Perspektief Magazine No. 44 by Paradox

CHECKPOINT DEUTSCHLAND NL: ƒ 2 0 . - / G B : £ 7 / U S A : S 1 2

M p l r h i t v tle W o l H is a s l a v i n s l and w i t e s r e g u l a r l y a b o u t p h o t o q M p h y A l e x a n d p r v o n B o i m a n n >s p r o f V t K M o ' H e r m a n l a n g u a q e a n d l i t p - a t u r e at t h p U m v e i s i r v nt A n " ; t P ' d a m Frank M Raddat." >s w o r i u n g

Melrhior de W o l f t is slavist en schrijft regelmatig over fotografie Atettridn wn B a m a m is hoogtaraa Duitse taal en letterkunde aan de U m v e r s i t e t van Amsterdam

â&#x20AC;˘ d i a m a t i s t a n d f r e e l a n c e l o u m a l i s t in C o l o q n r an d H a n n o v e r

Ftant M RaddBt2 is w & k z a a m als dramaturg en ftoolancc journalist Keulen en Hannover

E ditorial

In 1 9 9 0Perspektief h e l d a n e x h i b i t i o n o f w o r k b y

Fons Brasser a n d J o a c h i m B r o h m . T h e subject of t h e

series s h o w n by each w a s Berlin, t h e city in w h i c h each h a d lived a n d w o r k e d for s o m e time. Brasser

FEATURE

s h o w o d his S-Bahn project (seePerspektief N o . 42), and B r o h m a series of bleached colour p h o t os evocative content. T h e Rotterdam Poetry t h a t y e a r , w i t h t h e t i t l e B erlin

B erlin,

ARTICLES

H O O F DARTIKELE N

with

International

w a sthe occasion

Checkpoint Deutschland

Checkpoint

Deutschland

Reste des

Authentischen

for t h e exhibit. At that t i m e t h e W a l l h a d just b e g u n t o crack o p e n , a n d there w a s great curiosity a b o u t East

Reste des

1 1

Authentischen

German

culture. A t the close of the exhibit there w e r e

three

Photography and the

readings, the content of which w a s connected with the

DDR

Fotografie en de

F rits G i e r s t b e r g

DDR

Frits G i e r s t b e r g

character of the show. For both the writers a n d those present, everything came together. T h e atmosphere of

The Unsaturated Paintbox

the (West Berlin) p h o t o w o r k connected very well w i t h

Erasmus Schröter and the

t h e c o n t e n t o f t h e East G e r m a n poetry. Since t h e n , t h e

Democratie

idea of giving this confrontation a published f o r m has

M e l c h i o r de W o l f f

German

onverzadigde

verfdoos

Erasmus Schröter en

Republic.

Duitse Democratische

Republiek.

Melchior de W o l f f

been g e r m i n a t i n g . In this issue, this idea c o m e s t o

Reflection is Over, the Future Belongs to Art.

fruition, t h o u g h in a strongly altered political a n d social situation. T h e o c c a s i o n f o r t h i s i s C heckpoint

D eutschland,

p r o g r a m initiated by Perspektief, w h i c h took place in R o t t e r d a m in M a y in co-operation w i t h t h e R o t t e r d a m Art Foundation, LantarenA/enster, Teatro Zeger Reijer's M u l t i p l e s a n d t h e G o e t h e

Popular, Institute.

Interviews with writers, film showings, and the m a n y

A n interview wi th Heiner

Die die

Muller.

Reflexion

Zukünft

Een i n t e r v i e w m e t

F rank R add a t z

ist

gehort

am der

Heiner

Ende, Kunst. Muller.

Frank Raddatz

nach dieser sprudelquelle blut. Recent poetry f r o m

nach

Germany.

dieser

sprudelquelle P o ë z i e uit

S e l e c t e d by A l e x a n d e r v o n B o r m a n n .

blut...

Duitsland.

G e s e l e c t e e r d door A l e x a n d e r v o n B o r m a n n .

exhibitions organized were the basis for sketching o u t a n i m a g e o f t h e cultura l s i t u a t i o n in G e r m a n y at this moment: a confrontation of contradictions a n d

POETRY

POËZIE

c o m m u n i t i e s . It w a s i n t e n d e d a s a c r o s s - s e c t i o n o f a newly amalgamated whole, for those curious

about

Barbara

the individual qualities o f t h e parts a n d their viability

Christian

in a ( c o m m u n a l )

Dürs

future. Bas Vroege

Kohier

Grosz

Grübein

Johannes

Jansen

Bert

PapenfufS-Gorek

Kito

Lorenc

41 cover

R edaktion e el In 1 9 9 0 h i e l d P e r s p e k t i e f e e n t e n t o o n s t e l l i n g m e t w e r k van Fons Brasser en Joachim B r o h m. H e t o n d e r w e r p v a n h u n beider series w a s Berlijn, d e stad

RETRO

5 1

w a a r i n z e allebei g e r u i m e tijd w o o n d e n e n w e r k t e n . The

B r a s s e r t o o n d e zijn S - B a h n p r o j e c t (zie P e r s p e k t i e f N o .

Lament

42) e n B r o h m e e n serie uitgebleekte kleurenfoto's m e t

I n t e r n a t i o n a l d a t m d a t j a a r d e t i t e l B erlin

Jury

Saudek

Poetry B erlin

1991

Labour

e e n suggestieve inhoud. Aanleiding voor d e tentoonstelling vormde het Rotterdamse

of t h e

Prix de R o m e in

Balances Edge

droeg.

Leo

Galleries

Delfgaauw

Kate

Royle

Don

Mader

on the Kitsch

De M u u i s t o n d o p d a t m o m e n t o p e e n kier e n d e n i e u w s g i e r i g h e i d naar d e situatie v a n d e O o s t d u i t s e c u l t u u r w a s g r o o t . Ter a f s l u i t i n g v a n d e t e n t o o n s t e l l i n g w e r d e n d r i e bij h e t f e s t i v a l b e t r o k k e n d i c h t e r s g e v r a a g d

BOOKS

w e r k v o o r t e l e z e n d a t n a a r h u n m e n i n g a a n s l o o t bij d e

Michael

Hearth

John

A i r of a P r e m a t u r e M e m o r i a l

Darkness

aard v a n d e t e n t o o n s t e l l i n g. Z o w e l bij d e a a n w e z i g e n als

Falls

A Chili

d e b i | s c h r i j v e r s zelf, s p r o n g e e n v o n k o v e r . D e s f e e r v a n

The

Upon

Peter

Frits

More on Chambi

Jorge

P h o t o g r a p h y at t h e D o e k

Deanna

inhoud v a n d e Oostduitse poëzie. Sindsdien heeft het

g e v e n , e e n s l u i m e r e n d e rol g e s p e e l d . In e e n s t e r k g e w i j z i g d e p o l i t i e k e e n sociale situ a tie

D e a a n l e i d i n g h i e r v o o r is h e t d o o r P e r s p e k t i e f g e ï n i t i e e r d e p r o g r a m m a C heckpoint

D eutschland

LantarenA/enster,

Teatro Popular, Zeger Reijer's M u l t i p l e s e n h e t G o e t h e Instituut. Daarbij w e r d a a n d e h a n d v a n i n t e r v i e w s m e t schrijvers, het vertonen v a n films e n het organiseren v a n e e n aantal tentoonstellinge n e e n beeld g e s c h e t s t v a n d e c u l t u r e l e s i t u a t i e in h e t D u i t s l a n d o p d i t m o m e n t : e e n confrontatie van tegenstrijdigheden e n g e m e e n s c h a p p e l i j k h e d e n . B e d o e l d als e e n m o m e n t o p n a m e v a n e e n w e e r s a m e n g e v o e g d totaal, b e n i e u w d naar d e afzonderlijke k w a l i t e i t e n v a n d e o n d e r d e l e n e n d e l e v e n s v a t b a a r h e i d daarvan in e e n (gemeenschappelijke)

Bosma Gierstberg Heredia Herst

INF O

INFO

AGENDA

A G E N D A

d a t in

m e i In R o t t e r d a m p l a a t s v o n d e n e e n s a m e n w e r k i n g w a s met d e Rotterdamse Kunststichting,

Gibbs

Taylor

Critical Image

The

idee o m d e z e c o n f r o n t a t i e in e e n publicatie v o r m t e

Enlightenment

at t h e Electric

h e t ( W e s t b e r l i | n s e ) f o t o w e r k s l o o t zeer g o e d a a n bij d e

w o r d t daaraan, bi|deze, e e n vervolg g e g e v e n .

BOEKEN

toekomst. Bas Vroege

CURRICULA FOTODOK

VITAE

CURRICULA

VITAE

F OTO D OK

F rits G i erstb erg

CHECKPOINT

As a saying puts it, 'Europe has a history, Germany has a past.'

"Europa heeft een geschiedenis, Duitsland een verleden", zo luidt

Europe wrestles with its history, Germany wrestles with its

een gezegde. Europa worstelt met de geschiedenis, Duitsland

past. With the fall of the Wall and the unification of the two

worstelt met zijn verleden. Met de val van de Muur en de

Germanies, an important psychological barrier in the process of completely mastering Germany's problemantic past has probably been surmounted. Of course it can be questioned if the elimination of all traces of the last forty year's history in the DDR isn't once again sweeping a part of the history of the fatherland underthe rug, and one can ask both what, and how violent, the eventual effects of this will be.

W h a t is c e r t a i n is t h a t e v e r y t h i n g t h a t h a d a n y t h i n g t o d o w i t h t h e D D R

'Wiedervereinigung' is wellicht een belangrijke psychologische drempel overwonnen in het proces naar een volledige 'Bewaltigung' van het problematische Duitse verleden. Men kan zich echter afvragen of met het uitwissen van de sporen van veertig jaar DDR niet (opnieuw) een stuk geschiedenis onder het vloerkleed wordt geschoven, en wel op een manier en met een voortvarendheid die zich later misschien zullen wreken.

D è t a l l e s w a t m e t d e D D R t e m a k e n h e e f t b e z i g is in h o o g t e m p o t e

r a p i d l y h a s t o b e c l e a r e d a w a y . A s e c o n d " W i r t s c h a f t s w u n d e r " t h a t is o n

v e r d w i j n e n , staat vast. Een o p h a n d e n zijnde t w e e d e

h a n d , m a d e p o s s i b l e b y W e s t G e r m a n a n d J a p a n e s e i n v e s t o r s , g u a r a n t e e s it.

mogelijk g e m a a k t door vooral W e s t d u i t s e en Japanse investeerders, staat

'Wirtschaftswunder',

Und er the (perhaps uncalled-for) disdainful gaze of the " W e ssi e s", the

daarvoor garant. M e t enige (misplaatste) minachting gadegeslagen door de

" O s s i e s " q u it e e n th u s i a s ti c a l l y e m b r a c e W e s t e r n c o n s u m e r so c i e ty. Like th e

'Wessies', omhelzen de 'Ossies' m e t veel enthousiasm e de w e s t e r s e

holy proph ets of a p p ro a c h in g prosperity, u n c o u n t e d n u m b e r s of gigantic

consumptiecultuur. Als de heilsprofeten van de naderende welvaart staan

b i l l b o a r d s a r e s p r i n g i n g u p t h r o u g h o u t t h e w h o l e l a n d . In s e v e r a l y e a r s w i l l

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

t h e o l d E ast G e r m a n y l o o k j u s t lik e W e s t G e r m a n y d o e s n o w ? In a n y c a s e ,

o p g e s t e l d . Lijkt het v o o r m a l i g O o s t - D u i t s l a n d o v e r e n k e l e jaren g e h e e l o p het

th e n e w B u n d e s l a n d e r are rec eiving a t h o r o u g h sp rin g -c l e a n in g . This s p r i n g -

w e s t e l i j k D u i t s l a n d v a n n u ? D e g r o t e s c h o o n m a a k v a n d e N e u e B u n d e s l a n d e r is in

c l e a n i n g is n o t a l w a y s j u s t c o s m e t i c . A f t e r c l e a r i n g o u t p o l i t i c s ,

i e d e r g e v a l in v o l l e g a n g . D i e s c h o o n m a a k is o v e r i g e n s n i e t a l l e e n c o s m e t i s c h v a n

a d m i n i s t r a t i o n a n d b u s i n e s s a ff a irs, n o w f o r m e r E ast G e r m a n w o r k e r s are

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

b e i n g r e p l a c e d b y sp ecialists f r o m W e s t G e r m a n y in t h e s c h o o l s , m u s e u m s ,

ook o p andere plaatsen, w a a r o n d e r s c h o l e n , m u s e a e n (historisch-)

h i s t o r i c a l a n d s c i e n t i f i c i n s t i t u t e s , a n d o t h e r i n s t i t u t i o n s . B e f o r e i t is t a u g h t t o

w e t e n s c h a p p e l i j k e i n s t i t u t e n , v o o r m a l i g e D D R - w e r k n e m e r s v e r v a n g e n d o o r uit

a n e w generation, the history of the DDR will be rewritten by W estern

W e s t - D u i t s l a n d a f k o m s t i g e s p e c i a l i s t e n . D e g e s c h i e d e n i s v a n d e D D R zal d o o r

h i s t o r i a n s s o t h a t it is " p o l i t i c a l l y c o r r e c t " . E a s t G e r m a n s a r e a d v i s e d a g a i n s t

w e s t e r s e historici o p 'politiek-correcte' wijze w o r d e n h e r s c h r e v en e n aan n i e u w e

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

g e n e r a t i e s w o r d e n o n d e r w e z e n . O o s t d u i t s e r s w o r d t a f g e r a d e n o m t e l a n g in h u n

d a n g e r o f a c o l l e c t i v e ' S t a s i - s y n d r o m e ' , is n o t e n t i r e l y

verleden te graven, w a t overigens gezien het reële gevaar van een collectief

unreasonable.

W ith in the context of these events, th e qu estion of G e r m a n cultural identity, a m o n g oth er m a tt e rs, b e c o m e s a vital matter. D o th e t w o

Germanies

h a v e m o r e i n c o m m o n t h a n t h e i r h i s t o r y ? Is t h e r e s o m e t h i n g l i k e a t y p i c a l G e r m a n c u l t u r e t h a t c o u l d a l s o j u s t i f y t h e i r r e u n i f i c a t i o n ? Is it p e r h a p s

" S t a s i - s y n d r o o m " , zoals G ü n t e r Grass dat o n l a n g s f o r m u l e e r d e , niet g e h e e l o n g e g r o n d lijkt. Binnen de kontekst van deze gebeurtenisse n w o r d t onder andere de vraag naar d e D u i t s e c u l t u r e l e i d e n t i t e i t w e e r a c t u e e l . Is er m é é r d a t d e t w e e

precisely this w r e s t l i n g w i t h t h e past, th e o b s e s s iv e a tt e n tio n f o r history,

D u i t s l a n d e n g e m e e n s c h a p p e l i j k h e b b e n d a n a l l e e n e e n g e s c h i e d e n i s ? Is er z o i e t s

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

a l s e e n t y p i s c h D u i t s e c u l t u u r d i e d e h e r e n i g i n g m e d e r e c h t v a a r d i g t ? Is m i s s c h i e n

f i n d s in G e r m a n R o m a n t i c i s m a n d in e i g h t e e n t h a n d n i n e t e e n t h

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

G e r m a n social sciences, that can be called typic ally G e r m a n ? In a n y c a s e , n o t o n l y in t h e l i g h t o f t h e r e u n i f i c a t i o n a n d

century

homogenization

o f t h e t w o G e r m a n i e s , b u t a l s o in l i g h t o f t h e n e w E u r o p e , it a p p e a r s n o w m o r e t h a n e v e r t h a t t h e q u e s t i o n o f h i s t o r y is i n e x t r i c a b l e c o n n e c t e d w i t h that of n a ti o n a l or c ultur a l id entity. H o w far s h o u l d l a n d s or p e o p l e s g o in

w e l n e g a t i e v e zin - v o o r g e s c h i e d e n i s , t r a d i t i e o f v o l k s a a r d , z o a l s d i e b i j v o o r b e e l d al is t e v i n d e n in d e D u i t s e R o m a n t i e k e n d e D u i t s e 1 8 e - e n 1 9 e e e u w s e m e n s w e t e n s c h a p p e n , typisch Duits te n o e m e n ? ' In i e d e r g e v a l lijkt m e e r d a n o o i t h e t v r a a g s t u k v a n d e g e s c h i e d e n i s o n l o s m a k e l i j k v e r b o n d e n m e t dat van e e n nationale of culturele identiteit: niet

a l l e e n in h e t lic ht v a n d e h e r e n i g i n g e n u n i f o r m e r i n g v a n d e b e i d e D u i t s l a n d e n ,

m a k i n g a case for a national or cultural identity based o n history a nd

m a a r o o k in d a t v a n h e t n i e u w e E u r o p a . In h o e v e r r e m o e t e n l a n d e n e n v o l k e r e n

t r a d i t i o n ? Is t h e r e a n o n g o i n g l a r g e - s c a l e l e v e l i n g o f t h e c u l t u r a l d i f f e r e n c e s

zich sterk m a k e n voor het b e h o u d van e e n e ig e n identiteit, g e b a s e e r d o p

b e t w e e n l a n d s a n d p e o p l e w i t h i n E u r o p e , a n d b e y o n d it? C a n o n e i n d e e d

g e s c h i e d e n i s e n t r a d i t i e ? Is e r e e n g r o o t s c h e e p s e n i v e l l e r i n g v a n c u l t u r e l e

s p e a k o f s o m e t h i n g like t h e e n d o f h i s t o r y , as t h e m o s t p e s s i m i s t i c r e a d e r s o f

v e r s c h i l l e n t u s s e n l a n d e n e n v o l k e r e n in E u r o p a ( e n d a a r b u i t e n ) g a a n d e ? Is er

F u k u y a m a t e n d t o c a l l it? If s o , is t h e r e t h e n , a s t h e D u t c h c u l t u r a l

i n d e r d a a d s p r a k e v a n z o i e t s a ls h e t e i n d e v a n d e g e s c h i e d e n i s , z o a l s d e m e e s t

p h i l o s o p h e r T o n L e m a i r e i mp l i c i tl y s u g g e s t s in his ess ay o n th e to p i c o f

p e s s i m i s t i s c h e l e z e r s v a n F u k u y a m a p l a c h t e n t e r o e p e n ? Zo j a , is e r d a n n i e t j u i s t

" E u r o p e " , o n l y o n e t a sk left f o r i n t e l l e c t u a l c r i ti c s a n d a r t i s t s : t o p r e v e n t t h e

v o o r kritisch e int e ll e c tu e l e n en k u n st e n a a rs e e n taak w e g g e l e g d o m e e n v e r d e r

furth er slide to a far-re aching h o m o g e n i z a t i o n of o u r society, the loss of

afglijd en naar e e n v e r r e g a a n d e u n i f o r m e r i n g v an on z e m a a tsc h a p p ij, h e t collectief

historical consciousn ess and th e 'disappearance of the individual'?

verlies van historisch b e wu s t z i j n e n het " v e r d w i j n e n van het individu" t e

Muller, the G e r m a n writer, dramatist and cultural historian, sees possibilities

v o o r k o m e n , z o a l s d e N e d e r l a n d s e c u l t u u r f i l o s o o f T o n L e m a i r e in zijn e s s a y o v e r

for th e m e e t i n g of art a n d p h i l o s o p h y n o w th at th e e n d of th e era o f t h e

h et t h e m a ' E urop a' impliciet stelt?

H ein er Muller, d e D uits e schrijver, d r a m a t u r g

e n c u l t u u r c r i t i c u s , z i e t (in h e t g e s p r e k m e t h e m d a t e l d e r s in n u m m e r v a n

E n l i g h t e n m e n t h a s c o m e t o a n e n d (see t h e c o n v e r s a t i o n w i t h h i m

Heiner

elsewhere

in t h i s issue of P ersp ektief). He m a k e s a n e w pl e a f o r th e irr a tio n a l a n d

P e r s p e k t i e f is o p g e n o m e n ) m o g e l i j k h e d e n v o o r e e n s a m e n g a a n v a n d e k u n s t e n

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

d e f i l o s o f i e , n u h e t t i j d p e r k v a n d e V e r l i c h t i n g t e n e i n d e is g e k o m e n . E e n n i e u w

v i s i o n ' , in w h i c h t o d a y ' r e f l e c t i o n i n c r e a s i n g l y b e c o m e s r e p r o d u c t i o n . ' C a n

pleidooi vo o r d e irrationele en intuïtieve a s p e c t e n van d e kunst, die " o n b e k e n d e

art save o u r society f r o m h o m o g e n i z a t i o n a n d m a s s c u ltu r e , f r o m th e 'd eclin e

terreinen binn en ons g e z i c h t s v e l d " br engt w a a r " d e reflectie st e e d s m e e r

of the W est'?

r e p r o d u c t i e w o r d t " ? Kan d e ' k u n s t o n z e s a m e n l e v i n g v a n nivellering e n massacultuur, van " d e o n d e r g a n g van het a v o n d l a n d " redden? Checkpoint

Deutschland

Checkpoint

Deutschland

w a s t h e titl e o f a R o t t e r d a m e v e n t in w h i c h

rec ent c ultur a l a n d social c h a n g e s in G e r m a n y w e r e th e c entr al topic. T h e

is d e t i t e l v a n e e n R o t t e r d a m s e m a n i f e s t a t i e w a a r i n

title refers to an i m a g i n a r y b o r d e r c rossing b e t w e e n th e old a n d th e n e w

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

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

s t a a n . D e tit e l v e r w i j s t naar d e i m a g i n a i r e g r e n s o v e r g a n g v an h e t o u d e naar h e t

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

n i e u w e D u i t s l a n d ; e e n m o m e n t in d e o n t w i k k e l i n g v a n e e n o u d e e n v e r d e e l d e

land - un avoid ably multicultural situation.

naar e e n n i e u w e e n - g e z i e n d e e n o r m e t o e l o o p v a n -vo o r a l e c o n o m i s c h e v l u c h t e l i n g e n naar h et land - o n v e rmijd e lijk mu l ti c u l tu r e l e situatie. B i n n e n Checkpoint

Deutschland

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

T w o l i n e s o f a p p r o a c h w e r e c h o s e n f o r Checkpoint

Deutschland.

On the

o n e side, Perspektief here presents a trio of G e r m a n p h o t o g r a p h e r s J o a c h i m B r o h m , Vo lk e r Hein z e a n d G o s b e r t A d l e r - in w h o s e w o r k a

p r e s e n t e e r t P e r s p e k t i e f hier e e n drietal W e s t d u i t s e f o t o g r a f e n - J o a c h i m B r o h m ,

personal, expressionistic visual language based on

V o l k e r H e i n z e e n G o s b e r t A d l e r - d i e in h u n w e r k e e n p e r s o o n l i j k e ,

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

documentary

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

t h e past, or t h e e x p e r i e n c e of th e past, a t h e m e in th e ir w o r k . O n th e o t h e r

fotogr afie en die, impliciet dan w e l expliciet, het v e rl e d e n of de b eleving daarvan

s i d e , s i m i l a r t o t h e e x h i b i t i o n p r e s e n t e d in t h e f r a m e w o r k o f C h e c k p o i n t

made

tot t h e m a van h u n w e r k h e b b e n g e m a a k t. And er z ijds w o r d t m e t het w e r k van

D e u t s c h l a n d in M a y a n d J u n e 1992 in P e r s p e k t i e f , G a l e r i e Z e g e r R e i j e r s '

E r a s m u s S c h r ö t e r , J e n s R ö t z s c h e n R o b e r t P a ris e e n b e e l d g e g e v e n v a n ( h e t

Mu ltip l e s a n d the R o t t e r d a m G o e th e Institut, th e w o r k of E r a s m u s S chröter,

l e v e n in) d e v o o r m a l i g e D D R , z o w e l v a n v ó ó r a ls v a n n é ' D i e W e n d e ' , a n a l o o g a a n

J e n s R öt z sch a n d R o b e r t P aris g i v e an i m a g e o f t h e f o r m e r D D R a n d life

d e t e n t o o n s t e l l i n g d i e in h e t k a d e r v a n Checkpoint

th e r e , b o t h b e fo r e a n d after 'Die W e n d e ' ('the a b o u t - f a c e ' ) .

Deutschland

in m e i e n j u n i

1 9 9 2 p l a a t s v i n d t in r e s p e k t i e v e l i j k P e r s p e k t i e f , G a l e r i e Z e g e r R e i j e r s ' M u l t i p l e s e n het G oethe-lnstituut Rotterd am. Notes Noten

1. For an e n l i g h t e n i n g a n d n u a n c e d look at the d i f f e r e n c e b e t w e e n t h e G e r m a n R o m a n t i c a n d t r a d i t i o n a l l y

1 Voor een verhelderend en genuanceerd betoog over de verschillen tussen de Duits-Romantische en

d i r e c t e d h i s t o r i c a l a n d s o c i a l s c i e n c e s . a n d F r e n c h c o s m o p o l i t a n t h o u g h t i n h e r i t e d f r o m the A g e of

traditiegenchte (geschiedwetenschappen en het Franse cosmopolitische ideengoed van de Verlichting: Lemaire. T :

R e a s o n , see L e m a i r e , T.: Twijfel

Twijfel a an E uropa. 1990, Ambo/Baarn

2. Op cit , p. 94, note 1, a n d f o l l o w i n g . In t h i s c o n n e c t i o n it a p p e a r s r e a s o n a b l e t o m e t o b e r e m i n d e d of t h e

a an E uropa,

1990, B a a r n , A m b o .

2. Zie nopt 1 , p. 94 e v Het lijkt mij zinvol om in dit verband t e herinneren aan het uitzonderlijke (vaak fotografische)

e x c e p t i o n a l ( a n d o f t e n p h o t o g r a p h i c ) w o r k of A n s e l m K i e f e r , w h o , himslef q u i t e c o n s c i o u s of t h e ' G e r m a n '

werk van Anselm Kiefer, die - zich zeer bewust van het 'Duitse' en het 'Romantische' karakter van zijn stijl - de

a n d ' R o m a n t i c ' c h a r a c t e r of his s t y l e , m a d e p r o b e l m a t i c G e r m a n h i s t o r y t h e s u b j e c t of art in o f t e n

problematische Duitse geschiedenis op vaak provocerende wijze tot onderwerp van zijn kunst heeft gemaakt

provocative ways.

3 C heckpoint

3. C h e c k p o i n t D e u t s c h l a n d ( M a y 15 - J u n e 12,1992) w a s a c o l l a b o r a t i v e p r o j e c t c o n s i s t i n g of p h o t o g r a p h y ,

D eutschland

[van 15 mei t / m 21 juni 1992) is een samenwerkingsprojekt met onder meer fotografie,

muziek, film, theater, cabaret, literatuur, schilderkunst en poëzie van Perspektief, het Goethe Instituut Rotterdam, de

m u s i c , f i l m , t h e a t e r , c a b a r e t , l i t e r a t u r e , p a i n t i n g a n d p o e t r y o r g a n i z e d by P e r s p e k t i e f , t h e G o e t h e I n s t i t u t e

Rotterdamse Kunststichting, Museum Boymans-van Beuningen, Poetry International, de Studium Generale van de

Rotterdam, the Rotterdam Art Council, M u s e u m Boymans-van Beuningen, Poetry International,

Erasmus Universiteit, Lantaren/Venster, Teatro Popular, Zeger Reijers' Multiples en Galerie Delta

L a n t a r e n / V e n s t e r , T e a t r o P o p u l a r , Z e g e r R e i j e r s ' M u l t i p l e s a n d Galerie D e l t a .

C H E C K P O INT

D E U T S C H L A N D

RESTE DES A U T H E N T I S C H E N

In 1986 organiseerde Ute Eskildsen, conservatrice fotografie van

In 1986, the exhibition Reste des Authentischen was organized

het Folkwang Museum in Essen (D), de tentoonstelling Reste des

by Ute Eskildsen, photographic curator at the Folkwang

Authentischen.

Museum in Essen.

D e titel v a n d e z e t e n t o o n s t e l l i n g v e r w i j s t naar n i e u w e o n t w i k k e l i n g e n in d e

T h e title o f t h e e x h i b i t i o n r efers t o n e w d e v e l o p m e n t s in p h o t o g r a p h y th a t

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

to a certain d egre e m o v e a w a y f r o m tradition al d o c u m e n t a r y practice. T h e

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

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

hier g e s i g n a l e e r d e w e r k g e e n d o e l o p zich, m a a r st a a t in d i e n s t v an d e f o t o als

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

a u t o n o o m beeld: " E n t w ü r f e und Lö su n g e n w e r d e n nicht m e h r aufterhalb d e s

catalogue, ' E ntwürfe u n d Lö su n g e n w e r d e n nicht m e h r au S erh alb d e s Bildes

B i l d e s g e s u c h t . s o n d e r n i m Bi d g e f u n d e n (...) d e r d i r e k t e V e r w e i s a u f d i e R e a l i t a t

g e s u c h t , s o n d e r n i m B i l d g e f u n d e n (...) d e r d i r e k t e V e r w e i s a u f d i e R e a l i t a t i s t

ist a u c h b e i j e n e r F o t o g r a f e n g r u p p e s c h w i n d e n d , d e r e n A r b e i t s w e i s e i n d e r

auch bei jener F otografengruppe s c h wi n d e n d , deren Arbeitsweise in d e r

d o k u m e n t a r i s c h e n T r a d i t i o n s t e h t " , a l d u s E s k i l d s e n in d e g e l i j k n a m i g e c a t a l o g u s * .

dokumentarisch en Tradition stehte'.

Zij o n d e r s c h e i d d e i n Reste

differentiated a m o n g these various 'concepts a n d solutions', separating

des Authentischen

verschillend e van d e z e 'c o n c e p t e n

I n Reste

des Authentischen

she work

e n o p l o s s i n g e n ' , w a a r o n d e r w e r k w a a r i n d e c a m e r a - o p n a m e h e t b e l a n g r i j k s t is ,

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

naast w e r k d a t t o t stand k o m t d o o r m a nipul a ti e van h et b e eld achteraf

created th r o u g h subsequ ent m a n ip u l a tio n of th e im a g e (for instance, t h r o u g h

( b i j v o o r b e e l d d o o r m o n t a g e in d e d o n k e r e k a m e r ) . M i c h a e l S c h m i d t , G o s b e r t

m o n t a g e in th e darkroom). Michael S chmidt, Gosbert Adler, J o a c h i m

A d l e r , J o a c h i m B r o h m e n V o l k e r H e i n z e (ik w i j k n u e n i g s z i n s a f v a n d e i n d e l i n g

a n d V o l k e r H e i n z e (I d i v e r g e s o m e w h a t h e r e f r o m E s k i l d s e n ' s d i v i s i o n s )

van Eskildsen) b e h o r e n tot d e e erste groep.

b e l o n g to t h e first g r o u p . O b v i o u s l y , at least since t h e w o r k o f W a l k e r E v a n s, t h e c o n c e p t o f a

N u b e s t a a t e r natuurlijk al o p z 'n m i n s t s i n d s h e t w e r k v a n W a l k e r E v ans d e n o t i e v a n e e n documentaire

Brohm

stijl, h e t b e s e f d a t i e d e r e ( f o t o g r a f i s c h e ) r e g i s t r a t i e o f

"d o c u m e n t a ry style" hasexisted: t h e awareness that every

b e s c h r i j v i n g v a n d e w e r k e l i j k h e i d s u b j e c t i e f is . M a a r in h e t w e r k v a n E v a n s s t o n d

photographic

r e c o r d o r d e s c r i p t i o n o f r e a l i t y is s u b j e c t i v e . B u t in E v a n s ' w o r k , t h e

n o g a ltijd d i e b e s c h r i j v i n g , d e r e f e r e n t i e n a a r d e ( m a a t s c h a p p e l i j k e ) w e r k e l i j k h e i d

d e s c r i p ti o n , t h e referenc e t o reality ( in c lu d in g social reality) a l w a y s

c e n t r a a l . I n m i d d e l s z ijn g e d u r e n d e d e a f g e l o p e n d e c e n n i a in d e d i s c u s s i e s o v e r

c entral. In d isc u ssio n s o f th e m e d i u m d u r i n g t h e past d e c a d e s, h o w e v e r , all

remained

h e t m e d i u m alle a a n s p r a k e n o o d e ' w a a r h e i d ' e n ' a u t h e n t i c i t e i t ' v a n d e

claims to the "truth" and "authenticity" of photographic reproductions

f o t o g r a f i s c h e w e e r g a v e a c h t e r h a a l d . T e r e c h t m e r k t E s k i l d s e n in d e e e r d e r

b e c o m e a t h i n g o f t h e p a s t . In t h e c a t a l o g u e m e n t i o n e d a b o v e , E s k i l d s e n

have

g e n o e m d e c a t a l o g u s o p , d a t h e t d a a r m e e n o g n i e t o n m o g e l i j k is (o f b e t e r : m a g zijn) o m b e e l d e n o v e r d e w e r k e l i j k h e i d v a n o n z e w e r e l d t e m a k e n , z o a l s s o m m i g e pleitbe zorgers van h e t P o s t m o d e r n i s m e o n s will en d o e n g e lov e n. D e v e r a n d e rd e opvattingen over h et werkelijkheidskarakter - authenticiteit - van h et fotografische beeld h ebb en echter ruimte geschapen voor e e n m e e r beeldend, en d u s o o k p e r s o o n l i j k e r g e b r u i k v a n d e d o c u m e n t a i r e s tijl. In h e t w e r k v a n d e z e v i e r k u n s t e n a a r s h e e f t d e f o t o a l s beeld

een g r o t e r e

a u t o n o m i e , d o o r d a t d i e d i r e c t e r e f e r e n t i e m i n d e r d u i d e l i j k is ( b i j v o o r b e e l d d o o r onsch erpte, gedeeltelijke onzichtbaarheid of schijnbare onb e duid e ndh e id v a n h e t g e f o t o g r a f e e r d e ) . E r is s p r a k e v a n e e n ' s u b j e k t i e v e a f s t a n d ' t o t d e a f g e b e e l d e w e r k e l i j k h e i d . D e f o t o ' s zijn g e e n o b j e c t i e v e r e g i s t r a t i e v a n w a t z i c h v o o r d e c a m e r a b e vo n d , maar e en subjectieve w e e r g a v e v a n e e n persoonlijke ervaring daarvan. D at w i l overig ens nie: z egg en dat B r o h m , Heinze of Adler v o l k o m e n i n tu ti e f t e w e r k g a a n ( i n t e g e n d e e l ) , n o c h d a t i e d e r e r e f e r e n t i e naar d e werkelijkheid ontbreekt. D e recente foto's v an B r o h m bijvoorbeeld geven o p n a u w k e u r i g e w i j z e w e e r w a t z ich v o o r d e l e n s b e v o n d . In h e t k a d e r v a n Checkpoint

Deutschland

is g e k o z e n v o o r w e r k v a n J o a c h i m

B r o h m , V o l k e r H e i n z e e n G o s b e r t A d l e r . V a n M i c h a e l S c h m i d t is al e e r d e r w e r k i n R o t t e r d a m t e zien g e w e e s t , e n w e l in 1 9 8 8 t i j d e n s d e e e r s t e F o t o g r a f i e B i ë n n a l e R o t t e r d a m , Questioning

Europe.

S c h m i d t ' s p r o j e k t Waffenruhe

is e e n b e l a n g r i j k

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

m a a k t e hij i n 1 9 8 7 . H e t is e e n b o e k

w a a r i n B e r l i j n , d e s t a d w a a r h ij w o o n t e n d i e h e m h e t r u w e m a t e r i a a l v o o r zijn f o t o ' s l e v e r t , c e n t r a a l s t a a t . S c h m i d t ' s f o t o ' s - a ltijd i n z w a r t - w i t e n a a n d e m u u r in s t a l e n lijsten - h e b b e n e e n b e l a n g rijk e literaire k w a l i t e i t, niet z o z e e r in a n e k d o t i s c h e a l s w e l i n p o ë t i s c h e z i n . Waffenruhe

is g e e n l o s s e v e r z a m e l i n g v a n

f o t o ' s , m a a r e e n (hier: v i s u e l e ) g e d a c h t e n s t r o o m , g e l i j k d e d o o r E in ar S c h l e e f in h e t b o e k g e s c h r e v e n t e k s t . H e t is e e n a a n e e n s c h a k e l i n g v a n b e e l d e n d i e c o r r e s p o n d e e r t m e t zijn p e r s o o n l i j k e b e e l d v a n B e r l i j n , e e n b e e l d d a t in b e l a n g r i j k e m a t e v a n u i t d e b e l e v i n g v a n d e s t a d is o n t s t a a n . D e v o r m v a n Waffenruhe

getuigt

o t

v a n e e n d e r g e l i j k e s u b j e c t i v i t e i t : e r z it g e e n l o g i s c h e o f t o p o g r a f i s c h b e p a a l d e v o l g o r d e in d e s e r i e . B e e l d e n v a n b r a a k l i g g e n d l a n d w o r d e n a f g e w i s s e l d m e t p o rtr e tt e n e n m e t fo to 's v a n oude, veelal a ang etaste architectuur. C lose-ups v a n graffiti e n o p n a m e n v a n d ic h t s t r u i k g e w a s st a a n n a ast elkaar. G e d e e l t e l i j k e

Vo lk e r Heinze

onzichtbaarheid v a n h et o n d e r w e r p of o n sc h e rp t e v a n d e afbeelding verwij z en

v e r v o l g o p p a g i n a 18

- : from A h n u n g , 1989)

continued on page 18

Joachim

Brohm

1987', 1986/1987

J o a c h i m Brohm ' 1 9 8 7 ' , 1986/1987

a p t l y r e m a r k s t h a t f o r a l l o f t h a t , i t is n o t y e t ( o r b e t t e r , m a y n o t y e t b e ) i m p o s s i b l e t o m a k e i m a g e s a b o u t th e reality o f o u r w o r l d , as s o m e of th e a d v o c a t e s of p o s t m o d e r n i s m w a n t us to believe. C h a n g i n g o p i n i o n s a b o u t the character of the reality - authenticity - of th e p h o t o g r a p h i c i m a g e have, h o w e v e r , m a d e r o o m for th e m o r e visual, a n d t h u s also m o r e p erson al use of d o c u m e n t a r y style. In t h e w o r k o f t h e s e f o u r a r t i s t s t h e p h o t o a s image

has greater

a u t o n o m y , b e c a u s e t h e d i r e c t r e f e r e n c e is l e s s c l e a r ( f o r i n s t a n c e , a s a r e s u l t of b lu rr e d focus, partial c o n c e a l m e n t o r t h e a p p a r e n t insignific anc e of th e th i n g p h o t o g r a p h e d ) . O n e c an speak of a "su b j e c tiv e d i s t a n c e " to th e reality d e p i c t e d . T h e p h o t o s are not an o b j e c t i v e r e c o r d of w h a t th e c a m e r a f o u n d , b u t a s u b j e c t i v e r e p r o d u c t i o n o f a p e r s o n a l e x p e r i e n c e w i t h it. N e v e r t h e l e s s , t h a t is n o t t o s a y t h a t B r o h m , H e i n z e o r A d l e r w o r k e n t i r e l y i n t u i t i v e l y - q u i t e o n t h e c o n t r a r y - n o r t h a t a n y r e f e r e n c e t o r e a l i t y is l a c k i n g . F o r i n s t a n c e , B r o h m ' s r e c e n t p h o t o s r e p o r t w h a t w a s f o u n d in f r o n t o f t h e l e n s in a v e r y precise w a y . W i t h i n t h e f r a m e w o r k o f Checkpoint

Deutschland,

work by Joachim

B r o h m , Volker Heinze a nd G osb ert A d l e r w a s selected. W o r k by Mich a el S c h m i d t h a d b e e n s e e n e a r l i e r i n R o t t e r d a m , d u r i n g Questioning

Europe,

the

f i r s t F o t o g r a f i e B i ë n n a l e R o t t e r d a m i n 1 9 8 8 . S c h m i d t ' s p r o j e c t Waffenruhe

an i m p o r t a n t m i l e p o s t in th e d e v e l o p m e n t o f a m o r e visu a l a p p l i c a t i o n of w h a t is i n p r i n c i p l e a d o c u m e n t a r y p h o t o g r a p h y . H e c r e a t e d Waffenruhe

1 9 8 7 . It is a b o o k i n w h i c h B e r l i n , t h e c i t y i n w h i c h h e l i v e s a n d w h i c h p r o v i d e s h i m w i t h t h e r a w m a t e r i a l f o r h i s p h o t o s , is t h e c e n t r a l s u b j e c t . A l w a y s in b l a c k a n d w h i t e a n d e x h i b i t e d in s t e e l f r a m e s , S c h m i d t ' s

photos

h a v e a sig n ific a n t literary q u a lity, n o t so m u c h in a n a n e c d o t a l as in a p o e t i c a l s e n s e . Waffenruhe

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

c o n s c i o u s n e s s ( i n t h i s c a s e v i s u a l ) , a s is t h e t e x t w r i t t e n f o r t h e b o o k b y E i n a r S c h l e e f . It is a s e q u e n c e o f i m a g e s t h a t c o r r e s p o n d w i t h h i s p e r s o n a l i m a g e of Berlin, an i m a g e that to an i m p o r t a n t d egr e e arises f r o m e x p e r i e n c i n g the c i t y . T h e f o r m o f Waffenruhe

g i v e s w i t n e s s to a s i m i l a r s u b j e c t i v i t y : t h e r e is

n o l o g i c a l o r t o p o g r a p h i c a l l y d e t e r m i n e d o r d e r in t h e s e r i e s . I m a g e s o f v a c a n t land are intersp ers ed w i t h portr aits a n d p h o t o s of o l d buildings, m o s t of t h e m scarred. C lose-ups of graffiti a n d sh o ts of thick u n d e r g r o w t h

stand

next to each other. Partially conc e aled subjects or out of foc us i m a g e s refer to S c h i m d t ' s p erson al experienc e of the loc ations he p h o t o g r a p h e d . S o m e t i m e s o n ly v a g u e c o n t o u r s of th e b a c k g r o u n d are visible. S o m e t i m e s a b l i n d w a l l n e a r l y f i l l s t h e w h o l e i m a g e , a n d o n l y in a s m a l l c o r n e r d o e s o n e g et a v i e w to a b u ild in g further o n . T h e intuitive, irrational - or p e rh a ps, r a t h e r , p o e t i c a l - c h a r a c t e r o f Waffenruhe

Michael

is e m p h a s i z e d s t i l l m o r e i n t h e

Schmidt

(uit/from: AR/GE Kunst, Bozen 1992)

b o o k by g a t e -fold p a g e s th at carry no i m a g e , b ut are entir ely blank. S c h m i d t s a y s : 'I n e e d m y p h o t o s a s c o n f i r m a t i o n o f w h a t I h a v e e x p e r i e n c e d , a l t h o u g h in a d i f f e r e n t f o r m . In t h e f o r m o f l o n g i n g . . . "

n a a r S c h m i d t ' s p e r s o o n l i j k e b e l e v i n g v a n d e g e f o t o g r a f e e r d e o m g e v i n g . S o m s z ijn er v a n d e a c h t e r g r o n d alleen v a g e c o n t o u r e n zichtbaar. Z o k o m t h et o o k vo o r d at e e n b l i n d e m u u r h e t b e e l d b i j n a h e l e m a a l v u l t , m e t s l e c h t s in e e n k l e i n h o e k j e e e n

Heinze Ahnung

- F o r e b o d i n g - is t h e t i t l e o f a s e r i e s o f p h o t o s b y V o l k e r H e i n z e ,

d o o rk ijk naar e e n g e b o u w v e r d e r o p . Dit i n t u t i e v e , irr ation el e, o f m i s s c h i e n liever:

p a r t o f w h i c h w e r e p u b l i s h e d in b o o k f o r m in 1 9 8 9 . T h e s e r i e s c o n s i s t s o f

p o ë t i s c h e k a r a k t e r v a n Waffenruhe

colour shots of details f r o m buildings, statues, the W a ll, the surface of a road,

uitkl app agin a's die g e e n b e eld d r a g e n m a a r g e h e e l blank zijn. "Ik h e b mijn f o t o ' s

w o r d t in h e t b o e k n o g e e n s v e r s t e r k t d o o r

blurr ed a n d s o m e t i m e s scarcely recogniz able for w h a t th e y are. Th ese

n o d i g als b e v e s t i g i n g v a n h e t g e e n ik e r v a r e n h e b , e c h t e r in e e n a n d e r e v o r m . A l s

i m a g e s radiate an ind efin able m e n a c e . Heinze p h o t o g r a p h e d places w h e r e

v o r m van S e h n s u c h t. . . " , aldus S c h m i d t .

p o w e r is e x e r c i s e d : n o t s o m u c h p o w e r i n a n y s p e c i f i c , b u t m o r e i n a n a b s t r a c t , a n d / o r h i s t o r i c a l s e n s e . ' T h e o b j e c t i v e o f p o w e r is m o r e p o w e r ' , h e w r o t e o n c e in a p h o t o . T h e t h e m e o f ' p o w e r ' r e t u r n s in a m o r e r e c e n t s e r i e s b y H e in z e . In t h i s , h e m a d e a s e ri e s o f p o r t r a i t s o f s o c i a l " o u t c a s t s " , p e o p l e

Heinze Ahnung

- V e r m o e d e n - is d e t i t e l v a n e e n s e r i e f o t o ' s v a n V o l k e r H e i n z e d i e in

1 9 8 9 g e d e e l t e l i j k in b o e k v o r m w e r d g e p u b l i c e e r d . D e s e r i e b e s t a a t uit

w h o m Heinze c o n s id e rs as e c o n o m i e v i c t i m s of " p o w e r " . He p h o t o g r a p h e d

k l e u r e n o p n a m e n v an details v an g e b o u w e n , s t a n d b e e l d e n , d e Mu u r , e e n w e g d e k ;

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

o n s c h e r p e n s o m s n a u w e l i j k s a ls z o d a n i g t e i d e n t i f i c e r e n . Er g a a t e e n

s u r r o u n d i n g s , a n d e v e n their clothing r e m a i n uns e en. At the s a m e ti m e ,

o n b e s t e m d e d r e i g i n g uit d e z e b e e l d e n . H e in z e f o t o g r a f e e r d e p l a a t s e n w a a r m a c h t

details such as pores, wrin k l e s a n d p i m p l e s on their fac e are s h a rp ly

w o r d t u i t g e o e f e n d : n i e t z o z e e r m a c h t in s p e c i f i e k e , m a a r m e e r in a b s t r a c t e , ( o o k )

r eproduc ed, but b adly visible because of the glossy surface of the particularly

h i s t o r i s c h e b e t e k e n i s . " H e t d o e l v a n d e m a c h t is m e e r m a c h t " , s c h r e e f hij e e n s in

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

e e n f o t o . H e t t h e m a m a c h t k o m t o o k in r e c e n t e r e s e r i e s v a n H e i n z e t e r u g . Z o

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

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

tight f r a m i n g , th e intimacy of the close-up and the réd colour of th e pictures.

H e i n z e b e s c h o u w t a ls e c o n o m i s c h e s l a c h t o f f e r s v a n ' d e m a c h t ' . Hij f o t o g r a f e e r d e

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

z e v a n z e e r d i c h t b i j . S l e c h t s e e n k l e i n d e e l v a n h u n g e z i c h t e n is a f g e b e e l d : h u n

manner.

o m g e v i n g e n z e l f s h u n k l e d i n g b l i j v e n o n z i c h t b a a r . T e g e l i j k e r t i j d z ijn d e t a i l s a ls p o r i ë n , g r o e v e n e n p u k k e l s in h u n g e z i c h t s c h e r p a f g e b e e l d , m a a r s l e c h t z i c h t b a a r door het glanz ende oppervlak van de veelal d o n k e r e b e eld en. O m ze g o e d te

Brohm J o a c h i m B r o h m ' s p h o t o s e r i e s a b o u t B e r l i n , 1987 ( t h e y e a r o f t h e j u b i l e e of th e city), c o n s i s t s o f i s o l a t e d , or at le ast n o t i m m e d i a t e l y

recognizable

places. The p h o to s s h o w vacant land, bare walls, traces of d estruction such as a d a m a g e d f e n c e o r a piec e o f r u s t i n g i r o n , o r a m a p o f B e r l i n w i t h a

k u n n e n zien, m o e t e n w e heel dichtbij de f o t o ' s k o m e n , die echter door het krappe kader, d e intimiteit van de clos e-up e n h u n rode kleur iets b e d r u k k e n d s e n a f s t o t e n d s h e b b e n . Zij m a k e n d e a f g e b e e l d e p e r s o n e n o p e e n a n o n i e m e e n bedreigende manier aanwezig.

m i n i a t u r e o f t h e W a l l p l a c e d u p o n it. A s u b j e c t i v e p o i n t o f v i e w , l a c k o f f o c u s , dull and s u b d u e d colours are the p arameters that mak e tim e and history a l m o s t t a n g i b l y p r e s e n t . In Industriezeit

(1990) B r o h m a i m s his c a m e r a d o w n ,

so that the horizon nearly, and s o m e t i m e s entirely disappe ars f r o m th e

Brohm J o a c h i m B r o h m ' s f o t o s e r i e o v e r B e r l i j n , 7 9 8 7 ( h e t ja ar v a n h e t j u b i l e u m v a n d e s t a d ) , is g e m a a k t o p a f g e l e g e n d a n w e l n i e t d i r e c t h e r k e n b a r e p l a a t s e n . D e f o t o ' s

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

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

h e k o f e e n r o e s t e n d s t u k ijz er, o f e e n p l a t t e g r o n d v a n B e r l i j n m e t d a a r o p e e n

B r o h m ' s mo s t recent series consists of p h o to s of walls and

mi n i a tu u r mo d e l van de Mu u r . Subjektieve st a n d p u n t e n , onsc h e rp t e , in g e to g e n e n

l o c a t i o n s o n t h e g r o u n d . T h e c o m b i n a t i o n o f (or b e tt e r, t h e c o n t r a s t b e t w e e n )

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

the precise r e n d e rin g of details on the bare g r o u n d (pebbles, t wi g s , traces of

m a k e n . In Industriezeit

( 1 9 9 0 ) r i c h t B r o h m zijn c a m e r a o m l a a g , z o d a t d e h o r i z o n

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

indefinable

h u m a n p r e s e n c e ) , a n d t h e i m p o s s i b i l i t y o f r e c o g n i z i n g t h e p l a c e s as b e i n g s o m e w h e r e (they could be almost anywh ere), serve both to give the p h o to s

b e l a n g r i j k b e e l d e n d e l e m e n t . B r o h m ' s m e e s t r e c e n t e s e r i e b e s t a a t uit f o t o ' s v a n

a n a u t o n o m o u s c h a r a c t e r ( t h e y a r e f i r s t o f a l l images),

m u r e n e n v a n o n d e f i n i e e r b a r e p l e k k e n o p d e g r o n d . D e c o m b i n a t i e v a n (of b e t e r :

vi e w e rs c o n sc io u s of th e presence of ti m e , that has to a gre at extent

a n d m a k e us as

t e g e n st e llin g tuss en) d e n a u w k e u r i g e w e e r g a v e van details op d e kale b o d e m

d e t e r m i n e d th e f o r m of w h a t w e see. A s w e look, w e realize t h a t e v e r y piec e

(steentjes, takjes, spor en van menselijk e a anwe z igh eid) en de o n mo g e lijk h e id o m

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

d e p l e k k e n e r g e n s a a n t e h e r k e n n n e n (ze k u n n e n h a a s t o v e r a l zijn) g e e f t d e f o t o ' s

T h e surface testifies to 'historicity'. T h e spac e th at w e are a l l o w e d for t h e

e n e r z i j d s e e n a u t o n o o m k a r a k t e r ( h e t z ijn in e e r s t e i n s t a n t i e beelden)

int e rpr e t a tion of th e p h o t o a p p e a r s to h a v e a d i m e n s i o n of th e past.

en maakt

o n s a ls k i j k e r in t w e e d e i n s t a n t i e b e w u s t v a n d e a a n w e z i g h e d v a n d e t i j d , d i e w a t w i j zien g r o t e n d e e l s h e e ft v o r m g e g e v e n . A l kijk end b e s e f f e n wij dat ieder stukj e

Adler

g r o n d (of i e d e r b o u w s e l ) is d o o r d r e n k t v a n d e t i j d , v a n e e n s p e c i f i e k e

T i m e a l s o p l a y s a g r e a t p a r t i n Sog

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

(1990), th e w o r k r e p r e s e n t e d h ere

f r o m G osb ert Adler. This series consists of a n u m b e r of black a n d wh i t e

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

p h o t o s of places on th e street, usually places w h e r e th e surface of th e street

verleden te hebben.

has b e e n to rn u p for wo r k . T h e p h o t o s are grey, w i t h o u t great black a n d w h i t e contrasts, b y w h i c h t h e y o b t a i n a c ertain c o o l n e s s a n d distanc e. Lack of f o c u s a g a i n p l a y s a l a r g e r o l e h e r e : it u n d e r s c o r e s t h e s u g g e s t i o n o f d e c a y

Adler T ijd s p e e l t o o k e e n g r o t e r o l in h e t h i e r g e p r e s e n t e e r d e w e r k v a n G o s b e r t

a n d e r o s i o n , o f t h e p a s s a g e o f t i m e a n d t h e p r o g r e s s o f h i s t o r y . In A d l e r ' s

A d l e r , Sog ( 1 9 9 0 ) . D e z e s e r i e b e s t a a t u i t e e n a a n t a l z w a r t - w i t f o t o ' s v a n p l e k k e n

w o r k , t h e l a c k o f f o c u s is t h e e q u i v a l e n t o f s i l e n c e a n d d e a t h (it l i t e r a l l y

o p s t r a a t , v e e l a l d a a r w a a r d e b o d e m o f d e s t r a a t v o o r w e r k z a a m h e d e n is

' d i s a p p e a r s f r o m t h e p i c t u r e ' ) . Sog

o p e n g e m a a k t . D e f o t o ' s zijn g r i j s , z o n d e r g r o t e z w a r t - w i t c o n t r a s t e n , e n g e t u i g e n

z wisc h e n A i d u n d N e u , A b b r u c h u n d A u f b a u , gibt es e i n e n A u g e n b l i c k der

d a a r m e e v a n e e n z e k e r e k o e l h e i d e n d is t a n ti e . O o k hier sp e e lt o n s c h e r p t e e e n

Stille: den To d .'

begins with de m a x i m , 'An der Grenze

g r o t e r o l : zij o n d e r s t r e e p t d e s u g g e s t i e v a n v e r v a l e n e r o s i e , v a n h e t v e r s t r i j k e n v a n d e t i j d e n d e v o o r t g a n g v a n d e g e s c h i e d e n i s . D e o n s c h e r p t e is bij A d l e r e q u iv a l e n t v a n d e stilte e n d e d o o d (het letterlijk 'uit h e t b e eld v e r d w i j n e n ' ) .

Notes

Sog

begint m e t de spreuk: " A n der Grenze z wisc h e n Alt und Neu, Abbruch und

4. Eskildsen , Ute: R este des Authentischen, 5. See: B u s i n , Ch. & Piffer, M.: Micha el

A u f b a u , g i b t e s e i n e n A u g e n b l i c k d e r S till e : d e n T o d " .

Noten 4. Eskildsen, U.: R este des Authentischen, 5. Zie: Busin, Ch. 8. Piffer, M.: Micha el

1986, Essen, Museum Folkwang, p.6.

Schmidt. 1992, cat AR/GE Kunst Galerie, Bozen.

Michael

Schmidt

(uit/from: Waffenruhe,19871

1986, E s s e n , M u s e u m F o l k w a n g , p.6.

Schmidt,

1992, B o z e n , c a t . AR/GE K u n s t Galerie.

Gosbert A d l e r (uit/from: Sog, 19901

Gosbert Adl er (uit/from: Sog, 19901

I C H E C K P O INT

D E U T S C H L A N D !

PHOTO G RAPHY A N D THE DDR fotografie en de D D R

Through the new and now unhindered cultural exchange

Binnen de fotografie in Duitsland zullen er door de nieuwe, nu

between East and West, certain traditions in German

ongehinderde culturele uitwisseling tussen Oost en West zeker

photography shall certainly disappear, or converge into new

tradities verdwijnen dan wel samenkomen tot nieuwe

developments. However, for instance, it is still a question if

ontwikkelingen. Het is echter nog maar de vraag of bijvoorbeeld

most East German photography will quickly disappear, or if it

veel Oostduitse fotografie inderdaad snel zal verdwijnen of een

shall take a more Western form, because it is a traditional

meer westerse vorm zal aannemen omdat zij (te) traditioneel

(perhaps too traditional) form of documentary, or old-

documentair dan wel ouderwets conceptueel zou zijn.

fashioned in its concepts.

Wolfgang

Gregor

F r e i z e i t in e i n e r K l e i n g a r t e n a n l a g e (uit/from: DDR Foto. 1985 I

R ec ent e x h i b i t s a n d p u b l i c a t i o n s indic ate th a t m a n y East

German

Recente tentoonstellingen en publicaties wijzen erop dat veel Oostduitse

p h o t o g r a p h e r s in d e e d h a v e o r i e n t e d t h e m s e l v e s to W e s t e r n art a n d

kunstenaars zich w e l i s w a a r op de w e s t e r s e kunst en fotografie h e b b e n

p h o t o g r a p h y , yet h ave also u n d e r g o n e an a u th e n tic d e v e l o p m e n t a n d are n ot

georinteerd, maar ook een authentieke ontwikkeling hebben doorgemaakt en

naive disciples.

g e e n naĂŻeve a d e p t e n zijn.

