Ft 90/10/82 Ft 91/3/70

Cal 90/25 43

PF 90/2/25

(NL/F)

IM:

000

Franz. Hans INI I Fraser, Peter (GB, 19531 Freixa, Ferran IE,19501 Frima, Toto (NL, 1953) Garcia Alix, Alberto (f 1956)

Sacha

Fc 90/3/25 Ft 90/10/28

Kruger. Barbara Kilil

P.C

Kat 90(2)/4/?l Cal 90/25/29 Kat 90(21/4/21 Ft 90/10/92 Kat 90(21/4/18 Cal 90/25/59 Ft 90/11/26

048

Houweling, Bert (NL) Janssen, Bert (NL)

Kat 90(21/35 Kransberg. Doriann (NL.1949) Ft 91/3/34

Kat 90(21/4 14 d'Oliveira, Jaap (NL. 1908 - 19781

Formiguera, Pere (1,1952)

Koudelka, Josef (CS.1938)

P.C

Cal 90/25/84 Essamba. Angele Etoundi (TC/NL. 19621 Rui 90/2

Kolarov, Rossen (BG 19591 Kat 90(2|/3/34 Kosc, Zbigniew (Pl/NL.19511 PF 90/3/68

RPh 90/8/8 Crane, Margaret S F C 90/1 H Cualladó, Gabriel (I I925I Cal 90/25 54 Cutting, Laurence INI/GB1939)

Ft 90/12/24

Ft 91/1 - 2 / 5 2

Somani. Horacio Armando (RA/NL.1932) Ft 90/12/106 Sorgedrager. Bart (NLI Ft 91/3/60

Kat 90(31/2/22 Cal 90/25/21 Esquirol, J o s e p IC/E.1874 1931)

P.C

Sisco. Elizabeth (USA)

Chambi, Martin (PE, - I973'| P 91/40/74 Chamorro, Koldo ll 1949) Cal 90/25/48 Chipeva, Nadezhda (BG) Kat 90(21/3/37 Claus, Michel INL) PF 90/2/44 Clemente, Juan Pedro KI Cal 90/25/63 Coudert, Antoine (F. 1866 1910)

Esclusa, Manel II .19521

p C

IM:

Elzenga, Johan INL)

PF 90/5/36

Cal 90/25/76

S F C 90/1/16 Ft 91/1 - 2/44 Fc 90/3/45

Rosner, Leora (USA/NL) Ruiter, J e a n (NL.1942)

Ft 90/9/92

1985)

Durant 8. Finley (USA) Dusarduijn, Sonja (NI I Dusjarduijn Sonja (NL)

Fc 90/2/34

IM:

RPh 90/8/14

Rogers, Houston (GB)

Kohn. Mark (NL)

Cal 90/25/70 Cal 90/25/25

Dagniaux. Sjoerd INL.1924) DeCarava, Roy (USA.19191

Cal 90/25/38 PhJ 89/10/441

Buisine, Alain Coleman, A D .

Rivas, Humberto IRA/E.1937) P.C

Koch, Tusa (NLI

IM:

Centelles Agusti (1,1909

y e

Caramés, Vari (t.19531 Cal 90/25/62 Catala Roca, Francesc (f,19221 Catany, Toni (1,1942)

PF 90/4/26

C88

Knuutila. J a p o

Ft 90/10/38

C54

Fc 90/3 ;

Klein. William IUSA.1928)

Cadieux, Genevieve ICON. 19551

Houts, Theo van (NL)

Ketelaar, Paul INI)

S F C 90/1/14

Buurman. G o n (ND

Rienks, M o n n o INL)

Kazakov, Rafaelo (BG.1963)

Ft 90/12

Rui 90/2/17 PF 90/3/29

Kat 90(31/2/20

Ft 90/12/94

Kaay, Lita van der (NL)

Boy With Arms Akimbo (USA) Bresser, Marijke INL.19511 Bruijn, Brynn (USA/Nll

Ribafta. Jorge IE.19631

Helmer - Petersen. Keld (DK.19201

No P, C, E or V INDICATFS MENTION IN ARTICLE

Allit, Henny INI I

Randen, Wiel van der INL.- 1949) M d V 90/1/14

Hammerstiel, Robert F. (A.1957)

P - POflTFOtIO Ofi 2 OR MORE PHOTOS.

Aart, Rieja van |NL|

Guldemond, Jan - Willem (NL. 19687)

068

23 45

054

Exp 90(271/4/13 26 Exp 90(271/4/47 - 50

047

Rui 90/33/16 - 21

074

063 005

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