S h o r t l y a f t e r t h e w a r , p h o t o g r a p h y in t h e D D R h a d a s t r o n g j o u r n a l i s t i c and d o c u m e n t a r y character. Th e continu ation of d e v e l o p m e n t s that had

D e f o t o g r a f i e in d e D D R h a d v l a k n a d e o o r l o g e e n s t e r k j o u r n a l i s t i e k e n d o c u m e n t a i r k a r a k t e r . D e v o o r t z e t t i n g v a n o n t w i k k e l i n g e n d i e in h e t I n t e r b e l l u m

b e g u n in t h e p e r i o d b e t w e e n t h e w a r s ( s u c h a s t h o s e in t h e B a u h a u s ) , a n d

w a r e n b e g o n n e n (zoals d i e in h e t B a u h a u s ) e n d i e d o o r d e N a z i ' s a b r u p t w a r e n

w h i c h h ad c o m e to an a b r u p t halt u n d e r th e Nazis, w a s

stopgezet, w a s volstrekt ondenkbaar. Kunst en fotografie stonden onder sterke

absolutely

u n th in k a b l e . Art a n d p h o t o g r a p h y s t o o d u n d e r th e strict r e g i m e n of t h e Party,

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

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

socialistische staat. Bovendien b e v o n d het m e r e n d e e l van d e belangrijkste

1945 th e m a j o r i t y of th e m o s t i m p o r t a n t artists w h o h a d s u r v i v e d th e w a r

k u n s t e n a a r s d i e d e o o r l o g h a d d e n o v e r l e e f d , z i c h n a 1 9 4 5 in h e t b u i t e n l a n d . M a a r

al in d e t w e e d e h e l f t v a n d e j a r e n ' 6 0 m a a k t e n b e p a a l d e g r o e p e n f o t o g r a f e n , z o a l s d e G r u p p e D i r e k t in B e r l i j n o f A c t i o n F o t o g r a f i e in L e i p z i g , z i c h lo s v a n d e s t a r r e w e r k w i j z e v a n h e t g r o s v a n d e D D R - f o t o j o u r n a l i s t e n . Zij k o z e n in h u n w e r k v o o r e e n m e e r p e r s o o n l i j k e b e n a d e r i n g e n n a m e n b o v e n d i e n z e lf h e t i n i t i a t i e f t o t h e t m a k e n v a n ( f o t o ) r e p o r t a g e s . T e v e n s o n t s t o n d bij f o t o g r a f e n e n k u n s t e n a a r s lang z a ama an, en vooral buiten het media-circuit o m , m e e r p s y c h o lo g is c h e i n t e r e s s e v o o r d e a c h t e r g r o n d e n v a n d e s a m e n l e v i n g in d e D D R . G e d u r e n d e d e jaren '70 n a m het aantal f o t o g r a f e n to e dat niet v a n z e l f s p r e k e n d v o o r h e t j o u r n a l i s t i e k e v a k k o o s , m a a r e r d e v o o r k e u r a a n g a f a l s vrij f o t o g r a a f t e w e r k e n . D a a r o n d e r w a r e n z o w e l a f g e s t u d e e r d e n v a n d e H o c h s c h u l e für G rafik u n d B u c h k u n s t in L e i p z i g a l s o o k e e n g r o e i e n d a a n t a l a u t o d i d a c t e n . In 1 9 8 0 r i c h t t e h e t Verband bildender Künstler der D D R e en afdeling voor fotografie op. O f s c h o o n het hier o m e e n officile, d o o r d e staat g e c o n t r o l e e r d e instelling g i n g , b o o d d e z e z o g e n a a m d e A r b e i t s g r u p p e F o t o g r a f i e t o c h n i e u w e p e r s p e c t i e v e n in d e v o r m v a n o p d r a c h t e n , s t u d i e m o g e l i j k h e d e n et c e t e r a v o o r vrij w e r k e n d e e n o p d e b e e l d e n d e k u n s t g e o r i ë n t e e r d e f o t o g r a f e n . M e d e h i e r d o o r o n t s t o n d in d e l o o p v a n d e j a r e n ' 8 0 e e n b r e e d s p e c t r u m v a n b e n a d e r i n g e n e n w e r k w i j z e n b i n n e n d e f o t o g r a f i e in de D D R , variërend van ensc en ering en, foto-installaties, s e q u e n ti e s en dergelijke. N a a s t d e v e l e f o t o g r a f e n d i e d e m a a t s c h a p p e l i j k e w e r k e l i j k h e i d a ls o n d e r w e r p k o z e n , m a a r daarbij e e n m e e r p e r s o o n l i j k e v o r m v a n d o c u m e n t a i r e f o t o g r a f i e o n t w i k k e l d e n ( z o als E r a s m u s S c h r ö t e r , G u n d u l a S c h u l z e , U t e M a h l e r , S i b y l l e B e r g m a n n , H e l g a P a ris , R u d o l f S c h a t e r , U l r i c h W ü s t e n W o l f g a n g G r e g o r ) , w a r e n er f o t o g r a f e n d i e in e e n m e e r c o n c e p t u e l e m a n i e r w e r k t e n , d a n w e l h e t m e d i u m g e b r u i k t e n b i n n e n h e t k a d e r v a n h u n Aktions-

en p erformanc ekunst. T h o m a s

F l o r s c h u e t z , M i c h a e l B r e n d e l , K l a u s E lle, K u r t B u c h w a l d , P e t e r O e h l m a n n , M a t t h i a s en A n d r e a s L e u p o l d , A n d r e a s H e n s c h e l , Ralf-Rainer W a s s e , Klaus H a h n e r - S p r i n g m ü h l e n F r a n k H e r m a n n zijn s l e c h t s e n k e l e v o o r b e e l d e n u i t d e z e laatste gro e p. In 1 9 8 4 - 8 5 m a a k t e E r a s m u s S c h r ö t e r e e n s e r i e p o r t r e t t e n e n s t r a a t b e e l d e n in d e D D R . Hij c o n c e n t r e e r d e z i c h o p a l l e d a a g s e t a f e r e l e n e n g e b e u r t e n i s s e n , in h e t b i j z o n d e r o p p u b l i e k e e v e n e m e n t e n d i e a ls t y p i s c h v o o r h e t o p e n b a r e c u l t u r e l e l e v e n v a n d e s t i j d s g e z i e n k u n n e n w o r d e n . H e t m e e s t o p v a l l e n d e a s p e c t v a n zijn f o t o ' s is d a t zij a b s o l u u t n i e t in d e j a r e n t a c h t i g g e m a a k t l i j k e n t e z ijn . D e s t r a t e n , d e hui z en, d e kleding v an d e m e n s e n e n zelfs h u n g e z i c h t e n h e r i n n e r e n d e w e s t e r s e kijker d i r e c t a an d e j a r e n vijftig. D e f o t o ' s v a n S c h r ö t e r a d e m e n e e n m e r k w a a r d i g e s f e e r uit v an e e n p e r i o d e e n e e n land w a a r i n m i s s c h i e n d e tijd w e l verstreek, maar de g eschied enis stilstond. E en dergelijke indruk g e v e n ook de f o t o ' s die J e n s Rötzsch m a a k t e tijdens de g e o rg a nis e e rd e

massabijeenkomsten

v a n vóór, e n d e m a s s a l e e n s p o n t a n e g e b e u r t e n i s s e n o p stra at né ' D i e W e n d e ' : er lijkt n i e t v e e l v e r a n d e r d . D e k l e u r e n in zijn f o t o ' s l i j k e n o p c y n i s c h e w i j z e t e r efer er en aan het k u n s t m a t i g e karakter van de v a stg e l e g d e tafer elen. In t e g e n s t e l l i n g t o t S c h r ö t e r e n R ö t z s c h w e r k t R o b e r t P a ris a l l e e n in z w a r t - w i t . P aris' f a s c in a ti e vo o r a r c h i t e c t u u r - en d a n m e t n a m e v o o r b o u w w e r k e n m e t e e n

Klaus

b e l a n g r i j k e h i s t o r i s c h e b e t e k e n i s - is t e r u g t e v i n d e n in z ijn f o t o s e r i e v a n o n d e r m e e r h e t U - b a h n s t a t i o n P o t s d a m e r P latz , z o ' n d e r t i g j a a r g e l e d e n n o g ' h e t ' s t a t i o n

Hahner-Springmühl zonder t i t e l / u n t r t t e d , 14.1.1987

v a n h e t c e n t r u m v a n B e r l i j n . K e n m e r k e n d v o o r d e s o m b e r e s f e e r in z ijn f o t o ' s is

luit/from: Niemandsland. Heft 7, 1988)

h e t o n t b r e k e n v a n m e n s e n e n h e t s p a a r z a a m a a n w e z i g e lic ht. D e s e r i e o v e r d i t s t a t i o n in d e B e r l i j n s e o n d e r g r o n d s e is i n m i d d e l s b i j n a e e n h i s t o r i s c h d o c u m e n t : o o k o n d e r d e g r o n d w o r d e n d e l a a t s t e s p o r e n v a n d e o o r l o g e n v a n v e e r t i g jaar D D R zorgvuldig uitgewist.

w e r e a b r o a d . But by th e s e c o n d half of th e 1960's, c e rt a in g r o u p s o f p h o t o g r a p h e r s , s u c h as t h e G r u p p e D i r e k t in B e r l i n o r A c t i o n F o t o g r a f i e in L e i p z i g , b r o k e l o o s e f r o m t h e r i g i d w a y s o f w o r k i n g o f t h e m a j o r i t y o f E ast G e r m a n p h o t o j o u r n a l i s t s . In t h e i r w o r k t h e y o p t e d f o r a m o r e

personal

a p p r o a c h , a n d m o r e i m p o r t a n t , th e y t h e m s e l v e s t o o k th e initiativ e in p r o d u c i n g d o c u m e n t a r y projects. At the s a m e t i m e , a m o n g

photographers

a n d artists - particularly th o s e outsid e the m e d i a circuit - a gre ater p s y c h o l o g i c a l i n t e r e s t in t h e b a c k g r o u n d o f E a st G e r m a n s o c i e t y s l o w l y arose. Th e n u m b e r of photograph ers w h o did not clearly choose the course of profession al j o u r n a l i s m , b u t pr eferr ed to w o r k as creative

photographers,

rose d u r i n g th e 1970's. A m o n g t h e m w e r e b o t h g r a d u a t e s of th e Leipzig Hoc hsc hul e für Grafik u n d Buchkunst a n d a g r o w i n g n u m b e r of self-taught p h o t o g r a p h e r s . In 1 9 8 0 t h e V e r b a n d B i l d e n d e r K ü n s t l e r d e r D D R set u p a p h o t o g r a p h y d e p a r tm e n t. A l t h o u g h this w a s an official, state-controlled institution, the P hotogr a phy W o r k g r o u p offered n e w perspectives for creative p h o t o g r a p h e r s o r i e n t e d t o w a r d th e visu a l arts, in th e f o r m o f c o m m i s s i o n s , s t u d y o p p o r t u n i t i e s , et c e t e r a . T o g e t h e r w i t h t h i s , a b r o a d s p e c t r u m o f a p p r o a c h e s a n d m e a n s of w o r k i n g aros e in th e 1980's w i t h i n p h o t o g r a p h y in the DDR, including stag ed p h o t o g r a p h y , p h o t o installations, s equ enc es, a n d s u c h . In a d d i t i o n t o t h e m a n y p h o t o g r a p h e r s w h o c h o s e t h e s o c i a l r e a l i t y a s their subject and d e v e l o p e d a m o r e personal f o r m of d o c u m e n t a r y p h o t o g r a p h y in d o i n g so ( s u c h a s E r a s m u s S c h r ö t e r , G u n d u l a S c h u l z e , U t e M a h l e r , S ib yll e B e r g m a n n , H e lg a Paris, R u d o l f S ch afer, U lric h W ü s t a n d Rudolf

Schater

from the series: Totengesichter luit/from: DDR Foto, 1985 ) vervolg

op pagina

W o l f g a n g G r e g o r ) , th e r e w e r e p h o t o g r a p h e r s w h o w o r k e d in a m o r e conc eptu al m a n n e r, or used th e m e d i u m w i t h i n the f r a m e w o r k of their Aktions-

a n d p e r f o r m a n c e art. T h o m a s F l o r s c h e u t z , M i c h a e l B r e n d e l , K l a u s

continued

page

Erasmus

Schrรถter Z w i c k a u , 1983

für Eva Angela Ulrike Gudrun

I Den Flüssen hier glaubt man nicht, daB sie ins Meer wollen. Der Elbe bei Dresden sieht man den Atlantik nicht an und nicht die Gezeiten. Hier ist Ebbe, sagt jemand. Und ein gebogener toter Fisch hangt drüber, faIIt unversehens ins Wasser: der Mond. Vier Frauen in Betrachtung. Die romantischen Bilder blattern ab. Unterm Kleister werden die verworfenen Entwürfe sichtbar, das Gewebe des Grundes. Der goldene Rahmen ist nur scheinbar das Ende der Welt; wir haben ja noch die Tiefe. Die giftige Schlammschicht am Grund der Flüsse, sagt jemand. Die nicht ausgeführten Entwürfe, sagt jemand. Das Gewebe, neu zu bezeichnen, sagt jemand. in Mond und das unglaubliche Meer.

vielleicht ist das eine deutsche Geschichte: je knapper bemessen die Oberflache, desto grundloser die Tiefe. Wer sich fallen laBt, geht zu Grunde. lm Schlamm, der den Boden verbirgt. Den blutigen Boden deutscher Geschichte. Worauf aber sollen wir bauen und was, zwischen Barock-Konserven Ruinen Beton.

Barabara Kohier Deutsches Roulette Gedichte 1984-1989

gedichtsanlaB nunmehr begründet dieser grund einen ganz neuen einen ablesbaren den grund hersagenden glücksgrund ohne den jedes w o r t ein grundsuchen w a r begründet auf g lü c k sg ru n d lo sig k e it nach betreten des grundes ergibt sich die frage nach der w e i t e r e n n o tw e n d ig k e it a) der suche b) der formulierung der findung des grundes einzige b erechtigung scheint der z weif e l an der tr agf ahigk eit desselben

26.2.90

frau pelikan in ihrer grenzenlosen liebe ifi sich das herz aus dem leib die kind er gieren aufgereckt nach dieser sprud elqu elle blut

und genügten nicht meine we iB en brüste fragt frau p elik an in ihrer grenz enlosen liebe

Christiane Grosz Die asoziale Taube l A u f b a u - V e t l a g . 1992)

27.3.90

Jens

Rรถtzsch

P f i n g s t t r e f f e n d e r F D J , B e r l i n ( O s t ) , 1989

Jens

Rรถtzsch

R u s s i s c h e S o l d a t e n , Fest zur V รณ l k e r s c h l a c h t b e i L e i p z i g , 1988

Mensch ohne Grofihirn

Erstes Arkanum, das hietë Blanker Sarkasmus, List über alle Matëen Zerrissenheit, was vom Wissen bleibt. Mit der Drastik als Credo, dem Wandern Urn das numerische Nichts war Statistik Vergetëlichkeit. Jede Quote reiRt Zoten. Wie mein Hasenherz weiG, wie es weiR DaR es bluten muG, irgendwann erwischt. Weltscheu wie Dürers Hase liege ich nachts Vor Bedeutung flach. Gab es mehr als Flucht, Fleisch, von den Knochen gelost, BlöSe n der Zeit des Verschlei&es ein wenig Spatë? Rückzug aus der Borniertheit Sprache, All diesen Achs und Wehs Diesseits der Zoölogie.

Mm Zweites Arkanum, das war Indifferenz, die totale, Qualen verschalend und Male Wie sie die Herkunft verschreibt. Unsichtbar tatowiert Ist es die Haut die in Schweigen hüllt, Blau Eine Spannung von Adern und nackter Gewalt. Welche Freude macht vor dem Schauhaus Halt, Vorm zerstückelten Leib? Jeder bessere Witz Bohrt sich ins Stirnbein ein. Nur allein zu sein Ist schon Spuk genug. Hinter dunner Schlafenwand Unerkannt war das BewuRtsein ein rohes Ei? Blatternd in Röntgenbildern sprüht dir der Wind Silbrige Tröpfchen ins Haar, Gelatine und Chrom. Komm schon, Stimme im telephonischen Wirrwarr War das Blabla ein Versteek vor dem Tod Symbolisch oder banal?

Dürs Grünbein 5.92, Berlin

v Drittes Arkanum, das hieB Alles willkommen was kommt. Biegsam und isotrop Bis es im Kleinsten, in den Gelenken denkt. Ausgerenkt Jeder Arm der zu halten sucht was unhaltbar ist. Schon ein Sandkorn löscht diese Augenwelt aus. Ein schwacher Luftzug richtet das Flimmerhaar auf. Und es singt weiter "Kleine psychische lllusion..." Auf dem Ton. Nicht bevor er bricht Wird dir klar, wie zerbrechlich dein Knöchel war. Keine Zelle bleibt was sie ist. Alle sieben Jahre Ist der Körper ein andrer, die Haut unverwandt Wie im Spiegel der Fingernagel das eigne Fleisch. Entzogen der Boden, totcodiert der enorme Raum Und die Skelette zerfallen im Labyrinth. Also allein, also blank, Also was?

Jens

Rรถtzsch

D e u t s c h - A m e r i k a n i s c h e s V o l k s f e s t , W e s t - B e r l i n , 1989

Jens

Rรถtzsch

K a m p f g r u p p e n d e m o , L e i p z i g, 1988

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Johannes Jansen (Berlin) 5.92

Bert PapenfuG-Gorek

Ăźbereinfall w a s die holle w a r ,

w e i B ich nich mehr

w e i B nich m e h r ,

du w a r s t doch dabei

w a s j e t z t los i s ,

is die z u k u n f t

die zus am m en t r i f f t. die augen r a u c h e n ein biBchen qual das herz k n e i f t , was raus w i l l ,

kommt immer rĂźber alles is d r i n muB j e t z t w o h l .

LED S A U D A U S

notdichtung karrendichtung

Janus press

199 1

El Ie, K u r t B u c h w a l d , P e t e r O e h l m a n n , M a t t h i a s a n d A n d r e a s L e u p o l d , A n d r e a s Henschel, Ralf-Rainer W ass e, Klaus H a h n e r - S p r i n g m ü h l a n d Frank H e r m a n are o n l y a f e w e x a m p l e s of this latter g r o u p . In 1 9 8 4 - 8 5 , E r a s m u s S c h r ö t e r m a d e a s e r i e s o f p o r t r a i t s a n d s t r e e t s c è n e s in th e D D R. He c o n c e n t r a t e d o n e v e r y d a y sc èn es a n d o c c u rr e n c e s , a n d in particular o n th e public e v e nts th a t c a n be seen as typic al for th e public c u l t u r a l l i f e o f t h e t i m e . T h e m o s t s t r i k i n g a s p e c t o f t h e s e p h o t o s is t h a t t h e y a b s o l u t e l y d o n o t a p p e a r t o h a v e b e e n m a d e in th e 1980's. T h e stre ets, th e houses, the clothing and even the faces imm e d i a t e ly r e min d a W estern v i e w e r of th e 1950's. S c h r ö t e r ' s p h o t o s h a v e a r e m a r k a b l e air of a p e r i o d a n d a l a n d in w h i c h p e r h a p s t i m e h as g o n e o n , b u t h i s t o r y has s t o o d still. T h e p h o to s that J e n s Rötzsch m a d e d u r i n g th e org ani z ed m a ss m e e t i n g s prior to,

Noot

a n d th e m a s s i v e a n d s p o n t a n e o u s street h a p p e n i n g s after " t h e a b o u t - f a c e "

6. Zie bijvoorbeeld Kaufhold. E. & Domröse. U.: Zwischenz eiten

g i v e a s i m i l a r i m p r e s s i o n : n o t h i n g m u c h a p p e a r s t o h a v e c h a n g e d . In a

Berlijn, Hamburg, Düsseldorf, F.C. Grundlach/Richter Verlag. Verder heb ik dankbaar gebruik gemaakt van: Adler, G.

cynic al w a y , th e c o l o u r s in th e p h o t o s a p p e a r to refer t o the artificial

& Koenig, W. D D R F oto, 1985, Berlijn, Verein Freunde der Werkstatt für Fotografie: Angehaltene

character of the scènes recorded.

der D D R, een themanummer van Niemandsland - Zeitschrift zwischen den Kuituren, 1988, Berlijn, Dirk Nishen Verlag,

In c o n t r a s t t o S c h r ö t e r a n d R ö t z s c h , R o b e r t P aris w o r k s o n l y in b l a c k a n d

- Bilder O stdeutsche

Photographen

1987-1991,1992.

Z eit: F otografie

aus

Jahrgang 2, Heft 7; Gillen, E. & Haarmann, R. (red): Kunst in der D D R, 1990, Kiepenheuer & Witsch.

w h i t e . P aris' f a s c i n a t i o n fo r a r c h it e c tu r e , a n d p a r ti c u l a r l y for s t r u c t u r e s w i t h i m p o r t a n t h i s t o r i c a l m e a n i n g s , is e n c o u n t e r e d in his p h o t o s e r i e s w h i c h

Note

i n c l u d e s , a m o n g o t h e r s , t h e P o t s d a m e r Platz U - B a h n s t a t i o n , w h i c h t h i r t y

6. S e e , f o r i n s t a n c e , K a u f h o l d , E. & D o m r ö s e , U.: Z w i s c h e n z e i t e n - B i l d e r O s t d e u t s c h e P h o t o g r a p h e n 1987-

years ago w a s " t h e " station for the centre of Berlin. The absence of people

1991.1992, H a m b u r g , D ü s s e l d o r f a n d B e r l i n , F.C. G r u n d l a c h / R i c h t e r V e r l a g . F u r t h e r , I h a v e m a d e g r a t e f u l

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

use o f t h e f o l l o w i n g : A d l e r , G. & K o e n i g , W . : D D R F oto, 1985, B e r l i n , V e r e i n F r e u n d e d e r W e r k s t a t t f ü r

h i s p h o t o s . T h e s e r i e s a b o u t t h i s s t a t i o n in t h e B e r l i n s u b w a y h a s s i n c e

F o t o g r a f i e ; Angehaltene

b e c o m e a l m o s t a n h is to ric a l d o c u m e n t : e v e n u n d e r g r o u n d t h e last t r a c e s of

z w i s c h e n d e n K u i t u r e n , 1988, B e r l i n , V e r l a g Dirk N i s h e n , V o l u m e 2, N o . 7; Gillen, E. & H a a r m a n n , R. (eds.):

the w a r a n d forty years of the DDR are carefully being banished.

Kunst in der D D R, 1990, K i e p e n h e u e r & W i t s c h .

Kurt B u c h w a l d f r o m t h e s e r i e s : B e r l i n e r T r a u m , 1987 (uit/from: Zwische n Zeiten, 1991)

Z eit: F otografie

aus der D D R, a t h e m e - n u m b e r of N i e m a n d s l a n d - Z e i t s c h r i f t

M e lc h io r de W o lff

THE UNSATURAT E D P AINTB O X ERASMUS S C H R Ö T E R A N D T H E G E R M A N D E M O C R A T I C REPUBLIC de o n v e r z a d i g d e v e r f d o o s erasmus schröter en de duitse democratische republiek

Wat voor soort beelden verschijnt er op het scherm van onze innerlijke videorecorder wanneer we worden herinnerd aan de Duitse Democratische Republiek, welke associaties dienen zich aan bij het horen van de afkorting DDR?

What sort of images appear on the screen of our mental video recorder when we are reminded of the German Democratie Republic, what associations arise when we hear the abbreviation DDR?

O n g e t w i j f e l d , e n in d e e e r s t e p l a a t s , e e n f o r s e v e r z a m e l i n g c l i c h é s . H e t

U n d o u b t e d l y , in th e first plac e, a s u b s t a n ti a l c o l l e c ti o n of clich és: th e

paradijs van arbeiders en b o e r e n, de sinistere c o m b i n a t i e van het M a r x i s t i s c h-

wo rk e rs' a n d f a rm e rs' paradise, the sinister c o m b i n a t i o n of Marxist-Leninist

Leninistische ideeëngoed en de spreekwoordelijke Duitse Gründlichkeit, de Brave

i d e o l o g y a n d p r o v e r b i a l G e r m a n t h o r o u g h n e s s , th e Br a v e N e w W o r l d of

N e w W o r l d v a n W a l t e r Ulbricht en v a n Erich e n M a r g o t H o n e c k e r - dat alles h e e f t

W a l t e r U l b r i c h t a n d E r ic h a n d M a r g o t H o n e c k e r , all o f w h i c h h a v e

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

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

imprinted

b e e l d e n . W i e z i c h h e t b o r d h e r i n n e r t m e t d e t e k s t ' A c h t u n g ! Sie v e r l a s s e n j e t z t

R ec alling th e s ig n w i t h the text " A c h t u n g ! Sie v e rl a ss e n jetzt W e s t - B e r l i n " ,

W e s t - B e r l i n ' , herinnert zich t e v e n s het o m s l a c h t i g e en m e n s o n t e r e n d e g e h a n n e s

w e a r e at t h e s a m e t i m e r e m i n d e d o f t h e t i m e - c o n s u m i n g a n d d e g r a d i n g

aan d e O o s t d u i t s e g r e n s , d e g e u r v a n d e u i t l a a t g a s s e n v a n p i n g e l e n d e a u t o ' s die

r i g m a r o l e at th e E ast G e r m a n b o r d e r ; th e s m e l l o f t h e e x h a u s t f r o m

liepen o p b r a n d s t o f m e t e e n o c t a a n g e t a l van o m e n nabij d e 6 3 , d e m o e d e l o o s

a u to s that ran on g a solin e w i t h an oc tan e level of nearly 63; th e dispiriting

pinging

s t e m m e n d e opmaak en de nog d e p n m e r e n d e r inhoud van de krant N e u e s

layout and even m o r e d epressing content of the n e wsp a p e r

D e u t s c h l a n d , d e p o l i t i e k e o f f i c i a l s d i e j e bi] e l k e g e l e g e n h e i d l a s t i g v i e l e n m e t

D e u t s c h l a n d ; t h e p o l i t i c a l o f f i c i a l s w h o , at e v e r y o p p o r t u n i t y , r e g a l e d o n e

cijfers over de resultaten v a n de b r u m k o o l o n t g i n n i n g , het vijfjarenplan, het aantal

wi th figures a b o u t the results of b r o w n coal exploitation, the five-year pl an,

Neues

instellingen voor technisch onderwijs w a a r m e e de bevolking w a s gezegend, en

the n u m b e r of institutions for technical training w i t h w h i c h the

m e t hun leugens over de e e u w i g d u r e n de vriendschap tussen de socialistische

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

population

v o l k e r e n ; m e n h e r i n n e r t zich d e aan n a t i o n a l i s t i s c h e razernij g r e n z e n d e t r o t s

peoples; the nationalistic pride bord ering on frenzy wi th wh i c h people treated

w a a r m e e het luguber soort w e z e n s w e r d b e j e g e n d dat er van e e n zekere a f s t a n d

t h o s e d o u r b e i n g s w h o , at a c e r t a i n d i s t a n c e , l o o k e d like w o m e n , b u t o n

u i t z a g als e e n v r o u w m a a r bij n a d e r e b e s t u d e r i n g g e h e e l uit p o l y e s t e r l e e k t e zijn

closer e x a m i n a t i o n app e ar ed to be m a d e up entirely of polyester - the

o p g e t r o k k e n - het W a g n e r i a a n s e type dat tijdens de O l y m p i s c h e Spelen

W agn erian types w h o , during the O lympic G ames, always appe ared on the

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

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

hoogspringen en speerwerpen.

t h r o w i n g . A n d w h o e v e r p r e s s e d d e e p e r i n to t h e l a n d t h a n j u s t E ast B e r l i n " H a u p t s t a d t d e r D D R " - r e m e m b e r s t h e g r e y l a y o u t o f c i t i e s like E r fu r t, K a r l -

E n w i e i e t s v e r d e r in h e t l a n d d o o r d r o n g d a n a l l e e n t o t O o s t - B e r l i j n ' H a u p t s t a d t der D D R ' - h e r i n n e r t zich d e g r a u w e p l a t t e g r o n d e n v a n s t e d e n als Erfurt, Karl-Marx-Stadt, Leipzig, Halle en Z w i c k a u , van Rostock en B a u t z e n , w a a r v a n het c e n t r u m steevast w e r d g e v o r m d door de Leninallee, d e Friedrich Engels-Platz, de Strasse der W a f f e n b r ü d e r s c h a f t e n d e O t t o G r o t e w o h l - S t r a s se g e b o u w d in d i e w a n h o p i g m a k e n d e a r c h i t e c t u u r w a a r i n a a n d e l e l i j k h e i d g e e n e n k e l e b e p e r k i n g w a s o p g e l e g d . M e n herinnert zich t e n s l o t t e o o k - het z o u unfair zijn d a t t e v e r z w i j g e n - d e m e n t a l i t e i t v a n s o m m i g e N e d e r l a n d e r s d i e d e m e n i n g v e r d e d i g d e n dat d e Berlijnse M u u r ' h i s t o r i s c h juist' kon w o r d e n g e n o e m d of die uit h e t f e i t d a t in d e D D R d e g e z o n d h e i d s z o r g ' g r a t i s ' w a s , a f l e i d d e n d a t w e h i e r te m a k e n h a d d e n m e t e e n v o o r u i t s t r e v e n d land ' w a a r a n d e r e landen n o g w a t van konden leren'.

M a r x - S t a d t , Leip z ig, Halle a n d Z w i c k a u , of R ostok a n d B a u t z e n , th e heart of w h i c h w a s invariably f o r m e d by the Leninallee, the Friedrich-Engels-Platz, the Strasse der W a ff e n b r ü d e r s c h a ft a n d the O tto G ro twohl- S tr a ss e , each lined w i t h buildings of u n l i mi t e d uglin ess that d r o v e on e to despair. Finally, w e r e m e m b e r - f o r it w o u l d b e u n f a i r n o t t o d o s o - t h e m e n t a l i t y o f s o m e D u t c h m e n w h o d e f e n d e d the o p i n i o n that the Berlin W all c ould be t e r m e d " h i s t o r i c a l l y j u s t " o r t h a t b e c a u s e o f t h e f a c t t h a t h e a l t h c a r e in t h e D D R w a s provid ed "fr e e", w e w e r e here dealing with a progressive country

"from

w h i c h oth er countries could learn a thing or t w o " . T h e s e c l i c h é s a r e i n t i m a t e l y i n t e r w o v e n w i t h w h a t , in a s o m e w h a t

Er b e s t a a t e e n i n t i e m e v e r w e v e n h e i d t u s s e n d e z e c l i c h é s e n w a t m e t e e n

t h e c l i c h é s a r e a c o n f i r m a t i o n o f t h e feeling

of unreality

that irrevoc ably

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

o v e r c a m e a n y f o r e i g n v i s i t o r ( o r i n a n y c a s e , m e ) i n t h e D D R . It w a s a

m a n i e r w a a r o p d i e c l i c h é s e e n b e v e s t i g i n g zijn v a n h e t gevoel

s e n s a t i o n o f i l l u s i o n , t h e f e e l i n g o f this

van

onwerkelijkheid

can't

be, t h e c o n v i c t i o n t h a t r e a l i t y

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

d a t z i c h in d e D D R v a n d e b u i t e n l a n d s e b e z o e k e r - in elk g e v a l : v a n m i j onherroepelijk m e e s t e r m a a k t e . Een sensatie van z i n s b e g o o c h e l i n g , het g e v o e l van:

loaded

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

dat kan niet, d e o v e r t u i g i n g d a t d e w e r k e l i j k h e i d e r zo n i e t u i t k o n z i e n - t e r w i j l

r e c a l l v e r y s t r o n g l y t h e s o r t o f colours

in w h i c h t h e D D R w a s e x e c u t e d ,

c o l o u r s w h i c h h a v e n e v e r b e e n s e e n a n y w h e r e else o n e a r th , but th e r e

zij d a t o n d e r t u s s e n t o c h d e e d . Ik h e r i n n e r m i j b i j v o o r b e e l d h e e l s t e r k h e t s o o r t

lit e r a lly c o v e r e d e v e r y t h i n g : a s t r a n g e o r a n g e p i g m e n t , like t h a t of a j a u n d i c e

kleuren

sufferer; a w a s h e d - o u t light blue that r e m i n d e d on e of rinse water; tints

w a a r i n d e D D R w a s u i t g e v o e r d ; k l e u r e n die je nooit o p e n i g e a n d e r e plek

v a n d e w e r e l d b o l had g e z i e n , maar die hier o m d e haverklap w a r e n t o e g e p a s t : e e n

s o m e w h e r e b e tw e e n grey and light gr e en - the unsaturated p aintbox of the

v r e e m d o r a n j e p i g m e n t , a l s bij i e m a n d d i e a a n g e e l z u c h t lijdt, e e n f l e t s l i c h t b l a u w

G e r m a n D e m o c r a t i e R e p u b lic . I recall a girl f r o m W e i m a r c o m p l a i n i n g th a t

dat herinnerde aan a f w a s w a t e r . o n b e s t e m d e t u s s e n t i n t e n t u s s e n grijs e n

n o w h e r e in t h a t c i t y o f S c h i l l e r a n d G o e t h e c o u l d b l a c k s h o e s b e h a d , t h a t

lichtgroen - de onverzadigde verfdoos van de Deutsche Demokratische

she had to mak e do wi th beige-coloured e x a mp l e s m a d e f r o m a grainy sort

Republik.

of plastic th a t b e g a n t o fall ap art after s ev er al k i l o m e t e r s . W o m e n dr e ss e s in t h e c o l o u r - s c h e m e of h o sp it a l f o o d , in v a ri a b l e m a d e

wore

Ik h e r i n n e r m e e e n m e i s j e u i t W e i m a r d a t z i c h e r o v e r b e k l a a g d e d a t er in d e z e

from

hele stad van Schiller en G o e t h e g e e n z w a r t e s c h o e n e n v o o r h a n d e n w a r e n en dat

s y n t h e t i c f i b e r s t h a t c a u s e d r a s h e s ; m i d d l e - a g e d m e n w e r e s h r o u d e d in b r o w n suits w i t h o r a n g e shirts a n d m u s t a r d - c o l o u r e d ties; I e v e n animals

ze w a s a a n g e w e z e n o p b e i g e - k l e u r i g e e x e m p l a r e n v a n e e n k o r r e l i g s o o r t

remember

w i t h th e s a m e a u r a . Hinein m a r s c h i e r t das N a s o b e h m , es steht

k u n s t s t o f d a t al n a e n k e l e k i l o m e t e r s b e g o n t e d e s i n t e g r e r e n . V r o u w e n d r o e g e n

noch

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

nicht i m B r e h m u n d auch i m Brockh aus nicht.

van uitslagveroorzakende s y n t h e t i s c h e vezels, m a n n e n van m i d d e l b a r e leeftijd g i n g e n g e h u l d in b r u i n i g e k o s t u u m s w a a r o n d e r e e n o r a n j e o v e r h e m d m e t e e n

T h i s f e e l i n g o f a r t i f i c i a l i t y m a n i f e s t e d its elf c o m p e l l i n g l y f o r all f i v e

m o s t e r d k l e u r i g e d a s - ik h e r i n n e r m e z e l f s dieren

s e n s e s . It o n c e h a p p e n e d t h a t , w i t h o u t r e a l i z i n g it, I w a s g i v e n a D D R c i g a r e t t e ; t h e t a s t e d i d n o t s o m u c h s e e m t o r e s i d e i n absence s o r t o f v e r i f i a b l e presence

of weakness,

of taste,

as in a

w h i c h w a s reinforc ed by the fact that

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

met een overeenkomstige

uitstraling. Hinein marschiert das N a s o b e h m , es steht noch nicht im B r e h m und auch im Brockhaus nicht. H e t g e v o e l v a n o n e c h t h e i d m a n i f e s t e e r d e z i c h o p a l l e vijf z i n t u i g l i j k e g e b i e d e n .

I n t h e a c o u s t i c a l s e n s e , it h a d a l o t t o d o w i t h t h e l a n g u a g e , w i t h t h e f a c t t h a t

H e t is m i j w e l e e n s o v e r k o m e n d a t ik n i e t s v e r m o e d e n d e e n D D R - s i g a r e t k r e e g

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

g e p r e s e n t e e r d e n d a t d e s m a a k n i e t z o z e e r b l e e k t e b e r u s t e n o p afwe zigheid

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

sma ak,

w h i c h t h e y s p o k e , b u t a l s o in t h o s e t h i n g s w h i c h t h e l a n g u a g e w a s u s e d t o

blijkend uit het feit dat de tabak s l e c h t s m e t d e g r o o t s t e i n s p a n n i n g e n b r a n d e n d

s a y , a n d t h a t r e a d i n g m a t t e r in N e u e s D e u t s c h l a n d w h i c h b r o k e d o w n

k o n w o r d e n g e h o u d e n . In a k o e s t i s c h o p z i c h t h a d h e t t e m a k e n m e t d e t a a l , m e t

every

f e w l i n e s : l e n g t h y c o l u m n s in w h i c h a b s o l u t e l y n o m o r e o r less p r e c i s e

van

als w e l o p e e n s o o r t c o n t r o l e e r b a r e a a n w e z i g h e i d v a n s l a p t e , o n d e r m e e r

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

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

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

the s u g g e s t i o n th a t after a space of t i m e th e s a m e article c o u l d a p p e a r a g a in.

w a a r m e e ze w e r d e n u i t g e s p r o k e n , m a a r o o k in d a t g e n e w a t e r in d i e t a a l w e r d

R e g a r d i n g the f o o d , th e fact that th e t a p w a t e r w a s c h l o r i n a t e d in s u c h an

b e w e e r d , e n d i e d e l e c t u u r v a n h e t al g e n o e m d e N e u e s D e u t s c h l a n d o m d e

e x c e s s i v e m a n n e r g a v e n e a r l y all t h e f o o d t h e u n r e m i t t i n g t a s t e o f a

zoveel regels afbrak: ellenlange k o l o m m e n w a a r i n g e e n e n k e l e m i n of m e e r

s w i m m i n g p o o l . T h e w o r s t w e r e t h e r e s t a u r a n t c a rs o f t h e E ast G e r m a n

p r e c i e z e b e w e r i n g w e r d g e d a a n , alles inert, z o n d e r a a n k n o p i n g s p u n t e n e n m e t d e

railroad, the f a m e d Mi tr o p a , that m a d e on e think of the c ante en of a paint

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

f a c t o r y : s p o n g y R o s t b r a t e n t h a t a t b e s t t a s t e d like c a r d b o a r d , s w i m m i n g in a

e t e n betreft: het feit dat het leidingwater op e e n niet m i s t e verstane m a n i er w a s

sour liquid, t o p p e d off by the n o to r i o u s H 端 h n e r b r 端 h e mit Einlage, details of

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

w h i c h y o u will be spared.

ergst w a r e n de restaurat erijtuigen van d e Oostduitse s p o o r w e g e n , d e vermaarde M i t r o p a , die d e d e n d e n k e n aan de kantine van e e n verffabriek: sponsachtig e

O f c o u r s e , t h e q u e s t i o n w h i c h f o l l o w s f r o m t h i s is w h e t h e r t h i s p a l l o r , w h a t y o u m i g h t c a l l colourlessness

R o s t b r a t e n , z w e m m e n d in e e n z u r i g e m a t e r i e d i e in h e t m e e s t n e u t r a l e g e v a l n a a r

- a cons equ enc e of a nearly totalitarian

k a r t o n s m a a k t e , e n t e n s l o t t e d e b e r u c h t e H 端 h n e r b r 端 h e m i t E i n l a g e , w a a r v a n ik u

in d iff e r e n c e - w a s feit a m o n g th e citiz ens of th e D D R to the s a m e d e g r e e .

d e d e t a i l s m a a r zal b e s p a r e n .

A l l p o l i t i c a l i s s u e s a s i d e , f o r s o m e r e s i d e n t s o f t h e l a n d t h e m s e l v e s it mu s t also have been an alienating exp erienc e, a n d s o m e m u s t have se en a

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

parallel b e tw e e n the political st a gn a tion a nd the proc ess of social

verkleurdheid

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

u i t d e D D R in d e z e l f d e m a t e w e r d a a n g e v o e l d .

o u t w a r d a s p e c t s o f d a i l y life i m p r e s s e d t h e m s e l v e s o n t h e s e n s e s. T h u s , t h e q u e s t i o n is n o l o n g e r how

did

for

themselves.

the citizens

of the DDR

a foreigner

experience

the

DDR,

b u t how

In o t h e r w o r d s , it is t h e d i l e m m a

was

- g e v o l g van e e n haast totalitaire onverschilligheid - door de burgers

Los v a n allerlei politieke k w e s t i e s : het m o e t o o k v o o r s o m m i g e it

ingezetenen

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

proces van sociale v e r s t e n i n g aan de ene kant, en aan de andere de manier

f o r m u l a t e d b y t h e A m e r i c a n p h i l o s o p h e r T h o m a s N a g e l , i n h i s a r t i c l e What

w a a r o p de buitenzijde van het dagelijks leven o p de zintuigen i n w e r k t e . De vraag

it like

is d a n n i e t m e e r : hoe is het voor was

het voor

de burgers

een buitenlander

uit de DDR

om in de DDR

te zijn, m a a r :

hoe

zelf. M e t a n d e r e w o o r d e n : h e t d i l e m m a d a t

d e A m e r i k a a n s e f i l o s o o f T h o m a s N a g e l al e e n s h e e f t g e f o r m u l e e r d , in h e t a r t i k e l What

is it like to be a bat: d e v r a a g is n i e t h o e h e t voor

v l e e r m u i s t e zijn, d e v r a a g is: h o e is h e t voor

een

ons zou zijn o m e e n

vleermuis

o m een vleermuis te

to be a bat.

t h e q u e s t i o n is n o t w h a t it w o u l d b e l i k e for

b u t h o w it is for a bat t o b e a b a t . W h a t is it l i k e t o l i v e i n a s y s t e m i n w h i c h t h e t h o u g h t is c o n s t a n t l y f o r c e d u p o n o n e t h a t t h e s y s t e m is " n o t r e a l " , t h a t r e a l l i f e is t a k i n g p l a c e s o m e w h e r e e l s e , t h a t p e o p l e a r e p e r m a n e n t c h a r a c t e r s i n a s t a g e s e t w h i c h o t h e r s h a v e m e r e l y agreedto s o r t o f house

style

walk-on

call r e a lity , a

w r i t l a r g e ? A n d f i n a l l y , h o w d o e s it f e e l t o k n o w t h a t t h a t

z i j n . H o e is h e t o m t e l e v e n in e e n s y s t e e m , w a a r b i | v o o r t d u r e n d d e g e d a c h t e

s t a g e s e t , t o g e t h e r w i t h t h e D D R i t s e l f , w a s invented,

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

since then taking m u c h tr o u b l e to mo d e r n i z e their inv e ntion f r o m tim e to

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

d a t d a t d e w e r k e l i j k h e i d is, a l s b e t r o f

E n , t e n s l o t t e , h o e is h e t o m d a a r b i j t e w e t e n d a t dat d e c o r ,

s a m e n m e t d e D D R zelf, is uitgevonden,

zonder dat de uitvinders sindsdien veel

m o e i t e h a d d e n g e d a a n o m h u n u i t v i n d i n g v a n tijd t o t t i j d t e m o d e r n i s e r e n , z o d a t d e j a r e n v i j f t i g t o t in a l l e r l ei d e t a i l s in d a t d e c o r w a r e n b e v r o r e n ?

us t o b e a b a t ,

without the

inventors

t i m e , so t h a t t h e set w a s f r o z e n in e v e r y d e t a i l in t h e fi fti e s ? T h a t in t h e last t w o y e a r s s o m e - i n c l u d i n g s o m e D u t c h m e n - h a v e w r i t t e n w i t h a certain nostalgia a b o u t the " g o o d old D D R " , a n d the fact that the W a r t b u r g a n d the T r a b a n t h ave b e c o m e c o ll e c to r's o b j e c ts in the e y e s of s o m e auto fanciers, points to a certain feeling of repining. I don't k n o w

how

f o r m e r E ast G e r m a n s w o u l d re act to th i s t e n d e r n e s s , a n d I c a n t h i n k o f n o

Er is d e l a a t s t e t w e e jaar, o o k d o o r s o m m i g e N e d e r l a n d e r s , w e l e e n s m e t e e n

r a t i o n a l e x p l a n a t i o n f o r it. P e r h a p s it is a l a c k o f i m a g i n a t i o n , o r e l s e o r d i n a r y

zekere nostalgie g e s c h r e v e n over de 'Olie D D R ' en het feit dat de W a r t b u r g en de

m i s p l a c e d c o n s e r v a t i s m ; in a n y c a s e , it c a n n o t s t e m f r o m a b r o a d

T r a b a n t in d e o g e n v a n s o m m i g e a u t o m o b i l i s t e n d e g e d a a n t e h e b b e n

acquaintance with the errors upon wh ic h the DDR rested.

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

F o r tu n a t e l y , th e r e are m e a n s to f r e s h e n up th e m e m o r i e s of th es e

g e r e a g e e r d , e n ik z o u er o o k g e e n r a t i o n e l e v e r k l a r i n g v o o r k u n n e n b e d e n k e n . E e n

nostalgists, a n d the p h o t o s of E r a s mu s S c hröt e r are perfect, classical

g e b r e k aan v o o r s t e l l i n g s v e r m o g e n m i s s c h i e n , of a n d e rs g e w o o n misplaatst

e x a m p l e s o f t h e m . T h e y all d a t e f r o m t h e fi r s t h a l f of t h e 1 9 8 0 's , t h u s f r o m

c o n s e r v a t i s m e - in elk g e v a l n i e t e e n r u i m e k e n n i s v a n z a k e n o v e r d e

t h a t p e r i o d w h e n e v e r y o n e w a s a g r e e d t h a t G e r m a n r e u n i f i c a t i o n c o u l d , at

misverstanden w a a r o p de DDR werkelijk heeft berust.

t h e e a r l i e s t , t a k e p l a c e a t t h e e n d o f t h e t w e n t y - f i r s t c e n t u r y , a n d w h e n it a p p e a r e d to be a c o m p l e t e illusion to think th a t th e E ast G e r m a n

Gelukkig bestaan er m i d d e l e n o m de g e h e u g e n s van deze nostalgici o p te

political

s y s t e m c o u l d b e d e s t a b i l i z e d . T h a t d o e s n ' t m e a n t h a t p e o p l e in t h e D D R ( a n d

f r i s s e n e n d e f o t o ' s v a n E r a s m u s S c h r ö t e r zijn hiervan r e g e l r e c h t e

b y t h i s I m e a n t h e o r d i n a r y c i t i z e n s o f t h a t l a n d ) w e r e p r e p a r e d t o believe

s c h o o l v o o r b e e l d e n . Ze d a t e r e n alle uit d e e e r s t e h e l f t v a n d e j a r e n t a c h t i g , u i t e e n

t h i s u n s h a k a b i l i t y ; it m e a n s o n l y t h a t t h e r e w e r e s c a r c e l y a n y

visible

p e r i o d e d u s d a t i e d e r e e n h e t e r o v e r e e n s w a s d a t e e n D u i t s e h e r e n i g i n g o p haar

manif estations of political o p p o sitio n . Th e only th in g s that w e r e visible w e r e

v r o e g s t aan het ein d van de e e n e n t w i n t i g s t e e e u w zou k u n n e n plaatsvinden en

the t e rmin a l signs of stagn ation, of d e s p o n d e n c y and indifference, a n d the

h e t e e n v o l s t r e k t e illusie l e e k t e zijn d a t h e t p o l i t i e k e s y s t e e m in O o s t - D u i t s l a n d

s t i f f f a c e s o f p e o p l e w h o h a d l e a r n e d sich

a a n h e t w a n k e l e n k o n w o r d e n g e b r a c h t . D a t b e t e k e n d e n i e t d a t m e n in d e D D R ,

Sich

abfinden.

damit

abzufinden.

But w i t h w h a t ? N o t e s p e c i a l l y w i t h t h e D D R itself, or w i t h

ik b e d o e l : d e g e w o n e b u r g e r s v a n d a t l a n d , b e r e i d w a s in d i e o n w a n k e l b a a r h e i d t e

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

geloven,

th a t at th a t m o m e n t th e r e e x ist e d no a l t e r n a ti v e to th e a t m o s p h e r e of

h e t b e t e k e n d e a l l e e n d a t e r n a u w e l i j k s zichtbare

manifestaties

b e s t o n d e n van politieke oppositie . Het e n i g e dat zichtbaar w a s w a r e n d e uiterlijke

d is h o n e s ty w i t h w h i c h the w h o l e w a s shot t h r o u g h . E v e rything w a s false,

t e k e n e n van de stagnatie, van de m o e d e l o o s h e i d e n onverschilligheid, e n van de

a n d t h e s t r i k i n g e v i d e n c e f o r t h a t is t h a t t h e p e o p l e i n S c h r ö t e r ' s p h o t o s i n

s t r o e v e g e z i c h t e n v a n m e n s e n d i e h a d d e n g e l e e r d sich

f a c t d o n o t lo o k like p e o p l e w h o ar e b e i n g p h o t o g r a p h e d ; e v e n w h e n f r o m a

Sich abfinden.

damit

abzufinden.

M a a r m e t w a t ? N i e t s p e c i a a l m e t d e D D R zelf . o f m e t h e t

politieke d e n k e n dat eraan t e n grondslag heeft g e l e g e n , maar m e e r m e t de

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

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

t h e y w e r e still s i t t i n g t h a t w a y l o n g a ft e r S c h r ö t e r h a d s c r e w e d t h e c a p b a c k

o n w a a r a c h t i g h e i d w a a r v a n het hele bestaan w a s d o o r t r o k k e n . Alles w a s

o n t o th e lens. Y o u c an teil this f r o m th e i r e m p t y , m o t i o n l e s s facial

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

e x p r e s s i o n s , a n d f r o m t h e i r h e a d s in w h i c h all k i n d s o f t h o u g h t p r o c e s s e s a r e

f o t o ' s er in f e i t e n i e t u i t z i e n a l s m e n s e n d i e g e f o t o g r a f e e r d w o r d e n : o o k w a n n e e r

g o i n g on, w h i c h can not be u n d e r s t o o d by outsiders, but w h i c h

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

all c o m p r i s e t h e s a m e

z e e r o o k al zo bij m o e t e n h e b b e n g e s t a a n o f g e z e t e n v ó ó r d a t d i e f o t o w e r d g e m a a k t , e n d a t ze er n o g s t e e d s zo bij h e b b e n g e z e t e n n a d a t S c h r ö t e r h e : d o p j e

nonetheless

leitmotiv.

T h a t l e i t m o t i v f i n d s its p e n d a n t in S c h r ö t e r ' s c a s u a l , u n e m p h a t i c

method,

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

w e e r v o o r d e l e n s h a d g e s c h r o e f d . H e t is af t e l e z e n a a n h u n l e g e , b e w e g i n g l o z e

c h a ng e to be seen. This m a k e s t h e m d epressingly different f r o m the

g e l a a t s u i t d r u k k i n g , aan h u n h o o f d e n w a a r i n zich allerlei d e n k p r o c e s s e n

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

moeten

a f s p e l e n die v o o r b u i t e n s t a a n d e r s o n n a v o e l b a a r zijn, maar die n i e t t e m i n allemaal

D D R w a s f i x e d i n i t s p a s s i n g , w h i c h q u i c k l y r e c o r d e d it f o r p o s t e r i t y j u s t

dezelfde grondmelodie bevatten.

b e f o r e t h e l i g h t s w e r e d e f i n i t e l y t u r n e d o u t . Technically,

D i e g r o n d m e l o d i e v i n d t haar p e n d a n t in S c h r ö t e r s t e r l o o p s e , o n n a d r u k k e l i j k e

t h a t d i f f e r e n c e is

e x p r e s s e d in S c h r ö t e r ' s c o l o u r p h o t o s , m a d e w i t h t h e h e l p of t h e a u t h e n t i c

m e t h o d e , e n in h e t f e i t d a t d e z e f o t o ' s zijn g e m a a k t z o n d e r d a t er o o k n o g m a a r

E ast G e r m a n m a t e r i a l s f r o m t h e f i r m O r w o , th a t are g r e a t l y r e m i n i s c e n t o f

e e n schijn van verandering w a s te zien. Het levert e e n b e k l e m m e n d verschil op

the unsaturated paintbox described before. (Perhaps the s ame

m e t d e d u i z e n d e n f o t o ' s d i e w e in d e a f g e l o p e n d r i e jaar h e b b e n g e z i e n e n

c a u s e s the relative " h a r d n e s s " of S c h r ö t e r ' s black a n d w h i t e

material

photography.)

w a a r o p d e D D R nog net w a s v a s t g e l e g d , n o g e v e n s n e l w a s g e r e g i s t r e e r d v o o r d a t

Symbolically,

h e t l i c h t d e f i n i t i e f w e r d u i t g e d r a a i d . Technisch

p h o t o g e n i c . T h e d o c u m e n t a r y c h a r a c t e r o f S c h r ö t e r ' s w o r k is u n a d u l t e r a t e d ;

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

t h e d i f f e r e n c e is e x p r e s s e d i n t h e c o m p l e t e l a c k o f t h e

Schröters kleurenfoto's, g e m a a kt m e t behulp van het authentieke Oostduitse

it c o n t a i n s n o h i d d e n m e a n i n g s , a n d t h e r e a l i t y - o r u n r e a l i t y - t h a t is

m a t e r i a a l v a n d e f i r m a O r w o , d a t al e v e n z e e r h e r i n n e r t a a n d e o n v e r z a d i g d e

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

v e r f d o o s w a a r n a a r ik in h e t b o v e n s t a a n d e h e b v e r w e z e n . ( M i s s c h i e n is h e t z e l f d e materiaal t r o u w e n s oo k de oorzaak van de relatieve 'hardheid' van Schröters z w a r t - w i t f o t o g r a f i e . ) Symbolisch

k o m e n d e v e r s c h i l l e n t o t u i t d r u k k i n g in h e t

T h e e n d of t i m e has since b e c o m e history, a n d th a t l ends t o th es e

photos

a n a i r o f i m m o r t a l i t y s u c h a s a l s o is e n c o u n t e r e d i n c a v e p a i n t i n g s a n d o t h e r c o m p a r a b l e d o c u m e n t s that t h e m s e l v e s have outlasted time. T h e only th i n g

volledige gebrek aan f o t o g e n i e k h e i d: het d o c u m e n t a i r e karakter van Schröters

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

w e r k is ' o n v e r m e n g d ' , h e t b e v a t g e e n d u b b e l e b o d e m s e n d e w e r k e l i j k h e i d - o f

m a k e r s o f c a v e p a i n t i n g s a n d in t h a t t h e y w e r e u n i q u e . A t t h i s d a t e , t e n y e a r s

been

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

after S c hröt e r m a d e t h e m , these p h o t o s are o n e of th e f e w

der tijden te zullen blijven.

s o u r c e s o f e v i d e n c e t h a t c a n g i v e a u n i q u e a n s w e r t o t h e q u e s t i o n o f h o w it

H e t e i n d e d e r t i j d e n is i n m i d d e l s g e s c h i e d e n i s g e w o r d e n e n d a t v e r l e e n t a a n d e z e f o t o ' s het karakter van o n v e r g a n k e l i j k h e i d zoals dat ook kan w o r d e n a a n g e t r o f f e n o p r o t s t e k e n i n g e n e n v e r g e l i j k b a r e d o c u m e n t e n die zichzelf buiten d e tijd h e b b e n g e p l a a t s t . H e t e n i g e w a t w e v a n d e m a k e r s v a n r o t s t e k e n i n g e n w e t e n , is d a t ze d e m a k e r s v a n r o t s t e k e n i n g e n m o e t e n z i j n g e w e e s t e n d a a r i n w a r e n ze u n i e k . O p d i t m o m e n t - t i e n jaar n a d a t S c h r ö t e r zijn f o t o ' s h e e f t g e m a a k t - zijn d e z e z e l f d e f o t o ' s é é n v a n d e w e i n i g e , o n d u b b e l z i n n i g e b r o n n e n v a n e v i d e n t i e d i e h e t u n i e k e a n t w o o r d k u n n e n g e v e n o p d e v r a a g h o e h e t e r in d i e s p o o k a c h t i g e h e i l s t a a t w e r k e l i j k a a n t o e is g e g a a n .

r e a l l y w a s in t h a t g h o s t l y u t o p i a .

unambiguous

Frank Raddatz Heiner Muller

DI E R E F L E X I O N IST A M E N D E , DI E Z U K Ü N F T G E H O R T D E R K U N S T r e f l e c t i o n is o v e r , t h e f u t u r e belongs t o a r t

Raddatz: Mr. Muller, the distance between everyday consciousness and widening. For instance, a hundred years ago in culture is constantly Germany there were still workers' clubs in which German classics were read. Presently the intellectual needs of large parts of the population are fulfilled entirely by videos and Boris Becker. It has become inconceivable that the masses could be swept along by an ideology such as Marx formulated.

M u l l e r : T h a t is n o t a p r o b l e m o f d i s t a n c e , b e c a u s e t h a t w a s a l w a y s t h e r e . For th e first t i m e in w o r l d h i s to r y , th e r e are m o r e p e o p l e alive t o d a y t h a n

Raddatz: wordt

Meneer

steeds

Muller,

groter.

arbeidsverenigingen werden.

waarin

Tegenwoordig

bevolkingslagen

geheel dat

Marx

jaar

tussen

dagelijks

geleden

bijvoorbeeld

worden

idee,

zoals

de afstand

Honderd

er in Duitsland

de Duitse

klassieken

de geestelijke

bevredigd

door

formuleerde,

bewustzijn

waren

behoeften

video's

de massa's

en Boris in zijn

greep

van Becker. krijgt,

cultuur nog

gelezen brede Dat

een

inmiddels

onvoorstelbaar.

M u l l e r : D a t is g e e n p r o b l e e m v a n a f s t a n d , w a n t d i e w a s e r a l t i j d a l . V o o r h e t e e r s t in d e w e r e l d g e s c h i e d e n i s zijn er m e e r l e v e n d e n d a n d o d e n , v o r m e n d e

h a v e d i e d i n t h e p a s t : t h e l i v i n g f o r m t h e m a j o r i t y . C u l t u r e is a l w a y s

l e v e n d e n d e m e e r d e r h e i d . Cultuur h e e f t altijd b e t r e k k i n g o p d e g e s c h i e d e n i s , o p

c o n c e r n e d w i t h h i s t o r y , t h e d e a d . If t h e v a s t m a j o r i t y h a v e n o f e e l i n g f o r

de doden.

c u l t u r e a n d t h e q u e s t i o n s t h a t it d e a l s w i t h , is t h a t n o t j u s t a m a t t e r o f t h e living i g n o r i n g the d e a d ? T h e m a j o r i t y n e v e r tak e notic e of th e m i n o r i t y ,

A l s nu de g r o te m e e r d e r h e i d voor d e cultuur e n de daarin b e h a n d e l d e p r o b l e m e n o n g e v o e l i g b l i j f t , is d a t n i e t a l l e e n h e t n e g e r e n v a n d e d o d e n d o o r d e

u n l e s s it is t o t a k e s e i z e w h a t w a s t h e i r s . B r e c h t ' s f o r m u l a t i o n o f " d e r

l e v e n d e n . D e m e e r d e r h e i d i n t e r e s s e e r t zich niet v o o r d e m i n d e r h e i d . Tenzij het

W e i s h e i t d er M a s s e n " w a s i n t e n d e d as a v e r y s e v e r e c r i t i q u e o f t h e D D R , o f

gaat o m het beslag leggen op de m i n d e r h e i d . B r e c h t ' s formulering van " d e r

th e relation b e t w e e n the p arty a n d the p eople. E v e ryo n e here u n d e rs t a n d s

W e i s h e i t d e r M a s s e n " w a s b e d o e l d als zeer z w a r e kritiek o p d e D D R , o p d e

th at. Br e c h t a l w a y s f o r m u l a t e d his c ritiq u e p o s itiv e ly. N o w th e " W e i s h e i t d er

v e r h o u d i n g t u s s e n p a r t i j e n b e v o l k i n g . D a t b e g r e e p i e d e r e e n h i e r . B r e c h t h e e f t zijn

M a s s e n " h a s b e c o m e t h e " G e i l h e i t d e r M a s s e n " . T h a t is n o t m e r e l y n e g a t i v e .

kritiek s t e e d s positief g e f o r m u l e e r d . N u v e r t o o n t d e " W e i s h e i t der M a s s e n " zich

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

als d e " G e i l h e i t d e r M a s s e n " . D a t is n i e t a l l e e n n e g a t i e f . H i e r a a n ligt h e t

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

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

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

niets o v e r g e d r a g e n w o r d t , dat v o o r h e n , v o o r h u n realiteit van b e l a n g zou k u n n e n

c h u r n i n g a w a y . T h e o n l y r e l e v a n t q u e s t i o n is if a t p r e s e n t it m a k e s a n y s e n s e

zijn. Dat er alleen h e t e l u c h t g e p r o d u c e e r d w o r d t o m he t apparaat aan d e g a n g t e

t o p u b l i c l y s p e a k o f a r t a t a l l . A r t is t h e q u e s t i o n o f a m i n o r i t y , b u t t h e

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

m i n o r i t y c a n o n l y s u r v i v e if a s o c i e t y d o e s n o t h a v e s u f f i c i ë n t i n s i g h t i n t o

in h e t o p e n b a a r o v e r k u n s t t e s p r e k e n . K u n s t is h e t p r o b l e e m v a n e e n m i n d e r h e i d

t h e i r i n n e r l i f e . If a n e t h n o l o g i s t h a s t h o r o u g h l y s t u d i e d a n I n d i a n t r i b e , t h e

e n m i n d e r h e d e n k u n n e n alleen d a n o v e r l e v e n , als d e g e m e e n s c h a p g e e n v o l l e d i g

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

i n z i c h t in h u n g e v o e l s l e v e n h e e f t . A l s e e n e t n o l o o g e e n i n d i a n e n s t a m v o l l e d i g

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

b e s t u d e e r d h e e f t , s t e r f t d e s t a m s p o e d i g u i t . V e r l i c h t i n g is e e n n e g a t i e v e k r a c h t ,

t h o u g h t t o o q u i c k l y b e c o m e s th e m e a s u r e of th e su b j e c ts of d i s c o u r s e . T h a t

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

is t h e t r a n s p o s i t i o n o f t h e s t r a t e g y o f e x t e r m i n a t i o n , o f a n n i h i l a t i n g s p a c e i n

iedere g e d a c h t e w o r d t veel te snel aan de maatstaf van het discursieve

t i m e . It is o n l y a m a t t e r o f t r a c k i n g d o w n i n t e l l e c t u a l m i n o r i t i e s i n o r d e r t o

o n d e r w o r p e n . D a t is d e v e r p l a a t s i n g v a n d e s t r a t e g i e v a n e x t e r m i n a t i e , v a n

r e d u c e t h e m t o t h e m e a n . E v e r y d i v e r g e n t t h o u g h t is n i p p e d i n t h e b u d . W e

u i t r o e i i n g v a n d e r u i m t e in d e t i j d . H e t g a a t a l l e e n o m h e t o p s p o r e n v a n g e e s t e l i j k e

live in a t i m e of t h e i n f l a ti o n of i n f o r m a t i o n , a n d a n y t h o u g h t , a n y

m i n d e r h e d e n , o m ze t e e g a l i s e r e n . I e d e r e a f w i j k e n d e g e d a c h t e w o r d t in d e k i e m

consid eration that b e c o m e s accessible to c o m m o n s sense a priori

becomes

g e s m o o r d . W e l e v e n in e e n t i j d v a n d e i n f l a t i e v a n i n f o r m a t i e e n i e d e r e g e d a c h t e ,

l e s s v a l u a b l e t h r o u g h t h e o v e r f l o w o f i n f o r m a t i o n . In t h e e n d , t h i s

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

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

d e o v e r v l o e d aan i n f o r m a t i e a priori m i n d e r w a a r d g e w o r d e n . T e n s l o t t e levert o o k

and u n d e r m i n e d , and renders t h e m harmiess. The function of public opinion

dit g e s p r e k e e n bijdrage tot d e v a n d e m a c h t b e r o o f d e e n o n d e r m i j n d e

mu s t radically be cast into d o u b t.

t e g e n s t r i b b e l e n d e i m p u l s e n e n m a a k t ze onschadelijk. D e f u n c t i e van de publieke

Beckett has s h o w n th e p r o p e r w a y of d e a lin g w i t h public o p i n i o n : radical protection.

o p i n i e m o e t r a d i c a a l in t w i j f e l w o r d e n g e t r o k k e n . De juiste o m g a n g m e t d e publieke opinie h e e ft B e c k e t t laten zien: radicale afscherming.

In the way that medieval teachings, or artists formulated secret, cryptical messages.

like Hieronymus

Bosch

B o s c h is a l r e a d y a d e c l i n e . T h e g r o t e s q u e is a l i m i t t o t h e f i e l d o f v i s i o n . If, for instance, y o u c o m p a r e Bosch w i t h Tintoretto, y o u will i m m e d i a t e l y see

Dus

van

geheime

de middeleeuwen boodschappen

leren

en zoals

Hieronymus

Bosch

cryptische

formuleren?

B o s c h is al e e n a c h t e r u i t g a n g . H e t g r o t e s k e is e e n b e p e r k i n g v a n h e t

t h e d e g r e e t o w h i c h B o s c h is r e s t r a i n e d b y s p i r i t u a l a n d p s y c h i c p r e s s u r e .

g e z i c h t s v e l d . Als m e n B o s c h b i j v o o r b e e l d m e t T i n t o r e t t o v e r g e l i j k t , ziet m e n d i r e c t

T h e R e n a i s s a n c e is m u c h f r e e r ; o n e c a n s c a r c e l y s p e a k o f g r o t e s q u e p o i n t s o f

in w e l k e m a t e B o s c h g e b o n d e n is a a n g e e s t e l i j k e e n p s y c h i s c h e d r u k . D e

d e p a r t u r e f o r it. W h a t is r e a l l y i n t e r e s t i n g i n t h e M i d d l e A g e s is t h e

R e n a i s s a n c e is v e e l v r i j e r , d a a r i n is n a u w e l i j k s s p r a k e v a n g r o t e s k e

c a r n i v a l e s q u e . T h a t is a s u p e r a b u n d a n t p r o d u c t o f t h e f o l k - c u l t u r e , a s u r p l u s

u i t g a n g s p u n t e n . H e t w e r k e l i j k e i n t e r e s s a n t e a a n d e M i d d e l e e u w e n is h e t

o f v i t a l i t y . In t h e c a r n i v a l e s q u e , p o p u l a r c u l t u r e r e v o l t s a g a i n s t a u t h o r i t y , t h e

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

s t a t e a n d d e a t h . I n c o n t r a s t t o t h a t , t h e g r o t e s q u e is a n e x p r e s s i o n o f a

v i t a l i t e i t . Bij h e t c a r n a v a l e s k e k o m t d e v o l k s c u l t u u r t e g e n d e a u t o r i t e i t e n d e s t a a t

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

e n d e d o o d in o p s t a n d . D a a r e n t e g e n is h e t g r o t e s k e d e u i t d r u k k i n g v a n e e n

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

g e r e d u c e e r d e , e e n v e r a r m d e r e a l i t e i t . H e t is e e n v o r m v a n a n g s t e n o n v r i j h e i d .

i m p o s s i b l e to fin d a point f r o m w h i c h u n k n o w n territory can e nt e r o u r field o f

M a a r d a t is a l l e m a a l al b e k e n d , e n d a t is j u i s t h e t p r o b l e e m . H e t is b i j n a

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

v i s i o n . T h a t c a n o n l y h a p p e n n o w in a r t , n o t in r e f l e c t i o n . R e f l e c t i o n is

g e z i c h t s v e l d k o m t . D a t k a n a l l e e n n o g m a a r in d e k u n s t , n i e t m e e r in d e r e f l e c t i e .

increasingly reproduction. W h e r e nothing n e w can be thought, public

R eflectie w o r d t st e e d s vaker reproduktie. W a a r echter niets n i e u ws w o r d t

o p i n i o n l o s e s its a n i m a t i n g f u n c t i o n . P e o p l e h a v e g o t t o g e t a c c u s t o m e d t o

g e d a c h t , v e rli e st d e p u b l i e k e o p i n i e haar l e v e n d i g e f u n c t i e . M e n m o e t zich e r o p

th e fact th a t it's all o v e r f o r r e f l e c t i o n , t h a t it's d y i n g o u t . It's b e c o m e

i n s t e l l e n d a t h e t m e t d e r e f l e c t i e g e d a a n is e n d a t z e a f s t e r f t . Z e is i r r e l e v a n t , e e n

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

h o b b y g e w o r d e n . O f z o a l s h e t in d e v o l k s m o n d h e e t : h e t l e v e r t g e e n f u c k o p .

difference.

Is dat een pleidooi plaats

van

voor

een nieuw

analfabetisme?

Een stripverhaal

Is that an argument reflection?

reflectie?

for a new illiteracy?

A comic strip in place of

It i s a p l e a f o r t h e a b o l i t i o n o f a r t . Y o u c a n o n l y a b o l i s h a r t if e v e r y o n e

H e t is e e n p l e i d o o i v o o r d e a f s c h a f f i n g v a n d e k u n s t . M e n k a n d e k u n s t a l l e e n

b e c o m e s a n a r t i s t . In B r e c h t ' s F a t z e r f r a g m e n t , y o u f i n d : " w i r a b e r w o l l e n u n s

m a a r a f s c h a f f e n a l s i e d e r e e n k u n s t e n a a r w o r d t . In B r e c h t ' s F a t z e r f r a g m e n t s t a a t :

s etz en/an d e n r a n d d er stadte u n d / a u f sie w a r t e n , d e n n jetzt

" w i r aber w o l l e n u n s s e t z e n / an d e n rand d er st a dt e u n d / auf sie w a r t e n , d e n n

e i n e g u t e zeit; d e n n jetzt b a l d / t r i t t h e r v o r d a s n e u e tier, d a s / g e b o r e n w i r d d e n

muss/kommen

j e t z t m u s s / k o m m e n e i n e g u t e z e it; d e n j e t z t b a l d / t n t t h e r v o r d a s n e u e t i e r , d a s /

m e n s c h e n a u s / z u l o s e n " - o r p u t f r e e l y , a s it c a n n o l o n g e r b e e s t a b l i s h e d -

g e b o r e n w i r d d e n m e n s c h e n a u s / z u l o s e n " - o f vrij t e k o p e n , d a t is n i e t m e e r v a s t

" d a s n e u e t i e r " . P e o p l e w i l l h a v e t o l e a r n t o p u t u p w i t h it. R e a l i t y i s m o r e

t e s t e l l e n - " d a s n e u e t i e r " . D a t m o e t m e n l e r e n v e r d r a g e n . D e w e r k e l i j k h e i d is

c o m p l e x t h a n e n l i g h t e n e d t h o u g h t c a n bear. E n l i g h t e n m e n t o n l y c o m e s w i t h

m e e r v o u d i g e r d a n h e t v e r l i c h t e d e n k e n k a n v e r d r a g e n . V e r l i c h t i n g is e r a l l e e n m e t

b u n d e r s . P eople c a n o n l y take th e s e off t h r o u g h art. O t h e r w i s e y o u

o o g k l e p p e n . D i e k a n m e n a l l e e n in d e k u n s t a f z e t t e n . A n d e r s l o o p t m e n

c o n t i n u a l l y r u n t h e risk th a t p e o p l e w i l l s t u m b l e o v e r s o m e t h i n g t h a t d o e s n ' t

v o o r t d u r e n d h e t g e v a a r d a t m e n i e t s t e g e n k o m t , d a t n i e t in h e t k a d e r p a s t , e n d a t

f i t i n t h e f r a m e , a n d t h e n h a v e t o a v e r t t h e i r e y e s . T h e r e is a q u o t e

m o e t m e n d e blik al a f w e n d e n . Er is e e n t e k s t v a n L y o t a r d o v e r M a r c h a i s e n d e

Lyotard about Marchais a n d th e French c o m m u n i s t party: " D a s

c o m m u n i s t i s c h e p a r ti j v a n F r a n k r i j k : " D a s Z a u b e r g e f e c h t o d e r d i e l e t z t e F l ö t e " .

Z a u b e r g e f e c h t o d e r d i e l e t z t e F l ö t e . " T h a t is a p u n o n " Z a u b e r f l ö t e " , a n d

D a t is e e n v e r d r a a i i n g v a n " Z a u b e r f l ö t e " e n " d a s l e t z t e G e f e c h t " , d u s v a n d e

" d a s l e t z t e G e f e c h t " f r o m t h e Internationale:

Internationale:

I n t e r n a t i o n a l e e r k a m p f t d a s M e n s c h e n r e c h t . " If t h e Internationale

"...auf z u m letzten G efecht, die Internationale erk ampft das

M e n s c h e n r e c h t " . A l s d e Internationale

in h e t o p e n b a a r g e s p e e l d w o r d t ,

moeten

from

"...auf z u m letzten G efecht, d i e is p l a y e d in

p u b l i c , r o y a l t i e s h a v e t o b e p a i d t o a g r e e n g r o c e r in B a v a r i a , w h o b o u g h t t h e

daarvoor royalties aan e e n B eierse g r o e n t e m a n betaald w o r d e n , die d e r e c h t e n

c o p y rig h ts f r o m th e heirs. Y o u ' v e also g o t t o p a y cash for th e n ation al

van d e e r f g e n a m e n g e k oc ht heeft. O ok voor het volkslied van D D R m o e t e n

a n t h e m o f t h e D D R . Eisler h as lost t h e p l a g i a r i s m suit a g a i n s t T h e o

d e v i e z e n w o r d e n b e t a a l d . E isl e r h e e f t h e t p l a g i a a t p r o c e s t e g e n T h e o M a c k e b e n ,

M a c k e b e n , a f i l m m u s i c i a n at t h e U F A . He lifted a c o u p l e m e a s u r e s t o o m a n y .

e e n f i l m m u s i c u s v a n d e U F A , v e r l o r e n . Hij h e e f t e e n p a a r m a t e n t e v e e l g e p i k t . D e

T h e o r i g i n a l t e x t o f Auferstanden

o r i g i n e l e t e k s t v a n Auferstanden

a r e n o t j u s t a b s u r d i t i e s ; t o d a y t h e y a r e m e t a p h o r s . If p e o p l e

an Ruinen

l u i d t " G o o d - b y e , J o h n n y " . D a t zijn n i e t

a l l e e n a b s u r d i t e i t e n . D a t zijn v a n d a a g d e d a g o o k m e t a f o r e n . A l s m e n b e k r o m p e n

an Ruinen

read " G ood-by e, J o h n n y " . These narrow-mindedly

h o l d o n to o l d f o r m s , w i t h o u t testing th eir relation to reality, t h e y a l w a y s

aan o u d e v o r m e n v a sthoudt, zonder ze o p h u n v e r h o u d in g m e t d e w e rk e lijk h e id te

a r r i v é a t t h e o p e r a . It i s c h a r a c t e r i s t i c o f o u r e r a t h a t t h e l i v i n g s t r u c t u r e s o f

t o e t s e n , k o m t m e n r e g e l r e c h t in d e o p e r a t e r e c h t . H e t is k e n m e r k e n d v o o r o n s

t h e last c e n t u r y d i e o u t a n d b e c o m e f a r c e .

tijdperk dat l e v e n d e s tr u c tu r e n van d e laatste e e u w e n uitst e rv e n e n tot e e n farce worden.

Met

de val van de IJzeren

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door.

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of hamburgers domineren

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D e A m e r i k a n e n h e b b e n g e e n historisch e b in d in g e n , g e e n tradities, g e e n d o d e n , d i e z e m o e t e n b e v r i j d e n . D a a r o m z o e k e n z e h u n h eil in d e t o e k o m s t e n z i e n v o o r t d u r e n d U F O ' s . D e a a n t r e k k i n g s k r a c h t v a n d e h a m b u r g e r is a n a l o o g a a n d i e v a n d e U F O . Hij is v o l l e d i g s t e r i e l e n v a n a ll e r e l a t i e s m e t d e d o o d b e v r i j d . Hij is e e t b a r e t o e k o m s t . T o e n ik in T e x a s w a s , d r o o m d e ik v a n e e n " f l y i n g s a u c a g e " , v a n e e n v e t d r u i p e n d e M c D o n a l d s w o r s t , d i e in o n s m a k e l i j k w i t b r o o d zit. Ik r e e d vijfhonderd kilometer rechtdoor op e e n h ig h w a y en b o v e n mij vloog deze r e u z e w o r s t - U F O . D a t is e e n b e e l d v a n d e w e r k e l i j k e A m e n k a a n s e . n a c h t m e r r i e . D a a r e n t e g e n h e e f t E u r o p a a l l e e n e e n k a n s , a l s h e t z ijn z w a a r t e k r a c h t , z ijn g e sc hi e d e nis, to t z w e v e n brengt. A ls d e b egra afpla atsen niet aan d e rand v a n d e sted en w o r d e n aangelegd, maar boven d e sted en cirkelen. Z w e v e n d e begraafplaatsen. Dat zou d e vervulling van e e n o eroud e d r o o m van d e m e n s h e id z ijn , d a t d e h e m e l e e n p l a a t s v a n d o d e n w o r d t . D a a r e n t e g e n v e r b l e e k t d e M e x i c a a n s e v a r i a n t o m d e b o t t e n v a n d e v o o r o u d e r s t h u i s in e e n s c h o e n e n d o o s te b e wa r e n. A n d e r z i j d s z al h e t t o e k o m s t i g e E u r o p a n i e t a l l e e n E u r o p e e s z ijn . D o o r d e o p e n i n g v a n d e M u u r v o e l e n d e A m e r i k a n e n zich th u is niet m e e r veilig. D a t w a r e n z e d e f a c t o a l l a n g n i e t m e e r , m a a r d a t g e l d t n u o o k in f i g u u r l i j k e z i n . D o o r h e t w e g v a l l e n v a n d e M u u r zijn d e k a p i t a l i s t i s c h e s t a t e n g e d w o n g e n o m d e a n d e r e w e r e l d t o e t e laten. Z e k o m e n h e l e m a a l niet m e e r t o t zichz elf, m a a r m o e t e n

Robert P aris

voortdurend accepteren, w a t van buiten o p hen afkomt. V o o r h e e n s t o n d d e a n d e r e w e r e l d er b u i t e n . D e vij a n d h a d e e n g e z ic h t, b e z a t

S - B a h n h o f , P o t s d a m e r Platz, 1990

e e n t e r r i t o r i u m . N u is a l l e s in b e w e g i n g g e k o m e n . Er zijn g e e n p a r a m e t e r s m e e r . G e e n w a a r d e blijft m e e r h e t z e l f d e . T u s s e n r e ë l e e n i n g e b e e l d e b e d r e i g i n g e n b e st a a t g e e n duidelijk o n d e r s c h e i d m e e r . D e realiteit, of h e t c o n c e p t v a n realiteit b e g i n t o p t e l o s s e n . Er o n t s t a a n g e h e e l n i e u w e a n g s t e n e n o n z e k e r h e d e n . D i e v i n d t m e n t e r u g in d e w o r t e l s v a n h e t i n t e l l e c t .

With the fall of the Iron Curtain, the triumphant march of American culture continues. Whether it's a matter of jeans and hamburgers or film and music, the US dominates all of contemporary culture. The A m e r i c a n s have n o historical conn ections, no traditions, no d e ad that t h e y m u s t lib e r a t e . T h u s t h e y seek t h e i r s a l v a t i o n in t h e f u t u r e a n d c o n s t a n t l y

Het zich het

afwenden

van de theorie

feit, dat ze steeds

weer

door

is ook gebaseerd de praktijk

werd

op de frustratie

over

vervalst.

T h e o r i e ë n h o e f d e n n o o i t j u i s t t e zijn o m h i s t o r i s c h e o n t w i k k e l i n g e n o p g a n g t e

s e e U F O ' s . T h e a p p e a l o f t h e h a m b u r g e r i s a n a l o g o u s t o t h a t o f t h e U F O . It i s c o m p l e t e l y s t e r i l e a n d f r e e o f a l l r e l a t i o n s t o d e a t h . It i s t h e e d i b l e f u t u r e . W h e n I w a s in Texas, I d r e a m e d of a "fly in g s a u s a g e " , a f a t-d rip p in g

b r e n g e n . M a a r o m p r o d u k t i e f t e d e n k e n , o m iets n i e u w s t e o n t w e r p e n , h e e f t m e n

M c D o n a l d ' s s a u s a g e , t h a t sat in t a s t e l e s s w h i t e b r e a d . I d r o v e f i v e

v a s t e s a m e n h a n g e n n o d i g , e n d i e z ijn v e r l o r e n g e g a a n . H e t v e r m o g e n o m t e

kilometers wi t h o u t s to p p in g o n a h ig h w a y, a n d abov e m e fl e w this gigantic

hundred

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

" f l y i n g s a u s a g e " . T h a t is a n i m a g e o f t h e r e a l A m e r i c a n n i g h t m a r e . E u r o p e

d e n k e n e e n v e r k e e r d e w e g h e e f t i n g e s l a g e n . Er k a n g e e n o n d e r s c h e i d m e e r

h a s o n l y o n e c h a n c e a g a i n s t it, if it c a n g e t i t s g r a v i t y , i t s h i s t o r y , t o f l o a t . I t ' s

w o r d e n g e m a a k t tu ss e n werk elijk belangrijke b etr ekking en e n schijng ev echten.

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

circle a b o v e t h e m , h o v e r i n g c e m e t e r i e s . T h a t w o u l d be t h e f u l f i l l m e n t o f t h e

D i t o n v e r m o g e n t o t o r i ĂŤ n t a t i e j a a g t s c h r i k a a n . U i t a n g s t n e e m t m e n zijn t o e v l u c h t

a g e - o l d h u m a n d r e a m , t h a t t h e d e a d g o t o h e a v e n . In c o n t r a s t , t h e

tot v e r e e n v o u d i g i n g e n . Dan ontstaan zulke t e k s t e n , zoals die van Enzensberger

Mexican

v a r i a n t o f p r e s e r v i n g t h e b o n e s o f y o u r f o r e f a t h e r s a t h o m e i n a s h o e b o x is

o v e r d e G o l f o o r l o g . Die m o e t m e n als s y m p t o o m lezen. Juist o m d a t

fading.

e e n z e e r s c h r a n d e r a n a l y t i c u s i s , w o r d t h e t d u i d e l i j k w e l k e s c h a d e d e r e f l e c t i e al

O n t h e o t h e r h a n d , it is c l e a r t h a t t h e f u t u r e E u r o p e w i l l n o t b e

European

Enzensberger

h e e f t o p g e l o p e n . D e n k e n is n i e t m e e r l e u k , e n d a t l e i d t e r t o e d a t m e n a l l e e n n o g

alone. Because of th e o p e n i n g of th e W a l l , th e A m e r i c a n s no long er feel safe

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

at h o m e . In fact, t h e y h a v e n ' t b e e n f o r a l o n g t i m e , b u t it's n o w t r u e in a

vinden.

f i g u r a t i v e s e n s e as w e l l . W i t h t h e c o l l a p s e o f t h e W a l l , t h e c a p i t a l i s t s t a t e s are

In d e z e r a d e l o o s h e i d v a n h e t d e n k e n ligt o o k d e k a n s o m t o t i e t s a n d e r s t e

forc ed to receive anoth er w o r l d . T h e y can no long e r c o m e to th e ms e lv e s, but

k o m e n , tot e e n verbinding van k u n s t e n filosofie die stand houdt. Tot dusver had

h ave to c o n tin u a lly accept th in g s th at are a d v a n c i n g o n t h e m .

d e f i l o s o f i e g e e n k a n s o m in k u n s t o p t e g a a n , e n d e k u n s t n i e t in f i l o s o f i e . D a t is

P r e v i o u s l y t h e o t h e r w o r l d w a s k ept w a l l e d off. T h e e n e m y h a d a f a c e ,

al e e u w e n l a n g d e n o r m a l e g a n g v a n z a k e n . N a h e t e i n d e v a n d e v e r l i c h t i n g b l i j f t a l l e e n n o g d e k u n s t o v e r . A l h e t a n d e r e is g e r u ĂŻ n e e r d , h e t g e l o o f e n h e t d e n k e n .

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

N u w o r d t het mogelijk o m d a t g e n e , dat d e verlichting zo z o r g v u l d ig van elkaar

b e t w e e n real a n d i m a g i n e d thre ats. R eality, or th e c o n c e p t of reality, b e g i n s

gescheiden heeft, s a m en te voegen.

to dissolve. Entirely n e w fears a n d unc ertainties c o m e into b eing. People r e c o v e r t h e s e in t h e r o o t s o f t h e i n t e l l e c t .

Dat klinkt totaal

This turning aside from theory is also a result of frustration that it was ever and again proven false in practice.

over the

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H e t is d e p e s s i m i s t i s c h e v a r i a n t v a n d e h o o p , d a t d e v e s t i n g E u r o p a o p d e n

Th eori es don't a lw a ys have to be right to initiate historical

developments.

d u u r o v e r e i n d zal b l i j v e n . A l d e z e v i s i o e n e n v e r z w i j g e n d a t d e D e r d e W e r e l d e e n

But to think productiv ely, to d e v e lo p s o m e t h i n g n ew, p eople n e ed solid

m a c h t is; d a t d e g e n e n , o p w i e n s k o s t e n m e n l e e f t , n i e t e e u w i g p a s s i e f z u l l e n

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

t o e k i j k e n . D a a r v o o r is g e e n m i l i t a i r - e c o n o m i s c h e m a c h t n o d i g . H e t is al v o l d o e n d e ,

exist, but reality h as b e c o m e c o m p l e x to s u c h an e x t e n t th a t t h i n k i n g h as

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

taken a w r o n g tu rn . No distinction can be m a d e any m o r e b e tw e e n

D e v e r l i c h t i n g is m i s l u k t , o m d a t d e z i n v a n M a r x " d a s S e i n B e s t i m m t d a s

really

i m p o r t a n t c o n n e c tio n s a nd mock battles. This impossibility of orientating on es elf terrifies us. O u t of fear p e opl e flee to simplific a tions. This creates t e x t s like E n z e n b e r g e r ' s , a b o u t t h e G u l f W a r . Y o u h a v e t o s e e t h e s e as

B e w u s s t s e i n " s l e c h t s d e h a l v e w a a r h e i d is, a l l e e n h e t p o s i t i e v e d e e l v a n d e o n t w i k k e l i n g beschrijft. Als e en bepaald e c o n o m i s c h verzadigingspunt o v e r s c h r e d e n w o r d t , b e g i n t h e t zijn b e w u s t z i j n l e e g t e z u i g e n . D a n s l a a t d e e c o n o m i s c h e o n t w i k k e l i n g o m in i n t e l l e c t u e l e o n d e r o n t w i k k e l i n g . D o o r d e

s y m p t o m a t i c . P r e c i s e l y b e c a u s e E n z e n s b e r g e r is c a p a b l e o f v e r y c l e v e r a n a l y s i s , it b e c o m e s c l e a r w h a t d a m a g e h a s b e e n d o n e t o r e f l e c t i o n . It is n o long e r ple as ant to think, a n d as a result p e o p l e are just w a i t i n g for th e n ext

c e n s u u r in d e D D R m o e s t d e v e r b e e l d i n g , h e t s c h r i j v e n , d e w e e r s t a n d e n v a n buitenaf o v e r w i n n e n . Daardoor o n t s t o n d e n zeer c o m p l e x e teksten. O n l a n g s z a g ik e e n t a l k s h o w m e t K o n s a l i k , e e n r e c h t s c h a p e n F r a n k . Hij w e r d

c a t a s t r o p h e , a n d n o t k n o w i n g w h e n it w i l l s t r i k e . B u t a lso w i t h i n t h i s d e s p e r a t i o n o f t h o u g h t lies t h e c h a n c e t o a r r i v ĂŠ at s o m e t h i n g d i f f e r e n t , at a l a sting c o n n e c t i o n b e t w e e n art a n d

philosophy.

d o o r d e p r e s e n t a t r i c e s c h e r p o p z i j n t e k s t e n a a n g e v a l l e n . T o e n w e e s hij z o n d e r e n i g e i j d e l h e i d o p z i j n o p l a g e v a n 7 7 m i l j o e n b o e k e n . D a t is m e e r d a n d i e 6 4

U n t i l n o w , p h i l o s o p h y h a d no c h a n c e to rise to art, n o r art t o e n t e r

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

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

w e e r s t a n d e n t e m o e t e n o v e r w i n n e n , v o l l e d i g v r e e m d . D a t z e l f d e g e l d t v o o r zijn

t h e A g e o f R e a s o n , o n l y art w a s left. E v e r y t h i n g else - f a i t h a n d t h o u g h t - w a s

lezers. N i e m a n d leest t u s s e n d e regels d o o r o f d e n k t o v e r e e n s y m b o o l na o f g i s t

l e f t i n r u i n s . N o w it is p o s s i b l e t o b l e n d t h a t w h i c h t h e A g e o f R e a s o n s o

o v e r e e n m e t a f o o r . H i e r h e e f t h e t c i t a a t v a n M a r x zijn g e l d i g h e i d v e r l o r e n . W a n t o f s c h o o n h e t t e c h n i s c h - e c o n o m i s c h p o t e n t i e e l v o l l e d i g t o t o n t w i k k e l i n g is

c arefully s e p a r at e d f r o m each other.

g e k o m e n , stagneert het bewustzijn en heeft het de neiging o m qua niveau te

That sounds more optimistic than Horkheimer's vision of the future as a totally regulated world, which was imagined in works such as Aldous Huxley's Brave New World. It is t h e p e s s i m i s t i c v a r i a n t o f t h e h o p e t h a t t h e f o r t r e s s E u r o p e w i l l

z a k k e n . H i e r b e g i n t , in r e l a t i e m e t d e t e c h n i s c h e o n t w i k k e l i n g , d e i n t e l l e c t u e l e v e r p a u p e r i n g . K o n s a l i k , d e Schwarzwaldklinik

e n z . is t o c h n i e t s a n d e r s d a n

o n d e r o n t w i k k e l i n g . Vanaf e e n bepaalde graad van e c o n o m i s c h e z e k e r h e i d w i l m e n n i e t m e e r d e n k e n , is d e n k e n , h e t o v e r w i n n e n v a n w e e r s t a n d , v e e l t e v e r m o e i e n d . D a n g a a t m e n l i e v e r naar d e b i o s c o o p o f g e n i e t m e n v a n d e l e e g t e d i e d e t e l e v i s i e

r e m a i n s t a n d i n g in t h e l o n g r u n . A l l t h e s e v i s i o n s c o n c e a l t h a t t h e T h i r d

p r o d u c e e r t . D a t is d e f a c t o r , w a a r o m d e v e r l i c h t i n g m i s l u k t e . V a n a f e e n b e p a a l d

W o r l d is a p o w e r , t h a t t h o s e , a t w h o s e c o s t o t h e r s l i v e , w i l l n o t f o r e v e r

punt wijkt de ontwikkeling van de e c o n o m ie en van het bewustzijn van de koers

r e m a i n p a s s i v e o b s e r v e r s . It is n o t n e c e s s a r y t h a t t h e y h a v e m i l i t a r y o r e c o n o m i e p o w e r : i t w i l l b e e n o u g h if m i l l i o n s o f t h e i m p o v e r i s h e d b e g i n t o stir. But t h a t ' s n o t w h a t w e are t a l k i n g a b o u t h e r e . E n l i g h t e n m e n t h as f a i l e d , b e c a u s e M a r x ' f o r m u l a t i o n " d a s S e i n B e s t i m m t d a s B e w u s s t s e i n " is o n l y h a l f

af. Een c o m p u t e r p r o g r a m m a dat d e e c o n o m i s c h e o n d e r o n t w i k k e l i n g v a n d e D e r d e W e r e l d in v e r b a n d b r e n g t m e t d e i n t e l l e c t u e l e v e r a r m i n g z o u i n t e r e s s a n t z i j n , g e h e e l vrij v a n i e d e r e i d e o l o g i e .

a t r u t h , o n l y d e s c r i b e s t h e p o s i t i v e s i d e o f d e v e l o p m e n t . If y o u p a s s a c e r t a i n e c o n o m i e s aturation point, being b e gins to suck c o n s c io u s n e s s dry. T h e n

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D e s c h e i d i n g v a n d e e c o n o m i s c h e z u i l e n v a n d e c u l t u r e l e z u i l e n is n i e t a l l e e n

R e c e ntly I s a w a t a l k s h o w w i t h Kons a lik . He w a s s h a r p l y a tt a c k e d b y th e w o m a n p r e s e n t e r for his texts. He t h e n w i t h o u t a n y c o n c e i t p o i n t e d to his

n e g a t i e f . A l l e e n d e v e r s c h i j n i n g s v o r m is n e g a t i e f . In p r i n c i p e g a a t h e t o m e e n dissociatie van het bewustzijn van de e c o n o m i e . De verlichting beoogde de Toren

s al es o f 77 m i l l i o n c o p i e s , m o r e t h a n t h o s e o f t h e s i x t y - f o u r N o b e l Prize

v a n B a b e l w e e r o p t e b o u w e n . M e n g e l o o f d e in h e t v e r s t a n d e l i j k e d e n k e n d e

wi n n e r s put together. Th e th o u g h t of h aving to o v e r c o m e resistance by

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

w r i t i n g w a s e n tir e ly f o r e i g n to h i m . T h e s a m e w a s t r u e of his r e a d e rs. N o o n e

alle a n d e r e t a l e n d o o r d e r a t i o n a l i t e i t . H e t o e r t r a u m a v a n o n z e b e s c h a v i n g is d e

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

spraakverwarring, het verlies v a n e e n g e m e e n s c h a p p e l i j k e c o m m u n i c a t i e v e basis.

H e r e t h e q u o t e f r o m M a r x h as lost its v a l i d i t y , b e c a u s e e v e n t h o u g h t h e

N u is d e T o r e n - h e t p r o j e k t V e r l i c h t i n g - i n g e s t o r t . M e n k a n d e T o r e n n i e t m e e r

t e c h n i c a l a n d e c o n o m i e p o t e n t i a l h as r e a c h e d its fu l l d e v e l o p m e n t , t h e

o p b o u w e n , m a a r m e n k a n h e m in b e w e g i n g b r e n g e n . M e t d e d o o d v a n d e

c o n s c i o u s n e s s h a s s t a g n a t e d a n d h a s t h e t e n d s t o l o w e r s t a n d a r d s . In

r e f l e c t i e a l s c o n s t i t u e r e n d e m a c h t zijn alle a n d e r e t a l e n w e e r vrij g e m a a k t . D i e

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

impoverishment

et c e t e r a , are n o t h i n g o t h e r t h a n

kunnen nu w e e r gesproken w o r d e n . De scheiding van d e e c o n o m i e maakt het m o g e l i j k b e i d e l i j n e n w e e r in e e n s c h u i n e c i r k e l b a a n o m t e v o r m e n . Pas a l s d e

u n d e r d e v e l o p m e n t . After a certain d egr e e of e c o n o m i e security, p e o p l e d o n ' t

e c o n o m i e niet m e e r het b e w u s t z i j n bepaalt, kan ieder m e n s zich als k u n s t e n a a r

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

e m a n c i p e r e n , d u s zijn d r o m e n n a j a g e n . Dat k a n m e n o o k als o f f e n s i e f v a n d e

e x h a u s tin g . P eople w o u l d rather g o to the m o v i e s t h e n , or e n jo y the

kunst t e g e n de e c o n o m i e zien. Daarin w o r d e n Europa's laatste bataljons verbruikt.

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

D a n z o u E u r o p a n o g 4 0 0 jaar b e z i g z i j n . D a n z o u e r i e t s g e h e e l a n d e r s o n t s t a a n .

E n l i g h t e n m e n t to fail. After a certain point the c o u rs e of intellectual d e v e l o p m e n t deviates f r o m that of e c o n o m i e d e v e l o p m e n t . A p r o g r a m that w o u l d s h o w the c o n n e c tio n s b e t w e e n

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U i t e r l i j k g a a t h e t o m e c o n o m i s c h e - s o c i a l e c o n f l i c t e n , m a a r in e s s e n t i e z ijn z e o e r o u d . Zolang het e c o n o m i s c h v e r b i n d e n d e e l e m e n t enigszins f u n c ti o n e e r d e , w a r e n d e h i s t o r i s c h - c u l t u r e l e o n d e r s t e l a g e n v a n h e t v o l k g e r u s t g e s t e l d . N u is h e t v e r b i n d e n d e e l e m e n t e n d a a r m e e d e s o c i a l i s t i s c h e i d e n t i t e i t w e g . D a t is e e n

That agrees with Benjamin's interpretation of Freud's shock therapy. Under a constant barrage of information the consciousness alters from a stimuli. receiver of stimuli to a defense against The separation of the e c o n o mi e found ations f r o m the cultural

foundations

s h o c k . H e t m a r x i s t i s c h e v o c a b u l a i r e is n i e t m e e r b i n d e n d e n d a n g a a t m e n d e

is n o t a l w a y s n e g a t i v e . O n l y t h e m a n i f e s t a t i o n s a r e n e g a t i v e . I n p r i n c i p l e i t

mo e d e r t a a l w e e r g e b ru ik e n . M a a r het gaat o m identiteit. D e m e n s e n h o u d e n aan

c o n c e r n s a d is a s s o c i a tio n of th e c o n s c i o u s n e s s f r o m th e e c o n o m y . T h e A g e

h u n ta al v a s t . a a n h u n c u l t u r e l e i d e n t i t e i t . U i t a n g s t o m d e i d e n t i t e i t t e v e r l i e z e n ,

of R e a s o n i n t e n d e d to o n c e a g a in b u i l d a T o w e r of B ab el. P eopl e b e l i e v e d

w o r d e n z e d i e r e n . In d e n a t i o n a l e e n r e g i o n a l e o n l u s t e n in J o e g o s l a v i ë e n d e

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

S o v j e t u n i e w o r d t o m t a a l , o m c u l t u r e l e a u t o n o m i e g e s t r e d e n . D a t is e e n s t r i j d o m h e t p u r e o v e r l e v e n , w a n t w i e in E u r o p a g e e n e i g e n ta al m e e r h e e f t , is v e r l o r e n . In d e d e m o c r a t i e ë n v e r z e k e r t m e n z i c h v a n h e t v e r t r o u w e n v a n h e t v o l k d o o r

language.

T h i s m e a n t t h e r e p r e s s i o n o f all o t h e r l a n g u a g e s b y r a t i o n a l i t y . T h e p r i m a e v a l t r a u m a o f o u r c i v i l i s a t i o n is t h e c o n f u s i o n o f s p e e c h , t h e l o s s o f a c o m m o n basis of c o m m u n i c a t i o n . N o w this T o w e r - the proj e c t of t h e

m i s l e i d i n g . D a a r g a a t h e t o m d e t a a l s t r i j d , o m d e ta al o n d u i d e l i j k t e m a k e n . U i t

E n l i g h t e n m e n t - has collaps ed. People can not rebuild the T o w e r, but th e y

m e d e d e l i n g e n o n t s t a a n g e r u c h t e n . M e t d e schijnb ar e o v e r v l o e d aan i n f o r m a t i e

c a n s e t it i n m o t i o n . W i t h t h e d e a t h o f r e f l e c t i o n a s t h e c o n s t i t u e n t p o w e r , a ll

o n t s t a a t d e t o t a l e m i s l e i d i n g . T e r w i j l i e d e r e e n w e e t d a t d i t a l l e m a a l k o m e d i e is.

the o th e r l a n g u a g e s h a v e a g a in b e e n set free. N o w t h e y c a n be s p o k e n a g a i n .

D e e e n s p e e l t v o o r s ti e r , d e a n d e r v o o r t o r e r o . N i e m a n d lijdt s c h a d e . D a t h e e f t

T h e s e p a r a t i o n f r o m t h e e c o n o m y m a k e s it p o s s i b l e a g a i n t o b e a b l e t o f o r m

niets m e t humaniteit te m a k e n . B enj amin h e eft b e w e z e n dat het belangrijkste

b o t h l i n e s in a n o b l i q u e c i r c u l a r c o u r s e . O n l y w h e n t h e e c o n o m y n o l o n g e r

d o e l v a n d e b u r g e r l i j k e m a a t s c h a p p i j h e t v e r d r i n g e n v a n d e d o o d is. In S p a n j e , e n

d e t e r m i n e s c o n s c i o u s n e s s , c a n all p e r s o n s e m a n c i p a t e t h e m s e l v e s a s a r t i s t s ,

d a t is e r g k a r a k t e r i s t i e k v o o r d e v e r l i c h t i n g , m o e t in v e r b a n d m e t h e t l i d m a a t s c h a p van de EG het stierenvechten verbod en wo r d e n . De werkelijke dood w o r d t o n z ic h tb a a r g e m a a k t . H e t z ic h tb a r e m o e t v e r b o d e n w o r d e n , o m d a t m e n zich m e t h e t o n z i c h t b a r e , w a p e n h a n d e l e t c , b e z i g h o u d t . A l s e e n b e p a a l d e z a ak o p d e s p i t s w o r d t g e d r e v e n , d a n m o e t m e n t o e s l a a n . H e t s t i e r e n g e v e c h t is e e n d i r e c t e , d u i d e l i j k e t a a l . E n d i e v e r s t o o r t h e t z w i j g e n , w a a r o p d e p o l i t i e k is g e b a s e e r d . V a n u i t dit o o g p u n t g e z i e n , w o r d t o o k h e t g r o t e g e v a a r v a n d e E u r o p e s e e e n h e i d zichtbaar. Als m e n d e c u ltu r e n van hun k e n m e r k e n b erooft, e n p ro b e e rt z e n e t a ls d e e c o n o m i e u n i f o r m t e m a k e n , d a n w o r d t d e E u r o p e s e i n t e g r a t i e e e n

a n d t h u s p u r s u e t h e i r d r e a m s . Y o u c a n a ls o s e e t h a t as a n o f f e n s i v e b y art a g a i n s t t h e e c o n o m y . I n t h a t E u r o p e ' s l a s t b a t t a l i o n s w o u l d b e c o n s u m e d . It w o u l d keep E urop e b u s y for the next 400 ye ars, a n d s o m e t h i n g

entirely

different w o u l d c o m e into existence.

The revival of the conflicts between nationalities in Eastern Europe makes clear the terrible speed with which the fall of economie standards is followed by a decline of consciousness. It's f i n a l l y a m a t t e r o f e c o n o m i e a n d so c i a l c o n f l i c t s , b u t t h e y are

d o d e l i j k e a a n g e l e g e n h e i d . E e n o n v e r g e l i j k e l i j k v e r n i e t i g i n g s p r o c e s z o a l s n u in d e

e s s e n t i a l l y p r i m a e v a l . A s l o n g as t h e e c o n o m i c a l l y b i n d i n g

D D R . D a t zal f a t a l e g e v o l g e n h e b b e n . M e t M c D o n a l d ' s k a n m e n d e b e v o l k i n g

f u n c t i o n e d at all, t h e l o w e s t c u l t u r a l a n d h i s t o r i c a l l e v e ls o f th e p e o p l e w e r e

v o l l e d i g in zijn g r e e p k r i j g e n . D a t is g e e n p r o b l e e m . A l s m e n d a a r m e e e c h t e r

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

elements

b e r e i k t d at z e h u n taal niet m e e r s p r e k e n , naar h u n t h e a t e r g a a n ,

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

s t i e r e n g e v e c h t e n b e z o e k e n of kikk erbilletjes e t e n , dan c r e ë e r t m e n w o e s t e n i j e n .

c o m m o n t o n g u e , a n d p e o p l e a r e a g a i n u s i n g t h e i r n a t i v e l a n g u a g e . B u t i t is a

D a t z o u d e o v e r w i n n i n g v a n d e e c o n o m i e o p d e c u l t u u r z ijn. D a t z o u d o d e l i j k z ijn .

m a tt e r of id entity. P eopl e h o l d fast t o th eir o w n l a n g u a g e , to th e ir c u ltu r a l identity. O ut of fear that they will lose their identity, th e y b e c o m e a nim a ls.

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T h e n a tio n a l a n d r e g io n a l u p h e a v a l s in Y u g o s l a v i a a n d the S o v i e t U n i o n are b e i n g f o u g h t o u t o v e r l a n g u a g e a n d c u l t u r a l a u t o n o m y . T h a t is a s t r u g g l e f o r

het

s h e e r s u r v i v a l , b e c a u s e in E u r o p e a n y o n e w h o n o l o n g e r h a s a n

nuttigheidsdenken. In d e D D R w e r d d e c u l t u u r m e t e e n o n g e l o o f l i j k e i n s p a n n i n g g e s t i m u l e e r d . M e n w a s e r g b a n g d a t , a ls m e n d e c u l t u u r z o u v e r w a a r l o z e n , d i r e c t d a a r n a m e t e c o n o m i s c h e m a l a i s e r e k e n i n g m o e s t w o r d e n g e h o u d e n . C u l t u u r a ls u i t h a n g b o r d v a n e e n f u n c t i o n e r e n d e s t a a t s h u i s h o u d i n g . Er s t a a t in d e Kleine

Organon

van

own

l a n g u a g e is l o s t . In t h e d e m o c r a c i e s , t h e l e a d e r s a s s u r e t h e m s e l v e s o f t h e t r u s t o f t h e p e o p l e b y d e c e p t i o n . T h e r e it is a l s o a s t r u g g l e o v e r l a n g u a g e , a s t r u g g l e t o mak e l angu ag e unclear. R u m o u r s g r o w f r o m statements. Total

deception

B r e c h t e e n z e e r g o e d e o p m e r k i n g . L e t t e r l i j k : " D i e K u n s t ist L u x u s u n d m u s s

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

d a r a u f b e s t e h e n , L u x u s zu b l e i b e n . D e n n f ü r d e n L u x u s l e b e n w i r " . W i j l e v e n

k n o w s it is j u s t a c o m e d y . O n e p l a y s t h e b u i l , t h e o t h e r t h e t o r e a d o r . N o o n e

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

g e t s h u r t . It h a s n o t h i n g t o d o w i t h h u m a n i t y . B e n j a m i n h a s p r o v e n t h a t t h e

Als dat o p h o u d t , k u n n e n w i j w e rk e lijk alles aan d e c o m p u t e r o v e rl a t e n . D e

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

e c o n o m i e a ls v o o r w a a r d e is p u r e n o o d z a a k . Uit d e o p h e f f i n g v a n d e s c h a a r s t e

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

o n t s t a a t d e e c o n o m i e . E c o n o m i e is n i e t s n e g a t i e f s . I n t e r e s s a n t w o r d t e c h t e r d e

f o r b i d d e n in c o n n e c t i o n w i t h m e m b e r s h i p in t h e E C. T h e f a c t o f d e a t h h a s t o

botsing tu ss e n e c o n o m i e en cultuur.

be s w e p t u n d e r th e r u g . T h e visible m u s t be f o r b i d d e n , so that p e o p l e can g o

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

o n w i t h t h e t r u l y i n v i s i b l e : t h e w e a p o n s t r a d e , a n d s o f o r t h . If a c e r t a i n a f f a i r

i n t e r p u n c t i e in e e n S h a k e s p e a r e - f o l i o . E isl e r z e i: " W i r s t r e i t e n h i e r ü b e r

c o m e s i n t o t h e o p e n , o n e h a s t o h i t i m m e d i a t e l y . B u i l f i g h t i n g is a d i r e c t ,

Interpunktion, w a h r e n d die Schlacht u m Stalingrad t o b t " , w a a r o p Brecht

c l e a r l a n g u a g e . S u c h l a n g u a g e d i s t u r b s t h e s i l e n c e o n w h i c h p o l i t i c s is

r e a g e e r d e m e t : " I n S t a l i n g r a d w i r d g e k a m p f t , d a m i t w i r ü b e r d i e I n t e r p u n k t i o n in

based.

emer S h ak esp e are- F olio streiten k ö n n e n . " D e z e h o u d in g van B r e c h t h e eft mij

F ro m this v antag e point, the great d ang er of E urop e an unity

becomes

altijd b e a n g s t i g d . D e v a n z e l f s p r e k e n d h e i d , w a a r m e e B r e c h t e r v a n uitg a at h o e

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

b e l a n g r i j k hij is. D a t is e e n v r e s e l i j k e lit a ir s t a n d p u n t . T o e n g e l o o f d e B r e c h t d e

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

them

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

m a t t e r , c o m p a r a b l e t o t h e s o r t of d e s t r u c t i o n n o w t a k i n g p l a c e in t h e D D R .

s l a c h t o f f e r s r e k e n i n g t e h o u d e n . T o e n hij w e e r in B e r l i j n w a s , w i s t hij d a t hij d e

Th at will have fatal c o n s e q u e n c e s . W i t h M c D o n a l d ' s y o u c an h ave total

w a a r h e i d n i e t m e e r in p a c h t h a d , e n d u s z e i hij z o i e t s n i e t m e e r . M a a r m i s s c h i e n

c o n t r o l o v e r t h e p e o p l e . T h a t is n o t a p r o b l e m . B u t if it r e a c h e s t h e p o i n t

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

w h e r e p eopl e no long er speak their o w n langu ag e, g o to their o w n theatre,

h e l e m a a l n i e t m e n s e l i j k als m e n v a n B a r n e t t N e w m a n u i t g a a t : " D e r e r s t e M e n s c h

g o to buil fig h ts or eat fro g's legs, th en y o u create deserts. Th at w o u l d be the

w a r ein K ü n s tl e r . " D an w a s d e t w e e d e e e n e c o n o o m . D at b e t e k e n t d at d e m e n s ,

t r i u m p h of th e e c o n o m y o v e r c u ltu r e . T h a t w o u l d be d e a d ly .

o m m e n s t e w o r d e n , e e r s t e e n d r o o m n o d i g h a d , w a n t e e r d e r k o n hij h e l e m a a l n i e t l e v e n . V a n u i t d i t o o g p u n t is k u n s t d e v o o r w a a r d e v a n h e t l e v e n , v o o r w a a r d e van d e e c o n o m i e . M e n m o e t B r e c h t ' s v o o r w a a r d e alleen o m k e r e n . W i j b e z itt e n d e w a a r h e i d n i e t , e n d e r e a l i t e i t is n i e t d e w a a r h e i d . D e r u i m t e t u s s e n r e a l i t e i t e n w a a r h e i d is d e p l a a t s v a n d e k u n s t . D e z e t u s s e n r u i m t e v u l t d e k u n s t a ls

For Bataille, culture is the opposite of economy, namely extravagance, while capitalism is based only on the principle of efficiency. In t h e D D R , u n b e l i e v a b l e e f f o r t s w e r e m a d e t o s t i m u l a t e t h e c u l t u r e . P e o p l e w e r e a f r a i d t h a t if c u l t u r e w a s n e g l e c t e d , t h e y w o u l d i m m e d i a t e l y b e

s c h e p p e n d e kracht.

p r e s e n t e d w i t h t h e bill f o r t h e e c o n o m i e f a i l u r e s . C u l t u r e w a s t h e v i s i b l e s i g n t h a t t h e s t a t e ' s h o u s e k e e p i n g w a s f u n c t i o n i n g . In B r e c h t ' s Kleine

Als

de theorie

gebied

afsterft,

onverminderd

nu op maatschappelijk-sociaal houdt

de reflectie

in de natuurwetenschap

historisch-cultureel

t h e r e is a n a p t r e m a r k . L i t e r a l l y , h e s a y s : " D i e K u n s t i s t L u x u s u n d

Organon muss

d a r a u f b e s t e h e n , L u x u s zu b l e i b e n . D e n n f ü r d e n L u x u s l e b e n w i r . " W e

toch

live

o n l y f o r t h a t t h i n g f o r w h i c h w e h a v e n o n e e d , w h i c h is n o t n e c e s s a r y . If t h a t

aan.

V a n u i t e c o n o m i s c h s t a n d p u n t g e z i e n is d e t e c h n o l o g i e h e t n o o d l o t . M a a r d e

c e a s e s , w e c a n r e a lly t u r n e v e r y t h i n g o v e r t o t h e c o m p u t e r . E c o n o m y as a

o n t w i k k e l i n g v a n d e n a t u u r w e t e n s c h a p niv elle ert h et v e rsc hil t u s s e n realiteit e n

c o n d i t i o n is s i m p l e n e c e s s i t y . E c o n o m y c o m e s i n t o e x i s t e n c e t o a b o l i s h

d r o o m . D a a r d o o r w o r d t h e t g e v o e l v o o r r e a l i t e i t e n d r o o m in t o e n e m e n d e

s c a r c i t y . E c o n o m y is n o t n e g a t i v e . B u t it is t h e c o l l i s i o n b e t w e e n

mate

o n z e k e r . H e t e f f e c t is d a t d e m a c h t v a n d e p o l i t i e k s t e e d s k l e i n e r w o r d t , l e d e r

a n d c u l t u r e t h a t is r e a l l y i n t e r e s t i n g .

economy

D u r i n g th e ir A m e r i c a n exile, Brecht a n d Eisler a r g u e d a b o u t th e p u n c t u a t i o n of a S h a k e s p e a r e f o l i o . Eisler s a id : " W i r str e it e n hier ü b e r Interpunktion, w a h r e n d die Schlacht u m Stalingrad tobt." Brecht r e spond e d, "In S t a l i n g r a d w i r d g e k a m f p t , d a m i t w i r ü b e r die I n t e r p u n k t i o n in ein er Shakespeare- F olio streiten k ö n n e n ." Brecht's position here has always f r i g h t e n e d m e . It's t h e c a s u a l n e s s w i t h w h i c h B r e c h t t a k e s h is i m p o r t a n c e f o r g r a n t e d . T h a t is a t e r r i b l y e l i t i s t s t a n d p o i n t . A t t h a t t i m e B r e c h t s t i l l b e l i e v e d h e h a d a l e a s e o n t h e t r u t h . T h e n it is e a s i e r f o r s o m e o n e t o s h o w c o n s i d e r a t i o n f o r v i c t i m s . W h e n h e w a s b a c k in B e r l i n , h e k n e w t h a t h e d i d n ' t h a v e a lease o n th e t r u t h a n y m o r e , a n d h e n o l o n g e r s aid t h i n g s like this. But p e r h a p s t h e r e is s t i l l a g r a i n o f t r u t h h e r e . L i f e is m e a n i n g l e s s w i t h o u t c u l t u r e ; it is p r o b a b l y n o t e v e n h u m a n , if y o u d e f i n e b e i n g h u m a n a s B a r n e t t N e w m a n d i d : " D e r e r s t e M e n s c h w a r e i n K ü n s t l e r " . If s o , t h e s e c o n d w a s a n e c o n o m i s t . T h a t m e a n s th a t p e opl e , in o r d e r t o be p e o p l e , first h a d n e e d of a d r e a m , b e c a u s e w i t h o u t it t h e y c o u l d n o t l i v e . F r o m t h i s v a n t a g e p o i n t , a r t is a p r e c o n d i t i o n o f life, a n d a p r e c o n d i t i o n o f e c o n o m i c s . Y o u h a v e t o i n v e r t B r e c h t ' s c o n d i t i o n s . W e d o n o t p o s s e s s t h e t r u t h , a n d t h e r e a l i t y is n o t t h e t r u t h . T h e s p a c e b e t w e e n r e a l i t y a n d t r u t h is t h e s p a c e o f a r t . L i k e a c r e a t i v e f o r c e , art fills t h i s i n t e r s t i c c .

Although theory is now dying out in the realm of the social, historical conti nu es unabated in the physical sciences. and cultural, reflection F r o m a n e c o n o m i e p o i n t o f v i e w , t e c h n o l o g y is d e s t i n y . B u t t h e d e v e l o p m e n t of th e n a tur a l scienc es levels th e d iff e r e n c e b e t w e e n re ality a n d d r e a m . T h r o u g h this, th e feeling for reality a n d d r e a m b e c o m e s m o r e

and

m o r e u n s u r e . T h e e f f e c t is t h a t t h e p o w e r o f p o l i t i c s b e c o m e s s m a l l e r .

Every

Michael

p o l i t i c a l c o n c e p t is f r u s t r a t e d b y n e w d i s c o v e r i e s . P o l i t i c i a n s a r e l e s s a b l e t o e c o n o mi e d y n a m i c th ey no longer control. Therefore politics

Scheffer

S t a d t , 1987

assess t e c h n o lo g ic a l situations, a n d b e c o m e totally d e p e n d e n t on an

|mt/from:Zwischenzeiten, 1991)

becomes

i n c r e a s i n g l y m o r e a d e c e p t i o n , a c o m e d y . R e a l i t y is i n c r e a s i n g l y r e p l a c e d b y politiek c o n c e p t w o r d t door n i e u w e u i t v i n d i n g e n verijdeld. D e politici k u n n e n d e

c o m e d y, because standards disappear. W h a t is n o w h a p p e n i n g in t h e D D R , t h a t p e o p l e a r e s u d d e n l y s e e k i n g w e l l - b e i n g , is c o m e d y . T h e y c a n n o l o n g e r d i s t i n g u i s h t h e w o r l d o f

s t a n d v a n d e t e c h n o l o g i e s t e e d s m i n d e r b e o o r d e l e n e n r a k e n in v o l l e d i g e a f h a n k e l i j k h e i d v a n e e n e c o n o m i s c h e d y n a m i e k d i e ze n i e t m e e r in d e h a n d

a d v e rtis in g f r o m reality. T h e st a n d a rd s are g o n e . R ecently th ere w a s th e

h e b b e n . D a a r o m leidt politiek s t e e d s m e e r t o t m i s l e i d i n g , t o t k o m e d i e . Realiteit

s t o r y o f a n A l b a n i a n , w h o h a d w a n d e r e d in a d e p a r t m e n t s t o r e in H a m b u r g

w o r d t steeds m e e r door komedie vervangen, o m d a t de maatstaven verdwijnen.

f o r a w e e k , in a s t a t e o f e c s t a s y b e c a u s e h e t h o u g h t y o u c o u l d t a k e w i t h y o u as m u c h as y o u c o u l d c arry. For h i m , t h i s w a s c a p i t a l i s m , his A l b a n i a n

O o k w a t n u in d e D D R g e b e u r t , d a t d e m e n s e n p l o t s e l i n g w e l s t a n d w i l l e n h e b b e n , is k o m e d i e . Z e k u n n e n d e w e r e l d v a n r e c l a m e n i e t m e e r v a n d e r e a l i t e i t

d r e a m . T h e n he d i s c o v e r e d th e c h e c k - o u t c o u n t e r s . He h a d o v e r l o o k e d t h e s e

onderscheiden. De maatstaven ontbreken. Onlangs w e r d het verhaal van een

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

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

o p e n i n g of th e b o r d e r s wi l l yet h a v e terribl e c o n s e q u e n c e s for th e W e s t ,

g e l u k k i g w a s , o m d a t je z o v e e l m e e m o c h t n e m e n als je d r a g e n k o n . Dat w a s v o o r

b e c a u s e o n l y in th e d e v e l o p e d l a n d s th e c o m m u n i s t u t o p i a m a k e s s ens e. T h e

h e m h e t k a p i t a l i s m e , zijn A l b a n e s e d r o o m , Pas d a a r n a o n t d e k t e hij d e k a s s a ' s . D i e

Russian variant w a s: " Ein S m o k i n g für alle"; the E u r o p e a n : " E in S m o k i n g für

k o n hij e e n w e e k l a n g o v e r h e t h o o f d z i e n , o m d a t hij in e e n c o m m u n i s t i s c h e u t o p i e w e r d o p g e v o e d . D e o p e n i n g v a n d e g r e n z e n zal v o o r h e t w e s t e n n o g

mich."

v e r s t r e k k e n d e g e v o l g e n h e b b e n , w a n t p a s in d e o n t w i k k e l d e l a n d e n is d e

Do only Don Quixotes W i t h Don

Quixote,

come to the West

c o m m u n i s t i s c h e utopie zinvol. De Russische variant w a s : " E i n S m o k i n g für alle",

now?

Cervantes created enlightenment through

deception,

de E u r o p e se echter: "Ein S m o k i n g für m i c h " .

t h e r e v e r s e o f t h e A g e o f R e a s o n t h r o u g h e n l i g h t e n m e n t . T h a t is d e c e p t i o n . In t h i s d i s c u s s i o n , t h e A l b a n i a n is t h e t h i r d .

Komen

D i alogu es, w h i c h really are t w o m o n o l o g u e s , receive th eir sense t h r o u g h

nu uitsluitend

Don

Quichottes

naar

het

westen?

Cervantes heeft m e t Don Quichotte verlichting door misleiding gecreëerd. Het

th e n ec essary a b s e n c e of th e p r e s e n c e of a t h i r d p arty. W e c an no l o n g e r talk,

t e g e n d e e l v a n V e r l i c h t i n g d o o r v e r l i c h t i n g . D a t is m i s l e i d i n g . In d i t g e s p r e k is

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

bijvoorbeeld de A l b a n e e s de d e r d e .

i m p o r t a n t i n o n e w a y o r a n o t h e r . F o r u s t h a t is n o t i m p o r t a n t a n y

longer.

D i a l o g e n , d i e e i g e n l i j k t w e e m o n o l o g e n z i j n , k r i j g e n n u zin d o o r d e noodzakelijke afwezigheid van de aanwezigheid van een derde. Wij kunnen niet m e e r m e t elkaar praten of d e n k e n z o n d e r d e a f w e z i g e a a n w e z i g e d e r d e , v o o r w i e h e t g e z e g d e o p d e e e n o f a n d e r e m a n i e r b e l a n g r i j k z o u k u n n e n z i j n . V o o r o n s is dat niet m e e r belangrijk.

U i t / F r o m : Lettre International, Berlijn, z o m e r / s u m m e r 1991. Heiner Muller: Jenseits der Natior, 1991, met dank a a n / w i t h t h a n k s t o : Rotbuch Verlag Berlin, Felix Meritis Amsterdam.

Heiner M i i l l e r 11929, G e r m a n y ) has w o r k e d as a b o o k d e a l e r a n d j o u r n a l i s t , a m o n g o t h e r p r o f e s s i o n s . From

Heiner Muller (1929, Duitsland) werkte onder meer als boekhandelaar en journalist Van 1958 tot 1960 w a s hij

1958 t o 1960 he w a s on the s t a f f of t h e M a x i m Gorki T h e a t r e . In t h i s p e r i o d his first t h e a t r e p i e c e s

medewerker van het Maxi m Gorki Theater. In deze periode verschenen zijn eerste theaterstukken Sinds 1959 werkt

a p p e a r e d . S i n c e 1959 M u l l e r has b e e n a f r e e l a n c e w r i t e r . He w a s e x c l u d e d f r o m the DDR w r i t e r s

Muller als onafhankelijk schrijver. In 1961 w e r d hij door de DDR-schrijversorganisatie uitgesloten. Van 1970 tot 1976

o r g a n i z a t i o n in 1961. From 1970 t o 1976 he w a s d r a m a t u r g e w i t h the B e r l i n e r E n s e m b l e , a n d s i n c e 1976 has

werkte hij als dramaturg bij het Berliner Ensemble en sinds 1976 is hij adviseur van de Berliner Volksbühne.

b e e n a d v i s e r t o the B e r l i n e r V o l k s b ü h n e . D u r i n g the last t e n y e a r s , M i i l l e r h a s t r a v e l l e d b a c k a n d f o r t h

Gedurende de afgelopen tien jaar 'eisde Muller probleemloos tussen de beide Duitse staten heen en weer Hij

b e t w e e n the t w o G e r m a n s t a t e s w i t h o u t p r o b l e m s , d i r e c t i n g t h e a t r e p i e c e s in b o t h t h e DDR a n d the

regisseerde zowel in de DDR als in de Bondsrepubliek theaterstukken. Sinds 1990 is hij voorzitter van de Akademie

Federal Republic. S i n c e 1990 he has been the c h a i r m a n of the A k a d e m i e der Künste in East B e r l i n , a n d

der Künste in Oost-Berlijn. Sinds 1991 is hij lid van de directie van het Berliner Ensemble. Müller's w e r k verschijnt bij

s i n c e 1991 he has b e e n a m e m b e r of the d i r e c t o r s of the B e r l i n e r E n s e m b l e . His w o r k has b e e n p u b l i s h e d

Rotbuch Verlag en bij Henschelverlag (beide in Berlijn). Bij uitgeverij Kiepenheuer & Witsch is een biografie in

in B e r l i n by b o t h R o t b u c h V e r l a g a n d H e n s c h e l v e r l a g . A b i o g r a p h y is b e i n g p r e p a r e d f o r p u b l i c a t i o n by

voorbereiding.

Kiepenheuer & Witsch

R E T R O

The Lament of the 1991 Prix de Rome Jury Geweeklaag van jury Prix de Rome 1991 getuigt van beperkte blik

D e P r i x d e R o m e is i n N e d e r l a n d d e o u d -

s c h a p p e n e n laat d i e d e e l w o r d e n v a n e e n

T h e P r i x d e R o m e is T h e

Netherland's

first r o u n d t h e jury c h o s e

primarily

s t e prijs voor j o n g e k u n s t e n a a r s . O o r s p r o n k e -

r u i m t e l i j k e i n s t a l l a t i e (zie P e r s p e k t i e f N o . 4 2 ) .

oldest prize for y o u n g artists. Originally

'conceptually oriented work'

li|k g e t u i g t d e p r i j s n o g v a n d e o p t i m i s t i s c h e

Het raster van de uitvergroting en de transpa-

the prize w a s a t e s t i m o n y to the

'documentary photography'. The

g e d a c h t e d a t k u n s t e n a a r s in s t a a t g e s t e l d

r a n t i e v a n h e t p l e x i g l a s w a a r o p d e f o : o is

idea that part of every artist's preparation

selected were asked to provide

m o e t e n w o r d e n o m via e e n soort Grand Tour

gedrukt, zorgen voor een zekere nostalgische

w a s a sort of G r a n d Tour, o n w h i c h they

w o r k t o be j u d g e d in t h e n e x t r o u n d . T h e

' z i c h in h u n n e k u n s t te k u n n e n v e r v o l m a k e n .

sfeer. V a n B o b Negrijn w a r e n er harde kleu-

w e r e able to perfect their art. Presently t h e

final f o u r w e r e c o m m i s s i o n e d to

T e g e n w o o r d i g w o r d t d e prijs m e e r g e z i e n als

renfoto's te zien van l a n d s c h a p p e n , gezich-

p r i z e is s e e n m o r e as a c o n f i r m a t i o n o f t h e

new work during a three month

bevestiging van gearriveerd kunstenaars-

t e n en stillevens die s a m e n é é n grote instal-

a t t a i n m e n t o f artistic stills.

especially for the final r o u n d . For this t h e y

schap.

l a t i e v o r m d e n . O o k zi|n f o t o ' s h e b b e n e e n

Al sinds 1 8 7 0 valt d e t o e k e n n i n g o n d e r de verantwoordelijkheid van de Rijksakademie van Beeldende Kunsten. Waardering en s t i m u l e r i n g , b e k r o n i n g e n a a n m o e d i g i n g vorm e n d e g r e n z e n w a a r b i n n e n d e jury haar a f w e g i n g e n m o e t m a k e n . D e prijs w o r d t sinds 1985 uitgereikt o p een tiental terreinen

s t e r k e a n o n i m i t e i t e n lijken v o o r a l g e k o z e n v a n w e g e hun kleurwerking en verrassend standpunt. Gelijktijdig m e t d e t e n t o o n s t e l l i n g ver-

optimistic

fourteen

original

produce period

received a financial grant and could

Since 1870, a w a r d i n g the prize has been the responsibility of the

and

u s e o f t h e f a c i l i t i e s at t h e

National

make

National

A c a d e m y for the Visual Arts. Evaluation

A c a d e m y . On the basis of w o r k m a d e for

and stimulation, reward

the final r o u n d , the jury d e c i d e d to a w a r d

and

e n c o u r a g e m e n t are the b o u n d s

t h e s e c o n d prize o f HFI 2 0 , 0 0 0 . 0 0 to

within

Romy

scheen e e n catalogus m e t het w e r k van de

w h i c h t h e j u r y m u s t c o n d u c t its

Finke (age 29, Heerlen) a n d a w a r d e d

v e e r t i e n b e s t e k a n d i d a t e n . In d e c a t a o g u s is

deliberations. Each year since 1985 the

basic prizes of HFI 10,000.00 to Korrie

three

o o k het w e r k v a n d e w i n n a a r s in d e c a t e g o r i e

prize h a s b e e n a w a r d e d in t w o of t e n

B e s e m s (age 30, T i l b u r g ) , Claudia

van beeldende kunst en architectuur, waarbij

F i l m & V i d e o o p g e n o m e n . In d e z e c a : e g o r i e

d i f f e r e n t f i e l d s in t h e r e a l m of t h e v i s u a l

(age 34, A m s t e r d a m ) a n d B o b N e g r i j n (age

i e d e r jaar t w e e c a t e g o r i e ë n a a n b o d k o m e n .

o n t v i n g e n R e n é H a z e k a m p , Jozef van der

a r t s a n d a r c h i t e c t u r e . In 1 9 9 1 t h e s e

In 1 9 9 1 w a r e n dit d e c a t e g o r i e ë n F o t o g r a f i e

H e i j d e n e n Bill S p i n h o v e n i e d er e e n basisprij s

categories were Photography and Film

e n Film & V i d e o . D e jury k o m t tot haar uitein-

van f 10.000,-.

delijke keuze na verschillende selectie- e n beoordelingsronden.

M e t het niet t o e k e n n e n v a n d e eerste prijs h e e f t d e j u r y haar t e l e u r s t e l l i n g kenbaar

H e t a f g e l o p e n jaar m e l d d e n z i c h v o o r d e

29, A m e r s f o o r t ) . T h e first prize o f HFI &

V i d e o . T h e j u r y a r r i v é s at its f i n a l c h o i c e s

g e m a a k t over de kwaliteit van de inzendin-

after various selection and

Kölgen

judgement

40,000.00 w a s not a w a r d e d . In N o v e m b e r 1 9 9 1 , t h e w o r k o f t h e prizewinners w e n t on exhibition in the

rounds.

M u s e u m Fodor in A m s t e r d a m . Finke s h o w e d her life-size a n d

Last y e a r o v e r 225 a r t i s t s / p h o t o -

Romy extremely

v o o r r o n d e van Fotografie maar liefst 22 5 kun-

g e n . In h e t j u r y r a p p o r t s t a a t o v e r d e f o t o g r a -

graphers entered the preliminary round

s t e n a a r s / f o t o g r a f e n a a n . D e j u r y b e s t o n d uit

fie te lezen dat het w e r k o v er het g e h e e l

the category of Photography. The jury

f r o m Korrie Besems which h u n g there

Oscar van Alphen, Daan van Golden, Cathé-

g e n o m e n " z w a k en clichématig" w a s en dat

consisted of Oscar v a n A l p h e n , Daan

consisted of shots of

n n e D a v i d (Parijs), J . C . J . v a n d e r H e y d e n ,

er " e e n a l g e m e e n g e b r e k aan spiritualiteit e n

G o l d e n , C a t h é r i n e D a v i d (Paris), J.C.J. v a n

'depopulated' places, over w h i c h

Craigie Horsfield (Londen) e n voorzitter Jan-

integriteit" w a s . O o k over het w e r k van d e

der H e y d e n , Craigie Horsfield

texts with a strong graphic design

w i l l e m S c h r o f e r . ZIJ s e l e c t e e r d e n i n e e r s t e

g e s e l e c t e e r d e v e e r t i e n k a n d i d a t e n is d e j u r y

and Janwillem Schrofer (chairman). They

placed. Claudia Kölgen also gave her w o r k

i n s t a n t i e v e e r t i e n e n later vier f o t o g r a f e n v o o r

niet o n v e r d e e l d e n t h o u s i a s t : d e k n t i e < e n

first n a r r o w e d t h e field t o f o u r t e e n

a sense of a m b i g u i t y , using

d e e i n d r o n d e . Volgens het juryrapport

v a r i ë r e n v a n " f y s i e k t e l e u r s t e l l e n d " (over

candidates, a n d t h e n to f o u r for the final

of old-fashioned vacation snapshots of

w e r k van Marja van der Heiden), "esthetis-

j u d g i n g . A c c o r d i n g to t h e i r r e p o r t , in t h e

koos

d e j u r y in d e e e r s t e r o n d e v o o r n a m e l i j k

"con-

van

(London)

direct portrait photos. The photo

works

anonymous, concise were

enlargements

landscapes, w h i c h f o r m e d part of a three-

ceptueel georiënteerd w e r k " en "reportage-

d i m e n s i o n a l installation (see

fotografie". Van de veertien

N o . 42). T h e g r a i n of the e n l a r g e m e n t

geselecteerden

Perspektief

w e r d origineel werk.opgevraagd en beoor-

the transparency of the plexiglass

d e e l d . Uiteindelijk k r e g e n vier f o t o g r a f e n d e

w h i c h t h e p h o t o is p r i n t e d p r o d u c e a

and

opdracht o m speciaal voor de eindronde

particular nostalgie effect. Hard c o l o u r

n i e u w w e r k te m a k e n in e e n p e r i o d e v a n d r i e

p h o t o s o f l a n d s c a p e s , faces a n d still lifes

m a a n d e n . H i e r v o o r o n t v i n g e n zij e e n f i n a n -

that together f o r m e d one large

c i ë l e b i j d r a g e e n k o n d e n zij g e b r u i k m a k e n

w e r e to be seen f r o m B o b Negrijn. His

van de faciliteiten van de Rijksakademie.

installation

p h o t o s also have a s t r o ng a n o n y m i t y

and

b a s i s v a n h e t w e r k d a t in d e e i n d r o n d e w e r d

s e e m c h o s en primarily for their

colour

g e m a a k t , b e s l o ot d e jury e e n t w e e d e prijs

effects a n d surprisin g point of v i e w (see

van f 20.000.- toe te kennen aan R o m y Finke

Perspektief 39).

( 2 9 jaar, H e e r l e n ) e n d r i e b a s i s p r i j z e n v a n f A catalogue illustrating the w o r k of the

1 0 . 0 0 0 , - a a n K o r n e B e s e m s ( 3 0 jaar, T i l b u r g ) ,

final fourteen candidates

C l a u d i a K ö l g e n (34 jaar, A m s t e r d a m ) e n B o b

appeared

simultaneously w i t h the show. The

N e g r i j n ( 2 9 jaar, A m e r s f o o r t ) . D e e e r s t e prijs

of t h e w i n n e r s in t h e F i l m &

v a n f 4 0 . 0 0 0 , - w e r d niet t o e g e k e n d .

work

Video

c a t e g o r y w a s a l s o i n c l u d e d in t h e c a t a l o g u e . In t h i s c a t e g o r y ,

In n o v e m b e r 1 9 9 1 w a s h e t w e r k v a n d e

René

p r i j s w i n n a a r s t e z i e n i n e e n t e n t o o n s t e l l i n g in

H a z e k a m p , J o z e f v a n der H e i j d e n a n d Bill

het A m s t e r d a m s e m u s e u m Fodor.

S p i n h o v e n each received a basic prize of

Romy

HFI 10,000.00.

F i n k e t o o n d e haar l e v e n s g r o t e e n u i t e r s t directe portretfoto's. Van Korne B e s e m s hin-

In n o t a w a r d i n g t h e first p r i z e , t h e j u r y

g e n er f o t o w e r k e n d i e b e s t a a n uit o p n a m e n

m a d e k n o w n its d i s a p p o i n t m e n t o v e r t h e

van anonieme en 'ontvolkte' plekken waar

quality of the s u b m i s s i o n s . O n e can

overheen bondige teksten met een sterke

in t h e j u r y ' s r e p o r t a b o u t

g r a f i s c h e v o r m g e v i n g zijn g e p l a a t s t . O o k

that, on the whole, the work w a s

C l a u d i a K ö l g e n g e e f t haar f o t o w e r k e n e e n

a n d clichéd' a n d that there w a s a 'general

m e e r d u i d i g h e i d : ZIJ g e b r u i k t

uitvergrotingen

v a n o u d e r w e t s e vakantiekiekies v a n land

Romy

Finke

2onder t i t e l / u n t i t l e d 1991 luit/from: Prix de Rome, 19911

read

photography 'weak

lack o f s p i r i t u a l i t y a n d i n t e g r i t y ' . T h e j u r y was not even unanimously

enthusiastic

en e e n veelheid aan artistieke invloeden en

a b o u t t h e w o r k o f t h e last f o u r t e e n candidates: critiques varied

r e f e r e n t i e s . O o k v i n d ik h e t v r e e m d d a t d e

from

'physically disappointing' (about the work

jury blijkbaar e e n n i e u w e d o c u m e n t a i r e f o t o -

of Marja van der Heiden), and

grafie v e r w a c h t , t e r w i j l juist nu daarvoo r d e

'aestheticising the m e d i u m ' (Gerald van

traditionele kaders en media o p losse schroe-

der K a a p ) t o just ' s u p e r f i c i a l ' (Erik v a n d e n

ven staan. N i e u w e beeldtechnieken, informa-

B o o m ) . T h e j u r y s p e a k s o f a 'crisis in

tievoorzieningen, communicatiekanalen en

p h o t o g r a p h y ' , 'a lack of i n q u i r y ' a n d a

opdrachtgevers stellen evenzoveel

' d r a m a t i c d e c l i n e in

eisen, (on)mogelijkheden en taken aan d e

documentary

photography'.

nieuwe

documentair fotograaf. Of deze mogelijkhe-

T o w h a t e x t e n t is t h i s

d e n zich door de fotografie laten b e n u t t e n ,

lamentation

v a l t n o g t e b e z i e n . W e l l i c h t is d e r o l v a n d e

t r u e ? Is D u t c h p h o t o g r a p h y i n d e e d i n s u c h a b a d s t a t e , a n d is t h e r e r e a l l y s o little

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

p o s i t i v e t o r e p o r t ? I d o u b t it. A l t h o u g h I

zogenaamd objectieve berichtgeving van

u n d e r s t a n d the critical c o m m e n t s the jury

allerlei m a a t s c h a p p e l i j k e

set next to m u c h of the w o r k , a n d I also

d e f i n i t i e f u i t g e s p e e l d . T e l e v i s i e e n v i d e o blij-

have my doubts about the originality the profundity of m u c h of the

and

gebeurtenissen

k e n al j a r e n d e s n e l s t e e n m e e s t

work

indringende

n i e u w s m e d i a t e zijn. E e n ' n i e u w e d o c u m e n -

( i n c l u d i n g t h e p r i z e w i n n e r s ) , I t h i n k t h a t it

t a i r e f o t o g r a f i e ' is d a a r o m m o g e l i j k e e n c o n -

is n o t s o m u c h a m a t t e r o f t h e l e v e l o f t h e

t r a d i c t i o i n t e r m i n i s . Ik d e n k d a t d e j u r y v a n

w o r k b e i n g t o o l o w as t h e s t a n d a r d s

d e Prix d e R o m e b e t e r o v e r e e n crisi s in d e

expected being too high. Did the jury

fotografie-theorie had k u n n e n s p r e k e n (en

expect hard and fast choices, definite

Korrie

statements a n d persuasive bodies of w o r k f r o m these relatively

v e r v o l g e n s d e h a n d in e i g e n b o e z e m h a d

Besems

W i e l a n g e n o c h ? , 1991

young

k u n n e n s t e k e n ) d a n o v e r e e n crisi s in d e

(uit/from: Prix de Rome, 1991)

documentaire fotografie.

photographers?

I m m e r s , o p v a l l e n d is d a t i n N e d e r l a n d n i e t of n a u w e l i j k s w o r d t g e d a c h t e n g e d i s -

Certainly w i t h i n t h e c o n t e x t o f a prize w h i c h functions within the field of the

media. Thus a 'new

r i n g v a n h e t m e d i u m " ( G e r a l d v a n d e r Kaap)

cussieerd over de positie van de heden-

c r e a t i v e v i s u a l a r t s , it s h o u l d n o t b e

p h o t o g r a p h y ' is p e r h a p s a c o n t r a d i c t i o n in

t o t " o p p e r v l a k k i g " (Erik v a n d e n B o o m ) . D e

daagse fotografie en de n i e u w e kaders voor

t e r m s . I t h i n k that t h e Prix de R o m e j u r y

jury s p r e e k t v a n e e n " c r i s i s in d e f o t o g r a f i e " ,

een fotografie die maatschappelijk betrokken,

c h a r a c t e r i z e d b y a free a n d d i v e r s e use of

c o u l d have better spoken a b o u t a crisis in

" e e n gebrek aan onderzoek" en e e n "drama -

inhoudelijk betekenisvol e n visueel interes-

visual media, diverse themes and a

photographic theory (and

tische neergang van de documentaire foto-

s a n t w i l zijn.

multiplicity of artistic influences a n d

e x a m i n e their o w n responsibility for it),

r e f e r e n c e s . I a l s o f i n d it s t r a n g e t h a t t h e

t h a n a b o u t a crisis in

jury apparently expects a new

photography.

surprising that the submissions should

d o c u m e n t a r y p h o t o g r a p h y at p r e c i s e l y t h e time w h e n the traditional structures and m e d i u m s in t h a t area are so u n s e t t l e d . N e w technologies for recording processing and

images,

communicating

i n f o r m a t i o n , a n d n e w clients place ever so

grafie".

documentary

Netherlands the position of

b e s e e n if ( a n d h o w ) t h e s e p o t e n t i a l s c a n photographers.

Perhaps the role of p h o t o g r a p h y

in objective

r e p o r t i n g o f all s o r t s o f s o c i a l o c c u r r e n c e s is d e f i n i t e l y p l a y e d o u t . F o r s o m e y e a r s , television a n d v i d e o have a p p e a r e d to be the fastest a n d m o s t penetrating

news

Zolang de fotografie nog geen uitgespro-

I n h o e v e r r e is d e z e w e e k l a c h t t e r e c h t ? Is d e N e d e r l a n d s e f o t o g r a f i e er i n d e r d a a d z o

contemporary

k e n n i e u w e p o s i t i e h e e f t v e r w o r v e n , zijn a l l e zijpaden, o m w e g e n en sluiproutes van e e n

s l e c h t a a n t o e e n is er w e r k e l i j k z o w e i n i g

nieuwe generatie 'fotografen' misschien w e l

p o s i t i e f s t e m e l d e n ? Ik b e t w i j f e l h e t . H o e w e l

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

i k d e k r i t i s c h e k a n t t e k e n i n g e n v a n d e j u r y bij

h e b b e n g e e n é é n o g i g e blik m e e r , m a a r k i j k e n

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

v e e l w e r k b e g r i j p e n ik o o k m i j n t w i j f e l s h e b

naar alle k a n t e n , o p z o e k naar n i e u w e hori-

m e a n i n g f u l c o n t e n t a n d is v i s u a l l y

over de originaliteit e n de d i e p g a n g van veel

z o n t e n e n m o g e l i j k h e d e n o m " z i c h in h u n n e

i n t e r e s t i n g is s c a r c e l y , if e v e r , d i s c u s s e d .

v a n het w e r k (ook v a n d e p r i j s w i n n a a r s ) ,

photography and a new framework

for

d e n k ik d a t n i e t z o z e e r h e t n i v e a u v a n h e t

S o l o n g as p h o t o g r a p h y h a s n o t y e t

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

journalism a n d the supposedly

consequently

I n d e e d , it i s r e m a r k a b l e t h a t i n T h e

m a n y d e m a n d s , possibilities (or impossibilities!) a n d tasks o n

be c o m m a n d e d by

documentary

a c h i e v e d a c l e a r - c u t n e w p o s i t i o n , all t h e s i d e - p a t h s , d e t o u r s a n d s h o r t c u t s w i l l , in the long run, perhaps prove to be the

most

productive routes for a n e w generation

photographers. They no longer see w i t h o n l y o n e e y e , b u t l o o k in e v e r y d i r e c t i o n in search of n e w horizons a n d

possibilities

for perfecting their art, w i t h or w i t h o u t Prix d e

the

k u n s t t e v e r v o l m a k e n " . M e t o f z o n d e r Prix de Rome.

w e r k t e l a a g is m a a r d a t h e t p e i l v a n d e v e r -

w a c h t i n g e n t e h o o g l i g t . V e r w a c h t d e j u r y bij d e z e , r e l a t i e f j o n g e , f o t o g r a f e n al d e f i n i t i e v e keuzes, uitgesproken statement s en overtuigende oeuvre's? Zeker binnen de konteks: v a n e e n prijs d i e z o z e e r uit h e t g e b i e d v a n d e vrije b e e l d e n d e k u n s t k o m t , m a g het niet verbazen dat d e i n z e n d i n g en zich karakteriseren d o o r e e n vrij e n d i v e r s g e b r u i k v a n d e b e e l -

Rome.

dende middelen, een gevarieerde thematiek

t e g e n o v e r d e zitplaats van de galerie-assis-

Dennis Gallery,

Adams

at Lumen

Amsterdam

Travo

tent, w a a r m e e de hele context van de c o m -

Labour in galleries

19/11/91-2/1/92

m e r c i ë l e g a l e r i e in h e t w e r k w e r d b i n n e n g e haald.

Werk aan de w i n k e l

D e l o c a t i e s v a n zijn w e r k e n d e k e n m e r ken van de constructies hebben hetzelfde e f f e c t : zij v e r g r o t e n d e b e t e k e n i s d i e b e s l o -

V anities

w a s t h e title o f

Dennis

A d a m s ' e x h i b i t i o n at L u m e n T r a v o Gallery of t w o recent w o r k s and a m a q u e t t e for a p l a n n e d large o u t d o o r

work.

A d a m s uses f o u n d images,

w h o l e context of the c o m m e r c i a l

gallery

into the work. The locations for his w o r k a n d the s t r u c t u r a l f e a t u r e s f u n c t i o n in t h e

bound

same

way: they amplify the significance

within

V anities

w a s d e titel van de t e n t o o n s t e l -

locaties en k e n m e r k e n van constructie ook

Galerie, w a a r t w e e r e c e n t e w e r k e n e n een

e e n n i e u w e b e t e k e n i s , o m d a t ze f u n g e r e n

m a q u e t t e voor e e n groot openlucht-project te

als e e n politiek o n d e r b e w u s t z i j n . H e t v a n

zien w a r e n .

achteren verlichten van de beelden en het

w i t h i n structures that echo aspects of

the image. Also the images give

new

interior d e s i g n a n d architecture. He sites

meanings to these locations and

structural

beelden, binne n c o n s t r u c t i e s die d o e n d e r -

his w o r k s as o f t e n o n c i t y s t r e e t s a n d

f e a t u r e s , a c t i n g like a political

unconscious

ken aan architectuur en binnenhuisarchitec-

specific u r b a n l o c a t i o n s as in t h e g a l l e r y .

to them. By back-illuminating the

I n d e e d , o n e w o r k {Doublé

a n d by using a l u m i n i u m , steel a n d f o r m i c a

straat e n o p b e p a a l d e l o c a t i e s in d e s t a d als

the work reproduces features of the

i n d e g a l e r i e . E é n w e r k {Doublé

itself, b e i n g p l a c ed directly o p p o s i t e the

presentations of i m a g e s in public spaces

zelfs speciaal g e m a a k t voor d e z e t e n t o o n s t e l -

seated gallery assistant, introducing the

and urban landscapes. This gives the w o r k

l i n g s r u i m t e . H e t w e r k b e v o n d zich d i r e c t

V anity)

was

m a d e specifically for this gallery space

images

t e n ligt in h e t b e e l d . D e b e e l d e n g e v e n d e z e

ling v a n D e n n i s A d a m s in d e L u m e n T r a v o

A d a m s maakt gebruik van bestaande

t u u r . Zijn w e r k e n t r e f t m e n e v e n v a a k a a n o p

V anity)

werd

gebruik v a n a l u m i n i u m , staal e n f o r m i c a verw i j z e n naar d e k e n m e r k e n v a n d e m a n i e r w a a r o p b e e l d e n in p u b l i e k e r u i m t e s e n e e n stedelijke entourage w o r d e n gepresenteerd. H i e r d o o r krijgt h et w e r k iets s t r e n g s en verv r e e m d e n d s ; het onderstreept de diepgang en de bruutheid van de thema's. De beelden die A d a m s gebruikt, w a r e n

oorspronkelijk waarschijnlijk pers- of archief-

g u n f i r e in t h e f o r m o f a b a n k r a i d . T h e

f o t o ' s . O p d e z e t e n t o o n s t e l l i n g zien w e

i m a g e also represents the

het

g e z i c h t v a n e e n R o e m e e n , g e s t o r v e n in d e

concerned

media reporting, makin g this m a n a

opstand tegen Ceaucescu, e en fabrieksarbei-

martyr even for us, w h i l e he fights for

der e n b e e l d en van de sloop van een sociale-

w h a t w e p o s s e s s - b u t w h a t e x a c t l y is

h u i s v e s t m g s p r o j e c t uit d e j a r e n z e s t i g . D e

that? M a y b e he just f o u g h t to free

b e e l d e n w o r d e n o p e e n o n h a n d i g e m a n i e r in

f r o m a n o p p r e s s i v e r e g i m e - a n d t h a t it is

d e c o n s t r u c t i e g e p l a a t s t : ze zijn m a a r v a n é é n

t h e v a n i t y in t h e m e d i a w h i c h a s k s us t o

himself

k a n t z i c h t b a a r e n in é é n g e v a l s l e c h t s t e z i e n

b e l i e v e t h a t it w a s f o r o u r s y s t e m t h a t h e

via e e n s p i e g e l aan d e w a n d a c h t e r d e c o n -

died.

structie. Deze manier van presenteren, waar-

The maquette which was displayed,

bij d i n g e n e e n o n g e b r u i k e l i j k e p l a a t s h e b b e n ,

e n t i t l e d Arcadian

heeft een interessant effect o p het onderbewustzijn. Het geeft de plotselinge flauwe

t h r e e b i l l b o a r d size ligh t b o x e s

O m d a t zij o n t l e e n d z i j n a a n p e r s a r c h i e v e n ,

process of d e m o l i t i o n . The i m a g e s will

directheid en d e spanning van d e oorspronke-

only be visible w h e n the audience

lijk s i t u a t i e e n d i t g e e f t e e n e x t r a d i m e n s i e

into this m o d e r n day folie. The

aan d e herinnering v a n e e n v e r d r o n g e n gedachte.

of the idyllic fantasies of the

l a k e n e n g e l e b l o e m e n . Er is e e n h a n d t e z i e n

have s o m e nasty similarities to the Dennis

w i s s e l k a n t o o r e n is zichtbaar via e e n s p i e g e l

Adams

images.

(uit/from: Vanities)

n a t i e o n t n u c h t e r t in é é n k l a p alle c o m p l e x e

A d a m s uses i m a g e s for their ability to

relaties t u s s e n de O o s t e u r o p e s e landen m e t

t e e m . E e n m a r t e l a a r g e e f t zijn l e v e n o n d e r vuur van m a c h i n e g e w e r e n , terwijl één van de v o o r t b r e n g s e l e n van het kapitalisme zich

geweervuur van de bankoverval. Het beeld v e r w i j s t e v e n z e e r naar d e m a n i e r w a a r o p d e m e d i a r a p p o r t e r e n , z o a l s ZIJ v a n d e z e m a n , zelfs m o n z e o g e n , e e n martelaar m a k e n die v e c h t v o o r w a t W I J b e z i t t e n - m a a r w a t is d a t M i s s c h i e n v o c h t hij a l l e e n

m a a r o m zich te bevrijden van het r e g i m e v a n o n d e r d r u k k e r s - e n zijn h e t d e ijdele m e d i a d i e o n s w i l l e n d o e n g e l o v e n d a t hij s t i e r f v o o r ons systeem. Arca-

is o n d e r d e e l v a n d e F l o r i a d e d i e Het project

b e s t a a t uit e e n d r i e h o e k v a n h o g e rijen h e g gen. Binnenin staan drie hchtboxen ter g r o o t t e van e e n billboard, die o o k e e n drieh o e k v o r m e n . O p d e z e h c h t b o x e n is d e s l o o p t e z i e n v a n h u i z e n d i e w e r d e n g e b o u w d in d e j a r e n z e s t i g in h e t k a d e r v a n d e s o c i a l e h u i s v e s t i n g . D e b e e l d e n zi]n a l l e e n z i c h t b a a r v o o r w i e d e z e h e d e n d a a g s e versie van de 'folly' daadwerkelijk binnenloopt

H e t w e r k illus-

treert d e neiging o m rampzalige e n pijnlijke vergissingen te verbergen achter een romant i s c h b e e l d uit h e t v e r l e d e n , m p l a a t s v a n e r l e r i n g uit t e t r e k k e n . Follies e n d o o l h o v e n w a r e n het a r c h i t e c t o n i s c h e a n t w o o r d o p d e idyllische fantasieën van d e Europese aristocratie

De m a c h t s s t r u c t u r e n die het botviere n

van dergelijke grillen mogelijk m a a k t e n , vert o n e n akelige o v e r e e n k o m s t e n m e t de mislukte utopische projecten van recentere d a t u m , z o a l s d i e o p d e b e e l d e n in d e drieh o e k t e z i e n zijn

betray. This betrayal instantly produces a A d a m s g e b r u i k t b e e l d e n o m d a t ze k u n nen bedriegen. Dit b e d r o g levert onmiddellijk een weergave op van de

machtsstructuren

die d e z e b e t e k e n i s s e n oorspronkelijk onderd r u k t e n . H e t w e r k Doublé

b e s c h e r m t tegen een soortgelijke aanval: het

recent

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

A r c a d i a n Blind

achter de constructie. Deze simpele combi-

systeem

which

e n a b l e d the i n d u l g i n g of these fantasies

dik k o g e l v r i j r a a m in het l o k e t v a n e e n g e l d -

e n het kapitalistische maatschappelijk e sys-

part

European

aristocracy. The powe r structures

van i e m a n d die het h o o f d w i l aanraken. Het beeld w o r d t vrijwel geheel afgedekt door een

Blind,

process mistakes

Architecturally, folies and mazes were

l a a r . Z i j n g e z i c h t is o m w i k k e l d m e t e e n w i t

dian

b e c o m e s an illustration of the hiding disastrous and painful

instead of l e a r n i n g t h e lesson s t h e y teil us.

gebruikt van een dode Roemeense marte-

n u in N e d e r l a n d w o r d t g e h o u d e n

walks

work

b e h i n d a r o m a n t i c i m a g e of the past,

wordt een kleurenfoto

De maquette op de tentoonstelling,

depicting

t h e site o f a 1960's h o u s i n g p r o j e c t in t h e

h e b b e n de b e e l d e n n o g s t e e d s iets van de

rows,

inside - f o r m i n g another triangle - are

doet d e n k e n aan surrealistische t e c h n i e k e n .

eigenlijk p r e c i e s

horticulture

i n v o l v e s a t r i a n g l e of tall h e d g e

schieten van een verdrongen herinnering e n

hun nieuwe met-communistische

is f o r a p r o j e c t t o

e x h i b i t i o n t o b e h e l d i n T h e N e t h e r l a n d s . It

s c h o k zoals w e die k e n n e n v a n het te b i n n e n -

I n Transaction

Blind,

be constructed for a world

V anity

brengt het

a harsh alien feel, underlining the depth

representation of the p o w e r

and brutality of the subject

w h i c h originally repressed these

The image s he uses

matter.

structures

m e a n i n g s . T h e p i e c e c a l l e d Doublé

probably

V anity

b r i n g s t h e e x a m i n a t i o n of 'self i m a g e '

f u n c t i o n e d as press or archive p h o t o g r a p h s o r i g i n a l l y . In t h i s e x h i b i t i o n

f r o m society as a w h o l e to the level of the individual. A complex structural f o r m : on

onderzoek van het 'zelfbeeld' van de maat-

they include the face of a R o m a n i a n

s c h a p p i j als g e h e e l naar het n i v e au van het

in the revolution against Ceaucescu, a

o n e side an illuminated i m a g e of a foreign w o r k e r , f r a m e d by a w i n d o w , b e n t o v e r at

killed

i n d i v i d u . H e t is e e n c o m p l e x e c o n s t r u c t i e :

s w e a t s h o p w o r k e r and i m a g e s of the

aan é é n kant e e n verlicht beeld van e e n

d e m o l i s h i n g of a 1960's social

allochtone arbeider, o m k a d e r d door een

project. T h e y are placed a w k w a r d l y

within side

housing

r a a m , d i e in e e n f a b r i e k o v e r zijn w e r k g e b o -

the structures, only visible f r o m one

g e n staat, onder heldere, fluorescerende

and in o n e case only visible via a m i r r o r

w o r k in a s w e a t s h o p u n d e r

bright

flourescent strip lights. The centre of the structure reveals a display of

flourescent

s t r i p s o f t e n u s e d in s c u l p t u r e for t h e i r

b u i s l a m p e n . M i d d e n i n d e c o n s t r u c t i e is e e n

w h i c h is p l a c e d o n t h e w a l l b e h i n d t h e

s t r a n g e g l o w . T h e s t r u c t u r e is c o m p l e t e d

aantal f l u o r e s c e r e n d e strips te zien, die vaak

structure. This displaced

o n t h e far side b y a large m i r r o r ,

in d e b e e l d h o u w k u n s t w o r d e n g e b r u i k t

w o r k s interestingly o n the level of the

presentation

meeting

the viewer w i t h his or her o w n image. The

h u n v r e e m d e g l o e d . A a n d e a n d e r e kant v a n

unconscious, giving the sudden faint

m i r r o r is o u t o f s i g h t o f t h e g a l l e r y

d e c o n s t r u c t i e is e e n g r o t e s p i e g e l g e p l a a t s t ,

shock, similar to the return of a repressed

assistant, sitting across the r o o m

waarin de toeschouwer wordt weerspiegeld.

m e m o r y , recalling surrealist techniques.

the illuminated image. The context

D e spiegel valt b u i t e n het gezichtsvel d v a n

Having been d r a w n f r o m press archives,

l a b o u r , w h i c h is u s u a l l y w i t h d r a w n

from

d e galerie-assistent die aan de andere kant

the i m a g e s still retain s o m e t h i n g of t h e

t h e g a l l e r y , is p r e s e n t in t h i s i m a g e . B y

v a n d e g a l e r i e z i t, t e g e n o v e r h e t v e r l i c h t e

immediacy and tension which

b e i n g o f t h e m o s t v o i l e n t k i n d , it b e c o m e s

beeld. Het idee van arbeid dat m e e n galerie

surrounded them, adding to the texture of

a representation of labour

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

the return of a repressed

Narcissism and labour become

z i g m e e n b e e l d d a t h e e l a g r e s s i e f is e n d a a r m e e e e n w e e r g a v e v a n d i e a r b e i d zelf w o r d t . Narcisme en arbeid w o r d e n volkomen onvere n i g b a a r . In d e s c u l p t u u r v e r w i j s t d e o n d e r drukking van het gebruik w a a r v o o r de fluorescerende strips oorspronkelijk bedoeld w a r e n , naar d e o n d e r d r u k k i n g van bepaalde r e a l i t e i t e n in d e w e r k i n g v a n h e t k a p i t a l i s m e in c o m m e r c i ë l e g a l e r i e s . A d a m s blijft zelf b u i t e n dit s t e l s e l v a n i j d e l h e d e n , e e n a f w e z i g h e i d d i e m i s s c h i e n in z i c h z e l f o o k e e n v o r m v a n o n d e r d r u k k i n g is, m a a r d a t is i e t s w a a r o v e r a l l e e n A d a m s k a n

once

memory.

Kate Royle

itself. completely

i n c o m p a t i b l e . In t h e s c u l p t u r a l f o r m , t h e Transaction

uses a colour

photograph

of a dead R o m a n i a n martyr. A pure w h i t e sheet a n d y e l l o w f l o w e r s are w r a p p e d a r o u n d his face a n d a hand reaches out to t o u c h h i s h e a d . T h e i m a g e is a l m o s t

repression of the use for w h i c h

the

flourescents w e r e designed, illustrates the repression of certain realities of the w o r k i n g of c a p i t a l i s m in c o m m e r c i a l galleries.

entirely obscured by a bureau de change cash w i n d o w constructed f r o m thick

bullet

A d a m s leaves his o w n position out of

p r o o f g l a s s a n d is v i s i b l e v i a a m i r r o r

this e c o n o m y of vanity, an absence w h i c h

b e h i n d t h e s t r u c t u r e . H e r e all t h e

itself m a y be a r e p r e s s i o n , s o m e t h i n g

relations between the n o n c o m m u n i s t eastern

complex

newly European

countries a n d the capitalist societies are b r o u g h t s t a r k l y d o w n t o e a r t h in a s i m p l e j u x t a p o s i t i o n . A m a r t y r s a c r i f i c e s h i s life

oordelen.

facing

a m i d t h e m a c h i n e g u n fire w h i l s t o n e of the f u n d a m e n t a l aspect of capitalism p r o t e c t s itself f r o m s i m i l a r d i s p l a y s o f

he w o u l d

only

know. Kate Royle

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

kunstcir-

cuit niet r e d d e n , namelijk dat c o m m e r c i e e l succes en " g o e d e " kunst (wat dat ook

moge

zijn) n i e t s a m e n g a a n . N a h e t z i e n v a n d e t e n t o o n s t e l l i n g in G a l e r i e S t e l t m a n , k r e e g ik h e t onbehaaglijke g e v o e l dat Saudek

ergens

o n d e r w e g e e n v e r k e e r d e w e g is i n g e s l a g e n of, w e l l i c h t w a t precieze r g e f o r m u l e e r d , dat d e w e r e l d e e n b e p a a l d e w e g is o p g e g a a n , That famed, c r u m b l i n g

basement

themselves, that commercial success and

zonder dat Saudek dat heeft

Die b e r o e m d e , bouwvallige studio,

gemerkt.

studio in Prague has b e c o m e stifling.

" g o o d " ( h o w e v e r o n e d e f i n e s t h a t ) art are

e r g e n s in e e n k e l d e r i n P r a a g , h e e f t i e t s

De interesse voor Saudek's w e r k w a s

H a v i n g t h e w i n d o w at t h e b a c k o p e n t o

incompatable. After seeing the

benauwends gekregen. Het achterraam

niet louter e e n k w e s t i e van Koude Oorlog-

o p e n z e t t e n o m o n s e e n blik t e g u n n e n o p d e

r o m a n t i e k , o o k al s p e e l d e d e z e natuurlijk w e l

Steltman

s h o w a n e n t i c i n g o u t e r w o r l d is n o t

s h o w , I have the uneasy feeling that

e n o u g h . P e r h a p s it i s t i m e f o r S a u d e k t o

s o m e w h e r e along the way, Saudek

crawl out t h r o u g h the w i n d o w , taking his

a w r o n g turn - or m o re precisely,

camera with

that the w o r l d has rounded a corner,

him.

In t h e l a t e 1 9 6 0 ' s , w h e n h i s w o r k f i r s t b e g a n to appear in w h a t t h e n t h o u g h t

made

perhaps, and

h e hasn't n o t i c e d yet. The attention given earlier to his w o r k

v e r l o k k i n g e n v a n d e b u i t e n w e r e l d , is n i e t

enigszins een rol. W a t w e ook v i n d e n van d e

genoeg

huidige 'triomf van het kapitalisme' w a a r o p

M i s s c h i e n w o r d t het tijd dat S a u d e k .

m è t zijn c a m e r a , d o o r h e t r a a m naar b u i t e n

w e z o t r o t s zijn. w e m o e t e n niet v e r g e t e n d a t

kruipt.

het leven voor e e n onafhankelijk

scheppend

k u n s t e n a a r o n d e r de e r f g e n a m e n v a n Stalin

A a n het eind van de jaren zestig, toen

w a s not merely a matter of Cold W a r

z i j n w e r k v o o r h e t e e r s t v e r s c h e e n in d e

geen pretje w a s . Behalve tijdens de Praagse

r o m a n t i c i s m , h o w e v e r t i n g e d w i t h t h a t it

z o g e n a a m d e Vrije W e r e l d , w e r d e n w i ] g e t r o f -

Lente w e r d Saudek door de culturele volks-

danger signals that one could have seen,

m a y have been. W h a t e v e r our feelings are

f e n d o o r zijn b e e l d e n . A l s w e g o e d h a d d e n

c o m m i s s a r i s s e n i n d e r d a a d g e z i e n als e e n

b o t h in t h e w o r k itself a n d in t h e

about the present, gloating " t r i u m p h

g e k e k e n , h a d d e n w e al w a t w a a r s c h u w i n g s -

"ontaarde kunstenaar". Een kunstenaar die

c a p i t a l i s m " , w e m u s t b e c l e a r t h a t life f o r

signalen kunnen opvangen, zowel vanuit het

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

Prometheus f r o m behind the Iron Curtain,

an i n d e p e n d e n t creative artist under

w e i k zelf als v a n u i t d e o v e r d r e v e n r o m a n t i -

e e n k e l d e r k a m e r , die besluit zich t e r u g te

' w h o w o r k s full t i m e in a f a c t o r y in P r a g u e

heirs of Stalin w a s no picnic. A n d

sche manier waarop deze moderne

t r e k k e n in e e n e i g e n w e r e l d o m d a a r t e w e r -

to s u p p o r t h i m s e l f a n d his art'. W h o

during the Prague Spring, Saudek

t h u s ' m o r e t h a n usually cut off f r o m

the

itself as t h e Free W o r l d , his v i s i o n

did

c o m m a n d our attention. There were

hype surroundin g this

some

romantic

modern

the

except

Prome-

t h e u s v a n achter het IJzeren Gordijn hier

ken aan d e verkenning van persoonlijke

i n d e e d seen by the cultural c o m m i s s a r s as

w e r d geïntroduceerd. Saudek w e r d afgeschil-

t h e m a ' s e n s l e c h t s o p zeer indirecte w i j z e

a " d e g e n e r a t e a r t i s t " . If u n d e r t h e s e

d e r d als d e m a n d i e " f u l l - t i m e w e r k t in e e n

commentaar te geven op maatschappelijke

deprived b o t h of contact w i t h o u r Free

c i r c u m s t a n c e s an artist t h e r e c h o s e to seal

P r a a g s e f a b r i e k o m in zijn l e v e n s o n d e r h o u d

kwesties, neemt een volkomen eerzaam

W o r l d discoveries, a n d of contact

h i m s e l f in a b a s e m e n t r o o m , t o retreat

te k u n n e n voorzien e n als k u n s t e n a a r te kun-

besluit. En bovendien w a s Saudek heel g o e d .

influences of p h o t o g r a p h i c

colleagues',

with

was

into

o t h e r s i n his o w n l a n d , if o n e d i d c a r e t o

a private w o r l d for the exploration

n e n w e r k e n . " D a a r d o o r w a s hij " m e e r d a n

In d e e n e f o t o na d e a n d e r e w e r d d i e kelder-

a c k n o w l e d g e the existence of an Eastern

personal t h e m e s , and c o m m e n t o n social

anderen van de invloed van collega-fotogra-

ruimte, vaak m e t het raam achterin, waardoor

European photographic tradition. Since then, the romantic outsider

has

b e c o m e a b i g p l a y e r in t h e artphotography market, c o m m a n d i n g

repeat

gallery s h o w s , hefty prices, a f u l l c o l o u r coffee-table b o o k a n d , according to A m s t e r d a m art-scene gossip, his p o s t c a r d s are t h e f a s t e s t s e l l i n g i t e m s in A r t U n l i m i t e d ' s line. U n f o r t u n a t e l y , o n the b a s i s o f his l a t e s t s h o w at t h e

Steltman

gallery in A m s t e r d a m , I feel that the w o r k , w h a t e v e r e l s e it c o m m a n d s , n o l o n g e r c a n c o m m a n d c r i t i c a l a t t e n t i o n a s it o n c e d i d . T h i s is n o t , I h o p e , a n e x p r e s s i o n o f t h e jealous prejudice with which

unsuccessful

p l a y e r s in t h e c o m m e r c i a l art m a r k e t , b o t h artists a n d critics, have

consoled

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

fen a f g e s n e d e n " . Saudek m o e s t het d u s stel-

s o m s v o l o p licht s c h e e n e n s o m s w o l k e n te

w a s an entirely honourable decision. A n d

len z o n d e r d e o n t d e k k i n g e n uit o n z e Vrije

zien w a r e n , het raam dat d e b e l o f t e van d e

m o r e o v e r , S a u d e k d i d it e x t r e m e l y w e l l . In

W e r e l d en zonder het contact m e t

p h o t o g r a p h after p h o t o g r a p h , that

in zijn e i g e n l a n d , zo m e n al o o g h a d v o o r e e n

basement r o o m , often with that w i n d o w the back, full of light a n d

o n t s n a p p i n g in z i c h h i e l d (of a l t h a n s zicht bood op een andere werkelijkheid), een krachtige m e t a f o o r voor een creatief

O o s t e u r o p e s e t r a d i t i e in d e f o t o g r a f i e .

bewust-

zijn d a t w e r d g e k n e c h t d o o r e e n r e p r e s s i e v e

sometimes

clouds, o f f e r i n g t h e p r o m i s e of escape (or at l e a s t o f a n o t h e r r e a l i t y ) , b e c a m e a

S i n d s d i e n is d e r o m a n t i s c h e o u t s i d e r

een

c o n s c i o u s n e s s l o c k e d in b y a r e p r e s s i v e society. room,

maatschappij.

belangrijke rol gaan s p e l e n o p d e m a r k t van de kunstfotografie, eist herhaalde exposities,

powerful metaphor for creative

W i t h o u t the w i n d o w , the m u s t y

fotografen

Zonder het raam had de

bedompte

flinke prijzen, een full-colour koffietafelboek,

k a m e r , s o m s kaal, s o m s v o l g e s t o u w d

e n v o l g e n s d e r o d d e l s in h e t A m s t e r d a m s e

oude rekwisieten, een dubbele functie en

k u n s t c i r c u i t zijn S a u d e k ' s a a n z i c h t k a a r t e n d e

w a s zij t e v e n s m e t a f o o r v o o r d e g e e s t .

b e s t v e r k o c h t e i t e m s in h e t a s s o r t i m e n t

T h e m a ' s die zich o p het t o n e e l van de geest

van

met

sometimes barren, sometimes cluttered by

A r t U n l i m i t e d . O p g r o n d v a n zijn m e e s t

a f s p e e l d e n w a r e n : tijd e n verandering, nostal-

o l d p r o p s , d i d d o u b l e - d u t y as a m e t a p h o r

r e c e n t e t e n t o o n s t e l l i n g in d e A m s t e r d a m s e

gie, v e r l a n g e n , h o o p en teleurstelling, uiter-

for the m i n d . A m o n g the t h e m e s

which

p l a y e d t h e m s e l v e s o u t in t h i s m i n d

were

time and change, nostalgia, desire, hope

G a l e r i e S t e l t m a n m o e t ik h e l a a s v a s t s t e l l e n

lijke s c h i j n e n w e r k e l i j k h e i d . H e t zijn t h e m a ' s

dat het w e r k niet langer die kritische inte-

die gevaarlijk dicht o p d e rand van vals senti-

r e s s e v a n v r o e g e r o p r o e p t . D e z e m e n i n g is,

m e n t k u n n e n b a l a n c e r e n ; h e t is o p m e r k e l i j k

use of f a m i l y a n d friends as subjects

dat S a u d ek s l e c h t s zo zelde n over die g r e n s

s t r e e p t e h e t b e l a n g v a n m e n s e l i j k e relaties in

and disappointment, appearance

h e e n ging. B i n n e n d e contex t w a a r i n ze w e r -

tijden van w r e d e sociale werkelijkheid.

reality. These are t h e m e s that c a n skate

affirmed the strength of

d a n g e r o u s l y c l o s e t o f a l s e s e n t i m e n t ; it is

c o n n e c t i o n s in t h e f a c e of a h a r s h reality.

den gemaakt, vormden Saudek's vroege

Ik k a n n i e t z e g g e n d a t ik v o l k o m e n

and

foto's van vaders m e t baby's e e n duidelijk

b e k e n d ben m e t het oeuvre van Saudek,

r e m a r k a b l e t h a t S a u d e k feil in s o r a r e l y .

human

s t a t e m e n t ter b e v e s t i g i n g v a n het menselijk

m a a r ik k a n m e n i e t a a n d e i n d r u k o n t t r e k k e n

W i t h i n t h e c o n t e x t in w h i c h t h e y

vermogen te hopen op een betere toekomst.

dat bij d e o v e r g a n g v a n d e jaren z e v e n t i g

m a d e , Saudek's early images of fathers

Saudek's oeuvre, but I have the

were

social

I can not c l a im total familiarity w i t h

D e a n t i e k e k l e r e n in z i j n p o r t r e t t e n v a n m a n -

naar d e jaren tachtig het b e r o e m d e raam

and babies were a powerful affirmation of

i m p r e s s i o n that as the seventies w o r e

n e n , v r o u w e n e n k i n d e r e n ( e n o o k zijn

steeds minder verscheen en ook de thema's

the h u m a n capacity to h o p e for a better

into the eighties, the f a m e d

'antieke' p r o c é d é s zoals toning. m e t de hand

d i e in d e k e l d e r k a m e r - d e g e e s t - t o : l e v e n

future. The antique clothes in his portraits

a p p e a r e d less a n d less, a n d the

of m e n , w o m e n and children (and, for that

w h i c h p l a y e d t h e m s e l v e s o u t in t h e

matter, his recourse to

basement room, the mind,

inkleuren e n dubbel belichten tijdens het a f d r u k k e n ) v e r w e z e n naar v r o e g e r e t i j d e n , t o e n er a n d e r e , w a a r s c h i j n l i j k m e e r h u m a n e , w a a r d e n h e e r s t e n . Dat w a s v o o r d at d e duiv e l s t w e e l i n g va n het f a s c i s m e e n het totalit a i r e s o c i a l i s m e O o s t - E u r o p a v e r z w o l g . In d e z e c o n t e x t w a s h e t g e e n (of n i e t e n k e l e n a l l e e n e e n ) o e f e n i n g in n o s t a l g i e , m a a r o o k een bevestiging van bovengenoemde

waar-

d e n e n v a n d e t i j d w a a r i n zij w e e r m e r e h e r steld z o u d e n k u n n e n w o r d e n . Zijn gebruik van familie en vrienden o p de foto's onde-

w e r d e n gebracht, steeds m e e r een erotisch karakter kregen

Over het a l g e m e e n w a s het

e c h t e r e r o t i s c h in d e ü i e k s e b e t e k e n i s ( o f d i e b e t e k e n i s die k u n s t m o e t h e b b e n in d e

and double-exposure during

b e r o e m d e definitie van Susan Sontag), e e n v e r k e n n i n g v a n die p a s s i e in h e t l e v e n die z e l f s b l e e f b r a n d e n o n d e r d e laag gri|ze as die de officiële O o s t e u r o p e s e maatschaopij

"antique"

processes such as t o n i n g , h a n d

was

g e w o r d e n . O o k al w a r e n d e b e e l d e n v a a k enigszins grotesk - d e begeerlijke v r o u w e n w a r e n m e e r dan w e l g e v u l d , de m a n n e n meer Don Quichottes dan Don Juans - toch

colouring

printing)

evoked an earlier t i m e, w h e n different

window themes

became

i n c r e a s i n g l y c o n c e r n e d w i t h t h e e r o t i c . In g e n e r a l , h o w e v e r , it w a s E r o t i c i n t h e

and

Greek sense (or that f a m o u s l y

demanded

possibly more h u m a n e values reigned,

of art b y S u s a n S o n t a g ) , an e x p l o r a t i o n

before the twin evils of fascism

and

t h a t p a s s i o n in life w h i c h c o n t i n u e d t o

tolitarian socialism s u b m e r g e d

Eastern

b u r n even under the layers of grey ash

E u r o p e . In t h i s c o n t e x t , t h i s w a s n o t ( o r

that official Eastern E u r o p e a n society

w a s n o t m e r e l y ) a n e x e r c i s e in n o s t a l g i a ,

b e c o m e . If t h e r e w a s o f t e n a c e r t a i n

but also an affirmation of those values

grotesquerie present - the desired

and

of a t i m e w h e n t h e y m i g h t reemerge . His

were more than abundant, the me n

had

ladies more

D o n Q u i x o t e s t h a n D o n J u a n s - it s e e m e d

try to specify w h e r e this feeling

to be an g o o d n a t u r e d , ironie deflation, a

f r o m , I t h i n k it l i e s i n t h e w a y t h e

h u m a n i z a t i o n of a n y e x a g g e r a t e d

are posed, reminiscent of t u r n of the

claims

groups

that might be m a d e for the personal.

century composition. One notes that

Saudek's double-exposed nude

are being dated a c e n t u r y ago, " 1 8 9 1 "

portraits,

p r o d u c e d in t h e m i d - 1 9 8 0 ' s , in w h i c h

"1991". Such backdating had

l e n g t h p o r t r a i t s of p e r s o n s in t h e i r t e e n s

then s e e m e d to be c o n n e c t e d

printed complimentary

three-quarter

leek het m e e r e e n g o e d a a r d i g e ironische ont -

comes

prints for

appeared

before, t h o u g h not so consistantly,

and

with

'traditionele' s t u d i o w e r k e n het antieke tintje

nuchtering, e e n vermenselijking van de over-

m d e t o n i n g , bijna e e n i m i t a t i e zijn v a n d e tra-

d r e v e n n a d r u k o p h e t p e r s o o n l i j k e . In h e t

d i t i o n e l e b e e l d e n u i t d e f o t o g r a f i e . A l s ik e r

m i d d e n van de jaren tachtig maakte Saudek

m i j n v i n g e r o p m o e t l e g g e n , d e n k ik d a t d i t

d u b b e l b e l i c h t e n a a k t p o r t r e t t e n . H e t zijn

k o m t d o o r d e m a n i e r w a a r o p d e g r o e p e n zijn

c o m p l e m e n t a i r e b e e l d e n v a n p e r s o n e n in

o p g e s t e l d , doordat die d o e t d e n k e n aan de

hun tienerjaren e n op middelbare leeftijd,

opstelling die rond d e e e u w w i s s e l i n g

afgebeeld o p driekwart lengte. D e t w e e beel-

g e h a n t e e r d . H e t valt o p dat s o m m i g e f o t o ' s

werd

als d a t u m 1 8 9 1 h e b b e n in p l a a t s v a n 1 9 9 1 .

a n d i n m i d d l e a g e , m e r g e d at t h e c e n t r e

Saudek's general looking back to alternate

d e n k o m e n in h e t m i d d e n s a m e n als in e e n

like a p l a y i n g - c a r d , a g a i n c o m e

values, or even served to undercut the

speelkaart. O o k deze f o t o ' s k o m e n gevaarlijk

S a u d e k h e e f t al e e n s e e r d e r f o t o ' s g e a n t e d a -

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

t e e r d , m a a r niet zo c o n s e q u e n t . Een d e r g e -

the image were disturbing or grotesque,

als m v o r m . Dit e t i k e t blijft h e n e c h t e r

lijke a n t e d a t e r i n g leek t o e n o o k m e e r t e

as m u c h as to s ay ' L o o k , t h i n g s w e r e n ' t all

bespaard e n de beelden blijven o p o n s net-

m a k e n t e h e b b e n m e t het t e r u g k i j k e n naar

our being forced to see the ravages of

so rosy t h e n either.' I s u p p o s e that S a u d e k

vlies h a n g e n o m d a t o n s o o g g e t r o k k e n

w i s s e l e n d e w a a r d e n , of h a d w e l l i c h t zelfs d e

t i m e a n d life, see h o w t h e f l e s h sags a n d

m i g h t n o w be telling us that t h i n g s are so

naar w a t d e tijd e n het l e v e n n e b b e n a a n g e -

b e d o e l i n g h e t g e v o e l v a n n o s t a l g i e w a t af t e

the expressions on faces change

g o d - a w f u l t h a t o u r o n l y r e c o u r s e is

richt. W e zien het vlees uitzakken, w e

z w a k k e n , als er e e n o n t h u t s e n d of g r o t e s k

horribly

feeling of nostalgia w h e n the contents

close to kitsch in b o t h feeling a n d f o r m . B u t t h e y a r e r e s c u e d f r o m it, a n d

made

m e m o r a b l e by the sheer h u m a n power

o p t i m i s m and the pride of the

from

untested

would-be conquerer, to stoicism pride, but n o w the pride of the scarred but u n d e f e a t e d . His

wholesale a b a n d o n m e n t of the

and

survivor,

mannish

present,

wordt

zien

de uitdrukking op de gezichten veranderen

b e e l d te zien w a s . H e t w a s alsof S a u d e k

b u t t h a t s e e m s a c o u n s e l o f d e s p a i r . O r is

van de optimistische uitdrukking van trots

w i l d e z e g g e n : "Kijk, h e t w a s t o e n o o k niet

this the operation of a totally

v a n d e prille p s e u d o - v e r o v e r a a r , in d e stoï-

allemaal rozegeur en maneschijn."

cijnse u i t d r u k k i n g - o o k v a n trots maar dit-

w i l Saudek o n s n u laten w e t e n dat alles o m

uncritical

nostalgia, that w i t h o u t the saving grace of

Misschien

maal van de o v e r w i n n a a r die g e h a v e n d , m a a r

o n s h e e n z o a f s c h u w e l i j k is d a t w e h e t v e r l e -

girls w e r e not merely there for their sexual

s e e m s t o affirm a n y t h i n g a b o u t the past,

n i e t v e r s l a g e n , u i t d e s t r i j d is g e k o m e n .

den alleen nog maar d e rug kunnen toekeren,

frisson, but forced a consideration of

b u t o n l y t o b e a b a n d o n t o it? A t t h e v e r y

Saudek's mannelijke v r o u w e n , kokette jon-

m a a r dat lijkt m e w e l h e e l e r g g e t u i g e n v a n

a p p e a r a n c e a n d reality - w h i c h a g a i n . in

l e a s t it h a s b e c o m e a n a n n o y i n g

g e n s e n k o r t g e k n i p t e meisjes w e r d e n niet

w a n h o o p . O f is h i e r e e n t o t a a l k r i t i e k l o z e

the context of Eastern Europe, raised

tic.

w o m e n , coquettish boys and

short-haired

a comparison with the present no

longer

stylistic

provocative issues of quite other than sexual

import.

kijker tot n a d e n k e n o v e r uiterlijke verschij-

die niets positiefs m e e r over het verleden zegt. b e h a l v e dat w e o n s eraan m o e t e n over-

grotesquery here that, although

d a t in d e O o s t e u r o p e s e c o n t e x t e e n g e h e e l

g e v e n ? H o e h e t o o k zij, h e t t e r u g g r i j p e n o p

previously

p r e s e n t in S a u d e k ' s w o r k , n o

d i d c o m e c l o s e t o k i t s c h , a n d S a u d e k is

seems generous and humourous,

not totally innocent on this charge

g r a t u i t o u s , a n d f o r its o w n s a k e . T h e

andere, even prikkelende,

longer

s e x u a l f r i s s o n p r e s e n t in his w o r k . B u t in

S t e l t m a n u s e d as its p o s t e r f o r t h e

show male

which

the

m o s t c a s e s it w a s s a v e d b y t h e c o n t e x t i n

and which w o u l d seem to present

w h i c h it w a s p r o d u c e d , a n d o u r

fantasies of w o m e n ' s sexuality w i t h o u t

consciousness of that context a n d the

any hint of irony, also leaves behind a b a d

additional meanings that this provided.

taste. Perhaps t h ey w e r e intimidated

W h e n the w o r k w a s uncritically

"art", but I a m a bit surprised that the

b y t h e c o m m e r c i a l i m a g e m a r k e t in t h e

g r o u p w h o d a u b paint o n w h a t they find to

W e s t , it a l l t o o q u i c k l y d i d b e c o m e k i t s c h :

be sexually exploitative

cutsie babies being h u g g e d in strong

i m a g e s of w o m e n a r o u n d t o w n , didn't

matter, beautiful m e n and w o m e n i

playing

d r e s s - u p in o l d c l o t h e s , all d o n e u p in those w a r m sepia tones or pastel colours that fairly ooze nostalgia. That his fathers and babies w e r e conscripted into our g e n d e r w a r s h e r e in t h e W e s t , t o

appear

as p o s t e r s o n t h e w a l l s o f c o u n t l e s s s o c i a l w o r k e r ' s o f f i c e s as i m a g e s o f t h e c a r i n g m a l e ' , is a n o t h e r e x a m p l e o f Saudek's images have been

now

s e e m s to have hardened into a style. Perhaps the process has been

influenced

b y t h e c o m m e r c i a l r e w a r d s it h a s

how

brought.

P e r h a p s i t is t h e f a c t t h a t t h e n e c e s s i t y i s

and

a sense, history has conspired to remove, or at l e a s t a l t e r , t h i s c o n t e x t in t h e c h a n g e s in E a s t e r n E u r o p e .

c o n t e n t is g o n e , a n d w e a r e left w i t h

only

the f o r m u l a . But in the years since the

w o r l d in a b a s e m e n t r o o m h a s

become

a i r l e s s , a n d t h e s o o n e r h e e s c a p e s it, o r at

T h e first o v e r w h e l m i n g i m p r e s s i o n t h e i m a g e s at t h e S t e l t m a n in

Amsterdam

least Iets in s o m e o f t h e f r e s h air w h i c h , a l o n g w i t h l e s s s a v o u r y o d o u r s , is n o w b l o w i n g in E a s t e r n E u r o p e , t h e better.

G r a n t e d , it

g e v o e l d a t h e t g r o t e s k e in d e b e e l d e n , d a t al

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

e e r d e r in S a u d e k ' s w e r k a a n w e z i g w a s , niet

b e s c h u l d i g i n g is v o o r e e n d e e l t e r e c h t o m d a t

langer g o e d m o e d i g e n h u m o r i s t i s c h is, m a a r

zijn w e r k o n t e g e n z e g l i j k s e n t i m e n t e l e , nostal-

zinloos of e e n doel o p zich. H e t openlijke sek-

gische en seksueel prikkelende trekjes ver-

s i s m e v a n d e f o t o Sisters,

toont. M e e s t a l bleef het etiket kitsch achter-

mannelijke fantasie over de seksualiteit van

w e g e door de context waarir het w e r k

v r o u w e n zonder enig spoor van ironie w e e r -

werd

m o r e frequently w i t h larger g r o u p s than

D.H.

Mader

I m g s p o s t e r g e b r u i k t e , laat o o k e e n b i t t e r e smaak na. M i s s c h i e n w e r d m e n geïntimi-

w e r d opgezogen door de commerciële beel-

d e e r d d o o r h e t feit dat h e t hier ' k u n s t ' b e t r o f ,

d e n m a r k t in h e t w e s t e n , w e r d h e t m a a r al t e

m a a r het verbaast mij dat d e g r o e p die overal

snel kitsch: snoezige baby's w e r d e n geknuf-

m d e s t a d verf s m e e r t o v e r alle r e c l a m e

feld door sterke m a n n e n a r m e n , m o o i e kinde-

w a a r i n d e v r o u w als s l a c h t o f f e r v a n s e k s u e l e

ren (en m o o i e m a n n e n e n v r o u w e n )

pronken

in h u n k l e r e n uit d e v e r k l e e d k i s t , e n d a t alle-

ren w a a r d e nostalgie vanaf druipt. Zijn v a d e r s e n b a b y ' s w e r d e n ingelijfd in d e w e s terse oorlog tussen de seksen en verschen e n als p o s t e r in d e k a m e r s v a n t a l l o z e s o c i -

v a d e r ' . D i t s o o r t p o s t e r s laat z i e n h o e d e beelden van Saudek buiten hun oorspronkelijke c o n t e x t o p n i e u w g e d e f i n i e e r d w o r d e n . En nu b e r a a m t de g e s c h i e d e n i s e e n plan o m d e z e c o n t e x t g e h e e l o n g e d a a n te m a k e n , of

m o m e n t e e l in O o s t - E u r o p a g a a n d e z i j n . M i j n e e r s t e i n d r u k v a n d e b e e l d e n bij S t e l t -

h e h a d b e f o r e , b u t h e is d o i n g t h e s a m e

m a n i n A m s t e r d a m w a s d a t z e z o saai

t h i n g s w i t h t h e m : o n e h a s s e e n this all

Ik m o e t t o e g e v e n d a t S a u d e k d e l a a t s t e t i j d

before. That s h o u l d not be surprising, as

v a k e r g r o t e r e g r o e p e n lijkt t e f o t o g r a f e r e n ,

S a u d e k h a s for m a n y y e a r s p e r s i s t e d in

m a a r hij d o e t er h e t z e l f d e m e e : w e

the s a m e formula, but n o w w h e n the

het a l l e m a a l al e e n s e e r d e r g e z i e n . D a t is niet

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

z o v e r w o n d e r l i j k o m d a t S a u c e k al j a r e n

producing particularly interesting results. N e x t , t h o u g h i t is h a r d t o s p e c i f y

why,

o n e b e g a n to feel that the a t m o s p n e r e these pictures, going b e y o n d

waren.

hebben

d e z e l f d e f o r m u l e toepast, maar die f o r m u l e levert n u g e e n bijster interessante resultaten meer op.

Saudek's

"traditional" studio approach and antique

g e e f t e n d i e g a l e r i e S t e l t m a n als t e n t o o n s t e l -

w e r k opleverde. Toen het w e r k kritiekloos

althans te wijzigen, via de veranderingen die

appears that Saudek s e e m s to be w o r k i n g

een foto die de

en de extra betekenissen die deze voor het

aal-werkers, als v o o r b e e l d van d e ' z o r g e n d e

open w i n d o w disappeared, Saudek's

T e n s l o t t e krijg je h e t o n b e h a a g l i j k e

soms

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

no longer there, and the context of

relevance and focus beyond the visual

redefined

Z e l f s in d e c o n t e x t v a n het O o s t - E u r o p a van voor 1989, k w a m Saudek's w e r k

g e m a a k t e n d o o r o n s b e s e f van die c o n t e x t

W h a t at o n e t i m e w a s a necessity, w h i c h Saudek m a d e into a virtue,

repression that g a v e his w o r k e d g e

outside their original context. A n d n o w , in

w a s t h a t t h e y w e r e boring.

advertising

a job on this poster.

a r m s , beautiful children (and for that

stilistische tic g e w o r d e n .

open

s e x i s m o f a n i m a g e l i k e Sisters,

male

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

niet-seksuele

lading kreeg.

but

t h e r e is s e n t i m e n t a l i s m , n o s t a l g i a , a n d

swallowed

gen meer maakt tussen heden en verleden,

ningsvormen en werkelijkheid - een gegeven

impression

E a s t e r n E u r o p e , at m a n y p o i n t s his w o r k

nostalgie aan het w e r k , die g e e n vergelijkin-

p l a a t j e d a t zij o p l e v e r e n , m a a ' d w o n g e n d e

c r e e p s o v e r o n e t h a t t h e r e is n o w a

Finally, the unsettling

Even w i t h i n the context of pre-1989

alleen g e k o z e n o m het mooie seksuele

B o v e n d i e n , a l k a n ik n i e t p r e c i e s z e g g e n

r e f e r e n c e s in t h e t o n i n g , is a l m o s t an

w a a r o m , k r e e g ik d e i n d r u k d a t d e s f e e r v a n

i m i t a t i o n o f t r a d i t i o n a l i m a g e s . If I w e r e t o

d e b e e l d e n , die verder gaat dan S a u d e k ' s

uitbuiting w o r d t afgebeeld, deze poster niet onder handen heeft g e n o m e n . W a t e e n s d e n o o d w a s die Saudek tot e e n d e u g d m a a k t e , lijkt z i c h n u t e h e b b e n v e r h a r d t o t e e n b e p a a l d e stijl. M i s s c h i e n is het proces beïnvloed door de c o m m e r c i ë l e beloning die het heeft o p g e l e v e r d . M i s s c h i e n k o m t het o m d a t d e ' n o o d ' niet langer a a n w e zig is e n d e c o n t e x t v a n r e p r e s s i e , d i e Saudek's w e r k scherpte en relevantie e n e e n f o c u s b u i t e n d e v i s u e l e i n h o u d g a f , is v e r d w e n e n , e n a l l e e n d e f o r m u l e n o g o v e r is. M a a r s i n d s h e t o p e n r a a m is v e r d w e n e n , is d e w e r e l d v a n S a u d e k in d e k e l d e r r u i m t e b e n a u w d g e w o r d e n . H o e e e r d e r hij d e k e l d e r verlaat, of t e n m i n s t e w a t van d e frisse w i n d binnenlaat die m o m e n t e e l , g e m e n g d m e t e e n aantal m i n d e r a a n g e n a m e g e u r e n , door Oost-Europa waait, hoe beter. D.H. Mader

B B

O O

O E

Craigie

Horsfield,

Darkness Falls Upon Enlightenment

Stedelijk

Museum,

18/1-1/3/92

Amsterdam, (later

Duisternis daalt neer Op de Verlichting

Musée

travelling d'Art

Kunsthalle

to/hierna

Moderne Zürich,

te zien

de St. Irish

Museum

Modern

Na t w e e decennia waarin de fotografi-

" D e w e r e l d d i e w i j k e n n e n is v e r d w e n e n e n

A f t e r t w o d e c a d e s in w h i c h

in:

Etienne,

Art

of Dublin

established photographic genres

derived

photographic representation has been

f r o m painting. Only their large format,

w e r e l d " , z e g t hij i n h e t i n t e r v i e w i n d e c a t a l o -

h e l d u p f o r s c r u t i n y , its t r u t h - c l a i m s

appropriate nowadays to m u s e u m

gus. Gezien vanuit de v e r d w e n e n zekerhe-

d e v a l u e d in f a v o u r of

g i v e s t h e m a n air of b e i n g

afleggen t e g e n deconstructivistisch scepti-

d e n , w a a r u t o p i e i n d e v e r g e t e l h e i d is

s c e p t i c i s m a n d p o s t m o d e r n p l a y f u l n e s s , it

cisme en postmoderne speelsheid, komt de

g e r a a k t , w e k t h e t g e e n v e r b a z i n g d a t zijn

c o m e s as s o m e w h a t of a surprise (and for

s c h e representati e aan e e n kritische

vervangen door e e n angstaanjagend soort

b e s c h o u w i n g w e r d o n d e r w o r p e n , waarbij de ' e c h t h e i d ' v a n dit soort f o t o ' s het

moest

deconstructive

shows,

contemporary.

History has already invaded

and

i n f o r m e d these images. M a n y of the

c o n f r o n t a t i e m e t d e s o m b e r e , klassiek-

w e r k e e n p o g i n g is t o t h e r w i n n i n g e n v e r z o e -

s o m e , u n d o u b t e d l y , a w e l c o m e reliëf) to

p h o t o g r a p h s in the exhibition w e r e taken

o g e n d e foto's van Craigie Horsfield enigszins

ning, een poging o m de "verscheurde

be confronted w i t h the

d u r i n g Horsfield's period of residence

als e e n verrassing (en voor s o m m i g e n onge-

van e e n vrijheid die s a m e n niet é é n g e h e e l

classicallooking p h o t o g r a p h s of Craigie

P o l a n d d u r i n g t h e 1 9 7 0 ' s . It h a s o n l y

in t h e last f e w y e a r s t h a t he h a s c h o s e n to

helften

sombre,

in been

twijfeld als e e n w e l k o m e opluchting). Deze

v o r m e n " (Benjamin) a a n e e n te s m e d e n .

Horsfield. These large, black and white

g r o t e z w a r t - w i t f o t o ' s i n h u n m a t z w a r t e lijs-

H o r s f i e l d laat o n s f r a g m e n t e n z i e n , d i s c r e t e

i m a g e s in m a t t black f r a m e s s e e m t o hark

print t h e m and to exhibit t h e m . The

t e n lijken d e draad w e e r o p te n e m e n van d e

details van e e n duistere w e r e l d, onderge-

back to the austere period of the

for this delay of m o r e than a decade, he

s t r e n g e jaren vijftig. Ze z o u d e n inderdaad

d o m p e l d in d e " l a n g z a m e g e s c h i e d e n i s "

Indeed, they w o u l d hardly have looked out

explains, has to d o w i t h the

n a u w e l i j k s m i s s t a a n h e b b e n in é é n v a n O t t o

h e t l e v e n v a n a l l e d a g in E u r o p a , e e n w e r e l d

o f p l a c e in o n e of O t t o

a t m o s p h e r e in w h i c h 'artists'

S t e i n e r t ' s Sub/ektive

F otografie-\er\\oons\e\-

van

1950's.

Steinert's

reason

unfavourable

die n o g altijd w o r d t g e k e n m e r k t d o o r oorlog

exhibitions of Subjektive

I m g e n , o m d a t ZIJ e e n z e l f d e e x i s t e n t i a l i s t i s c h e ,

en d e tragedie van de "condition h u m a i n e " .

s h a r i n g as t h e y d o a similar existential,

during the 80's, under w h a t Horsfield sees

fenomenologische ethiek uitstralen.

In t e g e n s t e l l i n g t o t d e a l l e g o r i s t e n u i t d e

phenomenological

as t h e p e r n i c i o u s i n f l u e n c e o f V i c t o r

Horsfield's o n d e r w e r p e n - portretten, naakten, stads- en plattelandsgezichten en een enkel interieur - vallen over het alge-

s c h o o l v a n B e n j a m i n z i e t hij d e z e f r a g m e n t e n v a n v e r v a l n i e t a l s b e t e k e n i s l o o s : zij b i e d e n mogelijkheden voor het o p d o e n van ervarin-

ethic.

Horsfield's subjects - portraits, nudes, urban and country scènes, an interior or t w o - t e n d t o fall w i t h i n t h e f r a m e w o r k of

p h o t o g r a p h y ' w a s p r a c t i c e d in B r i t a i n

Burgin a n d his school of critical photography. Whether Burgin's

recent

m o v e to California will shift attention

away

f r o m 'the politics of representation' will

m e e n binnen het kader van bestaande foto-

r e m a i n to be seen. But the

g r a f i s c h e g e n r e s d i e v a n d e s c h i l d e r k u n s t zijn

conservative climate that

afgeleid. Alleen door hun grote afmetingen,

new currently

d o m i n a t e s c u l t u r a l life in B r i t a in (as w e l l

die d e f o t o ' s geschikt m a k e n voor het

as t h e rest of E u r o p e a n d the U S A )

m u s e u m , krijgen ze iets h e d e n d a a g s .

certainly be seen as b e i ng m o r e

De geschiedenis heeft de foto's inmid-

could

conducive

to the values w h i c h Horsfield s e e m s

dels e e n extra lading g e g e v e n . Veel van c e

intent

on p r o m o t i n g : a c o n c e rn for tradition,

f o t o ' s uit d e t e n t o o n s t e l m g w e r d e n g e m a a k t m de jaren

Fotografie

personal identity a n d ethics.

z e v e n t i g , t o e n H o r s f i e l d in P o e n

w o o n d e . P a s d e l a a t s t e j a r e n h e e f t hij z e w i l -

H o r s f i e l d c h o s e t o live in t h e

Polish

len afdrukken e n tentoonstellen. De reden

city of K r a k ó w because, as a c o m m i t t e d

dat d e f o t o ' s n u p a s te zien zijn, m e e r d a n

socialist, he w a n t e d to experience

t i e n iaar later, z o z e g t hij, h e e f t t e m a k e n m e t

s o c i e t y at f i r s t h a n d . His r e t u r n t o B r i t a i n in

de ongunstige sfeer waarin

'kunstfotografie'

socialist

1979 w a s m a r k e d b y d i s i l l u s i o n m e n t a n d a

m d e j a r e n t a c h t i g in G r o o t - B n t t a n n i ë m o e s t

l o n g p e r i o d o f a b j e c t p o v e r t y . It i s t h i s t h a t

w o r d e n bedreven, onder de 'verderfelijke'

perhaps explains the deep

i n v l o e d v a n Victor B u r g i n e n zijn s c h o o l van

that pervades his w o r k . " T h e w o r l d

kritische fotografie. Of het r e c e n t e vertrek

h a v e k n o w n i s g o n e a n d is r e p l a c e d b y a

v a n B u r g i n n a a r C a l i f o r n i ë d e a a n d a c h t zal

frightening place", he says in the

afleiden van de 'politiek van de representatie'

p u b l i s h e d i n t h e c a t a l o g u e . In t h e f a c e o f

melancholy

is n o g m a a r d e v r a a g . V a s t s t a a t w e l d a t h e t

vanished certainties, w h e r e utopia

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

t u r n e d i n t o o b l i v i o n , it i s n o t

interview

has

surprising

G r o o t - B n t t a n n i ë (en in d e r e s t v a n E u r o p a e n

that his w o r k r e p r e s e n t s an a t t e m p t at

d e VS) z e k e r k a n w o r d e n g e z i e n als g u n s t i g e r

recuperation and reconciliation, an

v o o r d e w a a r d e n w a a r H o r s f i e l d v o o r lijkt t e

attempt to tie together the " t o r n halves of

staan, d e z o rg voor traditie, persoonlijke iden-

a freedom that do not add u p "

titeit e n ethiek.

Horsfield s h o w s us f r a g m e n t s , discrete details of a dark w o r l d s u b m e r g e d

H o r s f i e l d k o o s v o o r e e n verblijf in d e

E u r o p e , a w o r l d t h a t is still m a r k e d b y w a r

g e e r d socialist d e socialistische maatschappij

and the tragedy of the

v a n dichtbi j w i l d e m e e m a k e n . Zijn t e r u g k e e r

humaine'. Unlike the

naar G r o o t - B n t t a n n i ë w e r d g e k e n m e r k t d o o r

armoede

Dit verklaart w e l l i c h t d e d i e p e

m e l a n c h o l i e w a a r v a n z i j n w e r k d o o r d r e n k : is.

under

t h e ' s l o w h i s t o r y ' o f e v e r y d a y life in

P o o l s e s t a d K r a k o v , o m d a t hij a l s g e ë n g a -

teleurstelling en een lange periode van grote

(Benjamin).

'condition Benjaminian

allegorists, h o w e v e r , he sees these Craigie

Horsfield

M i c h a l R o n i k i e . W y s p i a _ s k i e g o 6, K r a k ó w . M a y 1 9 7 6 , 1 9 8 9 (uit/from: Craigie Horsfield. London 19911

ruined

f r a g m e n t s n o t as d e v o i d o f s i g n i f i c a t i o n , but as possessing a n active potential for

experience a n d e m p a t h y . T he faces of his

H o r s f i e l d is n o t t r y i n g t o c o n s t r u c t a

g e n , v o o r e m p a t h i e . D e g e z i c h t e n v a n zijn

z a m e evolutie. Horsfield p r o b e e r t niet e e n

P o l i s h f r i e n d s s t a r e o u t at us as t h o u g h

d i s c o u r s e o r a d i a l e c t i c ; t h e r e is n o t e x t t o

P o o l s e v r i e n d e n s t a r e n o n s li d z a a m a a n , d a n -

dialoog, e e n dialektiek tot stand te brengen:

r e s i g n e d t o p a t h o s ; d a n c e r s a t a jazz c l u b

w h i c h these p h o t o g r a p h s refer. Titles are

s e r s in e e n jazz-club k l a m p e n z i c h a a n e l k a a r

d e f o t o ' s v e r w i j z e n niet naar e e n t e k s t . D e

c l i n g t o g e t h e r in a f r o z e n , j o y l e s s e m b r a c e .

sparse, providing simply the n a m e of the

v a s t in e e n b e v r o r e n , v r e u g d e l o z e o m a r m i n g .

t i t e l s bij d e f o t o ' s z i j n b e k n o p t e n g e v e n

A staircase descends into g l o o m , a

place or persons p h o t o g r a p h e d and the

E e n t r a p v o e r t naar b e n e d e n , d e d u i s t e r n i s in,

slechts de n a a m van d e a f g e b e e l d e plaats of

rhinoceros stands bleakly in a constricting

dates w h e n the picture w a s taken

e e n n e u s h o o r n s t a a r t s o m b e ' v o o r z i c h uit in

persoon en de data w a a r o p de foto's w e r d e n

cage, filling the frame, an unappetizing-

w h e n it w a s p r i n t e d .

zijn k o o i e n v u l t h e t h e l e b e e l d . E e n o n s m a -

g e n o m e n e n a f g e d r u k t . W a t overblijft, is w a t

l o o k i n g p i n e a p p l e is m a g n i f i e d t o t h e size

W h a t w e a r e l e f t w i t h is w h a t J e a n -

kelijk u i t z i e n d e a n a n a s w o r d t o p g e b l a z e n t o t

Jean-Frangots Chevrier heeft o m s c h r e v e n als

of a billboard.

Francois Chevrier has called "the

de grootte van e e n billboard.

Horsfield imbues objects and

and

exigency

of r e a l i s m " , a need that w o u l d s e e m to

people

H o r s f i e l d d o o r d r e n k t zijn v o o r w e r p e n e n

" d e d w i n g e n d e noodzaak van het realisme", e e n noodzaak die e e n tegengif voor de verlei-

w i t h a n e x i s t e n t i a l w e i g h t i n e s s w h i c h is

propose an antidote to the

m e n s e n m e t een existentieel g e w i c h t dat

d i n g e n v a n d e p o s t m o d e r n e s i m u l a t i e lijkt t e

then seen to dissolve into the

of p o s t m o d e r n simulation, a n d a

v e r v o l g e n s o p l o s t i n h e t ijle g r i j s v a n d e f o t o -

v o r m e n en e e n bevestiging van het gevoel

grey of p h o t o g r a p h i c grain. These are not

c o n f i r m a t i o n of the sense that, as

g r a f i s c h e korrel. Dit zijn g e e n f o t o g r a f i s c h e

dat - o m m e t Habermas te spreken - de

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

H a b e r m a s h a s p u t it, m o d e r n i t y

w e e r g a v e n in d e t r a d i t i o n e l e zin - d a a r v o o r

m o d e r n i t e i t n i e t v o l l e d i g is g e r e a l i s e e r d . E e n

sense - t h e y are t o o intimate for that, t o o

an incompleted project. A

caught u p in the indefinable, almost

pessimistic reading m i g h t say that

insubstantial

blandishments

remains

zijn ze t e i n t i e m , t e z e e r v e r w i k k e l d in d e

meer pessimistische interpretatie zou kun-

o n d e f i n i e e r b a r e , bijna ondraaglijke verander-

n e n z i j n d a t e r m i s s c h i e n n o o i t s p r a k e is g e w e e s t van moderniteit, dat d e utopische

u n b e a r a b l e f l u x o f h i s t o r y -, n o r a r e t h e y

p e r h a p s m o d e r n i t y never t o o k place at all,

l i j k h e i d v a n d e g e s c h i e d e n i s . Z e zijn o o k n i e t

expressive, but rather distant

that the utopian projects of the twentieth

expressief, eerder gereserveerd en op een

ondernemingen van de twintigste e e u w

c e n t u r y have c o m e to n o t h i n g , a n d that

a f s t a n d . I n z e k e r e z i n l e g g e n zij g e w o o n h e t

niets zijn u i t g e l o p e n e n d a t d e d u i s t e r n i s

the inconsequential, physical fact of

darkness has again fallen u p o n our claims

n u c h t e r e feit vast dat i e m a n d of iets bestaat,

w e e r is n e e r g e d a a l d o p d e V e r l i c h t i n g d i e w i j

s o m e o n e ' s o r s o m e t h i n g ' s e x i s t e n c e , its

d a t i e m a n d of iets er is, zonde r dat daar e e n

dachten te hebben verkregen.

and

d e t a c h e d . In a s e n s e , t h e y s i m p l y

record

Enlightenment.

'being'. Aesthetics reverts to ethics,

verdere betekenis aan verbonden w o r d t .

Esthetiek w o r d t ethiek, revolutie w o r d t lang-

revolution becomes slow evolution.

M a r t i n P a r r : S i g n s o f t h e T i m e s . 1992,

N i c k W a p l i n g t o n : L i v i n g R o o m . 1992,

Cornerhouse Publications, Manchester, 72 pp, 60 i l l „

Cornerhouse Publications, Manchester, 80 pp, 59 i l l ,

English. 23 x 23,5 cm. pb. ISBN 0948797916. £ 9,95.

English, 25 x 33 cm. cb, ISBN 0948797568. £ 15,95.

A Chili at the Electric Hearth Een koude rilling van de electrische haard

r e n f o t o ' s v a n m e n s e n uit v e r s c h i l l e n d e klas-

O n t h e f a c e o f it, w e h a v e s e e n it all

sen, die van hun huis b e w u s t hun droomhuis

before. Nick W a p l i n g t o n takes colour p h o t o g r a p h s of the exotic w o r k i n g class.

h e b b e n g e m a a k t . Signs

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

klein b o e k e n d e f o t o ' s w o r d e n alleen bege-

c a p t i o n s . It l o o k s l i k e a s t a t e m e n t

of the

Times

is e e n

leid v a n u i t s p r a k e n v a n d e g e f o t o g r a f e e r d e n

about

zelf, u i t s p r a k e n d i e v a a k p r e t e n t i e u s zijn. H e t

t h e p h o t o g r a p h e r as artist. M a r t i n Parr's book, w h i c h c o m e s out of a television

gebruik van verbale en visuele s t a t e m e n t s

series e x p l o r i n g British taste, looks like a n

t o o n t z e e r z e k e r a a n h o e g r o o t d e k l o o f is

e x a m p l e of t h e p h o t o g r a p h e r

t u s s e n bedoeling en effect. Zo zegt é é n van

e t h n o g r a p h e r . M a r t i n Parr takes colour

de gefotografeerden bijvoorbeeld: "Alles w a t

p h o t o g r a p h s of people f r o m

w e h e b b e n g e d a a n , is e x c l u s i e f " , t e r w i j l d e

classes, people w h o have

different

foto e e n z o g e n a a m d exclusieve salontafel

deliberately

laat zien w a a r o p e e n v e e l v e r k o c h t e s e n s a t i e -

t u r n e d t h e i r h o m e s i n t o v e r s i o n s of t h e i r d r e a m s . H i s b o o k is s m a l l , a n d t h e

krant ligt. D e f o t o g r a f i e - h i s t o r i c a Val W i l l i a m s

p h o t o g r a p h s are c a p t i o n e d only w i t h the

b e s c h r e e f P a r r ' s w e r k in haar o v e r z i c h t v a n

subjects' o w n w o r d s , w h i c h are often

d e Britse interieur-fotografie sinds 1973 als

pretentious. Certainly, the use of verbal

" e e n scherp, ironisch portret van e e n maat-

and visual statements exposés the

s c h a p p i j , v e r d o e m d d o o r stijl, e e n m a a t -

gap

b e t w e e n intention a n d effect. For instance,

s c h a p p i j v a n a l l e m a a l F a u s t e n d i e h u n ziel

a s u b j e c t s a y s , ' E v e r y t h i n g w e ' v e d o n e is

h e b b e n v e r k o c h t v o o r e e n leren bankstel of

exclusive', but the p h o t o g r a p h s h o w s a

een slaapkamer met bloemetjes"

c o p y of a mass-circulation

Camera, feb/maart 1992).

tabloid Nick

newspaper on the so-called exclusive

Waplington B e i d e b o e k e n zijn u i t g e g e v e n d o o r Cor-

(uit/trom: Living Room 1992I

coffee table.

(Creative

nerhouse. Deze uitgeverij w a s Small Publisof t h e Y e a r ' in 1990 a n d s h o u l d w i n t h e

T h e p h o t o g r a p h i c historian Val W i l l i a m s , in h e r s u r v e y of British

domestic

p h o t o g r a p h y since 1973, described

Parr's

w o r k as ' a n a c e r b i c , m o c k i n g p o r t r a i t o f a

prize again. Both contain

Zo op het eerste gezicht h e b b e n w e het a l l e m a a l al e e n s e e r d e r g e z i e n . Nic k W a p l i n g -

important

h e r o f t h e Y e a r in 1 9 9 0 e n v e r d i e n t d e z e prijs opnieuw. Beide boeken bevatten belangwek-

essays, w h i c h d e m o n s t r a t e n e w levels of

ton n e e m t foto's van de exotische arbeiders-

k e n d e e s s a y s , d i e n i e u w e c o m p l e x e l a g e n in

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

k l a s s e . Living

h e t i n t e r i e u r - g e n r e l a t e n z i e n . Zij l a t e n e e n

domestic

Room

is e e n g r o o t - f o r m a a t

society d a m n e d b y style, Fausts all, w i t h

interiors. They reveal a contest

boek en de foto's hebben geen bijschriften.

strijd zien t u s s e n d e g e n e n die m e n e n dat de

their s o u l s s o l d for a leather suite or a

t h o s e w h o c o n s i d e r t h a t h i s t o r y is c r u c i a l

H e t lijkt e e n s o o r t s t a t e m e n t o v e r d e f o t o -

g e s c h i e d e n i s e s s e n t i e e l is v o o r e e n i n z i c h t i n

flowered b e d r o o m ' (Creative Camera,

in u n d e r s t a n d i n g p h o t o g r a p h y , a n d t h o s e

graaf als k u n s t e n a a r . H e t b o e k v a n M a r t i n

de f o t o g r a f i e en h e n die hierin v e r t r o u w e n o p

F e b / M a r c h 1992).

w h o p l a ce t h e i r f a i t h in artists. T h e

Parr, g e b a s e e r d o p e e n t e l e v i s i e s e r i e o v e r d e

d e k u n s t e n a a r . D e a r g u m e n t e n w a r e n er al

B r i t s e s m a a k , is e e n v o o r b e e l d v a n d e f o t o -

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

graaf a l s e t n o g r a a f . M a r t i n Parr m a a k t k l e u -

t w e e b o e k e n dat d e d i s c u s s i e n u w o r d t ver-

Both b o o k s are p u b l i s h e d

a r g u m e n t s predate p h o t o g r a p h y , but

Cornerhouse, which was 'Small

between

Publisher

c a n s e e in t h e s e t w o b o o k s t h a t t h e d e b a t e

taald in t e r m e n v a n d e z e t i | d . B e i d e b o e k e n

density and fleshiness. Inside the house,

l e g g e n e e n v e r b a n d t u s s e n d e tijd die m e n

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

t h u i s d o o r b r e n g t e n k l a s s e b e w u s t z i j n , juist

t h r e a d b a r e p o s s e s s i o n s b u t in its

op het m o m e n t w a a r o p d e Britten geacht

incessant touching and grasping.

w o r d e n m e e r van het eerste en niets meer

The family has several w a y s of

van het laatste te h e b b e n .

touching. M e n do not hold w o m e n

H e t e s s a y v a n N i c h o l a s B a r k e r in of the

Times

Signs

but 'goose' t h e m , or grab t h e m

b e s c h r i j f t s m a a k als e e n g e m a k -

fondly,

sexually.

W o m e n , equally, do not embrace men, but

kelijk t e d e f i n i ë r e n , m a a r m o e i l i j k t e v e r w e r -

f i g h t t h e m off. In o n e r e v e a l i n g

v e n k e n m e r k van klasse. V o l g e n s Barker heb-

a w o m a n b r a n d i s h e s a k i t c h en knife at a

encounter,

b e n " d e Thatcher-jaren het publiek dan mis-

m a n t o m a k e her point clearer. At these

schien w e l n i e u w e mogelijkheden gegeven

times, the d y n a m i c of the pack c o m e s

o m zich te o n d e r s c h e i d e n via c o n s u m p t i e -

t h r o u g h m a c h i s m o w h i c h is o n l y

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

expressed half-heartedly, and

tergrond e n opleiding, maar de keerzijde van

hantering opposition. Men and

deze medaille w a r e n de steeds grotere

affectionately shove, push and smack

mogelijkheden o m o p het gebied van smaak

other. Martin

d e p l a n k v o l l e d i g m i s t e s l a a n . " In h e t v e r l e d e n kon e e n E n g e l s m a n nooit iets z e g g e n zonder dat e e n a n d e r e E n g e l s m a n o p h e m

v o o r o o r d e e l m i n d e r te m a k e n m e t accent ( h o e w e l dat n o g s t e e d s v o o r k o m t ) e n m e e r m e t ontelbar e kleine beslissingen o p het g e b i e d v a n d e tijd d i e m e n t h u i s d o o r b r e n g t

Living

Room

van Nick W a p l i n g t o n toont

ons de analoge werelden van t w e e

Engelse

het plagerige v e r w e e r van d e v r o u w .

Mannen

has been t r a n s f o r m ed into terms that

have

p a r t i c u l a r c u r r e n c y t o d a y . Each b o o k ties

r o u g h . A f a t h e r lifts his d a u g h t e r s b y t h e

vol liefde.

t o g e t h e r t h e t i m e s p e n t at h o m e a n d class-

a n k l e s , o r f l i n g s a b a b y in t h e air. T h e

c o n s c i o u s n e s s e x a c t l y at a t i m e w h e n

the

British are s u p p o s e d to have m o r e of the

and fighting. They mimic their

w a s s e n e n h e n a a n r a k e n . D e v r o u w e n zijn

f o r m e r a n d n o n e of t h e latter.

e v e n in t h e i r g a m e s : g i r l s h o o v e r

e n o r m e n raken d e kinderen voortdurend

N i c h o l a s B a r k e r ' s e s s a y i n Signs

the

Times

c l a s s , w h i c h is e a s y t o i d e n t i f y a n d d i f f i c u l t

in d e e s s a y s v a n J o h n B e r g e r e n R i c h a r d

g o o i t e e n b a b y in d e l u c h t . D e o u d e r e k i n d e -

A v e d o n d i e in h e t b o e k s t a a n , z i j n er e r m

r e n d o e n d e v o l w a s s e n e n n a in h e t s l a a n e n

m a y have given the public

Living

v e c h t e n . Zij b o o t s e n h u n o u d e r s z e l f s i n h u n

opportunities to define

g e b r u i k v a n f o t o g r a f i e a a n w e z i g . A l l e s w a t zij

spel na: meisjes stofzuigen het gras en een

t h r o u g h patterns of c o n s u m p t i o n

g e m e e n h e b b e n , is d a t z e h u n o o r s p r o n g v i n -

j o n g e n w o r d t S u p e r m a n . Ze b e w e g e n zich

than their social a n d

den m de hogere cultuur.

als e e n h e i d , e t e n al r e n n e n d e o f s t a a n stil o m

b a c k g r o u n d . H o w e v e r the flipside of this

W e z i e n g r o t e g e z i n n e n , o p e e n g e p a k t in kleine r u i m t e n . D e g e f o t o g r a f e e r d e n staan vaak vlak v o o r d e lens e n d i k w i j l s o n s c h e r p . D e c a m e r a w o r d t s c h e e f g e h o u d e n o f is o p het p l a f o n d gericht; f o t o ' s w o r d e n o p kinderhoogte g e n o m e n . Paradoxaal g e n o e g breng e n deze v r e e m d e perspectieven het onderw e r p j u i s t s c h e r p e r in b e e l d : h e t g e z i n is e e n m e n s e n m a s s a e n W a p l i n g t o n zit e r m i d d e n -

h u n b o r d af t e l i k k e n . A f e n t o e e e n van bezinning: zes s c h r e e u w e n d e

moment kinderen

rather

privilege w a s the vastly increased

scope

f o r g e t t i n g it w r o n g in m a t t e r s o f t a s t e . '

E n g l i s h m a n despise h i m , t o d a y class

a a n r a k e n o f e e n v a d e r d i e zijn d o c h t e r s t e

p r e j u d i c e d e r i v e s less f r o m a c c e n t

eten geeft. De w a n o r d e en de rust zeggen

that still exists) t h a n f r o m

b e i d e h e t z e l f d e : in h e t g e z i n als h e c h t e e e n -

s m a l l d e c i s i o n s o v e r t i m e at h o m e

h e i d v e r s l a p t n i e m a n d zijn o f haar g r e e p e n

commodities.

could

another

(though

innumerable and

s t a n d a n d lick t h e d i n n e r p l a t e . T h e r e rare m o m e n t s of reflection: six

N i c k W a p l i n g t o n ' s Living

of tenderness, such as children

touching

d a u g h t e r s . T h e h a v o c a n d p e a c e all s a y t h e s a m e t h i n g : in t h e f a m i l y - c r o w d

no-

one relaxes their grip, n o - o n e tries to get a w a y . T h e r e is n o w e a k l i n k i n t h e c h a i n that binds, and no escape. The familyc r o w d is d o u b l y c l o s e d , t o t h e

world

o u t s i d e a n d in itself. J o h n Berger's and Richard

Avedon's

essays try to account for these pictures.

completely different perspectives

Room

depicts the t w i n n e d w o r l d s of t w o

English

photography. Berger says these

reveal

on people

w o r k i n g c l a s s f a m i l i e s . It s e e m s t o o f f e r a

are in ' h i s t o r y , w h i c h t o d a y a g a i n t r i e s t o

s i n g l e v i e w but, as w e s h a l l see in t h e

treat t h e m like shit.' T h e h i s t o r y he recalls

essays contributed by J o h n Berger

is ' t h e g r e e d o f t h e r u t h l e s s c l a s s . . .

Richard A v e d o n , there emerge

and

two

i m p o v e r i s h i n g millions of people's lives.'

Richard A v e d o n deze b e e l d e n te verklaren.

c o m p e t i n g v i e w s of the uses of

However, W a p l i n g t o n has not

- v o e l i n g m e t zichzelf . H e t klit a a n elkaar e n

Ondanks oppervlakkige overeenkomsten

p h o t o g r a p h y . A l l t h e y h a v e in c o m m o n is

p h o t o g r a p h e d 'icons of poverty ' but

iedereen schurkt plagerig t e g e n elkaar aan.

l a t e n zij t o t a a l 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

their source in high culture.

'saluted pleasure and

D i e a a n r a k i n g e n zijn t e r l o o p s , s p e e l s e n b o e i -

visies zien. Volgens Berger m a k e n deze m e n -

e n d . W a t d a t b e t r e f t , is h e t g e z i n a l s h e c h t e

s e n d e e l uit van " d e g e s c h i e d e n i s , die h e n

e e n h e i d o n d o o r d r i n g b a a r . J e m o e t e r zelf middenin zitten, of de foto's van W a p l i n g t o n b e s t u d e r e n o m te w e t e n h o e h e c h t e n licha-

Before t u r n i n g t o the essays, I shall

baroque

e n t h u s i a s m . ' Like R u b e n s , w h o t u r n e d e a r t h - b o u n d into t h e celestial (and

v a n d a a g d e d a g w e e r als stront probeert te

p h o t o g r a p h s . W e see large

f i g u r e s a p p e a r as at h o m e in t h e sky as o n

b e h a n d e l e n . " D e g e s c h i e d e n i s d i e hij t e r u g -

c r a m m e d in s m a l l s p a c e s . P e o p l e o f t e n

the ground', Waplington

h a a l t , is " d e h e b z u c h t v a n d e

press up to the lens a n d are o u t of focus;

p h o t o g r a p h e d 'cupolas of games... w h i c h

meedogenloze

families

made)

has

m e l i j k h e t is. B i n n e n , in h u i s , w o r d t h e t g e z i n

klasse... die het leven van m i l j o e n e n m e n s e n

t h e c a m e r a is t i l t e d , o r p o i n t e d a t t h e

flare, impertinently and gloriously,

verarmt." Waplington heeft echter geen

c e i l i n g ; s h o t s are t a k e n at c h i l d r e n ' s

the dark.' For Berger, the p h o t o g r a p h s

d i g e bezittingen maar door het c o n s t a n t e

" e x p o n e n t e n van de a r m o e d e " gefotogra-

height. Paradoxically, the angles sharpen

three things. T h e y are sign s of a rich,

feerd, maar " e e n plaats i n g e r u i m d voor ple-

t h e s u b j e c t - t h e f a m i l y is a c r o w d

e x p e r i e n t i a l life e n j o y e d b y t h e

zier e n b a r o k e n t h o u s i a s m e " . Zoals R u b e n s ,

W a p l i n g t o n is i n t h e t h i c k o f it. T h e f a m i l y -

manieren van aanraken. M a n n e n houden v r o u w e n n i e t t e d e r v a s t , m a a r g e v e n ze e e n klap o p d e billen of g r i j p e n ze g e i l b e e t . D e v r o u w e n o m h e l z e n d e m a n n e n niet, ze w e r e n z e af. Bij é é n o n t h u l l e n d e c o n f r o n t a t i e z w a a i t e e n v r o u w m e t e e n k e u k e n m e s naar e e n m a n o m h a a r b e d o e l i n g k r a c h t bij t e z e t ten

O p d e z e m o m e n t e n uit d e d y n a m i e k v a n

h e t h e c h t e g e z i n zich in e e n m a c h o - g e d r a g b i j d e m a n , d a t n i e t h e l e m a a l e c h t is, e n i n

'the

describe s o m e of the characteristics of the

niet b i j e e n g e h o u d e n d o o r d e w e i n i g e , a r m o e -

Het gezin beschikt over verschillende

who

moments

g e z i n als m e n i g t e h e e f t - letterlijk e n figuurlijk

aanraken en betasten.

are

hollering

Despite superficial likenesses, they

p r o b e e r t n i e m a n d l o s t e b r e k e n . Er b e s t a a t

In h u n e s s a y s p r o b e r e n J o h n B e r g e r e n

T h e y m o v e as a pack, eat o n the run or

each other, or a father feedin g his

educational

ten van t e d e r h e i d , van k i n d e r e n die elkaar

z o w e l v o o r d e b u i t e n w e r e l d als v o o r zichzelf.

the

Superman.

l o o k s at a b o o k . T h e r e a r e m o r e

never speak without making

g e e n z w a k k e s c h a k e l in d e b a n d d i e a a n e e n -

grass, a n d a b o y b e c o m e s

parents

c h i l d r e n i g n o r e t h e b o y in t h e i r m i d s t

new

themselves

W h e r e a s in t h e past, a n E n g l i s h m a n

o m k e r i n g v a n d e v r e e s in e e n d r u k k e straat door v r e e m d e n te w o r d e n aangeraakt. Het

to acquire. He says: 'The Thatcher years

h e n i n e e n b o e k zit t e l e z e n . Er z i j n m o m e n -

g e z i n a l s h e c h t e e e n h e i d is d u b b e l g e s l o t e n , H e t g e z i n a l s m a s s a , a l s m e n i g t e , is e e n

describes taste as a c o m p o n e n t

n e m e n g e e n notitie van de j o n g e n die t u s s e n

s m e e d t , e r is g e e n k a n s o p o n t s n a p p i n g . H e t

in.

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

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

E e n v a d e r tilt zijn d o c h t e r o p a a n d e e n k e l s o f

V o o r d a t ik t o t d e e s s a y s o v e r g a , w i l ik

children's flesh. M e n are smaller, a n d play

e n v r o u w e n s c h u i v e n , d u w e n e n slaan elkaar

a a n . D e m a n n e n zijn k l e i n e r e n v e e l r u w e r .

enkele karakteristieken van de foto's geven.

are

mountainous, and constantly press the

w o r d e n g e b o d e n , maar zoals w e zullen zien

t w e e verschillende visies op het

The c o m m o n objects of e x c h a n g e are

in h o w the adults t o u c h t h e m . W o m e n

(uit/from: Signs of the Times 1992)

a r b e i d e r s f a m i l i e s . Er lijkt é é n e n k e l e v i s e t e

Room

each

children. Once again, there are differences

M a r i e - L o u i s e ' s p i g i r r i t a t e s m e i n t e n s e l y . I c a n ' t s a y w h y but it j u s t i r r i t a t e s m e i n t e n s e l y

K i n d e r e n zijn d e g e m e n e d e l e r . O o k hier

en aan te schaffen produkten.

women

Parr

Marie-Louise's varken irriteert me mateloos Ik kan niet zeggen w a a r o m maar het irriteert me gewoon mateloos/

neerkeek. T e g e n w o o r d i g heeft het klasse-

women's

and

against

working

class. T h e y are signs of resistance to the

die " h e t a a r d s e in h e t h e m e l s e v e r a n d e r d e "

c r o w d reverses the fear of being t o u c h e d

history that 'the ruthless class' chose

e n bij w i e " f i g u r e n zich n e t zo o p h u n g e m a k

by strangers in the b u s y streets. The

t h e m . Lastly, they designate as a n artist.

v o e l d e n in d e l u c h t als o p d e g r o n d " , h e e f t

f a m i l y - c r o w d is i n t o u c h w i t h i t s e l f - b o t h

W a p l i n g t o n " k o e p e l g e w e l v e n g e m a a kt van

s p i r i t u a l l y a n d a c t u a l l y . It p a c k s t i g h t l y

spelende m e n s e n . . . die brutaal e n glorieus

together, with everyone handling

afsteken tegen de duisternis." Voor Berger

nudging each other's bodies. The touching

and

b e t e k e n e n d e f o t o ' s drie d i n g e n . Ze zijn e e n

is c a s u a l , p l a y f u l a n d e n t h r a l l i n g . A s s u c h ,

t e k e n v a n het rijke l e v e n , vol e r v a r i n g e n , v a n

t h e f a m i l y - c r o w d is i m p e n e t r a b l e . Y o u

d e a r b e i d e r s k l a s s e . Z e zijn h e t t e k e n v a n v e r -

h a v e t o b e i n s i d e it y o u r s e l f , o r s t u d y

zet t e g e n d e g e s c h i e d e n i s die de

"meedo-

W a p l i n g t o n ' s p h o t o g r a p h s t o k n o w its

are

for

Waplington

R i c h a r d A v e d o n , o n t h e o t h e r h a n d , is less c e r t a i n a b o u t h i s t o r y t h a n the

darker

s e x u a l d y n a m i c s of the f a m i l y . He says: 'It's a r i o t o u s w o r l d , but o n e

without

laughter... (A father t h r o w s ) his

naked

daughter upside d o w n with an ardor that w i l l l e a v e all his d a u g h t e r s w i l d

and

u p s i d e d o w n for t h e rest o f their lives...

m a n a g e d to reach the h u b of the

W a p l i n g t o n presents the violence in

family-crowd. Once there, he f o u n d

'low'

a f f e c t i o n , t h e s e x u a l i t y in i n n o c e n c e , a chili

something authentic

at t h e electric h e a r t h , all in t h e

A v e d o n use to d r a w their preferred

same

which Berger

and maps

genloze k l a s s e" v o o r h e n k o o s. En t e n s l o t t e

w e r p van spot maar ook van verlangen: het

t o n e n d e f o t o ' s aan dat W a p l i n g t o n e e n

v e r n e d e r e n d e v a n d e d i a l o o g uit d e l a g e k r i n-

e c h t e k u n s t e n a a r is.

g e n g e e f t b e t e k e n i s a a n d e v e r h e v e n stijl e n

R i c h a r d A v e d o n d a a r e n t e g e n , is m i n d e r

v o c a b u l a r y , w i t h o u t r o m a n c e , all in t h e

o f t h e d o m i n a n t c u l t u r e . H o w e v e r , t h e r e is

zeker over de geschiedenis dan over d e

doelstellingen van de h o g e kringen. De t w e e e x t r e m e p o l e n , h o o g e n laag. zijn v a n elkaar

s a m e r o o m at t h e s a m e t i m e . ' Like B e r g e r ,

an important difference b e t w e e n t h e m .

onderhuidse seksuele dynamiek van het

afhankelijk e n b e ï n v l o e d e n elkaar. Zelfs als er

A v e d o n w e a v e s a cultural w e b for the

Berger decides that the authentic heart of

g e z i n . Hij b e s c h r i j f t d e w e r e l d v a n h e t g e z i n

e e n d u i d e l i j k o n d e r s c h e i d lijkt t e z i j n t u s s e n

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

t h e l o w s u b j e c t is c l a s s r e s i s t a n c e ,

artistic o n e . He says that unlike Cartier-

w h e r e a s A v e d o n has no historical

Bresson. Robert Frank and Salgado,

als " e e n r u m o e r i g e w e r e l d , maar w e l e e n

d e klasse v a n de m e e d o g e n l o z e hebzucht en

w e r e l d z o n d e r lach... (Een v a d e r slingert) zijn

d e k l a s s e die d i e p in d e s t r o n t zit. m o e t e n w e

for these people. A s low subjects, he

dochter o n d e r s t e b o v e n rond. D e kracht waar-

w e l e r k e n n e n dat beide dialogen m e t elkaar

d e n i e s t h e m a n y r o l e at t h e level o f

m e e hij d a t d o e t , z o r g t e r v o o r d a t a l z i j n d o c h -

te m a k e n h e b b e n en esthetische en morele

a b o v e , W a p l i n g t o n is 'at t h e h u b o f hi s

political o r g a n i z a t i o n. He d e c i d e s that the

ters de rest van hu n leven w i l d e n o n d e r s t e -

polariteit i m p l i c e r e n . W a p l i n g t o n is d a n o o k

p h o t o g r a p h s , looking up.' His w o r l d

a u t h e n t i c h e a r t o f t h e l o w s u b j e c t is m o r a l

b o v e n zullen blijven... W a p l i n g t o n schildert

e e n meesterlijk fotograaf die w i s t d o o r te

consists of bodily distortions, w i t h

'chaos'. T h o u g h each author has

g e w e l d a f i n a f f e c t i e , s e k s u a l i t e i t in o n s c h u l d ,

d r i n g e n t o t in d e k e r n v a n h e t " l a g e " g e z i n .

c o m p o s e d f r o m a distance and

on the linoleum floor,' and

who

from

'Alices

'enormous

place

reached

d i f f e r e n t c o n c l u s i o n s a b o u t w h a t lies at

d e k o u d e rilling v a n d e e l e c t n s c h e h a a r d , h e t

E e n m a a l d a a r i n d o o r g e d r o n g e n v o n d hij i e t s

the heart of the f a m i l y - c r o w d, both

reveal

w o r d t allemaal beschreven m e t

authentieks, w a a r m e e Berger en A v e d o n hun

D e t e r m i n e d t o s e e t h e i r w o r l d d a r k l y (as

a dependence upon those subjects

who

v o c a b u l a i r e , z o n d e r r o m a n t i e k , in d e z e l f d e

k a a r t e n v a n d e d o m i n a n t e c u l t u u r t e k e n e n . Er

w e l l as in t e r m s o f h i g h c u l t u r e ) , he

are e x c l u d e d f r o m significance at t h e

k a m e r o p hetzelfde m o m e n t . " N e t als Berger

bestaat echter e e n belangrijk verschil t u s s e n

mothers w h o have drunk oceans.'

invokes Chekhov and Breughel rather

than

Rabelais.

social level. Both men demonstrate w h a t is s o c i a l l y p e r i p h e r a l is s o

that

frequently

hetzelfde

spint A v e d o n e e n cultureel w e b voor de foto-

hen. Berger k o m t tot de conclusie dat de

graaf, m a a r hij s p i n t h e t w e b v a n d e k u n s t e -

l a g e r e k l a s s e o p zijn f o t o ' s v a n n a t u r e g e r i c h t

s y m b o l i c a l l y central. T h i s is i n d e e d t h e

naar. In t e g e n s t e l l i n g t o t C a r t i e r - B r e s s o n ,

is o p v e r z e t t e g e n h e t k l a s s e s y s t e e m , t e r w i j l

with these working-class families. What

subject of these books, w h i c h reveal

Robert Frank e n Salgado, die h u n c o m p o s i -

A v e d o n d e z e m e n s e n g e e n p l a a t s in d e h i s t o -

Berger understands and A v e d o n

reveals,

of the impenetrable barriers and uses of

ties van b o v e n e n van e e n a f s t a n d m a a k t e n ,

r i e t o e k e n t . A l s " l a a g g e p l a a t s t e n " g e e f t hij z e

is t h a t t h e w o r l d o f t h e n a m e l e s s

subjects

class.

zo zegt hij, staat W a p l i n g t o n " i n h e t m i d d e l -

g e e n e n k e l e r o l in h e t p o l i t i e k e s t e l s e l . H i j

p u n t v a n z i j n f o t o ' s e n k i j k t hij o m h o o g . " Z i j n

c o n c l u d e e r t d a t ZIJ v a n n a t u r e m e e n m o r e l e

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

chaos leven.

Both m e n have different

relationships

is s y m b o l i c a l l y ' l o w ' - b a s e d in t h e strata of both the corporeal b o d y

lower

John

much

Taylor

and

social body. These low regions are

uit " A l i c e s o p het l i n o l e u m " e n

reviled

and also desired: the d e b a s e m e n t s of

low

"enorme

O n d a n k s het feit dat beide auteurs tot

m o e d e r s die oceanen hebben g e d r o n k e n . "

een andere conclusie k o m e n over de w a r e

exalted

V a s t b e s l o t e n h u n w e r e l d d o n k e r te zien (en

identiteit van het h e c h t e gezin, laten beiden

styles and aims of high discourse. The

i n t e r m e n v a n d e h o g e r e c u l t u u r ) , m a a k t hij

e e n v o o r k e u r zien voor die o n d e r w e r p e n die

e x t r e m e poles of high and l o w

liever vergelijkingen m e t T s j e c h o v e n B r e u g -

o p het sociale niveau niet belangrijk

hel d a n m e t Rabelais.

g e v o n d e n . Beiden laten zien dat de sociale

discourse give m e a n i n g to the

depend

upon a nd invade the other. Even there appears to be a clear

when

Berger en A v e d o n h e b b en e e n verschil-

division

b e t w e e n the class of ruthless greed the class w h o are in the shit, w e

and

are

o b l i g e d to a c k n o w l e d g e that the discourses relate to each other, a n d

p e r i f e r i e v a a k s y m b o l i s c h c e n t r a a l s t a a t . D i t is

lende relatie m e t d e z e arbeidersfarrnlies. W a t

nu precies het o n d e r w e r p van deze boeken,

B e r g e r b e g r i j p t e n A v e d o n l a a t z i e n , is d a t d e

die veel o n t h u l l e n o m t r e n t d e o n d o o r d r i n g -

w e r e l d van de naamloze

bare barrières en gebruiken van het klasse-

gefotografeerden

s y m b o l i s c h 'laag' is - g e b a s e e r d o p d e lagere

imply

systeem.

regionen van het menselijke en sociale

aesthetic a n d moral polarities. Hence, W a p l i n g t o n is a m a s t e r p h o t o g r a p h e r

worden

J o h n Taylor

l i c h a a m . D e z e lage r e g i o n e n zijn e e n voor-

who

Keuken, Johan van der & Struving, Fred: A f t e r I m a g e / N a b e e l d . 1992. Fragment, 183 pp. 161 i l l . fc/bw. 32 5 x 24.5. Dutch/English. ISBN

The Air of a Premature Memorial

90657901288. Dfl 120

De allure van een vroegtijdig grafmonument A n o v e r v i e w of the w o r k of J o h a n

van

der Keuken has appeared f r o m the publisher Fragment, under the

e l o q u e n c e in t h i s w a y .

B i j U i t g e v e r i j F r a g m e n t is e e n o v e r z i c h t

Texts f r o m friends and the

verschenen van het w e r k van Johan van der

h i m s e l f a r e p l a c e d t h r o u g h o u t t h e b o o k . It

K e u k e n , o n d e r d e t w e e t a l i g e titel

is n i c e t o g o d o w n t h e line o f g u e s t

image/N abe eld.

l u x u r i o u s d e s i g n a n d t h e f a c t it is a

a u t h o r s , b e c a u s e it i m m e d i a t e l y

van een vroegtijdig g r a f m o n u m e n t

retrospective of his w h o l e o e u v r e (both in

o u t t h e a t m o s p h e r e of t h e b o o k . T h e

p h o t o g r a p h y and film), the project takes o n the air of a p r e m a t u r e m e m o r i a l . His

t i t l e After-image/N abe eld.

bilingual

master

B e c a u s e o f its

three early p h o t o b o o k s are

reprinted

sketches

After-

v r i e n d e n e n v a n d e m e e s t e r z e l f . H e t is a a rd i g o m d e rij v a n g a s t a u t e u r s l a n g s t e g a a n , w a n t d a a r m ee w o r d t d e sfeer van het boek

H e t g e h e e l h e e f t d e allure vanwege

m e t e e n geschetst. Carmiggelt schreef ooit e e n v a d e r l i j k v o o r w o o r d v o o r Wij zi/n

17,

de luxe v o r m g e v i n g en de keuze voor e e n

w a a r i n hij o p b e m i n n e l i j k e w i j z e h e t b o e k

w r i t e r C a r m i g g e l t also w r o t e a fatherly

terugblik o p het gehele oeuvre (fotografie en

aanbeveelt

f o r e w o r d t o Wij

f i l m ) . Zijn d r i e v r o e g e f o t o b o e k e n zijn i n t e -

g e d i c h t bij: B e r t S c h i e r b e e k , L u c e b e r t , B e r n -

zijn

17, i n w h i c h

Dutch

Een aantal vrienden d r o e g e n e e n

r e c o m m e n d e d t h e b o o k in his a m i a b l e

graal afgedrukt op h e t f o r m a a t van e e n con-

lef e n S e r g e M e u r a n t , e e n V l a a m s e b e w o n -

w a y . A n u m b e r of his f r i e n d s c o n t r i b u t e

tactafdruk, waarna steeds een selectie o p

deraar. D e Franse filmcriticus Serge Daney

by a selection of prints f r o m each in large

p o e m s : Bert Schierbeek, Lucebert, Bernlef

g r o o t f o r m a a t is g e p l a a t s t . H e t is a l s o f w e o p

s c h r e e f in 1 9 7 8 e e n t e k s t o v e r d e f i l m s v a n

f o r m a t . It is a s t h o u g h w e w e r e s i t t i n g o n

a n d S e r g e M e u r a n t , a F l e m i s h a d m i r e r . In

d e b a n k z i t t e n e n b l a d e r e n i n Wij zijn

V a n d e r K e u k e n . O o k in N e d e r l a n d s e v e r t a -

1978, t h e F r e n c h f i l m critic S e r g e

( 1 9 5 5 ) , Achter

i n t e g r a l l y in c o n t a c t p r i n t f o r m a t ,

the sofa a n d leafing t h r o u g h ( 1 9 5 5 ) , Achter

glas

Wij

followed

zijn

( 1 9 5 7 ) a n d P aris

(1963). T h a t w o u l d be a pleasant

mortel

enough

w a y to pass t i m e , but y o u ask yourself

Daney

w r o t e a piece about the films of V a n der Keuken, but even w h e n translated

into

Dutch the l a n g u a g e remains a bit foreign .

w h a t additional value the publication has.

Daney w a s an adherent of the t h e o r y of

O n seeing the first pages, p r i n t e d o n

f r a m i n g of A n d r é Bazin a n d

transparent paper, this situation changes.

Bonitzer, a n d describes w i t h

Pascal

h o w Van der Keuken f r a m e s his films in a

grandfather m a d e of the y o u n g J o h a n van

subtle alternation of independent,

d e r K e u k e n is s p o i l e d b y t h e l e t t e r s

i m a g e s , in w h i c h t h e

s h o w i n g t h r o u g h f r o m the other side, but

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

a w e l l - k n o w n p h o t o l i k e Blind

Kind

w h i c h the dialectical

receives an extra significance

and

single

fetish-character

function

p r e d o m i n a t e s . He c o n t i n u e s w i t h a

( 1 9 5 7 ) e n P ans

Mortel

v r a a g t je af w e l k e m e e r w a a r d e de p u b l i c a t i e h i e r v a n h e e f t . D i t ligt a n d e r s b i j d e e e r s t e bladzijden, afgedrukt op transparant papier.

Bazin. Pascal Bonitzer) e n beschrijft

met

b e w o n d e r i n g h o e V a n d e r K e u k e n zijn f i l m s k a d r e e n in e e n s u b t i e l e a f w i s s e l i n g v a n zelfs t a n d i g e , l o s s e b e e l d e n ( h e t f e t i s i - k a r a k t e r is d o m i n a n t ) e n b o t s e n d e v o o r t g a n g (de dialec-

p o r t r e t d a t zijn g r o o t v a d e r v a n d e j o n g e J o h a n v a n d e r K e u k e n m a a k t e , is v e r k n o e i d door de doordruk van letters op de andere z i j d e , m a a r e e n b e k e n d e f o t o a l s Blind

l i n g b l i j f t h e t o b s c u r e t a a l . D a n e y s l u i t a a n bij de Franse theorie over het kader (André

(1963) . E e n gezellige b e z i g h e i d , maar je

Ze leveren e e n w i s s e l e n d resultaat op: het

admiration

The results d o vary: the portrait that his

(1964)

glas

Kind

t i s c h e f u n c t i e v o e r t d e b o v e n t o o n ) . Hij v e r volgt met een uitweiding over de g e d w o n g e n k e u z e s bij h e t m a k e n v a n f i l m o p n a m e n ; d i l e m m a ' s die doo r Van der K e u k e n s t e e d s

(1964) krijgt o p d e z e m a n i e r e e n e x t r a b e t e -

tot t h e m a w o r d e n verheven.

keniswaarde en zeggingskracht. Door het boek heen staan teksten van

N a d e d r i e a l b u m s v o l g t e e n g r e e p uit

verspreid gepubliceerde foto's en hoe s u m -

d i s q u i s i t i o n o n t h e f o r c e d c h o i c e s in

m i e r d e r e e k s o o k is: er is e e n duidelijke o n t -

shooting films, dilemmas which Van

w i k k e l i n g t e b e s p e u r e n naar het b e r e i k e n v a n

Keuken consistently elevated to themes.

leegheid, het w e g l a t e n van figuren. Bijvoor-

der

F o l l o w i n g t h e t h r e e a l b u m s is a

b e e l d d e f o t o v a n het platte vlak e n d e grijs-

selection f r o m separately

nuances van een plankenmuur, getiteld

p h o t o s , and h o w e v e r s u m m a r y the series

H eden

is, a clear d e v e l o p m e n t t o w a r d

(in 1 9 8 6 g e p u b l i c e e r d in z i j n S k n e n r u -

b r i e k A antekeningen dige).

van e en

z elfstan-

kleine

published

emptiness

a n d t h e o m i s s i o n o f t h e f i g u r a t i v e is still

V o o r l o p i g e i n d p u n t zijn t w e e f o t o ' s v a n

discernable. T h e p h o t o of the flat surface

een dakraam, v e r v o r m d tot haast abstracte

and the grey nuances of a plank wall,

v l e k k e n (Shadows

e n t i t l e d H eden

twijfel,

of Doubt/Schaduwen

van

1991). D e a f s l u i t e n d e f o t o is e e n

o p n a m e van levenslustige jonge

a n d p u b l i s h e d in 1986 in

his c o l u m n in t h e m a g a z i n e

kunstenaars

A antekeningen

i n G e n Ă¨ v e , 1 9 9 0 . H e t is m e e r e e n s p e l m e t

van

e en

Skrien

kleine

z elfstandige

is o n e e x a m p l e . F o r n o w , t h e e n d p o i n t i s a

v o r m e n licht d a n e e n p o r t r e t v a n m e n s e n .

pair of photos of a skylight,

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

i n t o a l m o s t a b s t r a c t b l o t c h e s {Shadows

versobering, waarin toch de beredeneerdheid

Doubt/Schaduwen

van de b e e l d c o m p o s i t i e zeer nadrukkelijk

c l o s i n g p h o t o is a s h o t o f

z i c h t b a a r is.

y o u n g a r t i s t s in G e n e v a in 1 9 9 0 t h a t is

Voor de g o e d e orde: N abe eld

van

transformed

twijfel,

1991). T h e

high-spirited

m o r e a play of f o r m s a n d light than a

After-lmage/

p o r t r a i t o f p e o p l e . It is a h a p p y n o t e a f t e r a

b e v a t n i e t s n i e u w s , m a a r s t i j g t uit

sober paring d o w n , in w h i c h the

b o v e n het niveau van 'alle d e r t i e n g o e d '

r a t i o n a l i z a t i o n o f t h e i m a g e c o m p o s i t i o n is

o m d a t h e t e e n t o e g e n e g e n v r i e n d e n b o e k is

still v e r y e m p h a t i c a l l y v i s i b l e .

v o o r J o h a n v a n d e r K e u k e n . Er lijkt g e e n directe aanleiding te bestaan voor een derge-

After-image/N abe eld

For the record:

lijke f e e s t e l i j k e ( t w e e t a l i g e ) u i t g a v e , m a a r d a t

c o n t a i n s n o t h i n g n e w , b u t still rises

laat m e t e e n e e n p r e t t i g e n o n c h a l a n c e t e n

the level of ' c o n g r a t u l a t i o n s , y o u

above

passed

opzichte van de |ubileumtraditie blijken. Het

t h e t e s t ' b e c a u s e it is a a f f e c t i o n a t e

b o e k heeft als v o o r n a a m s t e v e r d i e n s t e dat

to J o h a n v a n der Keuken f r o m his friends.

tribute

h e t bij d e l e z e r h e t v e r l a n g e n zal o p w e k k e n

There s e e m s to be no special reason for

de g e t o o n d e 'nabeelden' aan te vullen m e t

such a celebratory bilingual publication,

h e r n i e u w d e k i j k e r v a r i n g e n in d e f i l m z a a l , d e

b u t at t h e s a m e t i m e t h a t s h o w s a p l e a s a n t

b i b l i o t h e e k of h e t m u s e u m . V o o r r e c e n s e n -

nonchalance toward the whole business of

t e n is er w e i n i g t e d o e n : d e b e o o g d e lezers

j u b i l e e s . T h e p r i n c i p a l m e r i t o f t h e b o o k is

zullen (kapitaalkrachtige) liefhebbers o n d er

t h a t it a w a k e n s a d e s i r e i n t h e r e a d e r t o f i l l

e l k a a r z i j n . H e t d o e l v a n d e s a m e n s t e l l e r s lijkt

out the 'afterimages' s h o w n by

m e b e r e i k t t e zijn w a n n e e r h u n p u b l i e k w e g -

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

m i j m e r t b o v e n de bladzijden. Johan Peter

Bosma

van

der

renewed

m u s e u m . T h e r e is little a r e v i e w e r c a n d o :

Keuken

the target readers are the (well off) fans.

uit de serie:Wij zijn 1 7 / f r o m t h e s e r i e s : W e a r e 17

The goal of those w h o assembled the

(uit/from: After-image/Nabeeld 1992)

book appears to m e to have been

reached

w h e n their public m u s e over the pages. Peter

Squiers, Carol (ed): T h e Critical

" W h a t is l a c k i n g . . . i s a s u b s t a n t i a l b o d y o f

Essays on Contemporary

writing on contemporary photography that

Bosma

Image,

Photography.

1990, Seattle, Bay Press, 240 pp. 37 i l l , bw, English,

t r e a t s t h e e n t i r e s p e c t r u m of p h o t o g r a p h i c

17 x 24 cm, pb, ISBN 0941920151, $ 12.95. Dfl 32,65.

practice as a p r o c e s s of signification. This

The Critical Image

w o u l d m c l u d e a n e x a m i n a t i o n o f all i n s t i t u tional p r o d u c t i o n of p h o t o g r a p h y , f r o m n e w s paper and magazine photojournalism to imag e s taken for p u r p o s e s of surveillance to commercial wedding photography and amat e u r s n a p s h o o t i n g " , a l d u s S q u i e r s in d e inleid i n g v a n The

Critical

Image.

D i t b o e k is e e n

b u n d e l i n g v a n e e n 14-tal e s s a y s o v e r h e d e n -

Un Art

Moyen,

dat d e fotografie vanuit e e n

sociologische invalshoek behandelt,

komt

A c c o r d i n g t o S q u i e r s in h er i n t r o d u c t i o n t o The

Critical

Squiers. A b o u t half of the essays w e r e

Image,

"What

written specially for this collection, the

daagse fotografie van de hand van verschil-

Krauss tot de omschrijving van w a t w e l e e n s

is l a c k i n g . . . is a s u b s t a n t i a l b o d y o f w r i t i n g

remainder having been

lende auteurs, waaronde r enkele van buiten

d e p o s t m o d e r n e a c t i v i t e i t v a n f o t o g r a f i e is

on c o n t e m p o r a r y photograph y that treats

previously. The earliest dates f r o m 1981,

h e t ' v a k g e b i e d ' . The

so that the collection comprises a decade

Critical

Image

moet

g e n o e m d . K r a u s s ' v i s i e is v o o r d e g e n e n d i e

the entire spectrum of

e n i g s z i n s in d e d o o r S q u i e r s g e s i g n a l e e r d e

d e discussies over p o s t m o d e r n e fotografie

practice as a process of signification. This

lacune v o o r z i e n . O n g e v e e r d e helft v a n alle

e n kritiek v a n d e laatste t i e n jaar h e b b e n

w o u l d i n c l u d e a n e x a m i n a t i o n o f all

e s s a y s is s p e c i a a l v o o r d e z e b u n d e l g e s c h r e -

gevolgd, inmiddels welbekend: fotografie

institutional production of

v e n , h e t a n d e r e d e e l w a s al e e r d e r g e p u b l i -

heeft het modernistische s y s t e e m ondergra-

from newspaper and

c e e r d . H e t o u d s t e a r t i k e l d a t e e r t uit 1 9 8 1 ,

v e n , w a a r i n b e g r i p p e n als u n i c i t e i t v a n h e t

photojournalism to images taken for

zodat d e b u n d e l e e n p e r i o d e v a n 'critical w r i -

goes b e y o n d both the art-historical

k u n s t w e r k , originaliteit v a n d e auteur e n

purposes of surveillance to

t i n g ' b e s l a a t v a n z o ' n 1 0 j a a r.

t h e p u r e l y d e s c r i p t i v e a p p r o a c h . In t h e

coherentie van een oeuvre centraal staan.

wedding photography and

Het specifiek fotografische 'discours' moet ,

s n a p s h o o t i n g . " T h i s b o o k is a c o l l e c t i o n o f

In A Note lacral

on Photography

and

the

Simu-

pleit Rosalind Krauss voor e e n kritische

reflectie o p de fotografie die z o w e l de kunsthistorische als d e p u u r b e s c h r i j v e n d e benad e r i n g van het b e e l d overstijgt. Naar aanleiding van de bespreking van Pierre Bourdieu's

photographic

published

of 'critical w r i t i n g ' . I n A Note

photography,

magazine

Simulacral,

Photography

and

critical reflection o n p h o t o g r a p h y

commercial amateur

the

Rosalind Krauss argues for a that and

course of a review of Pierre Bourdieu's Art

Moyen,

which

aldus Krauss, w o r d e n b e g r e p e n als e e n pro-

fourteen essays about

ject van deconstructie, waarin de kunst

p h o t o g r a p h y f r o m the hand s of different

v i e w , K r a u s s arrivĂŠs at a d e f i n i t i o n of

afstand n e e m t van zichzelf. H et w e r k van

authors, several of w h o m are f r o m

is s o m e t i m e s c a l l e d t h e

kunstenaars die d o e l b e w u s t d e e l n e m e n aan

t h e ' p r o f e s s i o n ' . The

dit project, zoals bijvoorbeel d Cindy S h e r m a n ,

partially fills t h e lacun e i d e n t i f i ed

contemporary

Critical

outside

Image by

approaches

p h o t o g r a p h y f r o m a sociological point of what

postmodern

a c t i v i t y o f p h o t o g r a p h y . K r a u s s ' v i s i o n is by n o w well k n o w n to those w h o

have

B followed the discussions over

postmodern

p h o t o g r a p h y a n d c r i t i c i s m in t h e last decade: photography has undermined

the

historians also have no neutral,

is n i e t z o z e e r h e t o n d e r w e r p v a n k u n s t k r i t i e k

independent position f r o m w h i c h they can

als w e l e e n v o r m e r v a n ; f o t o g r a f i e w o r d t bij

k o m e n d i e z i c h n i e t bij v o o r b a a t b u i t e n h e t

p r a c t i c e t h e i r p r o f e s s i o n : t h e i n s t i t u t i o n s in

hen tot een metataal.

dominante s y s t e e m van representatie

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

which they work, the methods which they

c o n c e p t s s u c h as t h e u n i q u e n e s s of t h e

e m p l o y , et c e t e r a , all f u n c t i o n in a d e f i n i t e

A b i g a i l S o l o m o n - G o d e a u stelt in with

C ontradictions

Living

enkele kritische vragen

m o d e f o t o g r a f i e t o t e e n kritische t h e o r i e te

plaatst, en accepteert althans voorlopig de t e g e n s t e l l i n g e n b i n n e n haar b e t o o g . N e t als

artwork, the originality of the artist a n d the

m a n n e r in the social structure, for w h i c h

met betrekking tot de mogelijkheden van de

G r i s e l d a P o l l o c k i n Missing

coherence of an oeuvre. A c c o r d i n g to

t h e y are also p a r t l y r e s p o n s i b l e . In a n

( k u n s t ) k r i t i e k : is zij n i e t bij v o o r b a a t i n e f f e c t i e f

z o e k t zij m e t b e h u l p v a n t h e o r i e ë n u i t d e p s y -

Krauss, the specific

photographic

Women

onder-

i n t e r v i e w w i t h J o a n n e L u k i t s h , in w h i c h

d o o r d a t zij s a m e n m e t d e ( k u n s t ) i n s t i t u t i e s

choanalyse en het f e m i n i s m e de processen

'discourse' m u s t be u n d e r s t o o d as a

T a g g ' s w o r k a s a n h i s t o r i a n is t h e

primary

(markt, m u s e u m ) e n d e k u n s t zelf o n d e r d e e l

die b e t r e k k i n g h e b b e n o p h e t kijken naar,

p r o j e c t o f d e c o n s t r u c t i o n in w h i c h art

topic, he a r g u e s for art h i s t o r y as 'cultural

uitmaakt van één en hetzelfde systeem? Als

betekenisgeven aan en identificeren m e t het

attains critical d i s t a n c e f r o m itself. T h e

praxis'.

de kunstkritiek zich e r g e n s tege n verzet,

a f g e b e e l d e (naakte) v r o u w e l i j k e l i c h a a m . Kol-

w o r k of artists w h o consciously take port in t h i s p r o j e c t - s u c h as, f o r i n s t a n c e , C i n d y S h e r m a n - is n o t s o m u c h t h e s u b j e c t

of,

as a f o r m of art criticism; for t h e m , photography becomes a metalanguage. I n Living

with

C ontradictions

Abigail

In her e s s a y a b o u t

fashion

p h o t o g r a p h y , Silvia K o l b o w s ki tries to arrivé at a critical t h e o r y that d o e s not place itself o u t s i d e the d o m i n a n t

system

o f r e p r e s e n t a t i o n in a d v a n c e , at l e a s t temporarily accepting the

contradictions

S o l o m o n - G o d e a u p o s e s several critical

w i t h i n her a r g u m e n t . A s does Griselda

questions with reference to the

P o l l o c k i n Missing

p o s s i b i l i t i e s o f a r t c r i t i c i s m : is it n o t

theories f r o m psychoanalysis

Women,

w i t h the aid of and

i n e f f e c t u a l b y d e f i n i t i o n b e c a u s e it i s a

f e m i n i s m she investigates the processes

component, along with the

t h a t are c o n n e c t e d w i t h l o o k i n g at, g i v i n g

institutions

(the art m a r k e t , m u s e u m s ) a n d art itself, o f

meaning to and identifying with

the

o n e a n d t h e s a m e s y s t e m ? W h a t is t h e

female body, nude or clothed. She

difference b e t w e e n critical a n d

t h i s in o r d e r t o t r y t o a v o i d a n o v e r l y

political

p r a x i s ? F r o m w h a t p o s i t i o n is a r t c r i t i c i s m

simple, denotative reading of the

does

p o s s i b l e at all? A g a i n s t t h e b a c k g r o u n d o f

photographic image based on an

r e a l i s m , b e c a u se " f o r resistance or

S o l o m o n - G o d e a u sketches a short history

intervention to become something

of critical p o s t m o d e r n i s m . T h e w o r k of

t h a n a n a b e r r a t i o n t h a t c o n f i r m s in its

p o s t m o d e r n artists such as Sherrie Levine,

e x c l u s i v e n e s s t h a t w h i c h is d o m i n a n t ,

Cindy Sherman, Barbara Kruger

need to look for fissures in the existing

assumed

other

R i c h a r d Price, a m o n g o t h e r s - the first

m o r p h o l o g y of r e p r e s e n t a t i o n , r a t h e r t h a n

g e n e r a t i o n ' a p p r o p r i a t o r s ' - is n o

overestimate the efficiacy of cultural

longer

effective b e c a u s e o f t h e rise of w h a t

can

economie determinations, an

n o w be called a p o s t m o d e r n style (for

overestimation that ironically

instance, in the w o r k of Frank Majore) that

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

really no longer has a critical function.

s y s t e m s . " It is n o t a b l e t h a t

Consequently, 'appropriation' of

theories about sexuality, to which

images

sometimes such

both

f r o m t h e m a s s m e d i a a n d a r t is n o l o n g e r

K o l b o w s k i a n d Pollock refer, s h o u l d

b e d i s c u s s e d in t w o o t h e r e s s a y s . In a

w h o w o u l d exercise a critical function are

consideration of self-portraits by

impelled to find another

N e w t o n , Victor Burgin writes about

also

Helmut the

relation b e t w e e n p h o t o g r a p h y and fetish

c o n t i n u a l l y c h a n g e s , a l w a y s w o r k i n g in a

(specifically, the long, outstretched

n e w style, as a possible a n s w e r to the

n u d e as p h a l l u s ) . In his article, f i l m

a p p r o p r i a t i o n of these artists by the art

theoretician Christian Metz

market. She cites Michael Asher, Daniël

photography with film and their

Haacke

female

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

itself b e c o m i n g a f e t i s h " ) .

are f o r c e d t o live. A s a c o n s e q u e n c e , their p o s i t i o n is p r o b l e m a t i c b e c a u s e o n e c a n critics must

implicitly and

undermine 'right-wing' self-confidence, 'political correctness', authoritarianism a n d r e p r e s s i o n . (A c o l l e c t i o n of e s s a y s b y S o l o m o n - G o d e a u is r e v i e w e d

t h a t w h i c h is d o m i n a n t , w e n e e d t o l o o k f o r

w e r k v a n p o s t m o d e r n e kunstenaars als Sher-

f i s s u r e s in t h e e x i s t i n g m o r p h o l o g y of r e p r e -

rie L e v i n e , C i n d y S h e r m a n , Barbara Kruger,

sentation, rather t h a n o v e r e s t i m a t e t h e effi-

Richard Prince e n a n d e r e n - de e e r s t e gene-

cacy of cultural e c o n o m i e determinations, an

ratie ' a p p r o p r i a t o r s ' - is niet langer e f f e c t i e f

o v e r e s t i m a t i o n that ironically s o m e t i m e s

door de o p k o m s t van w a t nu een p o s t m o -

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

d e r n e stijl g e n o e m d k a n w o r c e n (bijvoor-

t e m s " . O p v a l l e n d is d a t t h e o r i e ë n v a n F r e u d

b e e l d h e t w e r k v a n Frank Majore), die e c h t e r

o v e r s e k s u a l i t e i t , w a a r z o w e l K o l b o w s k i als

heeft.

elsewhere

in this issue of Perspektief.)

andere essays aan d e orde k o m e n . Victor

d i a e n d e k u n s t is d i e n t e n g e v o l g e n i e t l a n g e r

B u r g i n s c h r i j f t in e e n b e s c h o u w i n g o v e r d e

een effectief kritisch instrument e n noopt

(zelf)portretten van H e l m u t N e w t o n over de

k u n s t e n a a r s m e t e e n k r i t i s c h e h o u d i n g uit t e

relatie t u s s e n f o t o g r a f i e e n fetisj (het lange,

zien naar a n d e r e s t r a t e g i e ë n . A l s m o g e l i j k

u i t g e s t r e k t e v r o u w e l i j k naakt als fallus). D e

a n t w o o r d o p d e toeëigening van deze kun-

f i l m t h e o r e t i c u s C h r i s t i a n M e t z v e r g e l i j k t in

s t e n a a r s d o o r d e k u n s t m a r k t ziet S o l o m o n -

zijn artikel f o t o g r a f i e m e t f i l m e n h u n v e r h o u -

G o d e a u d e kunstpraktijk die zichzelf v o o r t d u -

d i n g t o t f e t i s j i s m e e n d e f e t i s j ( " f i l m is m o r e

rend verandert, met andere woorden, steeds

capable of playing o n fetishism , p h o t o g r a p h y

in e e n a n d e r e stijl w e r k t . A l s v o o r b e e l d e n

m o r e capable of itself b e c o m i n g a f e t i s h " ) .

n o e m t zij h i e r M i c h a e l A s h e r , D a n i ë l B u r e n ,

L a w l e r . O v e r i g e n s s t a a n in h a a r v i s i e k u n s t e n a a r e n c r i t i c u s zij a a n z i j ; i n e e n v o o r t d u r e n d

b i n n e n h e t d o m e i n v a n d e ' h i g h c u l t u r e ' zijn zij o v e r g e l e v e r d a a n h e t z e l f d e s y s t e e m d a t zij b e k r i t i s e r e n . Zij z i j n g e d w o n g e n m e t d i e t e g e n s t e l l i n g t e l e v e n . H u n p o s i t i e is d a a r -

len e n o n d e r m i j n e n v a n ' r i g h t - w i n g ' zelfverzek e r d h e i d , 'political c o r r e c t n e s s ' , a u t o r i t a r i s m e

H e t g e b r u i k v a n f o t o g r a f i e in e e n polit i e k e k o n t e k s t s t a a t in d r i e t a l e s s a y s c e n t r a a l . I n Picturing

Scandal

ontleedt Carol Squiers

het ' f o t o g r a f i e b e l e i d ' v a n het W i t t e H u i s naar aanleiding v a n d e g e b e u r t e n i s s e n r o n d Irans c a m in 1 9 8 6 ( h e t s c h a n d a a l o v e r d e w a p e n l e v e r a n t i e s aan Iran). D e o n g e s c h r e v e n regels w a a r f o t o g r a f e n zich t i j d e ns d e ' p h o t o op'(portunity) aan h o u d e n (vooral m e t betrekk i n g t o t w i e zij o p w e l k e m a n i e r m o g e n f o t o graferen, op straffe van ontzegging van de t o e g a n g t o t h e t W i t t e H u i s ) b l i j k e n in b e l a n g rijke m a t e t e h e b b e n b i j g e d r a g e n a a n h e t positieve 'image' van d e president (toen R e a g a n ) in d e m e d i a .

e n r e p r e s s i e . ( E l d e r s in dit n u m m e r v a n Perspektief wordt de essaybundel van SolomonT h e use of p h o t o g r a p h y in a p o l i t i c a l

e s s a y s . I n Picturing

Scandal,

Carol

n a a m d e M e e s e C o m m i s s i o n , d i e in 1 9 8 5 e n

dissects the W h i t e House ' p h o t o policy' in response to the 1986 events

surrounding

Iran-gate (the scandal over w e a p o n s

sales

t o I r a n ) . It a p p e a r s t h a t t h e u n w r i t t e n

rules

w h i c h photographers had to abide

Carole Vance geeft uitgebreid verslag van de o p e n b a r e zittingen van de zoge-

Godeau besproken).

Squiers

1 9 8 6 p l a a t s v o n d e n in z e s g r o t e s t e d e n i n d e D e n o t i e d a t er g e e n p l a a t s b u i t e n h e t

Verenigde Staten, en die tot doel hadden t e

s y s t e e m is v a n w a a r u i t k r i t i e k k a n w o r d e n

komen tot een verscherpte wetgeving me t

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

betrekking tot 'sexual explicit images a n d

a n d e r e a r t i k e l e n in d e b u n d e l . J o h n T a g g

texts'. D e commissie wist een sfeer van

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

gêne, lacherigheid en verlegenheid te creë-

during 'photo-ops' (photo opportunities),

die d e k l o o f t u s s e n praktijk e n t h e o r i e in

ren w a a r i n het haast o n m o g e l i j k w a s

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

stand houden. O o k voor kunsthistorici

t e g e n d e in d e zaal h e e r s e n d e o p i n i e in t e

m a n n e r they could photograph, on pain of

bestaat er g e e n neutrale, onamankelijke posi-

gaan. Allerlei v o r m e n van z o g e n a a m d abject

b e i n g d e n i e d future access to the

t i e v a n w a a r u i t zij h u n v a k k u r n e n u i t o e f e -

gedrag die iets m e t seksualiteit te m a k e n

House, contributed largely to

White

positive

i m a g e of t h e n - p r e s i d e n t R e a g a n in t h e media.

T h e n o t i o n t h a t t h e r e is n o w h e r e

P o l l o c k naar v e r w i j z e n , o o k in e e n t w e e t a l

'Appropriation' van beelden u t de massame-

c o n t e x t is t h e c e n t r a l c o n c e r n i n t h r e e

criticize, a c o n t r a d i c t i o n w i t h w h i c h t h e y

s u g g e s t s , to call into q u e s t i o n

a b e r r a t i o n t h a t c o n f i r m s in its e x c l u s i v e n e s s

Het

m o n - G o d e a u impliciet, het ter discussi e stel-

orientation and critical activity w i t h i n the

accomplish except, she

schetst Solomon-Godeau een korte geschiedenis van het kritisch p o s t m o d e r n i s m e .

bewerkstelligen, behalve dan, zo stelt Solo-

relationship to fetishism and the fetish

fetishism, photography more capable

m u s t direct their efforts or w h a t they

tion to b e c o m e s o m e t h i n g other than an

m o e t e n r i c h t e n o f w a t zij z o u m o e t e n

in h e r v i e w t h e artist a n d critic s t a n d s i d e

no longer declare precisely where

vermijden, w a n t : "For resistance or interven-

L e v i n e ' s o m m e z w a a i naar het s c h i l d e r e n

p r e c i e s a a n t e g e v e n w a a r kritiek zich o p z o u

compares

( " f i l m is m o r e c a p a b l e o f p l a y i n g o n

hands of the s a m e s y s t e m that they

tieve lezing van het fotografische beeld te

mogelijk? T e g e n de achtergrond van Sherrie

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

a n d Louis Lawler as e x a m p l e s . Otherwise ,

r e a l m of t h e ' h i g h c u l t u r e ' , t h e y are in t h e

w e l k e p o s i t i e is k u n s t k r i t i e k h o e d a n o o k

p r o c e s v a n p l a a t s b e p a l e n en kritiek b e d r i j v e n

S o l o m o n - G o d e a u sees a n art praxis that

Buren, Marcel Broodthaers, Hans

v e r m e e n d realisme gebaseerde en denota-

Marcel Broodthaers, Hans Haacke en Louise

Freud's

a n effective critical i n s t r u m e n t , a n d artists

strategy.

b o w s k i tracht daarbij e e n t e s i m p e l e , o p e e n

e e n kritische e n een politieke praktijk? Vanuit

g e e n e n k e le kritische functie m e e r

Sherrie Levine's about-face to painting,

and

w a a r t e g e n d a n ? W a t is h e t v e r s c h i l t u s s e n

Carol Vance gives an extensive

report

outside the s y s t e m f r o m w h i c h to practice

on the public hearings of the

Meese

c r i t i c i s m r e t u r n s in a n u m b e r of o t h e r

C o m m i s s i o n , t h a t t o o k p l a c e in 1 9 8 5 a n d

a r t i c l e s in t h e c o l l e c t i o n . In t h i s

1 9 8 6 in six l a r g e cities in t h e U n i t e d

connection, J o h n T a g g points out that the

and w e r e intended to lead to

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

r e s t r i c t i v e l a w s in r e g a r d t o

p r e s e r v e d for m a n y art historians. Art

explicit images a n d texts'. The

'sexually

States

n e n : d e i n s t i t u t e n w a a r zij w e ' k e n , d e m e t h o -

(konden) h e b b e n , w e r d e n naast elkaar behan -

d e n d i e zij h a n t e r e n , f u n c t i o n e r e n o p e e n

deld (homoseksualiteit, e c h t s c h e i d i n g , kin-

b e p a a l d e m a n i e r in d e

dermishandeling, buitenechtelijke seks, over-

maatschappelijke

s t r u c t u u r , w a a r zij d a n o o k t e n d e l e v e r a n t -

m a t i g masturberen), d a a r m e e onderlinge ver-

w o o r d e l i j k v o o r z i j n . In e e n i n t e r v i e w m e t

w a n t s c h a p en oorzakelijke verbanden sugge-

Joanne Lukitsh, waarin vooral het w e r k van

rerend. Het publiek w e r d afwisselend gecon-

T a g g a l s h i s t o r i c u s a a n d e o r d e k o m t , p l e i t hij

fronteerd met meer en minder

v o o r e e n k u n s t g e s c h i e d e n i s als ' c u l t u r e l e

b e e l d e n e n ' s l a c h t o f f e r g e t u i g e n i s s e n ' (de

schokkende

pra ktijk'.

verkrachter die t o e g e e f t v r o e g er veel p o r n o blaadjes g e l e z e n t e h e b b e n ) . T e g e n dit ' e m o -

S i l v i a K o l b o w s k i t r a c h t in h a a r e s s a y o v e r

B O E

K E N

tional m a n a g e m e n t , dat vooral m e t b e h u l p

sche en utopistische symboliek ( Unionu)

C o m m i s s i o n a p p e a r e d to be c o n t e n t w i t h

' d y i n g o f A I D S ' , as a n e w s p a p e r

v a n foto's w e r d o n d e r b o u w d , m o e t niet

Square') van de standbeelden aan het w a n k e -

the a t m o s p h e r e of discomfiture,

once revealingly altered the caption

alleen w o r d e n geprotesteerd door te verwij-

len brengen.

e m b a r r a s s m e n t a n d d i f f i d e n c e i n w h i c h it

a photo. (On this subject, see also

w a s almost impossible to oppose the

C r i m p , Portraits

project als dat v a n W o d i c z k o te o n t k e n n e n ,

p r e v a i l i n g o p i n i o n in t h e h e a r i n g r o o m .

P e r s p e k t i e f N o . 40.) C o n s e r v a t i v e

belang o m voortdurend en nadrukkelijk te wij-

b e t w i j f e l ik o f e e n d e r g e l i j k p r o j e c t o o k o p

Every sort of 'debased' behaviour

skillfully take advantage of the fears

Zonder het belang van e e n 'alternatief'

which

with

under

Douglas

a l d u s V a n c e . H e t is i n g e v a l l e n a l s d e z e v a n

z e n naar het recht v a n vrije m e n i n g s u i t i n g ,

of P eople

editor

AID S, groups

zen o p de verschillende mogelijkheden van

politiek n i v e a u w e r k e l i j k v a n i n v l o e d kan zijn,

might have something to do with sexuality

shared by large sectors of the

interpretatie van foto's, op de verschillende

zonder uitgebreide lobby, publiciteit e n der-

(homosexuality, divorce, child abuse,

of everything that has to do with AIDS.

ervaringen van de kijkers m e t 'sexually expli-

g e l i j k e , l a at s t a a n o f h e t i n s t a a t k a n w o r d e n

premarital sex, excessive

While Watney warns against the

cit i m a g e s ' , e n vooral o p h e t b e l a n g van

geacht de drijvende (economische)

openheid m e t betrekking tot seks en seksu-

achter dit s o o r t

eel genot.

in t e d a m m e n .

I n Photography

and

AID S

beschrijft

krachten

'stadsvernieuwingsprojecten'

D e m o g e l i j k e g e v o l g e n van n i e u w e digi-

Simon W a t n e y de gangbare, stigmatiserende

tale t e c h n i e k e n voor de d o c u m e n t a i r e foto-

b e e l d v o r m i n g v a n A I D S - p a t i ë n t e n . Zij w o r -

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

den, aldus W a t n e y , veelal v o o r g e s t e l d als

c u s s i e in e e n s y m p o s i u m o v e r o n d e r m e e r

geïsoleerde individuen, die slechts lijdzaam

d i t o n d e r w e r p (zie h e t v e r s l a g in P e r s p e k t i e f

w a c h t e n o p w a t de ziekte hen brengt. Niet

N o . 4 2 ) . F r e d R i t c h i n g e e f t in

'leven m e t AIDS', maar 'sterven aan AIDS',

m the

zoals ooit v e e l z e g g e n d het onderschrift v a n

v o o r b e e l d e n uit d e m e d i a v a n b e e l d m a n i p u l a -

Age

of C omputers

Photojournalism

e e n aantal t r e f f e n d e

masturbation)

w a s j u m b l e d t o g e t h e r in o r d e r t o

suggest

population

misconception that 'the truth' about

AIDS

interrelationships and causal connections.

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

In a l t e r n a t i o n the p u b l i c w e r e

w a y or a n o t h e r , p h o t o g r a p h y c a n certainly

confronted

w i t h m o r e or less s h o c k i n g i m a g e s ' v i c t i m - w i t n e s s e s ' s u c h as a rapist a d m i t t e d to earlier having read

and who

many

be o n e of the m e a n s w h i c h can

those which distinguish between

porno magazines. According to Vance, to

w h i c h are a n d are not

protest against this sort of

acceptable'.

'emotional

management', primarily constructed

undermine

c e r t a i n i d e o l o g i c a l p r o c e s s e s , s u c h as illnesses

'socially

with

t h e a i d o f p h o t o s , it is n e c e s s a r y t o d o m o r e than merely affirm the right of

A report o n the recent

advertising

trend which recommends

industrial

p r o d u c t s as friendly to the

environment,

e e n foto door e e n kranteredactie w e r d veran-

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

d e r d (zie o v e r dit o n d e r w e r p o o k D o u g l a s

i m p o r t a n t r o l e , is g i v e n b y K a t h y M y e r s i n

C r i m p : Portraits

of P eople

with

AID S,

pektief No. 40). Conservatieve

Pers-

S elling

groeperingen

Gre en.

To work more

effectively

a n d reach a larger audience,

s p e l e n h a n d i g i n o p d e a n g s t bij g r o t e b e v o l -

e n v i r o n m e n t a l g r o u p s will have to use the

k i n g s g r o e p e n voor alles w a t m e t A I D S te

s a m e t e c h n i q u e s as d o

m a k e n heeft. W a t n e y w a a r s c h u w t

i n t e r e s t s . M y e r s c a l l s it ' i r o n i e ' t h a t

echter

commercial

voor de m i s v a t t i n g dat 'de w a a r h e i d ' o m t r e n t

now only commercial advertising

right appears

A I D S o p e e n o f a n d e r e m a n i e r f o t o g r a f i s c h is

as the p r o p h e t of a better w o r l d w i t h a

vast te leggen. Fotografie kan echter w e l e e n

cleaner e n v i r o n m e n t , w h i l e politics fails to

v a n d e m i d d e l e n zijn w a a r m e e b e p a a l d e ideo-

work. To unquestioningly accept the

logische processen kunnen w o r d e n onder-

messages f r o m the w o r l d of advertising,

rosy

m i j n d , zoals die w e l k e o n d e r s c h e i d m a k e n

as M y e r s a p p e a rs to d o , h o w e v e r s e e m s to

t u s s e n w e l e n niet 'maatschappelijk aan-

m e r a t h e r i n c a u t i o u s . In m y

vaardbare' ziektes.

p r e s e n t l y it i s b e t t e r t o v i e w t h i s n e w t r e n d

K a t h y M y e r s d o e t in S elling

Gre en

opinion,

in ' s e l l i n g g r e e n ' w i t h s k e p t i c i s m .

ver-

slag v a n d e r e c e n t e t r e n d m d e r e c l a m e o m

Homeless

Krzysztof Wodiczko's

industriële p r o d u c t e n als milieuvriendelijk aan

Projection

te prijzen, e n w a a r fotografie e e n belangrijke

Park in N e w Y o r k . T h e

rol speelt . O m e f f e c t i e v e r t e k u n n e n w e r k e n

a r o u n d this park has been a scène for

is a p r o j e c t f o r U n i o n

Square

neighbourhood

en o m e e n groter publiek te k u n n e n berei-

u r b a n r e n e w a l p l a n s a n d s p e c u l a t i o n . In

ken, zullen milieugroeperingen van dezelfde

her article a b o u t this project,

t e c h n i e k e n gebruik m o e t e n g a a n m a k e n als

Deutsche gives an extensive analysis of

de c o m m e r c i e . M y e r s n o e m t het 'ironisch'

t h e role t h a t u r b a n r e n e w a l p l a y s in a

dat juist nu d e c o m m e r c i ë l e r e c l a m e o p t r e e d t

s o c i a l - e c o n o m i c s y s t e m in w h i c h

als p r o f e e t v a n e e n b e t e r e w e r e l d m e t

sections of a city b e c o m e

een

s c h o n e r m i l i e u , d e p o l i t i e k h e t laat a f w e t e n .

Rosalyn

specific

commodities,

and, in the n a m e of 'revitalizing the

Het voetstoots a a n n e m en van rooskleurige

n e i g h b o u r h o o d ' , g r o u p s in t h e

b o o d s c h a p p e n uit d e r e c l a m e w e r e l d , zoals

are displaced o n the basis of purely

population

M y e r s lijkt t e d o e n , k o m t m i j e c h t e r w a t a l t e

e c o n o m i e c o n s i d e r a t i o n s . In t h i s p r o c e s s ,

o n v o o r z i c h t i g v o o r . V o o r l o p i g is h e t m i j n s

housing p r o b l e m s of poor,

i n z i e n s b e t e r d e z e n i e u w e t r e n d in ' s e l l i n g

m i n o r i t y g r o u p s are never s o l v e d , but o n l y

green' met de nodige scepsis te bekijken.

displaced with them. Wodiczko's

K r z y s z t o f W o d i c z k o ' s Homeless tion

usually

project

(really yet a proposal) consists of

Projec-

projecting transparencies on the

is e e n project v o o r h e t U n i o n S q u a r e

c e n t u r y s t a t u e s in t h e p a r k . T h e

P a r k i n N e w Y o r k . D e b u u r t r o n d d i t p a r k is

19th projected

i m a g e s refer to the w a y the p o o r

onderdeel geweest van stadsvernieuwings-

and

h o m e l e s s live, a n d w o u l d u n d e r m i n e

p l a n n e n e n s p e c u l a t i e . In h a a r a r t i k e l o v e r d i t

nationalist a n d utopian s y m b o l i s m

project geeft Rosalyn Deutsche e e n uitge-

the

('Union

(!) S q u a r e ' ) o f t h e s t a t u e s .

breide analyse van stadsvernieuwing die

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

onderdeel uitmaakt van een sociaal-econo-

a l i s e e r d . R i t c h i n is n o g a l p e s s i m i s t i s c h o v e r

t h i s it i s i m p o r t a n t t o c o n s t a n t l y

misch systeem, waarin specifieke stadsdelen

d e t o e k o m s t van de documentaire fotografie,

emphatically point out the different

'alternative' project such as W o d i c z k o ' s , I

tot handelswaar w o r d e n en verplaatsing van

w a n t in w e l k e v o r m v a n c o m m u n i c a t i e k u n -

possibilities for interpreting photos, the

d o u b t if s u c h a p r o j e c t c a n r e a l l y h a v e a n

bevolkingsgroepen vanwege

'revitalisering

nen wij dan nog geloven? "If e v e n a minimal

different experiences viewers have with

influence on political structures

van de buurt' o p basis van louter e c o n o m i -

c o n f i d e n c e in p h o t o g r a p h y d o e s n o t s u r v i v e ,

' s e x u a l l y e x p l i c i t i m a g e s ' , a n d m o s t o f all

e x t e n s i v e l o b b y i n g , p u b l i c i t y , et c e t e r a , let

f r e e d o m o f e x p r e s s i o n . In c a s e s s u c h a s and

W i t h o u t d e n y i n g the i m p o r t a n c e of an

without

sche overwegingen geschiedt (huisvestings-

it is q u e s t i o n a b l e w h e t h e r m a n y p i c t u r e s w i l l

the i m p o r t a n c e of o p e n n e s s in regard to

a l o n e i f it c o u l d b e c o n s i d e r e d a b l e t o

p r o b l e m e n van arme, veelal allochtone bevol-

have m e a n i n g a n y m o r e , not only as s y m b o l s

sex a n d sexual pleasure.

contain the driving e c o n o m i e

k i n g s g r o e p e n w o r d e n dan ook nooit opge-

but as e v i d e n c e " . aldus Ritchin.

lost, m a a r a l l e e n verplaatst). W o d i c z k o ' s project (eigenlijk n o g maar e e n voorstel) bestaat uit d e p r o j e c t i e v a n d i a ' s o p d e

19e-eeuwse

s t a n d b e e l d e n in h e t p a r k . D e g e p r o j e c t e e r d e b e e l d e n v e r w i j z e n naar d e l e v e n s w i j z e van a r m e n e n daklozen, en z o u d e n de nationalisti-

D e v r a a g is o f R i t c h i n ' s a n g s t n i e t t e v e e l

I n Photography

and

AID S,

Simon

Watney describes the creation of current,

powers

b e h i n d this sort of 'urban renewal T h i s last y e a r , t h e

project'.

possible

is g e b a s e e r d o p h e t g e l o o f i n d e o b j e c t i v i t e i t

stigmatizing image of AIDS-patients.

c o n s e q u e n c e s for

h e t v e r m o g e n o m als b e w i j s v a n i e t s t e d i e -

A c c o r d i n g to W a t n e y , t h e y are usually

p h o t o g r a p h y of n e w digital

n e n - van de traditionele d o c u m e n t a i re foto-

represented as isolated individuals

came under extensive discussion during a

grafie. D e enige waarschijnlijke o p handen

merely passively wait out the course of the

s y m p o s i u m o n this and

z i j n d e v e r a n d e r i n g als g e v o l g v a n d e m o g e -

illness. T h e y are not 'living w i t h A I D S ' b u t

d e v e l o p m e n t s (see t h e r e p o r t in

who

documentary techniques

other

B P e r s p e k t i e f N o . 4 2 ) . I n Photojournalism the

Age

C omputers,

Fred Ritchin gives a

n u m b e r of striking e x a m p l e s f r o m the m e d i a of i m a g e

manipulation

lijkheid o m f o t o ' s volledi g 'in v i t r o ' t e p r o d u -

rather, he e m p l o y s sexual horror as t h e sign

c e r e n , is d i e m e t b e t r e k k i n g t o t d e p e r c e p t i e

o f his o w n e x p r e s s i v e n e s s " . K o r t o m , W i t -

of the exhaustion of this tradition.

v a n h e t m e d i u m oij h e t g r o t e p u b l i e k . E e n

kin's foto's m e t h u n aanspraak o p authentici-

w a a r s c h i j n l i j k g e v o l g d a a r v a n is w e e r e e n

teit en auteurschap v e r t e g e n w o o r d i g e n

veranderende h o j d i n g ten opzichte van 'foto-

n e t d e ( m o d e r n i s t i s c h e ) stijl d i e d o o r p o s t m o -

g r a f i e ' bij d e ( g e d r u k t e ) m e d i a .

dernisme w o r d e n a f g e w e z e n . Het zoge-

r e a d e r s o f The

R i t c h i n is q u i t e p e s s i m i s t i c a b o u t t h e

w h a t s e n s e t h e r e w a s in b r i n g i n g is

left in w h i c h w e c a n b e l i e v e ? "If e v e n a m i n i m a l c o n f i d e n c e in p h o t o g r a p h y n o t s u r v i v e , it is q u e s t i o n a b l e m a n y pictures will have

Critical

Image

book,

m i g h t ask

in o n e c o l l e c t i o n e s s a y s o f s u c h

because what f o r m of communication

nature. Except for a theoretical

together divergent

R i t c h i n ' s v o o r s t e l o m f o t o ' s in t e d e l e n in

foundation

categorieën van fictie e n non-fictie lost, v r e e s

(the n a m e s of Marx, Freud, Lacan, Levi-

does

whether

Strauss, Benjamin and Barthes

appear

meaning

allang niet m e e r gehanteerd.

references), the essays appear to have

In O n the

little in c o m m o n o t h e r t h a n a critical slant.

evidence," Ritchin writes. T h e q u e s t i o n is w h e t h e r R i t c h i n ' s f e a r

ik, n i e t v e e l o p . In d e l i t e r a t u u r w e t e n s c h a p pen w o r d t een dergelijke indeling van teksten

r e m a r k a b l y often in the notes and

a n y m o r e , n o t only as s y m b o l s but as

r e p e t i t i o n is, a c c o r d i n g t o G r u n d b e r g , at

W h e n they reach the end of the

photography,

best a m a n n e r i s m a n d at w o r s t a s y m b o l

a c c o m p l i s h e d w i t h the aid of c o m p u t e r s .

future of d o c u m e n t a r y

Dissection

T able

bekritiseert

A n d y Grundberg de recente t r e n d o m 'gro-

n a a m d e n i e u w e s u r r e a l i s m e in d e t r a d i t i e v a n d e A m e r i k a a n s e fotografie-als-kunst traditie v e r t e g e n w o o r d i g t g e e n kritisch, noch e e n rebels standpunt; deze stilistische herhaling is, a l d u s G r u n d b e r g , i n h e t b e s t e g e v a l e e n m a n i ë r i s m e , in h e t s l e c h t s t e g e v a l e e n s y m bool van de uitputting van deze traditie.

T h e subjects of the articles are as s t r o n g l y

t e s q u e ' f o t o g r a f i e (zoals W i t k i n ) t e b e s t e m -

v a r i e d as t h e i r r e a d a b i l i t y ; in p a r t i c u l a r ,

p e l e n als 'surreal stisch'. G r u n d b e r g signa-

aan het eind van het boek g e k o m e n , kunnen

D e l e z e r v a n The

Critical

Image

zou zich,

is n o t b a s e d t o o m u c h o n a b e l i e f i n t h e

the texts of K o l b o w s k i a n d Pollock are

leert e e n d e r g e l i j k t r e n d in r e c e n t e t e n t o o n -

a f v r a g e n w a t n u d e z i n is v a n h e t bij e l k a a r

objectivity - the potential of s o m e t h i n g to

d i f f i c u l t t o f o l l o w . " T h e r e is n o s u c h t h i n g

s t e l l i n g e n a l s Poetic

b r e n g e n in é é n b u n d e l v a n e s s a y s v a n z o ' n

serve as e v i d e n c e - of traditional

as p h o t o g r a p h y as such, a c o m m o n

O n d e r a n d e r e R o s a l i n d K r a u s s {L'amour

m e d i u m . There are differentiated areas of

legt e e n v e r b a n d t u s s e n d e positie v a n d e

p r o b a b l e c h a n g e at h a n d as a

production, differently

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

c o n s e q u e n c e of the possibility of

practices, different discourses", says J o h n

e n d e ( p o s t m o d e r n e ) f o t o g r a f i e n u : in b e i d e

T a g g in t h e i n t e r v i e w m e n t i o n e d

gevallen functioneer t f o t o g r a f i e als ' s t o r e n d e '

d o c u m e n t a r y photography. The

only

p r o d u c i n g p h o t o s e n t i r e l y ' i n v i t r o ' is t h a t w h i c h involves the perception of the m e d i u m b y t h e publi c at large. A

probable

c o n s e q u e n c e o f t h a t is a c h a n g i n g

posture

w i t h respect to p h o t o g r a p h y on the part of the print m e d i a .

earlier,

L'amour

fou. F ou)

f a c t o r in z o w e l d e k u n s t a l s i n o n z e a l l e -

her i n t r o d u c t i o n that striving for o n e or

daagse manier van o m g a a n m e t beelden.

another f o r m of completeness

Waar de hedendaagse fotografie e e n reaktie

senseless. That does not detract f r o m the

is o p d e b e d r e i g i n g v a n d e w e r k e l i j k h e i d d o o r

fact that a m o r e thematically

e e n g e s i m u l e e r d e w e r k e l i j k h e i d (è la B a u d r i l -

better handle for study a n d

and

a n d h e is r i g h t . S q u i e r s a l s o s u g g e s t s i n

oriented

collection of essays coul d have offered a

I fear that Ritchin's proposal to divide photos into the catetories of fiction

institutionalized

Injury

discussion

lard), w a s d e s u r r e a l i s t i s c h e f o t o g r a f i e g e r i c h t o p h e t o n d e r b e w u s t e , h e t surre ële

dat a c h t e r

non-fiction solves n o t h i n g . Literary theory

than the m e l a n g e in this book. Indeed,

de g e w o n e werkelijkheid schuilging. Son-

has not e m p l o y e d such a division for texts

s o m e e s s a y s i n The

t a g ' s o p m e r k i n g (naar a a n l e i d i n g v a n d e

for a long time

b e a b l e t o s e r v e o u t s t a n d i n g l y as p o i n t s o f

now.

Critical

Image

would

f o t o ' s v a n A r b u s ) als z o u h e t s u r r e a l i s m e

uiteenlopende aard. Behalve een theoretis c h e basis (de n a m e n van v o o r a l M a r x , Freud, Lacan, Levi-Strauss, B e n j a m i n en Barth e s k o m e n o p v a l l e n d v a a k in h e t n o t e n a p p a raat voor) lijken d e e s s a y s w e i n i g m é é r g e m e e n s c h a p p e l i j k t e h e b b e n d a n e e n kritis c h e inslag. D e o n d e r w e r p e n van de artikelen l o p e n n e t zo s t e r k u i t e e n als h u n leesb a a r h e i d ( m e t n a m e d e t e k s t e n v a n Kolb o w s k i e n Pollock zijn m o e i l i j k t e v o l g e n ) . " T h e r e is n o s u c h t h i n g a s p h o t o g r a p h y a s such, a c o m m o n m e d i u m . There are differentiated areas of production, differently institutionalized practices. different

discourses",

z e g t J o h n T a g g in e e r d e r g e n o e m d

interview

e n hij h e e f t g e l i j k . S t r e v e n n a a r é é n o f a n d e r e

d e p a r t u r e f o r a t h e m a t i c a p p r o a c h . B u t let

i n h e r e n t a a n d e f o t o g r a f i e zijn, b e r u s t e v e n -

G r u n d b e r g criticizes the recent t r e n d for

us not lose sight of the m o s t

eens op e e n misverstand, aldus Grundberg.

S q u i e r s in haar i n l e i d i n g . Dat n e e m t n i e t w e g

labeling 'grotesque' photography

message from

H e t m a g z o zijn cat v e e l g o e d e f o t o g r a f i e d e

dat een m e e r thematisch georiënteerde

I n On

the

Dissection

T able,

Andy

(Witkin,

The

Critical

important

Image:

the

v o r m v a n v o l l e d i g h e i d is z i n l o o s , s t e l t o o k

a m o n g others) as 'surrealistic'. G r u n d b e r g

legitimate goal of cultural criticism, of

w e r e l d o p geheimzinnige en/of griezelige

essaybundel misschien een beter handvat

i d e n t i f i e s t h i s t r e n d in r e c e n t

which writing about

w i j z e a a n o n s t o o n t , zij is d a a r m e e n o g n i e t

voor studie en discussie kan bieden dan de

constitutes (or s h o u l d constitute) a part,

direct surrealistisch. Eén en ander wil natuur-

m é l a n g e in dit b o e k ( s o m m i g e e s s a y s in

t h o u g h p r o b l e m a t i c to be sure,

lijk n i e t z e g g e n , d a t e r g e e n o p l e v i n g v a n e e n

Critical

l i k e Poetic

Injury

exhibitions

a n d L'amour

fou.

Among

o t h e r s , R o s a l i n d K r a u s s , i n L'amour makes a connection between the

fou, position

o f s u r r e a l i s t p h o t o g r a p h y in t h e 1920's a n d p o s t m o d e r n p h o t o g r a p h y n o w : in b o t h c a s e s p h o t o g r a p h y f u n c t i o n s as a ' d i s r u p t i v e ' factor in b o t h art a n d o u r c v c r y d a y w a y of dcaling w i t h

photography

remains

s u r r e a l i s t i s c h e stijl z o u z i j n . M a a r , in h e t g e v a l

uitgangspunt voor een thematische benade-

of rigid, intolerant a n d

van bijvoorbeeld Witkin, een v e r m e e n de

ring k u n n e n f u n g e r e n ) . M a a r laten w e d e

t h o u g h t . T h a t r e m a i n s t r u e e v e n w h e n it i s

' n i e u w e ' surrealist: " U n l i k e the Surrealists,

b e l a n g r i j k s t e b o o d s c h a p u i t The

a c c o m p a n i e d b y a life o f c o n t r a d i c t i o n s .

W i t k i n is n o t c h a l l e n g i n g t h e r e a l m o f t h e

Image

social in his a p p e a l s t o t h e s u b c o n s c i o u s ;

tie van (cultuur) kritiek, w a a r v a n het schrijven

authoritarian

Frits G i e r s t b e r g

images.

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

s i m u l a t e d r e a l i t y (a la B a u d r i l l a r d ) ,

van rigide, intolerante e n autoritaire d e n k w i j -

directed

zen. Zelfs w a n n e e r dat een leven m e t tegen-

t o w a r d the unconscious, the surreal that

stellingen m e t zich m e e b r e n g t .

reality.

According to Grundberg, Sontag's

remark

Frits G i e r s t b e r g

in r e s p o n s e t o t h e p h o t o s o f D i a ne A r b u s , t h a t it w o u l d s e e m s u r r e a l i s m is i n h e r e n t t o p h o t o g r a p h y , is b a s e d o n a m i s u n d e r s t a n d i n g . It m a y b e t h a t a m u c h g o o d p h o t o g r a p h y does s h o w us the w o r l d in m y s t e r i o u s o r g r u e s o m e

ways,

b u t it is s t i l l n o t e x a c t l y s u r r e a l i s t . T h i s i s n o t t o s a y t h a t t h e r e is n o t a r e v i v a l o f s u r r e a l i s t style.

B u t in t h e case o f W i t k i n ,

for instance, a s u p p o s e d n e w surrealist, " u n l i k e t h e S u r r e a l i s t s , W i t k i n is n o t c h a l l e n g i n g t h e r e a l m o f t h e social in his appeals to the s u b c o n s c i o u s ; rather, he e m p l o y s sexual horror as the sign of his o w n e x p r e s s i v e n e s s . " In short, W i t k i n ' s photos, w i t h their claim to authenticity a u t h o r s h i p , still r e p r e s e n t t h e s t y l e t h a t is r e p u d i a t e d b y

and

modernist

postmodernism.

The so-called ' n e w surrealism', w h i c h s t a n d s in t h e A m e r i c a n

Critical

n i e t uit h e t o o g v e r h e z e n : d e l e g i t i m a -

o v e r f o t o g r a f i e d e e l u i t m a a k t (of h o o r t t e

reaction to the threat to reality by

was hidden behind ordinary

The

z o u d e n e v e n w e l u i t s t e k e n d als

t h e c o n t i n u a l r e s i s t a n c e a g a i n s t all f o r m s

W h e r e c o n t e m p o r a r y p h o t o g r a p h y is a

surrealist p h o t o g r a p h y w a s

Image

photography-as-art

t r a d i t i o n , represents neither a critical n o r a rebellious standpoint. This stylistic

Fred

Scruton

M e t r o M o b i l t a n . 1985 (uit/from: Squires)

L ó p e z M o n d é j a r Public- & V a r g a s L l o s a ,

Huayhuaca, José Carlos: Martin

M a r i o : M a r t i n C h a m b i , 1 9 2 0 - 1 9 5 0 . 1991,

Chambi

f o t o g r a f e 1991. Lima. Institut Francais d'Etudes

Madrid, Circulo de Bellas A r t e s L u n w e r g Editores S A ,

Andines-Banco de Lima. colección Travaux de l'IF E A No

116 pp, 100 i l l , Spanish, bw, 29 x 29 cm. pb, ISBN

52.164 pp. 142 ill., Spanish, bw, 29 x 24 cm, hc, ISBN

8477821321

8489302022

More on Chambi Meer over Chambi

Sinds kort bestaat er e e n h e r n i e u w d e

d o t i s c h e , al w o r d t h e t b o e k m e t e e n o v e r d r e -

Recently, there has been a r e s u r g e n c e Peruvian

t e n d t o w a r d s t h e v a i n a n d a n e c d o t a l , in

belangstelling voor het w e r k van de Peruvi-

v e n g r a n d e u r a a n g e k o n d i g d . O p z i c h is d a t

of interest in the w o r k of the

aanse fotograaf, Martin C h a m b i (1891-1973)

wel w e e r typerend voor de oppervlakkige

p h o t o g r a p h e r , Martin C h a m b i (1891-1973).

g r a n d e u r w i t h w h i c h t h e b o o k is a n n o u n c e d , t h o u g h this does serve to

contrast to the aspirations of

D e r e s e a r c h k w a m stil t e l i g g e n na het pio-

sensatiezucht van de redactie. O p e e n opval-

Research, w h i c h had been b r o u g ht to a

n i e r s w e r k va n E d w a r d R a n n e y aan het eind

lende plaats middeni n het boek vinden w e

standstill since the days w h e n

v a n d e zeventiger |aren, maar is nu w e e r m

een serie foto's van banale types, geheel

work was done by Edward

v o l l e g a n g . Er z i j n o o k t w e e g r o t e t e n t o o n -

o v e r e e n k o m s t i g d e c o n v e n t i e s v a n die tijd:

t o w a r d s the e n d of the nineteen seventies,

pioneering

Ranney

reveal the sense of s h a l l o w

spectacularity

which motivates the editors.

Prominently

p l a c e d in t h e c e n t r e o f t h e b o o k is a g r o u p

stellingen g e w e e s t over het w e r k van

het b a s k e t b a l l t e a m , d e v r o u w e l i j k e tennis-

has n o w b e e n r e c o m m e n c e d . T w o

C h a m b i : de tentoonstelling van het Circulo d e

sers, d e vrouwelijke stierenvechter, de bok-

s h o w s have also b e e n p r o d u c e d a n d are

f o l l o w the conventional patterns of that

B e l l a s A r t e s in M a d r i d (zie d e b e s p r e k i n g in

sers enzovoorts.

d u e to t o u r in Europe: that of the

era: t h e basketball t e a m , t h e lady t e n n i s

Perspektief No. 40) e n die v a n het

Museum

voor Volkenkunde m Rotterdam. Beide tent o o n s t e l l i n g e n z u l l e n b i n n e n k o r t o o k e l d e r s in E u r o p a t e z i e n z i j n . D o o r d e j a r e n h e e n is h e t w e r k v a n C h a m b i altijd m e t e e n k r r i s c h o o g b e k e k e n , m a a r s l e c h t s zelde n heeft dit g e l e i d tot h e t s o o r t o m v a n g r i j k e p u b l i k a t i e s als d e

In h e t i n l e i d e n d e e s s a y b i j 1920-1950.

P e r u v i a a n s e schrijver M a r i o Vargas Llosa is o n t s t e l l e n d o p p e r v l a k k i g . Zijn k a n s e n o p h e t p r e s i d e n t s c h a p v a n P e r u m o g e n zijn v e r k e k e n : dit s o o r t t e k s t e n k o m e n zijn s t a t u s a l s s c h r i j v e r o o k al n i e t t e n g o e d e . O p v a l l e n d is d e o v e r d r e v e n lof a a n h e t a d r e s v a n L u i s d e

t w e e die hier w o r d e n b e s p r o k e n .

C hambi,

Het korte v o o r w o o r d van de suksesvolle

T o l e d o , d e leider v a n het S p a a n s e project.

Martin

het boek van de uitge-

large

exaggerated

Circulo

which

d e Bellas A r t e s in M a d r i d (see a r e v i e w in

players, the female bullfighter, the boxers,

Perspektief N o . 40) a n d that o f the

et c e t e r a .

M u s e u m v o o r V o l k e n k u n d e in R o t t e r d a m . Throughout the years Chambi's work

has

b e e n the object of critical attention, but

scope comparable to those reviewed A c c o r d i n g to Publio López

author of the introductory essay to C hambi,

1920-1950,

here.

Mondéjar,

Zijn n a a m w e k t o o k niet d i r e c t v e e l v e r t r o u -

Martin

the book published

The short preface by the

successful

P e r u v i a n w r i t e r , M a r i o V a r g a s L l o s a , is g r o s s l y superficial. H a v i n g set aside his

s e l d o m has this led to publications of a

wen,

o m d a t zijn i n t e l l e c t u e l e i n t e g r i t e i t al e e n

of p h o t o g r a p h s of banal types

frustrated aspirations for the presidency of Peru, this type of text will surely not him write better books. However,

help

one

t h i n g t h a t d o e s s t a n d o u t is t h e disproportionate praise for Luis de Toledo,

verij L u n w e r g m M a d n d / B a r c e l o n a , zegt

a a n t a l j a r e n t e r d i s c u s s i e s t a a t . In i e d e r g e v a l

L u n w e r g o f M a d r i d / B a r c e l o n a , t h i s is

the leader of the Spanish project, w i t h

Publio López M o n d é i a r dat deze uitgave

is d u i d e l i j k d a t d e r e d a c t i e g o e d g e b r u i k w e e t

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

w h o m a n y a s s o c i a t i o n is l i a b l e t o a r o u s e

b e d o e l d is v o o r h e t g r o t e p u b l i e k e n z e k e r

te m a k e n van de n a a m van e e n

i n t e n d e d as a definitive w o r k o n C h a m b i .

s u s p i c i o n s d u e t o his d o u b t f u l

niet h e t ' v e r l o s s e n d e ' w o o r d o v e r C h a m b i e n

s c h r i j v e r , of d e z e n u w e l o f niet g o e d schrijft .

This m a y be a clear editorial criterion, yet

honesty . But unquestionably, the editors

it d e m a n d s a g r e a t e r r e s p o n s i b i l i t y

make the most of the association of this

;

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

beroemde

H e t e s s a y v a n L ó p e z M o n d é j a r is g e b a -

book w i t h the n a m e of a f a m o u s

duidelijk redactioneel standpunt, maar het

seerd op een bekrompen en bevooroordeeld

insisting upon the correctness

ontslaat d e redactie niet v a n d e v e r a n t w o o r -

beeld van d e achterlijke Indiaan, m e t bijbeho-

information spread amongst the general

delijkheid te zorgen voor correcte informatie.

r e n d g e g r i e n e n g e k l a a g . E e n citaat als v o o r -

public, instead of p r e s u m i n g that

H e t gaat met aan te v e r o n d e r s t e l l e n dat het

b e e l d : "all the bitterness, resignation, the

a n o n - s p e c i a l i s t a u d i e n c e is i n c a p a b l e o f

m d i g e n o u s pain a n d s a d n e s s - that s a d n e s s

perceiving the defects, one m a y

w h i c h for m a n y c o n s t i t u t e s a n a n t h r o p o l o g i -

i n d u l g e in t h e m

g r o t e p u b l i e k d e f o u t e n t o c h niet ziet. O m te b e g i n n e n meldt de redactie vol

cal a t t n b u t e of t h e A m e r i c a n Indian - are pre-

trots dat er t w e e m a a l e e n b e z o e k aan het

intellectual

;

because

therefore

gratuitously.

writer,

w h e t h e r he writes well or not. T h e e s s a y b y L ó p e z M o n d é j a r is b a s e d on a n a r r o w a n d prejudiced i m a g e of a backward Indian, blubbering

and

m o a n i n g . One passage of the m a n y

To begin w i t h , the editors boast of

that

could be extracted to back this up. At other

a r c h i e f v a n C h a m b i is g e b r a c h t e n d a t d e

s e n t in t h e s e s p l e n d i d p h o t o g r a p h s b y

having arranged two expeditions to the

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

t w e e Spaanse d e s k u n d i g e n de hele collectie

Chambi".

C h a m b i archive a n d that the t w o

f r o m a h o l l o w subjectivity, such as

technicians they sent have seen the entire

labelling C h a m b i ' s w o r k as b e i n g

h e b b e n gezien. De redactie vergeet echter te

A n d e r e passages staan bol van de adjec-

v e r m e l d e n dat d e familie C h a m b i , de eige-

t i e v e n d i e v o o r t k o m e n uit e e n l e g e s u b j e c t i v i -

collection. The editors do not m e n t i o n that

"personal, magical, profound

naar v a n h e t archief, a a n d e d e s k u n d i g e n bij

teit, zoals "persoonlijk , m a g i s c h , diep e n ver-

t h e first t i m e t h e S p a n i s h

dazzling". The essay also a b o u n d s

h u n e e r s t e b e z o e k s l e c h t s o n g e v e e r 1 5 0 pla-

b i j s t e r e n d " . E v e n v e r d e r o p in d e t e k s t l e z e n

w o r k e d in t h e a r c h i v e , t h e C h a m b i

t e n h e e f t l a t e n z i e n . Bij h e t t w e e d e b e z o e k

we:

k r e g e n de d e s k u n d i g e n volledige vrijheid van

precisely b e c a u s e of this magical accent

w i t h a p p r o x i m a t e l y 150 plates. O n their

referred to as an A y m a r a Indian o n page 7

inzage, m a a r s l e c h t s g e d u r e n d e tien d a g e n .

u p o n his p h o t o g r a p h i c language, s i m p l e a n d

s e c o n d visit t h e y did indeed

a n d a s Q u e c h u a o n p a g e 2 0 . O n p a g e 1 0 it

A l s z o ' n k o r t e p e r i o d e g e n o e g is g e w e e s t

" i f C h a m b i s u r p r i s e s a n d d a z z l e s , it is

technicians family,

o w n e r s of the archive, only provide d

them

have

brilliant mistakes and

and with

historical

c o n f u s i o n s . F o r e x a m p l e , C h a m b i is

is r e m a r k e d t h a t a t t h e b e g i n n i n g o f t h e

p o w e r f u l . y e t at t h e s a m e t i m e original, e x t r e -

u n l i m i t e d access but for just o v e r ten d a y s ,

alle p l a t e n ( 3 0 . 0 0 0 naar h u n z e g g e r ) d o o r t e

mely Peruvian and profoundly n e w " . Het

a n d if i n t h a t s h o r t p e r i o d t h e y s a w a l l t h e

1920's C h a m b i still d i s p l a y s a pictorialist

w e r k e n e n o o k n o g e e n s bijna t w e e h o n d e r d

essay staat o o k vol m e t briljante vergissingen

plates (30,000 a c c o r d i n g to t h e m ) , as well

a c a d e m i s m , but on the opposite page a p h o t o is s h o w n w h i c h r e p r e s e n t s t h i s

v e r g r o t i n g e n t e m a k e n , dan k u n je w e l o p je

en historische verwarring. Zo w o r d t C h a m b i

as m a k i n g a l m o s t t w o

vingers natellen hoe diepgravend h j n onder-

op bladzi|de 7 bijvoorbeeld e e n Aymara-lndi-

enlargements, then this should give

z o e k m o e t zijn g e w e e s t

a a n g e n o e m d e n o p b l a d z i j d e 2 0 b e h o o r t hij

an idea of the depth of their e x a m i n a t i o n .

A l h o e w e l de redactie over uitstekende b r o n n e n b e s c h i k t e , is d e h e l e o p z e t v a n h e t p r o j e c t n e t zo triviaal als h e t uiteindelijke resultaat. T e g e n h e t plan in. b e v a t het b o e k w e i n i g niet e e r d e r g e p u b l i c e e r d of n i e u w materiaal. M e e r d a n d e helft v a n d e f o t o ' s zijn r e p r o d u k t i e s v a n d e f o t o ' s d i e R a n n e y in d e j a r e n z e v e n t i g al s e l e c t e e r d e . W a t er overblijft, neigt naar h e t triviale e n het a n e k -

ineens tot d e Q u e c h u a - s t a m . O p bladzijde 10 staat dat het w e r k v a n C h a m b i aan het begin van de jaren t w i n t i g n o g formalistisch en traditioneel v a n aard is. D e f o t o o p d e bladzijde e r n a a s t d i e als v o o r b e e l d m o e t d i e n e n , dateert echter van 1930. O p de volgende bladzijden staat w e e r dat C h a m b i zijn b e s t e w e r k m a a k t e in de jaren dertig. Dergelijke o n g e r i j m d h e d e n laten zien h o e w e i n i g pre-

hundred one

A l t h o u g h the editors of this project w e r e certainly disposed of excellent resources, the triviality of their is c o m p a r a b l e t o t h e i r

intentions

accomplishments.

Contrary to their w i s h e s , this book c o n t a i n s little u n p u b l i s h e d o r material. M o r e t h a n half the

t e n d e n c y a n d is d a t e d 1 9 3 0 . N o n e t h e l e s s , o n t h e f o l l o w i n g p a g e it i s w r i t t e n t h a t during the thirties C h a m b i m u s t have

been

m a k i n g his best pictures. N a t u r a l l y , this inconsistency reflects t h e inaccuracy of the i n f o r m a t i o n as m u c h as t h e m a n n e r w h i c h t h i s is h a n d l e d t h r o u g h o u t

the

essay.

new photographs

N o n e of this serves to devalue the

reproduce the old selection by Ranney'. Of

w o r k d o n e o n the history of early

the photographs that remain, the

p h o t o g r a p h y by López Mondéjar',

majority

Spanish who

oddly e n o u g h has never been to Cuzco,

in his w o r k , a t t e m p t t o c l a r i f y his i m p l i c i t

c i e s d e i n f o r m a t i e i n h e t e s s a y is e n h o e e r

zijn u i t g e w e r k t , m a a r t o c h g e z i e n k u n n e n

the location of the C h a m b i archive, a n d

values, and place the facts within a well

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

w o r d e n als e e n w a a r d e v o l l e bijdrage aan d e

w h o does not possess a thorough

informed socio-historical frame

wordt omgesprongen.

kennis over leven e n w e r k van Martin

k n o w l e d g e of this archive. On the other

reference.

h a n d , it d o e s s a y s o m e t h i n g a b o u t t h e l a c k

Daarmee willen wij niets afdoen het

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

Chambi. Zo beschrijft Huayhuaca d e levens-

o n d e r z o e k naar h e t o n t s t a a n v a n d e S p a a n s e

loop van Chambi en de voornaamste stroming e n i n z i j n w e r k , p r o b e e r t hij d e d i e p e r e

o f j u d g e m e n t o n t h e p a r t of t h e e d i t o r s in

f o r t h e first t i m e in s u c h a n e x t e n s i v e

fotografie, dat ook o p n a a m staat van López

their s u p p o s i n g that the specialized fields

manner, factual information

M o n d é j a r . V r e e m d g e n o e g is h i j z e l f n o o i t i n

w a a r d e van d e fotograaf duidelijk te m a k e n

o f p h o t o g r a p h i c history are inter-

the absurd myth which surrounds

C u z c o is g e w e e s t w a a r z i c h h e t C h a m b i -

e n p l a a t s t hij d e f e i t e n i n e e n g o e d g e d o c u -

c h a n g a b l e . R e m a r k a b l e is t h e f a c t t h a t

a n d w h i c h seeks to present h i m as a s m a l l

a r c h i e f b e v i n d t e n h e e f t hij o o k g e e n g e d e -

menteerd sociohistorisch

E d w a r d R a n n e y w a s prepared to advise

and h u m b l e Indian w h o appears

g e n k e n n i s van dit archief. A a n d e a n d e r e

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

n o w h e r e and w h o b e c o m e s in an

p u b l i c h a v i n g to pay for the mistakes. He

undetermined way a photographic

even w r o t e an introduction for this

a myth whose consummation

book

challenges Chambi

from

kant zegt het w e l w e e r iets over het g e b r e k genius:

gaan dat d e verschillend e g e b i e d e n van d e

a n d w a s c o m m i s s i o n e d to do so by the

represented by the Spanish

e d i t o r s , w h o have so far b e e n

H u a y h u a c a e n d e a v o u r s to give us an

unavailable

aan inzicht van d e r e d a c t e u r e n , die er v a n u i t

geschiedenis van d e fotografie onderling ver-

project.

w i s s e l b a a r z i j n . O p m e r k e l i j k is o o k d a t

for c o m m e n t u p o n their reasons for

i m a g e of a m a n of flesh a n d b l o o d

deciding to dispense with his services.

within a cultural conflict, w h o can skilfully

adviseren, o m het grote publiek te behoeden

However, López M o n d é j a r recognizes that

m a n a g e t h e a b o r i g i n a l c o d e s as w e l l as

v o o r e v e n t u e l e f o u t e n . Hij k r e e g z e l f s

a m o r e definitive work about

the western; w h o suffers, doubts, makes

o p d r a c h t e e n inleiding voor het b o e k te schrij-

s h o u l d be the task of specialists, possibly

mistakes, and w h o also makes a

v e n e n h e e f t die o o k inderdaad g e s c h r e v e n .

P e r u v i a n , like H u a y h u a c a , a n d that he

s u c c e s s f u l p e r s o n a l c o n t r i b u t i o n , in t h e

M a a r d e h e r e n r e d a c t e u r e n zijn t o t o p h e d e n

d a r e d participate in this project

best part of his w o r k , to t h e cultural

niet b e r e i d t o e te lichten w a a r o m ze t e n s l o t t e

q u e s t i o n in his h i s t o r i c a l c o n t e x t .

v a n zijn d i e n s t e n h e b b e n a f g e z i e n . L ó p e z

Chambi

because

C h a m b i ' s w o r k m o v e d h i m j u s t as s o o n as h e c a m e t o k n o w it a n d C h a m b i

placed

became

one of those p h o t o g r a p h e r s he has

always

E d w a r d R a n n e y b e r e i d w a s bij h e t p r o j e c t t e

M o n d é j a r geeft echter t o e dat het laatste T h e e s s a y is p e r t i n e n t l y i l l u s t r a t e d b y a g r o u p of i m a g e s of varying nature

explain such a subjective approach to the

i l l u m i n a t e t h e t e x t . W h i l s t , it m u s t b e s a i d ,

g e n uit P e r u zelf, z o a l s H u a y h u a c a . Hij g e e f t

theme.

the quality of reproduction s in the

o o k ruiterlijk t o e d a t hij a a n h e t p r o j e c t d u r f d e

b o o k is u n i m p e a c h a b l e , t h e b o o k A n d on the other side of the w o r l d , in L i m a , Martin

C hambi

fotógrafo,

the

which José Carlos Huayhuaca

book

has

published parallel to the Spanish edition,

begun

his w o r k on C h a m b i ' s oeuvre even

before

R a n n e y , w h e n it w a s s t i l l u n k n o w n t o t h e

hiatus, he reinitiated his investigation. T h e

m e e te w e r k e n , o m d a t het werk van Chambi h e m vanaf de allereerste kennismaking ont-

h a v i n g b e e n p r o d u c e d in a p l a c e w h e r e

r o e r d e e n C h a m b i altijd e e n w a r m p l a a t s j e in

f e w resource s are available a n d at t h e

zijn hart h e e f t g e h a d - d a t v e r k l a a r t w a a r o m

m a r g i n of technological

hij h e t t h e m a o p z o ' n s u b j e c t i e v e m a n i e r

developments.

realizations, others are of great historical peripheral

extensive essay, uses

illustrations, a n d frequently the reading

unnecessary

rhetorical devices. He c o u l d p r o b a b l y

i n t r o d u c t i o n s is i n d e f i n i t e l y p o s t p o n e d ,

have

halved the n u m b e r of w o r d s used a n d thus transmitted his m e s s a g e

books

is g e n e r a l l y c a p t u r e d at f i r s t b y t h e

overloaded

adjectives and elaborates

help, as t h e reader of p h o t o g r a p h y

especially w h e n they are long

and

complicated.

e f f e c t i v e l y . Q u i t e v i s i b l e in t h e f o r m

A l l i n a l l , t h e b o o k b y H u a y h u a c a is a

m a k e n aan de absurde m y t h e v o r m i n g rond C h a m b i w a a r i n d e z e w o r d t a f g e s c h i l d e r d als e e n o n b e d u i d e n d e Indiaan, die uit het niets verschijnt en zomaar ineens een fotografis c h e g e n i e w o r d t - e e n m y t h e d i e in h e t S p a a n s e b o e k zijn b e k r o n i n g v i n d t . H u a y h u aca p r o b e e r t e e n b e e l d t e g e v e n v a n e e n m a n v a n v l e e s e n b l o e d , in e e n c u l t u u r - c o n flict, d ie heel k n a p d e c o d e s v a n d e Peruviaanse en de w e s t e r s e cultuur w e e t te hanter e n . E e n m a n d i e lijdt, t w i j f e l t , f o u t e n m a a k t , e n in zijn b e s t e f o t o ' s e e n s u k s e s v o l l e persoonlijke bijdrage levert aan d e c u l t u u r k w e s t i e in h i s t o r i s c h

perspectief.

Het essay wordt verlucht m e t relevante foto's v an uiteenlopende aard. D e eerlijkheid g e b i e d t o n s te z e g g e n dat o p d e kwaliteit va n d e r e p r o d u k t i e s in h e t S p a a n s e w e r k

niets

valt aan t e m e r k e n . H e t b o e k van H u a y h u a c a is i n d i t o p z i c h t b e p e r k t e r , w a t n i e t z o v r e e m d i s o m d a t h e t g e m a a k t is m e e n l a n d w a a r d e

C hambi

fotógrafo.

D i t b o e k is i n

H e t e s s a y is g e ï l l u s t r e e r d m e t e e n g r o o t

v r i j w e l alle o p z i c h t e n h e t t e g e n o v e r g e s t e l d e

aantal f o t o ' s van diverse kwaliteit; s o m m i g e

v a n h e t S p a a n s e b o e k d a t in h e t z e l f d e jaar

zijn s c h i t t e r e n d o m t e z i e n , a n d e r e zijn v a n

v e r s c h e e n . H u a y h u a c a b e g o n zijn o n d e r z o e k

grote historische betekenis en w e e r

naar het w e r k v a n C h a m b i zelfs n o g v o o r

zijn v a n m a r g i n a a l b e l a n g . Dit c r i t e r i u m w o r d t

Ranney, t o e n n i e m a n d n o g ooit van deze

w e l i s w a a r i n h e t e s s a y u i t g e l e g d , m a a r ik d e n k t o c h d a t k o r t e o n d e r s c h r i f t e n bij d e

breking heeft Huayhuaca de draad van het

f o t o ' s w e l m a k k e l i j k g e w e e s t z o u d e n zijn,

onderzoek e e n aantal jaren g e l e d e n w e e r

o m d a t d e lezer van e e n boek over fotografie

o p g e p a k t , m e t als resultaat dit i n t e r e s s a n t e

meestal het eerst w o r d t geboeid door de

boek.

foto's. Het lezen v a n inleidende t e k s t e n

H e t S p a a n s e b o e k v a n M o n d é j a r is

p e r s o n a l i t i e s f r o m o t h e r l a t i t u d e s in

o f s t u d i e s o n t h e s u b j e c t a n d it r e a c h e s

essay van Huayhuaca maakt gebruik van

comparisons with Chambi,

firm conclusions which explain

g e z w o l l e n adjectieven e n overbodige retori-

Chambi's

andere

fotograaf g e h o o r d had. Na e e n lange onder-

fantastic contribution to the

development

len m e t m i n d e r m i d d e l e n .

Lima, publiceerde J o s é Carlos Huayhuaca het

copious citations and allusions to

Huayhuaca

informatie geprobeerd w o r d t een einde te

t e c h n o l o g i s c h e o n t w i k k e l i n g n o g n i e t e c h t is

A a n d e a n d e r e k a nt v a n d e w e r e l d , in

b o e k Martin

s o r t . It i s u n d e r s t o o d t h a t t h i s c r i t e r i o n is

the p h o t o g r a p hs w o u l d have been of great in a s i m p l e style, H u a y h u a c a , in his

e e r s t o p z o ' n u i t g e b r e i d e schaal via feitelijke

doorgedrongen en waar m e n het m o e t stel-

aesthetic

believe that short explanatory captions to

W h e r e a s t h e S p a n i s h b o o k is w r i t t e n

benadert.

p h o t o g r a p h s o f d i v e r s e q u a l i t y is presented; s o m e are s u p e r b

e x p l a i n e d i n t h e e s s a y , b u t it i s e a s y t o

now

offers us.

echte deskundigen, m e t name van deskundi-

H u a y h u a c a is r e s t r i c t e d in t h i s s e n s e ,

content, and others of a more

w o r l d . S o m e years a g o , after a l o n g

r e s u l t is t h e i n t e r e s t i n g v o l u m e h e

Spanish by

Following the essay, an a m p l e selection of

is its o p p o s i t e in a l m o s t e v e r y w a y . H u a y h u a c a stands out for having

which

w o o r d over Chamb i dient te k o m e n van d e

c a r r i e d in his s o u l - r e a s o n e n o u g h t o

referentiekader.

H e e l b e l a n g r i j k is o o k d a t h i e r v o o r h e t

g e s c h r e v e n in c c n e e n v o u d i g e s t i j l . H o t l a n g e

w o r d t vaak e i n d e l o o s u i t g e s t e l d, vooral als het gaat o m lange e n g e c o m p l i c e e r d e teksten. A l m e t al is h e t b o e k v a n H u a y h u a c a e e n

r e s o r t s t o s u p e r f l u o u s e r u d i t i o n w h i c h is

w o r k w e l l a n d w h i c h lay

o u t of context. He c o n s i d e r s this to be part

foundations for further investigations to

w o o r d e n w a s w a a r s c h i j n l i j k al g e n o e g

r i n g v a n h e t o n d e r w e r p . Er w o r d e n d u i d e l i j k e

of a m e t h o d " w i l d , y e t c a p a b l e of

achieve m o r e definitive results.

g e w e e s t en d e b o o d s c h a p zou er e e n s t u k

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

d u i d e l i j k e r o p g e w o r d e n z i j n . In z i j n v e e l v u l -

C h a m b i verhelderen en e e n belangrijke basis

dige citaten e n vergelijkingen m e t

v o r m e n v o o r v e r d e r o n d e r z o e k , dat m e e r uit-

providing certain fresh insights, o w i n g

its lack of d o m e s t i c a t i o n " . H u a y h u a c a

says

s c h e t e c h n i e k e n . De helft van het aantal

important

Jorge

Heredia

personen

t h a t t h i s is a p e r s o n a l e s s a y , a n d it i s t r u e

uit a n d e r e w e r e l d d e l e n , n e e m t

that he says as m u c h a b o u t himself as he

zijn t o e v l u c h t t o t e e n o v e r b o d i g e e r u d i t i e d i e

does about Chambi. Huayhuaca

hier h e l e m a a l niet p a s t . Hij ziet dat als o n d e r -

excuses

Huayhuaca

fantastische stimulans tot verdere bestude-

sluitsel m o e t g e v e n . Jorge Heredia Noten/Notes

himself by saying that he has tried to

deel van e e n m e t h o d e " e e n wilde m e t h o d e ,

1. Als v o o r b e e l d h i e r v a n , zie:/As an e x a m p l e of

sketch risky yet productive

die w e l leidt t o t v e r f r i s s e n d e i n z i c h t e n , o m d a t

t h i s , s e e : Martin

hypotheses,

and that the looseness of the

imagination

C hambi,

d e m e t h o d e n o g n i e t ' g e t e m d ' is " . H u a y h u -

1920-1950,1985,

and the association of ideas contribute

a c a n o e m t zijn e s s a y e e n p e r s o o n l i j k e s s a y

C hambi, fotografias

towards illuminating the subject.

e n d a t k l o p t w e l ; hij g e e f t e v e n v e e l i n f o r m a -

The excesses of H u a y h u a c a can be forgiven, because once the rhetoric

has

been filtered a g o o d g r o u p of solid

ideas

remains which, although they may

not

have been perfectly finished,

nonetheless

a l l o w t h e m s e l v e s t o b e r e a d as a stimulating contribution to the

knowledge

tie overzichzelf als o v e r C h a m b i . H u a y h u a c a d e k t z i c h z e l f i n m e t d e m e d e d e l i n g d a t hij r i s kante maar werkbare hypotheses heeft willen f o r m u l e r e n e n dat het losse karakter van de verbeelding en de ideeën-associatie een v e r h e l d e r e n d licht w e r p e n o p het o n d e r w e r p .

fotografies

del P eru

Martin

1920-1950,1988,

B o g o t a , B a n c o de la R e p u b l i c a / B i b l i o t e c a Luis 2. In h e t j u n i n u m m e r v a n 1988 v a n El Pais S e m a n a l , p l a g i e e r d e T o l e d o e e n artike l dat e e r d e r d o o r R o d e r i c Camp w a s g e p u b l i c e e r d in A m e r i c a s , N o . 3. m a a r t 1978./ln t h e J u n e 5th, 1988, e d i t i o n of El Pais S e m a n a l , T o l e d o p l a g i a r i z e d an a r t i c l e by R o d e r i c C a m p p r e v i o u s l y p u b l i s h e d in A m e r i c a s , v o l . 3, M a r c h 1978.

H u a y h u a c a g a a t v a a k t e v e r m a a r h e t zij

3. D o o r / B y Lopez M o n d é j a r , zie b i j v o o r b e e l d / s e e

h e m v e r g e v e n : a l s d e r e t o r i e k e e n m a a l uit

f o r e x a m p l e Las fuentes

Thus does Huayhuaca describe

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

y la sociedad

c o n c r e t e i d e e ë n over, die n o g niet helemaal

M a d r i d , L u n w e r g Editores.

c o u r s e of life, characterize t h e m a i n t r e n d s

P eru

Arango.

of t h e life a n d w o r k of M a r t i n C h a m b i . Chambi's

del

B u e n o s A i r e s , La A z o t e a ;

de la memoria,

en la E spana

F otografia

del siglo XIX, 1989,

N A b i g a i l S o l o m o n - G o d e a u : P h o t o g r a p h y at the Doek, Essays on Photographic

History,

I n s t i t u t i o n s , a n d P r a c t i c e s . 1991. Minneapolis. Umversity of Minnesota Press, (Media and Society

Photography at the Doek

Series. Part 4). 322 pp. 130 i l l . ISBN 0816618131

Photography at the Doek

words. W i th these twelve

essays,

p u b l i s h e d b e t w e e n 1981 a n d 1988 in A f t e r i m a g e , October, The Print Collector's Newsletter and other sources, she photography, or rather

brings

photographic

c r i t i c i s m i n t o t h e d o e k . H e r c r i t i c i s m is. h o w e v e r , m o r e than a rejection of the modernist formal/aesthetic approach to p h o t o g r a p h y , in w h i c h c r i t e r i a s u c h as a u t h o r s h i p , o e u v r e a n d u n i q u e n e s s are still s a c r e d c o w s . S o l o m o n - G o d e a u

directs

her accusations primarily against the patriarchal character of

modernism,

represented by institutions such as m u s e u m s , galleries a n d , not least of all, the critics t h e m s e l v e s . Her greatest c o m p l a i n t , h o w e v e r , c o n c e r n s the fact that these m o d e r n i s t values are

dispensed

f r o m the hand s of only a small g r o u p of primarily masculine power figures, such as theoreticians a n d c o n s e r v a t o r s . Solomon-Godeau breaks through

the

c o n v e n t i o n s by placing p h o t o g r a p h y in a historical, sociological and

economie

context. She considers the photograph

a product of a culture, of which the p h o t o g r a p h e r s t h e m s e l v e s are also an e x p o n e n t . By d o i n g so she

acknowledges

the subjectivity of the p h o t o g r a p h e r,

and

w i t h it t h e r e l a t i v e e x t e n t t o w h i c h a p h o t o g r a p h reflects reality. T h r o u g h

her

r e f u s a l t o raise t h e p h o t o t o art, o r t o a c c e p t it a s a m e d i u m f o r

establishing

r e a l i t y , b u t m o s t o f all b y h e r a c k n o w l e d g e m e n t of the

instrumental

f u n c t i o n of t h e p h o t o in f e m i n i s m , s h e places herself outside the circles of p o w e r in w h i c h theoreticians rule Photography

conventional modernist

suprĂ¨me. at the

Doek

consists of

f o u r c h a p t e r s , in w h i c h t h e s t r a t e g y of h e r p r o t e s t a g a i n s t m o d e r n i s m is s e t o u t by step. A l t h o u g h the essays w e r e

step

written

in d i f f e r e n t y e a r s , in r e g a r d t o t h e i r t h e m e s t h e y appear to be seamlessly j o i n e d to o n e another. The points of criticism w h i c h calls into q u e s t i o n d o not g o

she

unanswered.

A f t e r a n a l y s i n g t h e c h a p t e r s , it a p p e a r s t h a t Photography

at the

Doek

is a q u e s t i o n

and a n s w e r g a m e she has d e v e l o p e d , in w h i c h s h e m a k e s it p o s s i b l e f o r h e r

reader

to find solutions. Politics

a n d e r e A f t e r i m a g e , O c t o b e r e n T h e Print Coll e c t o r ' s N e w s l e t t e r p l a a t s t zij d e f o t o g r a f i e k r i -

f a r d o m i n a t e s is t h e p r o d u c t o f

markets, adacademies, and consequently

t i e k i n d e b e k l a a g d e n b a n k . H a a r k r i t i e k is

markets, and academies, and

of m o d e r n i s t p h o t o g r a p h i c criticism

bears their s t a m p

m e e r dan e e n afwijzing van de modernisti-

consequently bears their stamp. As the

the functioning of m o d e r n i s t

t h e o r y to a critical analysis, in w h i c h

A s t h e o f f i c i a l h i s t o r y it is,

" T h e n a m i n g of p h o t o g r a p h y that thus

I n C h a p t e r I, The

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

museums,

A estheticism,

she subjects the

foundations and

photographic

u n s u r p n s m g l y , o f f i c i a l l y (his) s t o r y . It m u s t

sche formeel-esthetische benadering van de

o f f i c i a l h i s t o r y it i s , u n s u r p r i s i n g l y ,

therefore be the task of t h e feminist photo-

fotografie, w a a r criteria als a u t e u r s c h a p, o e u-

o f f i c i a l l y ( h i s ) s t o r y . It m u s t t h e r e f o r e

graphy cntic to revise it."

vre e n uniciteit n o g steed s heilige huisjes

the task of the f e m i n i s t p h o t o g r a p h y critic

remain unscathed.

zijn. S o l o m o n - G o d e a u richt haar b e s c h u l d i -

to revise it."

points t o h i m as the chief suspect in the

Z o besluit Abigail S o l o m o n - G o d e a u haar i n l e i d i n g v a n d e e s s a y b u n d e l Photography The Doek

M e t de twaalf essays, gepubli-

ceerd m de periode 1981-1988 m onder

ging vooral op de patnarchie van het moder-

Abigail S o l o m o n - G o d e a u closes her

particularly J o h n Szarkowski does

establishment of m o d e r n i s t

photographic

n i s m e , v e r t e g e n w o o r d i g d door instituties als

introduction to the essay collection

t h e o r y . It w a s S z a r k o w s k i w h o

m u s e a e n g a l e r i e s e n n i e t in d e l a a t s t e p l a a t s

Photography

a vocabulary for discussing

at the

Doek

with these

not

Solomon-Godeau

developed

photos

( c o n s i s t i n g of t h e p r o p e r t i e s i n h e r e n t in

American cultural p h e n o m e n o n .

every photo, including "the detail", "the

after the S e c o n d W o r l d W a r

Although

Greenberg

d o o r de critici zelf. Haar g r o o t s t e aanklacht

Haar k r i t i s c h e visie o p d e

betreft het feit dat d e t o e k e n n i n g van deze

c u l t u u r d i e n d e als u i t g a n g s p u n t in h e t e s s a y Disarmed.

m o d e r n i s t i s c h e w a a r d e n i n h a n d e n is v a n

The Armed

itself" a n d " t i m e " ) , w i t h w h i c h he s o u g h t

that did not mean that he became a

slechts e e n kleine groep (voornamelijk) m a n -

d i t e s s a y R adical

to create a basis for an

p r o p o n e n t of g r o u n d l e s s f o r m a l i s m .

nelijke theoretici e n c o n s e r v a t o r e n , die zich

Style,

tradition of p h o t o g r a p h y . W i t h this

According to Greenberg, abstract

v e e l a l in i n v l o e d r i j k e p o s i t i e s b e v i n d e n in

h e t v e r s c h i l t u s s e n h e t m o d e r n i s m e in d e

v o c a b u l a r y he legitimated his

e x p r e s s i o n i s m h a d o r i g i n a t e d o n l y as a

deze instituties.

S o v j e t u n i e e n N o o r d - A m e n k a . Zij p l a a t s t i n d i t

frame", "the vantagepoint", "the

m o d e r a t e d his m a r x i s t - t r o t s k y i t e

thing

autonomous

promotion

position,

o f a n y p h o t o g r a p h e r to t h e status of artist,

reaction to the e m p t y conventions of the

not only for himself but for every

Western avant-garde. Ironically e n o u g h ,

p r o p o n e n t of the m o d e r n i s t a p p r o a c h t o

abstract expressionism w a s

p h o t o g r a p h y . In d o i n g s o , h e a l s o

d u r i n g the Cold W a r years. After all, n o n -

e s t a b l i s h e d his p o s i t i o n of p o w e r as a

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

suspect

torische, sociologische en economische kon-

conservator and demonstrated that f r o m

negative as w e l l as a positive reaction to

rules

A m e r i c a n society. Thus, for this

of play for p h o t o g r a p h y . 'By w h o s e

right?',

G r e e n b e r g and the artists a r o u n d h i m ,

asks S o l o m o n - G o d e a u , a n d the

e s s a y s C alotypomania Authoring

E ugene

h o w the art m a r k e t f u n c t i o n s - a n d profits -

conservator and his confederates

basis of their o w n rules of play. A c c o r d i n g

p h o t o g r a p h y but also the f o r m a t i o n

critical t h e o r y stands e x p o s e d to these

and

his

presentation in invisible ink." She then

Vision

W e apon

indicates S o l o m o n - G o d e a u s v i e w of the difference between Soviet m o d e r n i s m

and

its A m e r i c a n r e f l e c t i o n . In t h i s e s s a y s h e contrasts the engaged Russian avantg a r d e , in w h i c h s h e d e f e n d s R o d c h e n k o

the primary representative, and the contentless A m e r i c a n style of Callahan and Siskind, representing the Chicago

personal

s c h i l l e n d e j a r e n g e s c h r e v e n z i j n , s l u i t e n zij

b a c k g r o u n d is t a k e n i n t o a c c o u n t . W h e r e

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

G r e e n b e r g i m p l i c i t l y p l a c e s art in a s o c i a l

m a t i e k . Photography

f r a m e w o r k , Szarkowski tries to

S o l o m o n - G o d e a u o n t w o r p e n vraag- en ant-

ignore

sociological

cism,

vooral J o h n S z a r k o w s k i niet g e s p a a r d w o r d t .

t h a n as G r e e n b e r g i a n . M o r e o v e r ,

S o l o m o n - G o d e a u w i j s t h e m als h o o f d s c h u l -

borrowing from Greenbergs

any

r e l a t i n g t o p a i n t i n g is u n l i k e l y , b e c a u s e

sche fotografietheorie. Szarkowski heeft

Szarkowski strove to construct a history

namelijk e e n vocabulaire o n t w o r p e n voor de b e s c h o u w i n g van f o t o ' s ( b e s t a a n d e uit ter-

by referring only to the characteristics

m e n als " t h e d e t a i l " , " t h e f r a m e " , " t h e vantagepoint", " t h e thing itself" en " t i m e " , die v o l g e n s h e m a a n e l k e f o t o v e r b o n d e n zijn).

T h e real settling of a c c o u n t s w i t h the

H i e r m e e p r o b e e r d e hij e e n b a s i s t e s c h e p p e n

Solomon-Godeau

h e r e Iets artists f r o m t h e

compares Greenbergs modernist w i t h respect to painting a n d

theories

Szarkowski's

vision of p h o t o g r a p h y . H o w e v e r ,

both

m o d e r n i s m . For her, Vikky A l e x a n d e r s of photos f r o m advertising and

Richard

representative of the effort to

She considers the recording of the a b s e n c e of o b j e c t s in t h e w o r k o f J a m e s W e l l i n g as a p a r o d y o f " t h e t h i n g and "the detail" from

itself"

Szarkowski's

c o n t e x t . In t h i s c a s e t h a t is i m p o r t a n t ,

vocabulary. But according to S o l o m o n -

because Szarkowski and Greenberg

G o d e a u , t h e real s t u m b l i n g b l o c k of

different political backgrounds,

which

w e r e r e f l e c t e d in t h e f o r m a t i o n of t h e i r respective theories. Formerly a writer for m a r x i s t - t r o t s k y i t e j o u r n a l s s u c h as T h e Nation and The Partisan

Review,

G r e e n b e r g g a v e clear indications of his e n g a g e d p o s i t i o n in his

programmatic

c o n s i d e r a t i o n s of art. F u r t h e r ,

Greenberg

w a s of the opinion that social c i r c u m s t a n c e s w e r e the soil in w h i c h art w a s rooted. Thus , he labeled

American

a b s t r a c t i m p r e s s i o n i s m as a t y p i c a l

are

d e m y t h o l o g i z e the a u t h o r s h i p of the artist.

B u r g i n a n d S o l o m o n - G o d e a u fail t o p l a c e

had

use

Prices r e p h o t o g r a p h e d a d v e r t i s e m e n t s

these theoreticians in their historical

m o d e r n i s m has not been but modernist theory

voor e e n a u t o n o m e traditie van de fotografie. Hij l e g i t i m e e r d e m e t dit v o c a b u l a i r e niet

Art Institute. Als oorzaak voor het A m e r i k a a n s e f o r m a l i s m e n o e m t zij d e o p t i m i s t i sche s t e m m i n g die na de T w e e d e Wereldo o r l o g in d e V e r e n i g d e S t a t e n h e e r s t e . Een a n d e r e representant van die o p t i m i s t i s c h e s t e m m i n g d i e zij i n d i t v e r b a n d a a n w i j s t , is C l e m e n t G r e e n b e r g . S o l o m o n Godeau maakt een vergelijking tussen Greenbetrekking

de fotografie, Ze vergeet echter beide theoretici in e e n h i s t o r i s c h e k o n t e k s t t e p l a a t s e n . I n d i t g e v a l is d a t v a n b e l a n g o m d a t S z a r k o w s k i en Greenberg andere politieke achtergronden hadden, w a t invloed had op beider theorievorming. Greenberg, voormalig publicist v a n d e m a r x i s t i s c h - t r o t s k i s t i s c h e tijdschriften The Nation e n T h e Partisan R e v i e w, g a f in zijn p r o g r a m m a t i s c h e k u n s t b e s c h o u -

postmodernism,

itself.

der van d e modernistische benadering van de f o t o g r a f i e , d e m a n i e r w a a r o p hij i e d e r e f o t o -

The ultimate acceptance

graaf tot kunstenaar verklaarde. Zo b e v e s -

lead to w h a t she describes as

eigen spelregels voor de fotografie kon bepa-

C anon

F odder:

Authoring

E ugene

Atget

o m s c h r i j f t ze o p w e l k e m a n i e r d e k u n s t m a r k t p r o f i t e e r t e n f u n c t i o n e e r t in dit p r o c e s , waarin de modernistische conservator en consorten het ' s t a r d o m ' van e e n fotograaf

v o r m i n g staat

bloot aan deze invloeden,

practices that use p h o t o g r a p h y " . By the

Benjamin: " T h e e v e n t s surrounding the historian a n d in w h i c h h e t a k e s part w i l l u n d e r l i e

s u n has really set f o r

his p r e s e n t a t i o n in i n v i s i b le i n k . " H a a r e i g e n

p h o t o g r a p h y . A s an e x a m p l e , she cites the

v i s i e o p d e ' p h o t o g r a p h y b o o m ' , o n t s t a a n in

w o r k of Sherrie Levine,

h e t R e a g a n - t i j d p e r k , z i e t ze als e e n r e s u l t a a t

who

rephotographed s o m e photos by p r e s e n t e d t h e m as m a d e b y

Weston

herself.

kistische standpunt matigde, betekende dat n i e t d a t hij v o o r s t a n d e r w a s g e w o r d e n v a n

e x p r e s s i o n i s m e , aldus G r e e n b e r g , w a s juist o n t s t a a n als e e n reactie o p het i n h o u d s l o z e s t y l i s m e v a n d e W e s t e r s e a v a n t - g a r d e . Ironisch g e n o e g w e r d het abstract expression i s m e t e n tijde v a n de Koude Oorlog g e w a n trouwd, omdat i m m e r s de niet-representat i e v e k u n s t z o w e l e e n p o s i t i e v e als e e n n e g a maatschap-

pij k o n b e t e k e n e n . G r e e n b e r g , e n k u n s t e naars r o n d o m h e m zoals G o r k y en Pollock, w e r d e n o m d e z e r e d e n d a n o o k in h e t McCarthy-tijdperk m e t argusogen bekeken.

van het hedendaagse

marktmechanisme.

Szarkowski daarentegen gaf g e e n enkele

een eigen traditie o n t w i k k e l e n voor de f o t o-

G o d e a u ' s vraag, die t e l k e n s als L e i t m o t i v a a n w e z i g i s . I n d e e s s a y s C alotypomania

w o r d " u s e " alone, she declares that the autonomous

T w e e d e W e r e l d o o r l o g zijn m a r x i s t i s c h - t r o t s -

blijk v a n e e n p o l i t i e k e s t e l l i n g n a m e . H i j w i l d e

l e n . ' M e t w e l k r e c h t ? ' , luidt S o l o m o n -

aldus S o l o m o n - G o d e a u . Ze citeert W a l t er

"art

b e s t e m p e l d e hij h e t A m e r i k a a n s e a b s t r a c t e x p r e s s i o n i s m e als e e n t y p i s c h A m e r i k a a n s

t o o n d e hij a a n d a t hij v a n u i t d e z e p o s i t i e z i j n

alleen d e f o t o g r a f i e zelf, m a a r o o k d e t h e o r i e has

v o e d i n g s b o d e m van kunst w a r e n . Daarom

t i g d e hij z i j n m a c h t s p o s i t i e a l s c o n s e r v a t o r e n

bepalen op basis van eigen spelregels. Niet

p h o t o g r a p h y as an artistic discipline

de maatschappelijke omstandigheden de

tieve reactie o p d e Amerikaanse

alleen voor zichzelf, m a a r voor elke v o o r s t a n-

postmodern

m o v e m e n t itself tear u p t h e f o u n d a t i o n s

Solomon-Godeau

i n h o u d s l o z e A m e r i k a a n s e stijl v a n Callahan

e e n ongefundeerd formalisme. Het abstract

f o r p h o t o g r a p h y that p r o v e d its a u t o n o m y

m o o d w h i c h p e r m e a t e d the United

Victor Burgin also d o e s ,

S o v j e t u n i e , w a a r zij v o o r a l R o d c h e n k o a l s v e r tegenwoordiger verdedigt, tegenover de

c u l t u u r v e r s c h i j n s e l . H o e w e l G r e e n b e r g na d e

dige aan van de vestiging van d e modernisti-

theories

Photography

Clement G r e e n b e r g . As, for instance,

o n d e r w e r p t ze d e f u n d a m e n t e n v a n d e

tioneren van de modernistische fotografie-

should

theory

A estheti-

modernistische fotografiekritiek en het func-

history

c o m e s in t h e s e c o n d c h a p t e r

points as an e x p o n e n t of this m o o d

theorie aan e e n kritische analyse, w a a r i n

Postmodernism.

e s s a y d e g e ĂŤ n g a g e e r d e a v a n t - g a r d e in d e

w i n g n o g d u i d e l i j k blijk v a n z i j n g e ĂŤ n g a g e e r d e

r a t h e r b e s e e n as s o m e o n e w h o c a r r i e s o n

and

s t e l l i n g n a m e . V e r d e r w a s hij v a n m e n i n g d a t In h o o f d s t u k I, The Politics

rules of m o d e r n i s t p h o t o g r a p h i c

she

is e e n d o o r

maakt de o p l o s s i n g e n te v i n d e n .

A m e r i c a n f o r m a l i s m as t h e o p t i m i s t i c

O n e other evil g e n i u s to w h o m

The Doek

w o o r d s p e l , w a a r i n zij h e t d e l e z e r m o g e l i j k

s p e c i f i c a l l y i n h e r e n t in p h o t o g r a p h y .

War.

the tradition of B e a u m o n t N e w h a l l , rather

Institute. She identifies the cause of this

after the S e c o n d W o r l d

b e s t a a t uit vier

u i t e e n g e z e t w o r d t . H o e w e l d e e s s a y s in v e r -

Art

States

Doek

and Szarkowski becomes

of t h e m e d i u m itself. T h u s he

Style,

The

betoog tegen het m o d e r n i s m e stap voor stap

r e l e v a n t f r a m e o f r e f e r e n c e is t h e

Armed

W e apon

g e e f t S o l o m o n - G o d e a u s visie w e e r op

tot de schilderkunst en Szarkowski's visie op

artistic. T h u s the c o m p a r i s o n of G r e e n b e r g

According to Szarkowski, the only

The subtitle of this essay, from

Photography

from

bergs modernistische theorie m e t

theoreticus de scepter zwaait.

h o o f d s t u k k e n , w a a r i n d e strategie v a n haar

Her

critical v i e w s e r v e s as h e r p o i n t o f

F ormalism,

discipline

wall of a m u s e u m .

R e a g a n - e r a , as a r e s u l t o f t h e contemporary market mechanism.

Daarmee

p l a a t s t zij z i c h z e l f b u i t e n h e t c o n v e n t i o n e l e machtscircuit, waarin de modernistische

c o n t e x t o f a p h o t o b y i s o l a t i n g it o n t h e

" p h o t o g r a p h y b o o m " , b e g i n n i n g in t h e

t i e v a n d e f o t o in h e t f e m i n i s m e .

photography any function other than the

precisely this historical and

sets forth her o w n vision of the

Ftadical

any

in t h e f i n e a r t s , he in fact d e n i e d t o

problematic w h e n their

Benjamin:

"The events surrounding the historian in w h i c h he takes part will underlie

ren, maar erkent ook de instrumentele func-

gives

not the slightest appearance of having

p h o t o g r a p h y as a n a u t o n o m o u s

to Solomon-Godeau, not only

Disarmed.

kelijkheidsbevestigend m e d i u m te accepte-

developing a separate tradition for

decree

the " s t a r d o m " of a p h o t o g r a p h e r on the

d e p a r t u r e i n t h e e s s a y The

gert d e f o t o t o t kunst te v e r h e f f e n of als w e r -

political p o s i t i o n . W i t h his o b j e c t i v e o f

modernist

influences. She quotes Walter

viewed

O n the other hand, Szarkowski

she describes

in t h i s p r o c e s s , in w h i c h t h e

van de realiteitswaarde van d e foto. Ze w e i -

F odder:

a n d C anon Atget,

van de fotograaf e n d a a r m e e d e relativiteit

w i t h suspicion during the McCarthy era'.

D e subtitel van

F ormalism,

en Siskind, representanten van The Chicago

o o k e x p o n e n t is. Z e e r k e n t d e s u b j e c t i v i t e i t

reason

s u c h as G o r k y a n d P o l l o c k , w e r e

question

t e k s t . Z e b e s c h o u w t d e f o t o als e e n p r o d u k t van e e n cultuur, w a a r v a n d e f o t o g r a a f zelf

t h i s p o s i t i o n he c o u l d set d o w n t h e

r e a p p e a r s c o n s t a n t l y as a L e i t m o t i v . In t h e

Solomon-Godeau doorbreekt de convent i e s d o o r d e f o t o g r a f i e t e p l a a t s e n in e e n h i s -

Vision

Noordamenkaanse

g r a f i e als a u t o n o m e d i s c i p l i n e in d e b e e l d e n d e k u n s t . I n f e i t e o n t k e n d e hij i e d e r e andere functie van de fotografie dan d e artistieke. De vergelijking

Szarkowski-Greenberg

is d u s p r o b l e m a t i s c h w a n n e e r w e h u n e i g e n a c h t e r g r o n d in o g e n s c h o u w n e m e n . W a a r G r e e n b e r g d e k u n s t i m p l i c i e t in e e n m a a t schappelijk kader plaatst, tracht Szarkowski juist d e h i s t o r i s c h e e n s o c i o l o g i s c h e

kontekst

v a n d e f o t o t e n e g e r e n d o o r haar in d e m u s e ale o m g e v i n g t e p l a a t s e n . V o l g e n s Szark o w s k i is h e t e n i g e r e l e v a n t e

referentiekader

d e g e s c h i e d e n i s v a n h e t m e d i u m zelf. De daadwerkelijke afrekening m e t de spelregels van de modernistische

fotografietheorie

v i n d t p l a a t s in h e t t w e e d e h o o f d s t u k graphy

And

Postmodernism.

Solomon-

Photo-

B O E

K E N

G o d e a u laat hier d e k u n s t e n a a r s uit d e p o s t -

lijke r e a l i t e i t s w a a r d e in h e t d a g l i c h t t e s t e l l e n .

a c k n o w l e d g i n g art p h o t o g r a p h y b y

m o d e r n e p r a k t i j k zelf d e f u n d a m e n t e n v a n

I n R econstructing

s o , b u t at t h e s a m e t i m e d e c l a r i n g t h a t its

b y m e n , is a n e c e s s i t y . It i s s u r p r i s i n g

het m o d e r n i s m e elimineren. Vikky Alexan-

het w e r k v a n C o n n i e Hatch, die ze

a u t o n o m y b e l o n g e d to the past.

Solomon-Godeau compares the strategy

d e r s g e b r u i k v a n f o t o ' s uit d e r e c l a m e e n

b e s c h o u w t als v o o r b e e l d v a n d e z e n i e u w e

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

that Hatch wields, the alienation of her

Richard Pnnces geherfotografeerde adverten-

v o r m van documentaire fotografie. Hatch

status as art, it's all d r e s s e d u p , b u t

s u b j e c t s , w i t h B r e c h t s V erfremdung.

ties r e p r e s e n t e r e n S o l o m o n - G o d e a u s

g e b r u i k t d e f o t o g r a f i e als i n s t r u m e n t in haar

n o w h e r e to g o " . Thus she

naar d e d e m y t h o l o g i s e r i n g van het a u t e u r -

feministische strategie, maar heeft w e l geko-

the triumph of postmodern

schap van de kunstenaar. De registratie van

zen voor de registrerende manier zodat de

d e a f w e z i g h e i d v a n o b j e c t e n in h e t w e r k v a n

conventionele documentairevorm gesugge-

J a m e s W e l l i n g b e s c h o u w t zij a l s e e n p a r o d i e

r e e r d w o r d t . V o l g e n s S o l o m o n - G o d e a u is d i t

o p " t h e t h i n g i t s e l f " e n " t h e d e t a i l " v a n Szar-

e e n strategische zet. Hatch gebruikt het

i n t o a s t y l e ? I n t h e e s s a y Living

with

k o w s k i ' s vocabulaire. M a a r d e w e r k e l i j k e ver-

schijnrealisme van d e f o to en presenteert

C ontradictions:

streven

Documentary

a n a l y s e e r t zij

o o r z a k e r v a n d e v a l v a n h e t m o d e r n i s m e is

haar e i g e n f e m i n i s t i s c h e visie d o o r m i d d e l

niet het p o s t m o d e r n i s m e , maar d e m o d e r n i s -

van ensceneringen. O p deze manie r bekriti-

t i s c h e t h e o r i e zelf g e w e e s t , v o l g e n s Solo-

s e e r t zij n i e t a l l e e n d e t r a d i t i o n e l e s o c i a l e v e r -

mon-Godeau.

h o u d i n g e n maar e v e n e e n s d e daaraan verb o n d e n traditionele registratievorm, die een

D e uiteindelijke acceptatie van de fotografie als kunstdiscipline heeft geleid tot w a t zij o m s c h r i j f t a l s " a r t - p r a c t i c e s t h a t u s e p h o t o g r a p h y " . J u i s t m e t d e t e r m " u s e " g e e f t zij de werkelijke o n d e r g a n g van d e a u t o n o m e

kunstfotografie

e r k e n d e , maar t e v e n s aangaf dat diens auto"Though

a r t p h o t o g r a p h y h a s n o w finally r e a c h e d its

h e r e t o g o " , t y p e e r t zij d e t r i o m f v a n d e p o s t m o d e r n e praktijk.

g r a f i e e e n z e l f d e lot - d e i n s t i t u t i o n a l i s e r i n g e n d e v e r w o r d i n g t o t e e n stijl - als d e m o d e r n i s -

" V e r f r e m d u n g " . Zij b e s c h o u w t H a t c h s w e r k als e e n i n v u l l i n g v a n e e n o m i s s i e in B r e c h t s t h e o r i e . T e r w i j l B r e c h t s v e r v r e e m d i n g zich

derde tracht Hatch door het vervreemdingseffect de b e s c h o u w e r te activeren, die s y m -

Solomon-Godeau onderschrijft Brechts en Benjamins opvattingen, maar bekritiseert d e z e o o k . D e k r a c h t v a n haar t h e o r i e ligt v o o r a l b e s l o t e n in d e i n v u l l i n g v a n d e l a c u n e s

Supply-

die in h u n t h e o r i e v o r m i n g a a n w e z i g zijn. Haa r

a n t i c i p e e r t zij o p d e z e v r a a g .

belangrijkste kritiek o p deze theorie b e r u s t o p

Practices

with

in the Age

S o l o m o n - G o d e a u pleit v o o r e e n

samengaan

v a n theorie e n praktijk, w a a r a a n e e n (maat-

h e t feit dat d e z e zich hoofdzakelij k richt o p d e beeldproduktie, waarbij een actieve receptie

s c h a p p i j k r i t i s c h s t a n d p u n t t e n g r o n d s l a g ligt.

verwaarloosd wordt. " A b s e n t f r o m Benja-

O p d e z e m a n i e r p r o b e e r t zij o n d e r m e e r

m i n ' s c r i t i q u e , h o w e v e r , is a n e x a m i n a t i o n o f

zoveel mogelijk te v o o r k o m e n dat d e c o n v e n -

the w a y s that the photographic apparatus

tionele (kunst)markt de postmodern e fotogra-

a n d its resultant i m a g e structurally f u n c t i o n

fie a c c e p t e e r t o p basis v a n f o r m e l e e i g e n -

to construct and interpellate the viewing sub-

schappen.

ject. For t h e p r o b l e m c o n f r o n t i n g a n y g e n u i -

In R ethmking

Documentary,

n e l y r a d i c a l c u l t u r a l p r o d u c t i o n is n o t s i m p l y a

het derde

hoofdstuk, belicht S o l o m o n - G o d e a u de documentairepraktijk. A l s l e g i t i m a t ie van haar protest tegen de veresthetisering van de docum e n t a i r e f o t o g r a f i e n o e m t zij d e o o r s p r o n k e lijke f u n c t i o n e l e w a a r d e v a n d e z e f o t o g r a f i e , w a a r a a n d e z e in e e r s t e i n s t a n t i e haar

m a t t e r of t r a n s f o r m i n g existing f o r m s t h r o u g h t h e insertion s of s o m e n e w politiciz e d c o n t e n t of s u b j e c t m a t t e r , b u t r a t h e r t o i n t e r v e n e o n t h e level of t h e m s e l v e s , t o disr u p t w h a t t h e f o r m s p u t in p l a c e " , a l d u s S o l o mon-Godeau.

"Though

has

characterizes

B u t h o w is p o s t m o d e r n

tradition that has always been

controlled

She

considers Hatchs w o r k as filling in that w h i c h w a s o m i t t e d in Brechts theory.

photography

W h i l e B r e c h t s a l i e n a t i o n is d i r e c t e d a t a n

to escape the s a m e fate as m o d e r n i s m ,

u n k n o w n , passively receptive third party,

being institutionalized and

t h r o u g h her alienating effects Hatch tries

Age

Critical

degenerating

Practices

A esthetics,

of Supply-side

to m o v e to action the viewer

who

sympathizes with feminism. Solomon-

the

Godeau subscribes to Brechts

she

and

anticipates this very question. S o l o m o n -

B e n j a m i n s o p i n i o n s , but also

G o d e a u pleads for the m e r g i n g of theory

t h e m . The p o w e r of her t h e o r y

and practice, for w h i c h a societal

p r i m a r i l y i n h e r a b i l i t y t o fill in t h e

and

critiques lies

that are present in their t h o u g h t . Her

In this w a y s h e tries t o p r e v e n t a f o r m a l

critique of their t h e o r y rests primarily

appropriation by the conventional art

the fact that t h e y are principally

m a r k e t m e c h a n i s m as m u c h as p o s s i b l e .

with image production, and

I n R ethinking

possibility of an active reception. " A b s e n t

Documentary,

the third

neglectthe

chapter, she exposés the practice of

f r o m B e n j a m i n s c r i t i q u e , h o w e v e r , is a n e x a m i n a t i o n of the w a y s that the

legitimation for her protest against the

p h o t o g r a p h i c a p p a r a t u s a n d its r e s u l t a n t

aestheticising of

image structurally function to construct

documentary

p h o t o g r a p h y , she cites the original

a n d interpellate the v i e w i n g subject. For

functional value of this p h o t o g r a p h y , to

the p r o b l e m confronting any

w h i c h it m u s t g i v e t h a n k s f o r its e x i s t e n c e

r a d i c a l c u l t u r a l p r o d u c t i o n is n o t s i m p l y a

genuinely

i n t h e f i r s t p l a c e . A f t e r a l l , if it h a d n o t

matter of transforming existing

forms

b e e n accepted as an " o b j e c t i v e " record of

t h r o u g h the insertions of s o m e

new

reality in the nineteenth century, there

politicized content of subject matter, but

never would have been

rather to intervene on the level of

documentary

p h o t o g r a p h y . S o l o m o n - G o d e a u is o f t h e

themselves, to disrupt what the forms

opinion that the twentieth

in p l a c e , " a c c o r d i n g t o

century photography

d o e s i t a d i s s e r v i c e w h e n h e p l a c e s it o n l y in t h e a e s t h e t i c c o n t e x t o f t h e

museum.

R econstructing

In m a n y r e s p e c t s , Dcoumentary Photography

is t h e k e y s t o n e o f at the

Doek.

Solomon-

G o d e a u characterizes herself here

Research into the history of

s t r o n g l y as a p r o p o n e n t of f e m i n i s m , a n d

provided Solomon-Godeau

m a k e s clear w h a t her e x p e c t a t i o n s are for

with

a r g u m e n t s t h a t c a st d o u b t o n its o b j e c t i v e

photography within feminism. This essay

v a l u e . For instance, the fact that A u g u s t

marks the transition f r o m her critique of

S a l z m a n n w a s elected as a n art

modernist photographic theory, into the

p h o t o g r a p h e r in t h e t w e n t i e t h c e n t u r y

t h e basis of his style i n d i c a t e s t h a t t h e r e

d e v e l o p m e n t of her o w n t h e o r y as an e n g a g e d critic. A t a t h e m a t i c level,

c o u l d be s a i d t o b e a s u b j e c t i v e v i s i o n ,

regarding the manifestation of sexualilty

w h i c h w a s p r e s e n t e d in a m o r e

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

visually

remarkable m a n n e r by Salzmann than by his contemporaries.

Photography

Solomon-Godeau

establishes that a n e w f o r m

forward to the fourth and

looks

chapter,

S exual

Difference.

In t h i s

chapter she allows the female

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

photographers Francesca W o o d m a n , Louise Lawler a n d Jo Spence to

and

represent

a c c e p t a t i e als o b j e c t i e v e i n f o r m a t i e d r a g e r in

R econstructing

w o m e n in p h o t o g r a p h y . T h u s , f o r

fotografie niet e e n s k u n n e n b e s t a a n . Solo-

graphy

m o n - G o d e a u m e e n t d a n o o k dat d e t w i n t i g ste-eeuwse theoreticus de documentairefot o g r a f i e o n r e c h t a a n d o e t w a n n e e r hij o f zij

v e r v u l t in

The

Doek.

Photo-

Solomon-Godeau profi-

leert zic h hier h e t s t e r k s t als v o o r s t a n d e r v a n het f e m i n i s m e e n maak t duidelijk w e l k e verw a c h t i n g e n zij h e e f t v a n d e f o t o g r a f i e b i n n e n

d e z e in s l e c h t s e e n m u s e a l e , e s t h e t i s e r e n d e kontekst plaatst.

h e t f e m i n i s m e . R econstructing

Documentary

m a r k e e r t d e o v e r g a n g v a n haar kritiek o p d e

O n d e r z o e k naar d e h i s t o r i e v a n d e d o c u -

m o d e r n i s t i s c h e f o t o g r a f i e t h e o r i e naar haar

mentaire fotografie leverde Solomon-Godeau

eigen geëngageerde theorievorming. W a t

echter ook argumenten o m de objectieve

betreft thematiek , de m a n i f e s t e r i ng van de

w a a r d e te b e t w i j f e l e n . Het feit dat bijvoor-

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

b e e l d A u g u s t S a l z m a n n in d e t w i n t i g s t e

v e r w i j z i n g naar het vierde h o o f d s t u k

e e u w uitverkoren w e r d als k u n s t f o t o g r a af

graphy

And

S exual

Difference.

Photo-

In dit h o o f d -

g r o n d v a n zijn stijl, g e e f t a a n d a t er s p r a k e

s t u k l a a t zij d e f o t o g r a f e n F r a n c e s c a W o o d -

w a s van een subjectieve visie die Salzmann

man, Louise Lawler en Jo Spence de demy-

in d e n e g e n t i e n d e e e u w o p e e n v i s u e e l

thologisering van het v r o u w b e e l d m de foto-

o p v a l l e n d e r m a n i e r p r e s e n t e e r d e d a n zijn tijd-

g r a f i e r e p r e s e n t e r e n . Z o b e s c h r i j f t zij b i j v o o r -

g e n o t e n . S o l o m o n - G o d e a u c o n s t a t e e r t d a t er

beeld de serie naaktportretten van Francesca

een nieuwe v o rm van documentaire fotogra-

W o o d m a n als g e l e g i t i m e e r d p r o t e s t t e g e n d e

f i e n o d i g is o m h a a r m i s l e i d e n d e e n b e d r i e g -

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

most

d o c u m e n t a r y p h o t o g r a p hy has also

the demythologization of the image

Documentary

put

Solomon-Godeau.

d e c e p t i v e c l a i m s t o r e p r o d u c e reality. In R econstructing

concerned

documentary photography. As a

o r d e r t o e x p o s é its m i s l e a d i n g

v e l e r l e i o p z i c h t e n e e n s l e u t e l p o s i t i e in

blanks

critical p o i n t of v i e w lays the f o u n d a t i o n .

b e s t a a n s r e c h t d a n k t . I m m e r s , z o n d e r haar

de negentiende e e e u w had de documentaire

how

praxis.

theoretician of documentary

C ontradic-

t i s c h e ? In h e t e s s a y Living

A esthetics

Brechts

pathiseert m e t een feministisch standpunt.

Maar hoe ontloopt d e p o s t m o d e r n e foto-

side

haar o n d e r w e r p e n , vergelijkt m e t

richtte o p de o n b e k e n d e , slechts receptieve

s t a t u s a s a r t . i t ' s all d r e s s e d u p , b u t h a s n o w -

Critical

d u c e n t n o o d z a k e l i j k is i n e e n t r a d i t i e d i e a l t i j d

gie die Hatch hanteert, de vervreemding van

v a n W e s t o n h e r f o t o g r a f e e r d e e n als d e h a r e

tions:

dat d e profilering v a n d e v r o u w als beeldpro-

verrassend hoe Solomon-Godeau de strate-

w e r k van Sherrie Levine, die e n k e l e f o t o ' s

n o m i e tot het v e r l e d e n b e h o o r d e .

m o n - G o d e a u w i l m e t dit e s s a y o n d e r s t r e p e n

b e h e e r s t is g e w e e s t d o o r m a n n e n . H e t is

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

p r e s e n t e e r d e , w a a r m e e zij d e

bepaalde receptie heeft veroorzaakt. Solo-

doing

Documentary

she

analyses

the w o r k of Connie Hatch, w h o m

instance, she describes the series of

she

c o n s i d e r s as a n e x a m p l e o f t h i s n e w

form

nude

portraits by Francesca W o o d m a n as a

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

legitimate protest against the

Hatch uses p h o t o g r a p h y as a n

d e t e r m i n e d position of the w o m a n in n u d e

instrument

in h e r f e m i n i s t s t r a t e g y . H o w e v e r ,

Hatch

has clearly opted for a traditional

manner

of recording things, t o suggest

traditional documentary form. According

play. Hatch uses the apparent realism

feminist

and

S exual

that declares that Abigail

S o l o m o n - G o d e a u has succeeded in Photography

t o S o l o m o n - G o d e a u , t h i s is a s t r a t e g i e

the photo, and presents her o w n

p h o t o g r a p h y . It i s p r i m a r i l y t h i s l a s t c h a p t e r Photography Difference,

the

historically

at the

Doek

another w a y of w r i t i n g

in p r o v i n g

history exists besides that of m o d e r n i s m .

vision t h r o u g h the m e a n s of staging the

I n Photography

scènes. By this m e a n s she criticises

G o d e a u revenges herself o n the

not

that

photographic

at the

Doek,

Solomon-

o n l y traditional social relations but also

unfounded subjectivity of those

the traditional f o r m of recording things

theoreticians w h o think that they can play

t h a t is c o n n e c t e d t o t h e m , w h i c h

the arbiter o n the basis of the rules they

causes

t h e m to be r e c e i v e d in a c e r t a i n w a y . W i t h

themselves made

up.

this essay S o l o m o n - G o d e a u w a n t s to underline that the characterization

w o m e n as p r o d u c e r s o f i m a g e s , in a

Of course S o l o m o n - G o d e a u also has her protégés. However, they constitute a part of t h e art m o v e m e n t o n w h i c h

her

theories are based. As she

strategy for m a i n t a i n i ng her theory.

herself

d e c l a r e s , in p o s t m o d e r n p r a x i s , a m e r g e r o f t h e o r y a n d p r a c t i c e is n e c e s s a r y .

de naaktfotografie Herst

Both

s h a r e t h e s a m e s o c i e t a l v i s i o n as a p o i n t of d e p a r t u r e , so that one c a n n o t speak

Gre enberg,

Critic, 1979, U n i v e r s i t y of W i s c o n s i n P r e s s ,

not

h o o f d s t u k / c h a p t e r 2, Dialectical

Difference

C onversion.

Art

And

geeft aan dat Abigail Solo-

m o n - G o d e a u e r m e t Photography Doek

1. Z i e / S e e D o n a l d Kuspit: Clement

Beide hebben eenzelfde

V o o r a l d i t l a a t s t e h o o f d s t u k Photography S exual

Noten/Notes

an individual, but rather a collective position of power. Also, she d o e s

Deanna

The

m is g e s l a a g d t e b e w e z e n d a t e r e e n

andere geschiedschrijving van de fotografie bestaat dan de modernistische. M e t

Photo-

maatschappelijke

visie als u i t g a n g s p u n t , zodat er g e e n s p r a k e is v a n e e n i n d i v i d u e l e , m a a r e e n c o l l e c t i e v e m a c h t s p o s i t i e . T e v e n s g a a t zij d e o n d e r w e r ping v a n haar g e k o z e n t h e m a ' s aan haar e i g e n k r i t i e k n i e t uit d e w e g . H a a r k o n t e k s t u ele b e n a d e r i n g m a a k t het haar b i j v o o r b e e l d

avoid subjecting her chosen t h e m e s to her

graphy

o w n critique. For instance, her

G o d e a u zich op de o n g e f u n d e e r d e subjectivi-

Eugene Atget te relativeren, maar ook

a p p r o a c h m a k e s it p o s s i b l e f o r h e r t o p u t

teit van theoretici, die o p g r o n d van e i g e n

Dorothea Lange's stigmatisering van de arme

B e r n i c e A b b o t s a d o r a t i o n of E u g e n e

spelregels arbiter d e n k e n te k u n n e n spelen.

contextual

Atget

into perspective, but also to criticize

The Doek

revancheert Solomon-

Uiteraard heeft ook

Dorthea Langes stigmatizing of the

Solomon-Godeau

mogelijk o m Berenice Abbotts adoratie voor om

b e v o l k i n g s g r o e p e n te bekritiseren. D e perm a n e n t kritische houding, die de Ameri-

poor.

haar p r o t é g é ' s . D e z e m a k e n e c h t e r d e e l uit

kaanse kunsthistorica Linda Nochlin

T h e consistantly critical p o s i t i o n that the

v a n d e k u n s t p r a k t i j k w a a r o p zij h a a r t h e o r i e

o m s c h r i j f t a l s " m e t a c r i t i c i s m " , is h e t b e l a n g -

A m e r i c a n art h i s t o r i an Linda

b a s e e r t . E n z o a l s zij z e l f a l a a n g e e f t , is i n d e

rijkste aspect van S o l o m o n - G o d e a u s strate-

postmoderne theorievorming een samen-

g i e o m haar t h e o r i e in s t a n d t e h o u d e n .

Nochlin

d e s c r i b e s a s " m e t a c r i t i c i s m " is t h e important aspect of

most

Solomon-Godeaus

monographies/monografieën A p p e l t , D i e t e r : B e t h a n i e n . 1991, Berlin,

gaan van theorie e n praktijk noodzakelijk.

1992, Baden-Baden. Jochen Poetter, 168 pp, 115

V i a g g i O r d i n a r i . 1991. Firenze. Studio

i l l . f c / b w , German/English. 23 x 29 cm. pb. ISBN

Marangoni, 36 pp, 24 ill., bw, Italian, 17 x 18 cm,

3893223959

Deanna

Spanish/English, 22 5 x 27 cm, pb Het Beslissende Beeld/The

Decisive

Image (Dutch Photography from

Galerie Springer Berlin, 32 pp, 26 i l l , zw. German/English, 26 x 23 cm, pb B i t t e r , S a b i n e : A n D i e W a n d . 1992, Lmz,

the

2 0 t h C e n t u r y ) . 1991, Amsterdam. BIS. 221 pp,

L e n a r t , B r a n k o : W a h r G e n o m m e n . 1991,

Bouvet-Lanselle, Violaine (ed.): L o u v r e

Salzburg, Otto Muller Verlag, 176 pp, 148 ill,

- s c u l p t e r p h o t o g r a p h i e r . 1991, Paris.

164 ill., fc/bw, Dutch/Enghsh, 25 x 30 cm, hb, ISBN

f c / b w , 29 x 25 cm, hb, ISBN 3701308179

Louvre Service Culture!. 20 pp, 12 ill., bw, French,

9072007085

20 x 20 cm, pb

Edition Camera Austria, 32 pp, 20 ill., f c / b w , German/English, 16 5 x 2 1 5 cm, cb, ISBN

Mariniello, Raffaela: Bagnoli, un fab-

3900508097

b r i c a . 1991. Napoh, Electa Napoli, 85 pp, 52 i l l . bw. Italian, 25 x 28 cm. pb

J a p a n e s e P h o t o g r a p h y in the C h o m e t t e , M i c h è l e (ed.): L'oeuvre p h o tographique considérée c o m m e

une

é t a t d e s c u l p t u r e . 1991, Paris, Galerie

B u d g e t t , G r a h a m : L o s t C h a r m s . 1991, London, The Photographers' Gallery. 24 pp. 8 i l l ,

Oti & Fernandez, Luis & J o r g e :

Michèle Chomette, 20 pp. 10 i l l . bw, French, 20 x

fc. English, 12 2 x 17.5 cm. pb. ISBN 0907879330

E q u i v a l e n c i a s . 1991. Santander, Puertode

20 cm. pb

1970's.

1991. Tokyo. Tokyo Metropolitan Museum of Photography, 184 pp, 142 i l l , fc/bw, Japanese/English, 21 5 x 29 5 cm, pb K i v l a n d , S h a r o n (ed.): T h e C e n t r e of

Santander, 66 pp, 25 i l l , bw, English/Spanish, 21 x

t h e W o r l d . 1991, Southampton. John Hansard

Chandler, David (ed.): Lisette M o d e l .

21 cm. pb

E x p o s u r e t o L i g h t . 1991. Ein Harod. Israël.

Gallery. 24 pp. 22 i l l . f c / b w . English. 18 x 24 cm.

1991. London, The Photographers' Gallery. 32 pp.

P a c q u e e , R i a : 2 p r o j e c t s . 1990. Newcastle

M u s e u m of Art. Biënnale of photography, 9 pp, 19

pb. ISBN 08564324291

22 i l l . bw. English, 12 2 x 1 7 5 cm. pb. ISBN

upon Tyne, Edge 9 0 . 2 6 pp. 23 i l l , fc/bw. English.

i l l , bw/colour/duotone, English/Hebrew, 21 x 2 7

0907879322

21 x 15 cm, pb

cm, pb

R o o k , Piet: O p e e n s t e e n w o r p a f s t a n d .

F e n z , W e r n e r ( e d . ) : A r g u s a u g e . 1991,

L'Oeuvre Photographique Chrevrier, Jean-Francois &

Herst

Horsefield,

Considérée

C o m m e u n E t a t d e S c u l p t u r e . 1991/92.

Craigie & L i n g w o o d , James: Craigie

1991, Rotterdam, Stichting Familiehuis Daniël den

München, Werner Fenz, 88 pp, 52 i l l , fc/bw,

Paris, Galerie Michèle Chomette, 20 pp, 10 i l l ,

H o r s e f i e l d . 1991. London, Institute of

Hoed, 48 pp, 13 i l l , f c / b w , Dutch, 2 2 . 5 x 2 1 cm, hb,

German/English, 20 x 28 cm, hb. ISBN 3886451054

duotone, French, 20 x 20 cm, pb

Contemporary Arts, 127 pp, 45 ill., bw, English, 24

ISBN 9072424034

x 28 cm, pb, ISBN 0905263332/0905263480

G i n g r a s , N i c o l e : L e M o i s d e la P h o t o a

Müller-Pohle, Andreas:

W a p l i n g t o n , N i c k : L i v i n g R o o m . 1991,

M o n t r é a l . 1991, Montréal, 164 pp. 74 ill., b w .

P h o t o g r a p h y A w a r d 1 9 9 1 . 1991,

French/English. 24 x 30 cm, pb, ISBN 2980160814

G r i f f i t h s , D a v i d : L u m i n a r y . 1991. London,

Manchester, Cornerhouse Publications, 80 pp, 59

The Photographers' Gallery. 16 pp, 11 i l l , fc/bw,

ill.. fc, English. 25 x 33 cm, hb, ISBN 0948797568,

English, 12 2 x 17 5 cm, pb. ISBN 0907879314

£15.95

European

Göttingen, European Photography, 79 pp, 48 i l l . f c / b w , German/English, 24 x 30 cm, pb, ISBN 3923283288

Gonzalez, Francisco (ed.): F o t o n o v i e m b r e 1991 - C a t é l o g o

W e g m a n , W i l l i a m . 1991, N e w York, Holly

G e n e r a l . 1991, Tenenfe, Centrode Fotografia

N a k a g i m a , H i r o s h i ( e d . ) : N e n N o . 1 . 1991.

F r a n s d e l a C u i s i n e . 1991, 's-Hertogenbosch.

Solomon Gallery and Pace/MacGill Gallery. 24 pp.

Isla de Tenenfe, 155 pp. 50 ill. fc/bw,

Tokyo. Art Lab. 44 pp. 27 ill., f c / b w . 21 5 x 21.5 cm.

Het Noordbrabants Genootschap. 96 pp, 48 i l l . bw.

12 ill.. f c / b w . English. 1 5 3 x 1 5 3 cm, pb

Spanish/English. 22 5 x 27 cm, pb;

Het N o o r d b r a b a n t s

Genootschap:

S e l . A u t o r e s C a n a r i o s . 1991. Tenerife.

Dutch. 1 5 x 2 1 5 cm. pb. ISBN 9070814498 Het N o o r d b r a b a n t s G e n o o t s c h a p :

Paul

d e n H o l l a n d e r . 1991. 's-Hertogenbosch. Het

Z o k u s h i n . 1991. Paris, Bibliothéque Nationale.

Centro de Fotografia Isla de Tenerife. 81 pp. 45 NI.

N o o r d e r l i c h t . 1991. Groningen, Stichting

25 pp. 16 i l l . bw, English/French/Japanese. 22 x

f c / b w . Spanish/English. 22 5 x 27 cm, pb;

Fotografie Noorderlicht Groningen, 163 pp. 145 ill.,

28 cm. pb

Tiempo Acumulado, Ciudad de

Tenerife, Centro de Fotografia Isla de Tenenfe, 60

Dutch, 1 5 x 2 1 5 cm, pb. ISBN 9070814455

pp, 37 ill., bw, Spanish/English, 22.5 x 27 cm, pb;

anthologies/anthologieën Het N o o r d b r a b a n t s

E l e g i a d e l a M i r a d a . 1991. Tenerife, Centro

Genootschap:

T o o n M i c h i e l s . 1991, 's-Hertogenbosch, Het

A c t i o n e s i n d i s t a n s . 1991. Rotterdam,

Noordbrabants Genootschap, 96 pp, 45 i l l , fc/bw,

Stichting Highbrow, 160 pp, 127 ill., bw. 1 7 x 2 4

Dutch. 15 x 21.5 cm, pb. ISBN 9070814471

cm, pb, ISBN 9071346153

Het N o o r d b r a b a n t s G e n o o t s c h a p : Paul

Archivo Dello Spazio, Olona

Lambro

M a r t e s a n a . 1991, Milano, Archivio Fotografico

Noordbrabants Genootschap. 96 pp, 44 ill., fc/bw,

del Progetto Bern Architettonici e Ambientali della

Dutch. 1 5 x 2 1 5 cm, pb, ISBN 907081448X

Provmcia di Milano, 115 pp, 74 i l l , colour/duotone. Italian. 28 x 29 cm, pb and

de Fotografia Isla de Tenerife, 48 pp, 44 ill., fc/bw, E s c e n a r i o s R i t u a l e s . 1991, Tenerife, Centro Spanish/English. 22 5 x 2 7 cm, pb; U n a M i r a d a A t r a s . 1991, Tenerife. Centro de Fotografia Isla de Tenerife, 50 pp, 18 ill., bw, Spanish/English, 22.5 x 27 cm. pb: Fotografias; Enrique Sanchez Glez. del V a l l e . 1991, Tenerife. Centrode Fotografia Isla

A r t L a b . 1991. Japan. Artlab. c/o Canon INC., 79

de Tenerife, 33 pp. 15 ill., duotone,

W o m e n o f t h e F i r t h o f F o r t h . 1991.

pp, 21 ill., colour, English/Japanese. 26 x 26 cm,

Spanish/English, 22 5 x 27 cm, pb;

Edinburgh, The Trustees for the National Galleries

N u ; P h i l i p p e A s s a l i t . 1991, Tenerife. Centro

of Scotland, 120 pp. 99 ill., duotone. English. 24 x 28 cm. pb, ISBN 0903598159

B a a n , Christine d e (ed.): Prix d e

H o s o e , E i k o h : M e t a . 1991. Tokyo. Toppan

59 i l l , f c / b w , Dutch/English. 22 x 22 cm. pb, ISBN

Rome.

Pnntmg C o , Ltd . 123 pp, 69 i l l . duotone, English,

9064501335

25 x 25 cm, pb B a s i l i c o , G a b r i e l e (ed.): A p p u n t i di

Pakasaar, Helga (ed.): C a m e r a

Lucida.

1991. Alberta. Walter Phillips Gallery, 58 pp, 39 NI. f c / b w , English, 19 6 x 27 3 cm, pb. ISBN 0920159338 Schickler, H o w a r d (ed.): T h e

Utopian

D r e a m - P h o t o g r a p h y in Soviet

Russia

1 9 1 8 - 1 9 3 9 . 1992, Los Angeles, Schickler/Lafaille. 56 pp. 42 ill., b w . English, 23 x 30 5 cm. pb

S c h u m a c h e r , F r a n k ( e d . ) : C o l o r e s . 1991, Bielefeld. Fotoforum Schwarzbunt e V . 48 pp, 38 ill.. f c / b w . f c / b w . German. 13 5 x 23 cm. pb

de Fotografia Isla de Tenerife, 43 pp, 19 i l l , fc/bw.

S c u l p t e r P h o t o g r a p h i e r . 1991. Paris.

Spanish/English, 22.5 x 27 cm, pb.

Service Culturel du Musée du Louvre. 16 pp. 11 i l l . duotone. French. 20 x 20 cm, pb

1991, Amsterdam, Uitgeverij 010 Publishers, 96 pp.

Klauke, Jürgen: Sonntagsneurosen.

duotone. Dutch. 23 x 22 cm. pb, ISBN 9052940444

Spanish/English, 22.5 x 27 cm, pb; de Fotografia Isla de Tenerife, 93 pp, 66 ill., fc/bw,

d e N o o i j e r . 1991, 's-Hertogenbosch. Het

Hill & A d a m s o n : T h e F i s h e r m e n

Mexico

e n l o s 8 0 , P a b l o O r t i z M o n a s t e r i o . 1991,

Noordbrabants Genootschap. 96 pp. 45 i l l . fc/bw,

Fotografia y Prisión; Agustin

Victor

Stathatos, J o h n (ed.): Persistence

C a s a s o l a . 1991, Tenerife, Centro de Fotografia

M e m o r y . 1991, Ein Harod, 96 pp. 86 ill.. f c / b w ,

Isla de Tenerife, 37 pp, 22 ill., bw,

Hebrew/English, 21 x 27 cm, pb

F E

Teun

Hoeks

zonder t i t e l / u n t i t l e d 1991 120x198 c m . olieverf op f o l o / o i l paint on photo Courtesy Galerie Torxh Amsterdam

Hoeks ontvangt Capi-Lux Alblas Prijs Teun Hoeks heeft op 31 maart jongstled e n d e C a p i - L ux A l b l a s Prijs 1991 o n t v a n g e n

Nederlands Fotogenootschap werft leden De jonge vereniging Nederlands

Fotoge-

n o o t s c h a p , d i e w e r d o p g e r i c h t in m e i 1 9 9 1 ,

Hoeks Receives Capi-Lux Alblas Prize Last M a r c h 3 1 . T e u n Hoeks received t h e

y o u n g s o c i e t y e s t a b l i s h e d in M a y 1 9 9 1 , h a s m v i t e d all i n s t i t u t i o n s t h a t a d m i n i s t e r p h o t o o r

v o o r h e t l e v e r e n v a n e e n f u n d a m e n t e l e bij-

h e e f t alle i n s t e l l i n g e n d i e f o t o - e n n e g a t i e v e n -

fundamental contribution to the

c o l l e c t i e s b e h e r e n , u i t g e n o d i g d z i c h bij h a a r

o f p h o t o g r a p h y in T h e

in N e d e r l a n d .

aan te sluiten.

H o e k s w e r d tot prijswinnaar

uitgeroepen

Het genootschap wil k o m e n tot

W i l l e m D i e p r a a m (fotograaf). Paul d e

Nooi|er

development

negative collections to b e c o m e

Netherlands.

H o e k s w a s c h o s e n as the prize w i n n e r

brede uitwisseling van kennis en

een

ervaring

The Netherlands Fotogenootschap, a

1991 Capi-Lux Alblas Prize for h a v i n g m a d e a

drage aan de ontwikkeling van de fotografie

d o o r e e n o n a f h a n k e l i j k e j u r y d i e b e s t o n d uit

Netherlands Fotogenootschap Recruits Members

members.

The society seeks to develop a broad

by an i n d e p e n d e n t jury that c o n s i s t e d of

e x c h a n g e of experience and

W i l l e m D i e p r a a m (photographer). Paul de

about building collections. conservmg t h e m . computenzing them, and making

over collectievorming, conservering, ontslui-

Nooijer

(fotograaf/filmer), Dick Breebaart (chef fotore-

ting en automatisering en tot het

Dick Breebaart (head p h o t o editor, D e Volks-

accessible for use. and t o articulate a policy

dactie De Volkskrant), Hripsimé Visser (con-

van het verzamel- , o n d e r z o e k s - e n expositie-

krant), H r i p s i m é Visser (curator,

for t h e collection, s t u d y a n d e x p o s i t i o n of

servator Stedelijk M u s e u m A m s t e r d a m )

b e l e i d v o o r f o t o g r a f i e in N e d e r l a n d . V o o r a l o p

M u s e u m , Amsterdam) and

het gebied van conservering en

H a v e m a n (editor-in-chief.

Manëtte Haveman (hoofdredacteur

Kunst-

schrift)

afstemmen

restauratie

van fotografische materialen bestaat

volgens

(photographer/cinematographer).

knowledge

Stedelijk

p h o t o g r a p h y in T h e N e t h e r l a n d s . E s p e c i a l l y in

Manëtte

t h e field of conservation and restoration of

Kunstschrift).

In A p r i l a n d M a y , T e u n H o e k s ' w o r k

them

was

photographic matenals, the society says

het g e n o o t s c h a p e e n a l a r m e r e n d g e b r e k aan

o n d i s p l a y i n t h e e x h i b i t s p a c e at

t h e r e is a n a l a r m m g lack o f

e n mei geëxposeerd m de tentoonstellings-

kennis. Het Fotogenootschap heeft

Perspektief.

R e c e n t l y . in c o n n e c t i o n w i t h a n e x t e n s i v e

ruimte van

lijk, n a a r a a n l e i d i n g v a n e e n

H e t w e r k v a n T e u n H o e k s w e r d in april

Perspektief.

recente-

uitgebreide

knowledge.

survey of t h o s e w h o administer

photographic

a r c h i v e s , t h e F o t o g e n o o t s c h a p h a s t u r n e d in

m i n i s h e d vitality a n d s t i m u l a t i v e p o w e r , but

e n q u ê t e o n d e r de b e h e e r d e r s van fotografi-

m e n e d i e n s t v e r l e n e n d e taak die varieert van

a request to t h e M m i s t r y of Welfare, Public

w h o s e w o r k r e m a i n s little k n o w n . T h r o u g h

s c h e a r c h i e v e n , e e n a a n v r a a g i n g e d i e n d bij

d e p r o m o t i e van N e d e r l a n d s e fotografie in

Health a n d Culture for t h e e s t a b l i s h m e n t of a

t h e a w a r d s , t h e F u n d w i s h e s t o call a t t e n t i o n

het ministerie van W V C voor het oprichten

binnen- en buitenland, tot het adviseren en

national w o r k s h o p for p h o t o g r a p m c restora-

t o their w o r k , that has b e e n f o u n d of particu-

van e e n Nationaal Fotorestauratie Atelier.

o n d e r s t e u n e n van m u s e a , galeries, onder-

tion. T h e society k e e p s its m e m b e r s infor-

lar v a l u e f o r t h e d e v e l o p m e n t o f t h e i r p r o f e s -

meel t h r o u g h a n e w s l e t t e r published t w i c e a

sion and for Dutch culture.

D e v e r e n i g i n g h o u d t haar l e d e n o p d e

e e n n i e u w s b r i e f uit t e b r e n g e n .

year, a m o n g o t h e r m e a n s . For m o r e i n f o r m a tion, y o u can directly contact A. van Veen,

Acquittal for Don Mader

Nederlands Fotogenootschap, Amsteldijk 67,

In M a y o f t h i s y e a r , t h e A p p e l l a t e C o u r t in A m s t e r d a m a c q u i t t e d p h o t o g r a p h e r

020-6750596).

M a d e r in t h e " I n t e r m a l e a f f a i r " .

Don

A. van V e e n , Nederlands

Fotogenootschap,

Amsteldijk 67, 1074 HZ A m s t e r d a m

(telefoon

b i t i n g c h i l d p o r n o g r a p h y in c o n n e c t i o n w i t h h i s 1 9 8 7 e x h i b i t i o n in t h e A m s t e r d a m g a l l e r y

Verzet tegen vleugellam FotoInstituut

A large n u m b e r of i m p o r t a n t p h o t o g r a p -

Intermale. The photographs seized s h o w e d

Een groot aantal belangrijke fotografieinstellingen heeft geprotesteerd tegen de

hic institutions h a v e p r o t e s t e d against t h e

nude b o y s and y o u t h s under sixteen years of

sizc of t h e b u d g e t that minister

age, and according to the A m s t e r d a m Crimi-

hoogte van het budget dat minister

n a l C o u r t , in D e c e m b e r 1 9 9 0 , w e r e

beschikbaar wil stellen v o o r het nog o p te

Institute for Photography m Rotterdam. A f t e r y e a r s of c o n s u l t a t i o n , t h e A r t s Plan

intended

b e n d e m i n i s t e r l a t e n w e t e n d a t zij h u n m e d e w e r k i n g aan d e t o t s t a n d k o m i n g v a n dit instituut o p n i e u w zullen o v e r w e g e n . Per-

sidie d i e vergelijkbaar is m e t die v a n h e t

Resistance against Crippling Foto-lnstitute

Netherlands

Perspektief

spektief e n F B R o n t v a n g e n jaarlijks e e n sub-

0 2 0 - 6 6 4 6 9 1 6 , fax 0 2 0 - 6 7 5 0 5 9 6 ) .

M a d e r w a s a c c u s e d of m a k i n g a n d e x h i -

D'Ancona

De Rotterdamse stichtingen

e n F o t o g r a f i e Biënnal e R o t t e r d a m (FBR) h e b -

V o o r m e e r i n f o r m a t i e k u n t u t e r e c h t bij

1074 H Z A m s t e r d a m (tel.: 0 2 0 - 6 6 4 6 9 1 6 : fax:

has m a d e available for t h e future

wijsinstellingen et cetera.

h o o g t e d o o r o n d e r m e e r t w e e m a a l p e r jaar

D'Ancona

n i e u w e Foto-Instituut, maar hebben een beperktere taakstelling. H e t N e d e r l a n d s F o t o a r c h i e f , dat z i c h in 1 9 8 8 o p last v a n m i n i s t e r B r i n k m a n i n Rotterd a m vestigde, voelt zich misleid. Het Fotoarc h i e f is g e h u i s v e s t i n R o t t e r d a m o m d a t h i e r

" t o c a u s e sexual a r o u s a l " . For five years,

richten Nederlands Instituut voor de Fotogra-

ook het Foto-Instituut w o r d t gevestigd. M e t

M a d e r has strongly d e f e n d e d himself against

fie in R o t t e r d a m .

h e t u i t g e k l e d e b u d g e t d a t n u is v o o r g e s t e l d , valt v a n e e n s a m e n w e r k i n g m e t dit n i e u w e

1 9 9 3 - 9 6 finally r e p o r t e d t h e s u m w a s t o b e t h e utterly inadequate figure o f Dfl. 6 8 5 , 0 0 0

instituut nauwelijks r e n d e m e n t t e v e r w a c h -

per year, s u p p l e m e n t e d by Dfl. 4 0 0 , 0 0 0 f r o m

ter

t h e city of R o t t e r d a m . O u t of this b u d g e t , the

De Federatie van Kunstenaarsverenigin-

Photo Institute w o u l d have to take care of

gen en de beroepsvereniging voor fotografen

t h e s e m a n d a t e d t a s k s : in t h e a r e a of e x h i b i t s

GKf h e b b e n d e m i n i s t er e e n brief g e s t u u r d

and information, organizing s h o w s and s y m -

w a a r i n zij z i c h z e e r o n t e v r e d e n t o n e n o v e r

p o s i a , a n d i s s u m g p u b l i c a t i o n s ; in d o c u m e n -

h e t o n a c c e p t a b e l lage b e d r a g dat het

tation, maintaming a data-bank on c o n t e m -

nieuwe

Instituut voor de Fotografie tot een vleugel-

porary Dutch photographers, and building a

l a m m e start zou veroordelen.

library w i t h r e l e v a n t p r o f e s s i o n a l l i t e r a t u r e ; in services, a s s u m i n g various roles including

Oeuvreprijs voor Ad Windig

t h e p r o m o t i o n o f D u t c h p h o t o g r a p h y in T h e

Het Fonds voor beeldende kunsten,

Netherlands and abroad, and advising and

vormgeving en bouwkunst heeft een oeuvre-

p r o v i d m g s u p p o r t services for m u s e u m s , gal-

prijs t o e g e k e n d aan f o t o g r a a f A d W i n d i g . D e

leries a n d educational institutions.

prijs b e s t a a t uit f 5 0 . 0 0 0 , - . N a a s t W i n d i g o n t v i n g e n o o k b e e l d h o u w e r C h a r l o t t e v a n Pal-

Perspektief and the Fotografie Biënnale

landt, k u n s t e n a a r / c o m p o n i s t Dick Raaijma-

R o t t e r d a m , b o t h f o u n d a t i o n s l o c a t e d in R o t -

kers, grafisch o n t w e r p e r Jan B o n s en archi-

terdam, have notified the minister that they

tect Hein Salomonson een oeuvreprijs van

w i l l h a v e t o r e - e v a l u a t e t h e i r c o o p e r a t i o n in

het Fonds.

the creation of the Institute. Perspektief and the Fotografie Biënnale Rotterdam receive a

H e t is d i t j a a r v o o r h e t e e r s t d a t d e o e u -

yearly s u b s i d y that is c o m p a r a b l e w i t h that

vreprijzen w o r d e n t o e g e k e n d .

a n n o u n c e d for the n e w Institute, but their m a n d a t e is m u c h

D e p r i j z e n zijn b e d o e l d v o o r k u n s t e n a a r s ,

narrower.

v o r m g e v e r s e n architecten m e t e e n lange staat van dienst en een oeuvre m e t onver-

The Netherlands Photo Archive feels that it w a s m i s l e d w h e n it l o c a t e d i t s e l f in R o t t e r -

m i n d e r d e s t i m u l e r e n d e kracht e n vitaliteit,

d a m in 1 9 8 8 , u n d e r p r e s s u r e f r o m t h e n -

d i e m o m e n t e e l in stilte w e r k e n . H e t F o n d s

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

w i l zo a a n d a c h t s c h e n k e n aan d e kwaliteit

that w a s also w h e r e the Institute w a s t o be

v a n h u n w e r k , d a t v a n b i j z o n d e r e w a a r d e is

set up. W i t h the stripped-down budget

voor de o n t w i k k e l i n g van het vakgebied en

now

voor d e Nederlandse cultuur.

a n n o u n c e d , little b e n e f i t c a n b e e x p e c t e d f r o m cooperation with the n e w

Institute.The

Vrijspraak voor Don Mader

F e d e r a t i o n of A r t i s t s U n i o n s a n d t h e p r o f e s sional photographers organization GKf have s e n t m i n i s t e r D ' A n c o n a a l e t t e r in w h i c h t h e y n o t e their dissatisfaction a b o u t the unacceptably l o w budget that will cripple the

Bill

H e t g e r e c h t s h o f in A m s t e r d a m h e e f t in

Henson

m e i v a n d i t jaar d e f o t o g r a a f D o n M a d e r vrij-

f r o m t h e s e r i e s : Paris O p e r a P r o j e c t , 1990/1991

s p r a a k v e r l e e n d in d e

De tentoonstelling is te zien bij Perspektief van 26 juni t/m 26 juli 1992

new

"Intermale-affaire".

M a d e r w a s beschuldigd van het

Institute at birth.

maken

en t e n t o o n s t e l l e n v a n k i n d e r p o r n o g r a f i e , naar a a n l e i d i n g v a n zijn e x p o s i t i e in d e A m s t e r -

Career Prize for Ad Windig

this n a r r o w interpretation of nude photogra-

Na jaren van adviesrondes v e r m e l d d e het

d a m s e g a l e r i e I n t e r m a l e in 1 9 8 7 . D e i n

phy, and w a s supported by Benno Premsela,

Kunstenplan '93-'96 uiteindelijk het volslagen

beslag g e n o m e n foto's toonden naakte jon-

A r c h i t e c t u r e has a w a r d e d a career prize of

B a s V r o e g e a n d F r i t s W a f e l b a k k e r , w h o all

o n t o e r e i k e n d e b e d r a g v a n f 6 8 5 . 0 0 0 , - o p jaar-

g e r e n o n d e r z e s t i e n jaar, e n w a r e n v o l g e n s

D f l . 5 0 , 0 0 0 t o p h o t o g r a p h e r A d W i n d i g . In

a p p e a r e d as expert w i t n e s s e s , a n d b y institu-

basis, m e t e e n aanvulling door d e g e m e e n t e

de A m s t e r d a m s e rechtbank (december

addition to W i n d i g, sculptress Cnarlotte van

t i o n s s u c h as the C O C , t h e Coornhertliga, t h e

Rotterdam van f 400.000,-.

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

T h e F u n d for t h e Visual Arts, D e s i g n a n d

Pallandt, a r t i s t / c o m p o s e r Dick Raaijmakers,

Kunstenbond FNV and the Institute for

graphic designer Jan Bons a n d architect Hein

H o m o s t u d i e s at t h e U n i v e r s i t y of U t r e c h t .

V a n dit bedrag z o u het Foto-Instituut zorg m o e t e n dragen voor o n d e r a n d e r e de vol-

1990)

k e l i n g " , M a d e r h e e f t z i c h vijf jaar l a n g m e t g r o t e inzet v e r d e d i g d t e g e n d e z e b e n a u w d e

S a l o m o n s o n each received a career prize

gende kerntaken: een presentatie- en podi-

interpretatie van naaktfotografie e n v o n d zich

from the Fund.

u m f u n c t i e d o o r het organiseren van t e n t o o n -

gesteund door onder andere Benno Prem-

T h i s is t h e f i r s t y e a r t h a t c a r e e r p r i z e s have been awarded. T h e prizes are i n t e n d e d for artists, d e s i g n e r s a n d architects w h o have a long history of service a n d an oeuvr e displaying undi-

stellingen, symposia en het uitgeven van

sela, B a s V r o e g e e n Frits W a f e l b a k k e r , die

publicaties; een documentatiefunctie

als g e t u i g e - d e s k u n d i g e n o p t r a d e n e n instel-

betrekking tot hedendaagse

met

Nederlandse

lingen als h e t C O C , d e Coornhertliga, d e Kun-

f o t o g r a f e n ; e e n b i b l i o t h e e k f u n c t ie m e t rele-

s t e n b o n d FNV en het Instituut voor

vante literatuur op het vakgebied; e e n alge-

H o m o s t u d i e s in U t r e c h t .

A G E

AUSTRIA-OOSTENRIJK

DENMARK-DENEMARKEN

Anthropology/University

'Photography a n d Reality'.

A m s t e r d a m , 24/6-27/6: 'The Family Photo

Graz

Odense

F o r u m S t a d t p a r k , 2/6-11/7

Nobuyoshi

Araki.

Vienna G a l e r i e F a b e r , 5/6-4/7: Paul A l b e rt

UNITED K I N G D O M GROOT-BRITTANNIË

as Data'.

M u s e e t for F o t o k u n s t , 25/5-28/6: Danny L y o n - 'Retrospectively'; 5/7-23/8: 'Real

Breda

S t o r i e s ' ; 2 9 / 8 - 4 / 9 : R o b e r t F. H a m m e r s t i e l -

' T h e C o n d i t i o n of T h i n g s ' .

Photographica'.

11/7-30/8:

Beyerd,

Westcliff

Breda

Southend

Leitner;

Rotterdam

Jana W i s n i e u w s k i ; 18/9-24/10: Klaus Pohl -

Council,

Photography Exhibition.

P e r s p e k t i e f , 26/5-21/6: 'Duitsland'; 27/6-

Paris

'Zukunft d e r Bilder'.

Grand

BELGIUM - BELGIË

UNITED STATES - VERENIGDE STATEN

2 6 / 7 : Bill H e n s o n ; 4 / 9 - 1 1 / 1 0 : F o t o g r a f i e Palais des

Biënnale Rotterdam - 'Wasteland'.

Champs-Elysées,

F o t o m a n i a , 29/5-28/6: Robert

14/9: ' J a c q u e s - H e n n Lartigue è l'Ecole d u

Chicago

Flynt-

' W e t w o r k s ' ; 4/7-2/8: Eindexamenexpositie;

Jeu'.

Brussels

5/9-4/10: W o u t Berger.

Espace Photographique

Borough

17/7-1/8: 3 2 n d Essex International Salon of

FRANCE-FRANKRIJK

1 0 / 7 - 2 2 / 8 : S i e g r u n A p p e l t , W a l l e r K. M i r t l ,

on Sea

on-Sea

'Photographer'; -22/8: Lucas S a m a r a s; 25/7-

Amsterdam

Olympus European Photo

Center for

6/6-30/6: Ralph Gibson - THistoire d e

Visual

-12/7: Luis

Architecture'; -19/7: Patnck Tosani -

Winterswijk

d'Ariistes'

I n s t i t u t e of C h i c a g o ,

Gonzalez Palma; Nils Ole-Lund - 'Collage

THE NETHERLANDS - NEDERLAND

Contretype,

-31/5: A n n e Denis; 4/6-30/8: 'Proposition

Art

Gallery,

18/10: Flor G a r d u n o - ' W i t n e s s e s o f T i m e ' ; 89: J o e l S t e r n f e l d .

France'; 10/7-4/10: D u a n e M i c h a l s -

Gosbert A d l e r

Jens Rötzsch

V I T A E

g e n ; E ndlich

so wie

überall?,

Ruhrlandmu-

s e u m , E s s e n ( G ) . 1 9 8 8 : Young Geboren/hom

1956, Essen (G).

Geboren/bom

Woonplaats/residence

Beroep/profession

fotograaf/photographer.

Photographers,

1959,Leipzig (G).

WoonplaatsAesidence B e r l i n ( G ) .

Les

Berlin (G).

fotograaf/photographer.

R e alites

Fotofest, Houston, U S A ; des Images,

P a r i s . 1 9 8 9 : Erster

Goethe

D eutscher

S t u t t g a r t ( G ) ; B erlin-B erlin,

Opleiding/education l a n d s u r v e y o r ,

statt für Fotografie, Berlin.

der Photographie an der Hochschule für

R o t t e r d a m ( N L ) ; Orte,

Eénmanstentoonstellingen/one man exhibitions 1 9 9 0 :

Grafik u n d Buchkunst

G eschichte/n,

Sog,

M e m b e r of Ostkreuz Agency, Berlin.

h o c h s c h u l e B i e l e f e l d ( G ) ; A Place

Joachim Brohm

1 9 9 1 : Stipendien

Sog,

M u s e u m Folkwang, Essen. 1991:

Leipzig.

Sog/Aspiration,

F o r u m Stadtpark, Graz (A); Galerie B o u q e r e t + L e b o n , Paris.

O ther, sche

Groepstentoonstelhngen/group exhibitions 1 9 8 6 : R este

des

bilder

des 80er

Authentischen Jahre,

- D eutsche Museum

F oto-

Folkwang,

After

Geboren/born

len

1955, Duiken.

Woonplaats/residence

Essen; I m p r e s s i o n s Gallery of P h o t o g r a -

Beroep/profession

Perspektief,

Al!?,

fotograaf/photographer.

dings,

der Alfried

H albach-Stiftung

te/n,

V i n c e L e o , Joachim

& Koenig, Werkstatt für Fotografie, Berlin.

1990, M ü n c h e n , S i e m e n s

Gallery of Fine Art, Ohio State

1 9 9 0 : Sog,

g r a m m ; U t e E s k i l d s e n , Joachim

U S A . 1986:F o t o f o r u m , B r e m e n (G). 1988:

Industrie z eit,

Spectrum Photogalerie i m Sprengel

Muse-

E s s e n ; H e i n e r S c h e p e r s , Joachim

u m , H a n n o v e r (G). 1990:Perspektief,

Rot-

Essen.

Volker Heinze Geboren/born 1 9 5 9 , D u i s b u r g ( G ) . Woonplaats/residence Beroep/profession

Essen (G).

fotograaf/photographer.

Eénmanstentoonstellingen (selectie)/one man exhibitions (selected) 1 9 8 7 : S p e c t r u m

Photogalerie

i m Sprengel M u s e u m , H a n n o v e r (G). 1989: M u s e u m Folkwang, Essen (G;; Perspektief, Rotterdam (NL);Galerie W i l m a

Tolksdorf,

H a m b u r g (G). 1990: M u s e u m für Gestalt u n g , Zürich (CH);Galerie Bouqeret + L e b o n , Paris (F);K u n s t v e r e i n ven.

Bremerha-

University,

Orte,

Z eiten,

1989,Fachhochschule

1987,

Brohm:

B erlin

1990, M u s e u m

Brohm: Folkwang,

Brohm,

M ü n c h n e r S t a d t m u s e u m , M ü n c h e n (G).

Kampl/Galerie

graphers, R este

Enschede,

E urope an

Photo-

Frankfurter K u n s t v e r e in (G),

des Authentischen,

Museum

Folk-

w a n g , Essen (G). 1987: d f o , ICP, N e w York; Können

Bilder

D enken?,

Kunstverein

Lin-

Brohm:

1991, Kunstverein Lingen; Thomas

Lingen, Lingen/Ems; F o t o m u s e u m i m

E n s c h e d e ( N L ) ; Young

1990,

Kulturpro-

r u m S c h w a r z b u n t ; Peter Friese,

Galerie Fotohof, Salzburg (A).

G eschich-

Bielefeld;

W e s k i , B abyion,

Groepstentoonstellingen (selectie)/group exhibitions

R e a-

1991, Bielefeld, Fotofo-

1992,Salzburg, Galerie Fotohof.

Joachim Mathias

Galerie,

H a m b u r g (G). 1989: Stipendiatenausstellung, Folkwang M u s e u m , Essen (G). 1990: R e n c o n t r e s I n t e r n a t i o n a l e s d e la P h o t o g r a p h i e , A r l e s (F). 1 9 9 1 : P P S G a l e r i e , H a m b u r g ( G ) . 1 9 9 2 : C heckpoint

Publicaties/publicarions

F o l k w a n g , Essen (G). 1991: Kunstverein

(selected) 1 9 8 6 : F o t o b i ë n n a l e

Muse-

d o n (GB).

t e r d a m (with Fons Brasser) (NL); M u s e u m

1992: Galerie M a t h i a s K a m p l , M ü n c h e n ;

Boh-

The Photographers' Gallery, Lon-

Eénmanstentoonstellingen/one man exhibitions 1 9 8 4 :

Adler

von

1988-89,

State University (USA).

F oto,

D eut-

Krupp

ment of Photography a n d Cinema, Ohio

1 9 8 5 : DDR

1984:Centre Cultu-

rel P o i t i e r s (F); G a l e r i e S e i t e n f l ü g e l , EastBerlin (G). 1985: W e d d i n g , Berlin. 1986:

g e n ( G ) . 1 9 9 0 : Stadtfotografie Publicaties/piiblications

Any

Galerie Perrain, Paris; G r a u w e r t

University Essen; Master of Arts, Depart-

Neue

Tentoonstellingen/exhibitions

für Z eitgenössische

Opleiding/education V i s u e l l e

B erlin,

H a m b u r g (G).

fotograaf/photographer.

Galleiy Art 54, N e w York.

p h y . York ( G B ) ;ICP, N e w York. 1989: Inter-

Kommunikation,

Beroep/profession

schule für Grafik u n d B u c h k u n s t in Leipzig.

u m F o l k w a n g , E s s e n . 1 9 9 2 : Surface

Essen (G).

Geboren/born 1 9 5 6 , L e i p z i g ( G ) . Woonplaats/residence

Opleiding/education: F o t o g r a f i e a n d e r H o c h -

Z eiten,

nationale Foto-Triennale Esslmgen, EsslinGesellschaft für Bildende Kunst, Berlin.

Preis,

Hochschulgalerie der Fach-

F otografie und

Institut,

Photo

Opleiding/education U n i v e r s i t y o f E s s e n , W e r k -

Studium

Erasmus S c h r ö t er

E urope an

Perspektief,

Rotterdam.

D eutschland,

F O T O D O K

AFTERIMAGE

1992, V o l . X I X , nr. 6, J a n

AFTERIMAG E

AFTERIMAGE

Af 9 2 / 6

U S A , Visual Studies W o r k s h o p , 31 Prince Street, Rochester, N Y 14607 ISSN: 0300-7472, 10x p.a.,$ 3 5 APERTURE

APERTURE

1991, n r . 123, S p r i n g

A p 91/123

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23rd St, N e w York, NY10010 I S S N : 0 0 0 3 - 6 4 2 0 , 4x p.a., U S $ 4 4 ART

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ART DOCUMENTATION

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ArD 91/4

ART DOCUMENTATION

AZ 85711 I S S N : 0 7 3 0 - 7 1 8 7 , 4 x p.a., S 45 BLA CKFLASH

BLACKFLASH

1992, v o l . IX, n r , 4 , W i n t e r

Bla 92/4

BLACKFLASH

Canada ( C D N), A Quarterly Publication of t h e P h o t o g r a p h e r s Gallery, S a s k a t o o n , c/o T h e P h o t o g r a p h e r s Gallery, 2 n d Floor, 1223rd Street East, S a s k a t o o n , S 7 K 0 H 5 , Sask. I S S N : 0 8 2 6 - 3 9 2 2 , 4 x p. a . , U S $ 8 C AM E R A

CAMERA AUSTRIA

AUSTRIA

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C A 92/38

1992, nr. 38

Forum

S t a d t p a r k , S t a d t p a r k 1, A - 8 0 1 0 G r a z , 4 x p.a., 67 D M C ONTRETYPE

CONTRETYPE

1991, n r . 28, J u i n

C o n 91/28

1991, nr. 3 0 , N o v / D e c

C o n 91/30

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FOTO

EP 91/49

1991, nr. 49

1992, nr. 1-2

EUROPEAN PHOTOGRAPHY

Müller-Pohle,

P.O.Box 3043, D-3400 G ö t t i n g e n I S S N : 0 1 7 2 - 7 0 2 8 , 4x p.a., D M 4 0 / S 3 0 FOTO Netherlands (NL), Universeel tijdschrift v.d.fotografie, Uitgeverij Foto vof, Postbus 3, 3 8 3 0 A A L e u s d e n , 1 0 x p.a. , D f l 1 4 5

Ft 9 2 / 1 - 2

FOTOGESCHICHTE G e r m a n y ( D ), Beitrage zur Geschichte u n d

FOTOGESCHICHTE

1992, nr. 43, v o l . X I I

FG 92/43

FOTOGESCHICHTE

Asthetik der Fotografie, Red. Hub.v o n A m e l u n x e n / T i m m Starl, Fichardstrasse 52, D-6000 Frankfurt 1 I S S N : 0 7 2 0 - 5 2 6 0 , 4 x p.a., 110 D M GKf-BULLETIN

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PERSPEKTIEF

Netherlands (NL),Quarterly

Photography

Magazine, Perspektief, C e n t r u m

voor

Fotografie, S i n t - J o b s w eg 30, 3024 EJ Rotterdam I S S N : 0 1 6 7 - 9 1 0 4 , 4x p.a., $ 4 0

PHOTOGRAPH COLLECTOR, THE

1991, v o i . x n . n r .

n,Dec

1992, v o l . X I I I , n r , 3, M a r c h

PHOTOGRAPHIC JOURNAL

TPC

91/11

T P C 92/3

1992, nr. 2, Febr

PhJ 92/2

1992, nr. 3, M a r c h

PhJ 92/3

PHOTOGRAPHIE OUVERTE

1992, n r 8 1 , M a r c h / A p r

P O 92/81

PHOTO METRO

1391, v o l . X, 95, D e c - J a n

P h M 91/95

1992, v o l . X I , 96, Febr

PhM

1992, v o l . X I , 97, M a r c h

P h M 92/97

92/96

PHOTO G RAPH

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sPhotographic Journal

COLLECTOR, THE

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JOURNAL,THE

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PhR92/1

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VE I WS

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INDEX-SYSTEM 1 General Includes geneial introductions. annuals. magazines, bibliographies. reference works, encyclopaedias, diciionaries, etc 2 Photography theory Includes theory, philosophy, criticism, aesthetics ot photography 3 Photography and society Includes photography and politics, photography and temmism, propaganda, copyright, the photographic industry for rather those articles in which the social imponance of photography is emphasised, amateur photography 4 Social/documentary photography Includes photo journalism, press photography, social photography, purely documentary photography. 5 Applied photography Includes scientific photography, design, photographs as book illustrations. commercial photography 6 Education/training/workshops Includes all types of photographic education 7

C o l l e c t i o n s / m u s e u m s / g a l l e r i e s

Includes all articles of collections. collectors, museum collections, museum policy (artistics). museum and gallery exhibitions not bound to particular subjects. 8 Biographies/monographs Includes biographical articles and interviews about a single photographer. and biographical monographs/collections 9 Iconography Includes thematic aspects of portfolio and more general accounts of types of subjects in photography landscape, portrait, etc 10 Photographic technology Includes technological developments in pho'.ography and special techniques. such as the pinhole camera 11 History of photography Includes in addition to the history of photography also the photograph as historical document. 12 Photography and mon ey Includes auctions. prizes. purchasing policies, Governement policies towards photography, patronage, subsidies, etc. 13 Photography by Country Includes articles related to photography produced in one country The articles are filed by Country Name 14 P h o to g r a p h y Festivals Includes articles on Photography Festivals Earlier Fotodok issues mdexed these articles under Exhibition Reviews Short Index to the Bibliography The electromc version of F0T0D0K includes a 'modest' keyword system The pnnted Short Index shows the keywords

used to index the abstracted articles The keys used to index the geography of photographs and/or articles are to be found in the Iconography, part 2: Subject by Geography. The WHAT. depicted on photographs and/or treated in articles, can be found in the first part of the Iconography Index of Book Reviews A list of reviewed books, sorted on Photographer (monographsl or Author. Anonymus books are sorted by Title. Index of Exhibition Reviews Comprises reviews on exhibitions. sorted on Title: mentioned are the curator(s), the prmcipal Institution, and (individual) Photographer Index of Photographers A list of photographers that have published a portfolio (indicated by the P - suffix): or who have been treated extensively in an abstracted article (indicated by the C - suffixl.

REFERENCE USE OF FOTODOK The reference m a d e in this FOTODOK-issue consists of the abbreviated magazine title, f o l l o w e d by the issue-number (and v o l u m e number) and pagenumber. Extra reference is m a d e t o the consecutively abstract n u m b e r in FOTODOK, in w h i c h n o t e d literature can be f o u n d . For Example: The photographer David G o l d b l a t t is f o u n d in the 'Index t o the photographers' w i t h the reference: T8 22 37 E 0 1 4 This m e a n s : E T8 22 /37 014

Exhibition of David G o l d b l a t t is r e v i e w e d in Ten.8 IGBI n u m b e r 22, page 37 w i t h a reference to FOTODOK-abstract n u m b e r 014

INTR0DUCTI0N AP E RTUR E

Abbreviations of

This special issue.entitled B etwe en P ast and F uture: N ew G erman Photography, "examines the state of Germany today, as w e l l as the tremendously varied photography being produced there. An introductory article by Klaus Honnef describes how the dynamic photography scène in German today developed out of the rich heritage of German photography in this century. The t w o different strams of German photography today, the Appolonian and the Dionysian, are discussed by Enno K a u f h o l d and W i l f r i e d W i e g a n d . Novelist M a r t i n W a l s e r tells of a young man whose entire past, embodied in family photographs, is destroyed in the firebombing of Dresden during W W II. E r d m a n n Z i e g l e r addresses the dark legacy ot urban terrorism that struck Germany in the 1970s C h r i s t o p h T a n n e r t looks back on the 40-year history of the German Democratie Republic (East Germany), and w h a t the Communist regime meant for photographers."

F O T O G E S C HI C HT E HE FT 43 J A H R G A N G 12 1992 This issue publishes (part of) the lectures delivered at the Symposium Krieg und F otografie (War and Photography), held at the Münchner Stadtmuseum, 9 and 10 november 1991. The importance of photographic reporting of war events since the 1846 Texan W a r t i l l W W II, and its relative decline in importance in relation to TV images and the satelite eye are discussed. Lectures (rewritten as articles) by V i l e m Flusser, Peter Fend, T i m m S t a r l , Ulrich Keiler, H u b e r t u s v o n A m e l u n x e n , Thilo K o e n i g , B o d o v o n D e w i t z , W i n f r i e d Ranke, Christiane Gehr, and T h o m a s B a u m a n n . A talk with Paul V i r i l i o on W ar and Wsua//ry(held in Faris, November 1991)completes this comprehensive issue.

Countries

list o f a b r e v i a t i o n s o f c o u n t r i e s , a s

in t h i s e d i t i o n o f

123 S P R I N G 1991

New

E n g l a n d , P h o t o g r a p h i c R e s o u r c e C e n t e r at

A u s t r i a (Oostenrijk)

AUS

Australia

Belgium

used

Fotodok

Bulgaria

Brasil

CDN

Canada

Suisse

Czechoslovakia

(Switzerland)

G e r m a n y (west)

DDR

G e r m a n y (east)

Spain

France

Great Britain

Groece

Hungary

Italy

Israël

IRL

Ireland

Japan

LIT

Lithuania

MEX

Mexico

Netherlands

Poland

Argentina

Rumania

RSA

South-Africa

Sweden

Finland

Soviet-Union

USA

Yugoslavia

Short Index to the Advertisement A erial

and

Photography

Afro-American Amateur

S erial S exuality

045

Sociological

051

Spiegel,

046

Staged

008

Straight

041

Stre et

Photography

History

and

Authenticity

Photography

and

Photography

Autobiographical

010,038

Photography

030

Biography

003,025,032, 033

C ensorship

0 07,010.011,013,018.019

Cinema

and

Photography

C ollections,

Photography,

C ollections:

Amsterdams

and

C ommercial

042 Archief,

G eme ente

Photography

020

Photography

C ommitted

Graphics based

C onceptual

015,016,026,031,040 and

Photography

Imaging

C orporale

Picture of

E diting

Digital

Imaging Photography

strategies. along with the apparatus of media technology

photos, censored by the Pentagon The cover photos after the

developmg since the 19th century, determme the military

deciaration of war by America on 17 Jan 1991 were made out of

032.037

über

F otografie,

D evelopment

Theory

029

015

Photography

T echnology

ongins. or else in the form of masses of cynical propaganda

027.036

Photography

T echnical

D er

defence there is a phase of revealing and conceahng Viewing

011

Photography

Symposium

relationship to the image • at the beginning of the attack and the

051

and

Gra z,

Photography

Travel TV W ar

Photography

and

USA

027

and

F acism

and

007

Photography

0 0 7 , 0 1 1 , 0 1 3 . 0 1 8 , 0 1 9 , 0 3 9 , 0 4 4 , 0 4 5 , 0 46 Photography

045

F eminism

INDEX TO THE BIBLIOGRAPHY Photography

and

Photography

G Kf,

Photographic

H e alth

Society,

H a z ards

Military

of of

Photography:

Austria

History

Photography:

Photography G ermany

014,022.04 5

History

Photography:

France

History

Photography:

History

Photography:

039 039,044,046 039 039.041,043

042,049

History

Photography:

P eru

040

History

Photography:

USA

031.034,039

Houston

F otofest.

Image

'T ext

Industrial Joint

Archeology

Bure au,

Literature

and

Motion

and

O st-W est

F otokonferenz,

Philosophy Photo

Books

Photo

Le ague,

Photograph

CDN

054 045 013,034

Wroclaw,

Photography

052

001,002.004, 005 034,046

USA as

031

Historie

Document

038,044

Photographic

Infrastructure:

C anada

025

Photographic

Infrastructure:

042

Photographic

Infrastructure:

USA

053

Photographic

R eproduction

Art

041

Photography

and

Photography

R ese arch

Photography

C ountry:

Austria

052

Photography

C ountry:

C anada

048

Society

052

012,045 Method

008

Photography

C ountry:

G ermany

Photography

C ountry:

DDR

052

Photography

C ountry:

Poland

052

Photojournalism Politics

020

and

Photography

C ulture

Propaganda

and

Art

and

029

all

Dinge Things)

Flusser,

Kompagnie,

Propaganda

with

044

Psychoanalysis

and

Photography 001.004,005,009,014

Public

R elations

R acism

and

R epresentation

C oloured

R epresentation

Men

R epresentation

S an

Francisco

Science

and

051

Photography

R epresentation

R eproduction

020

Photography

008,009

Photography

051

P eople

009 009

Women Works

E xaminer,

Art maga zine,

Photography

USA

R eporting and

the

historical

experience G ulf

broadcasting from very limited photo matenal. drawbacks in the

censorship pohoes is desenbed, usmg Susan Moeller's

processing of photographs into matenal suitable for TV

comprehensive study Shooting

Matenal was subject not only to

than

even

the

technology,

W ar)

G ulf

context,

the

latest

shaped military

the

visual

campaign

(the

Earlier American war photography in reiation to

American

W ar

E xperience

Photography

C ombat

and

(1989) A

companson is made with the imagen/ published during the Gulf

for information Information had to be seen within the constraints

War A general restraint m the representation ot the brutahty of

of this relationship Only through visuahsation of this censorship

the Gulf War is noliced A sample of annotated Gulf War pictures

Iraqi

oi cle ared

military

censor

V w s 9 1 / 3

is published

the TV viewers (Published English Summary, German)

008

Lines:

Power

Visualiz ation

The

Image

- Burnett,

have in common is that they take events out of history War questions the advance of history, photography has said farewell

important

to any such advance Once history is photographed it stands still

visualiz ation.

and becomes part of the world of obiects (Published English

the

its

how

the

O ther.

Vilém

V. F .I

F lusser.

Müller-Pohle,

Nov 1991 near Prague. the city of his birth A shon biography and bibliography is given, and Flusser's phiiosophical notions are E P 92/49/6-7.12-13

introduced (German. English)

me ans

admittedly,

with

Die

Signs

C ommodities)

Dinge,

Die

Z eichen,

Die

W aren

(O bjects

- W e i b e l , Peter

cultural

The

work

all

dominance.

le aves

its

that

:'ie close-combat. gun.

for photographic products. but also m the jtterances of photographers Based on a comprehensive body of evidence from

the

advertising and from biography ol the period Irom the late 19:-

operative

century to the Second World War. the language

two

S elf

being

causally

linked,

has

the

Aftenmage 1991. XVIII/7. Febr p 8-9)

V R 92/3/273-292

009

Masculinity

and

its

Unveiling

the

parallel

male

015

S aint

The

has

identified

be en

ideological deconstructed

first read at the Symposium on Photography XI. held at Graz

androcentric

CA 92/38 3

the

myth

male

body, as

struggle.

the

Francisco of

decre ase

are

now

a site

its

context of

among

American

the

Philistines:

Landscape

Art

the

and

a unified

than be

masculine

the new generation of landscape photographers like Robert sought

out

made

worlds

ide aliz ed

on view in the James A

deliberately

Adams, Richard Misrach and John Pfahl who

ever,

/ fratriarchal

redefined

Landscape

with the environmental Siërra Club, and comparmg Adams with

and

it can

patriarchal

American

Visions

Adams's traditional landscape photography and his connection

profoundly

political

Brian

Photography in its political contexts, commenting on Ansel

and

Photography.

Michener Art Museum. Philadelphia. discusses Landscape

development the

B ecause

with

Ansel

Peterson,

The exhibition represents a radical change,

masculinity

F G 92/43,'39-48

The author. curator of the exhibition C hanging

MasculinityISan The

interconnected

Philosophers such as Hegel. Kant, Schelling, Marx,

(German; English)

- De

Introductory essay by the curator of the exhibition No

Husserl. Heidegger and Guy Debord are cited (This article was 1990)

Discontents

Barbara

particularly in regard to the representation of the myth of

human

1988) (German. English Summaryl

body

the

barrel

To Mobilize the Mind's Eye

and

the telescopic lense, the long

e t c . bears witness to the military, social and ideological

(See also Thilo Koenigs earlier article in Fotogeschichte nr 30.

magazine nr 41 • C Burnett

exposure

identity,

Nol only was the close-up.

(Control of Complexity) (See also abstract nr 0 1 7 m Perspektief-

and

their

shot.

Overviews), Omnipresence (Simulated Travel), and Omniscience

R evoiution

lost

victors Thus a

photographic apparatus is examined in its use of war vocabulary

H eroes:

in fact

with

defences

powers discussed; Omnipotence (Ample Machines for Magical

Industrial

have

war

but

and

of violence be perceived not only in the aggressive advertising The

scientific

doubt

Camerawork. 1991)

result. O bjects

A pe aceful

wounded,

attacks

parallel since the end of the '9th century, so too can phantasies

social

The chapter headings reveal the kind of

profoundly under the exigenpes of the Industrial Revoiution. and

transformation of objects into signs and commodities As a

technology of weapons and of the camera have developed in ferms

the development of philosophy and aesthetics has changed

probably constitute the decisive factor contributrng to the

F otografie

milieu of photography and the photographic act Just as the

in bold

form

computer reve als

ideologies

connected

is power

in the

brashly

manifests

the transformation of the objective world it caused Weibel shows that photography, film, video and the computer together

der

Photography)

terminology for the direct take. the quick

imagination and

image

publicity

systems field

technological

visualiz ation

assumptions

This

Genevieve,

The author bases his article on the premise that since about 1800

war. no

vanquished,

Politics 004

Thilo

A snapshot and

not only

assaults

image... imaging

contradictions

term

scientific

visualiz ation

and

publicity Über

Scientific

Visualiz ation

Vokabular

Vocabulary

photography used as a weapon during the war, the metaphoncal

but

Anderen.

Military

quotation from the Golden Book of Rolleiflex, '935

publicity

F G 92/43/3-4

Christopher

an mterpretation in its own right The subject of

graphics

Summary: German)

D a s kriegerische

(The

forms a view.

des

014

commumcates mterpreted scientific data, but more strongly

itself

of of

environmental

natural

and

man-

abandonment

nature and

pace

the

This

urgency

incre asing

identity.

where

me et

vision

sense

challenge

places

comes

from

outrage

about

development

the

growing

the

and

ever-

its

degradation

resulting

PhR 92/1

SFC 91/3-4 3 5 005

Vom

Things)

Umgang

- Wetzel,

mit

den

Dingen

(D e aling

with

016

Michael

010

The author discusses the pnncipal concept of object and

The

(Photographs

achievements of the photographic medium show

they

make

object

its

us sense

tracé, and

which

track

wipe

down),

out

The satellite

The O ce an

existence in the work of Heidegger with a special view to the

C orporation

what

its fetish

i n L o s s llust and Verlust) which

State eye E arth

the

Art

the

Art

the

State.

C onstruction

C hemical

B erger.

F e n d , Peter

W aste

Dumps

- Roodenburg,

(Gifbelten).

Wout

Linda

Outch photographer W o u t B e r g e r photographs places where and

D evelopment

nature is finally left undisturbed again A closer view reveals.

(0ECD), founded m New York 1980 by Peter Fend

however. that something is fundamentally wrong all the places

and other artists, and its associated projects such as NewsRoom,

are polluted Each photograph is accompanied by a text by Dutch

Beach Party and Television Government, make use of the

pollution expert Rob Sijmons documentmg the extent of the

accessibility worldwide of digital satellite data for observation of

pollution and the measures necessary to clean it up (English.

photography brings into our dealing with objects (This article

economie resources, for ecological supervision, for urban

Dutch)

was first read at the Symposium on Photography XI, Graz.

renewal, and against deliberate political and military

1990)

C A 92/38/23-40

Photography

and

Society

006

" Toten

Auge

fassen".

(" Killing on

me ans

something".

H.v.A.)

heisst,

erst

den

Bliek

P a u l V i r i l i o im arming P aul

Amelunxen,

your Virilio

rusten,

G esprach view,

fixing

ins mit

H.v.A.

your

in conversation

eye with

P 92/43/49,58

disinformation By means of computer technology, photographs

017

and satellite pictures are analysed as evidence against the

Photography

politically motivated abuse of visual documents

Photographs 011,018,044, 046,008,013.039.044

N arrative

mstead of rendering It transparent This essay tries to explain the

In war. as in photography. history is brought to a stop, time

010.011,014,043,044.045 Propaganda

(i H

Patricia

deficits of TV reporting, mentioning 3 important causes

stands still An oppressive feature which war and photography

(German; English)

Photography

Stories:

- Johnston,

censorship, the necessity to create reports suitable for

the author's criticism is not

character, and the P l e a s u r e

0 0 4 , 0 0 7 , 0 0 8 , 0 1 0 , 0 1 1 , 0 1 2 , 0 1 3 , 0 1 8 , 0 1 9 , 0 2 1 . 0 2 5 . 0 4 6 . 0 51 Popular

aller of

Obituary of V i l é m F l u s s e r who died in a car accident on 27

Photography

and

Mutter

Mother

011

Montré al,

N arrative

92/38/49-53

JIB,

Photography

W ar

Koenig,

Andreas

014,032

PhR 92/1

photographed.

Baumann,

ISee a o the articles by

006

Photography

Photo,

die the

007

and

F otografie,

(Photography,

de ath

015,017,022.025,02 6

David

Nevada Nuclear Test Sites, landscapes and tuinkers etc were

makes

difficult)

The author argues that culture

Vilcm

(The

006, 007,011,014,043.045 M o / s de

002

013,021, 024,028.032,03 4

USA

What

013

An analysis of how Scientific

Tod

Photography

and

1990.

D er

Mediacriticism Militarism

Gra z,

IGermanl

003

Photography

- Graham,

contemporary nuclear weapons testing techniques Seveial

Losers

F G 9 2 / 4 3 / 8 3 85

Photography

and

Information

Landscape

XI,

053

1992

B attles? so

of America

to illustrale a Congressional Report on the relative safety of so The

009

012

History

-Transcript of the sometimes illuminating

042 049

History

Diskussion

Photography

Media

D efense

could the one-sidedness of the pictures shown be mediated to

Michael Went/el and Peter Weibel, abstract nis 0 0 4 and 0051

Industry

die

F ernsehen

Journalists:

reporting

American photographer David Graham discusses his commission

Media critics have cnticised television reporting on the Gulf War

cle ared

044 010,039

Amsterdam,

of alle war

Mutter

harshly. Manipulated pictures veiled the reality of the war

Theory

phiiosophical debates at the Symposium

G eme ente archief

Mother

(T V

der

the American Press Pool but also to the worldwide capital market

001

F orgery

W as im

macht.

broadcasting and TV audiences

0 3 0 , 0 3 1 , 0 3 2 . 0 3 3 . 0 3 6 . 0 3 7 , 0 3 8 , 0 4 0 , 0 4 3, 045 Photography

Medienschlachten?

Thomas

Photography

010,015,016,017, 028

V erlierer

Kriegsberichterstattung the

006,007,012,013.015.016,017,018, 020,021,025,026,029.

E cology

aller

schwierig television

002,007,011,018.019,039.043.044,045,046

Photography

T V-Journalisten:

F G 9 2 / 4 3 / 7 6 82

F G 9 2 / 4 3 / 9 1 -98 012

007

027

037,038

Documentary

function has been taken over to a great

(Published English Summary. Germanl

007,011 038

American press photographer David Turnley reach the agencies He is now calling on the media to lodge a protest against these

020 D O D,

Today its

Pools (Published English Summary German)

Photography

X-ray

on Baghdad Only after great protest did photographs by the

reconnaissance

037

023,025

Photography

W ar

a 10-second long video sequence showing the first missile attack

beginning, photography was a medium of war

037

Photography

and

technology of temtorial reconnaissance and domi nation From its

changed decisively since the advent of videographic real time.

0 0 1 . 0 0 2 . 0 0 4 , 0 0 5 , 0 0 6 . 0 2 2 . 0 3 0 , 0 38

and

which was either of uncertam but expensive

extent by sequential satellite film The importance of photos has

Photography

Topographical

Spiegel

001

024

D efence,

Digital

023

024,027

Photography

D epartment

maga zine,

028 008,010, 028,038

Photography

Criticism

Photography

042.043.047

Photography

C omputer C omputer

Photography

D er,

Tourism

051

Photography

C ommission

and

032,034

042 C olonialism

Photography

014

Photographers Photographers

Applied Art

Bibliography

Photography

Even if there is

7"he E mperor's

keiz er?

Roodenburg,

Linda

uncovered The 0 E C D presents the public with satellite data

After

having

primarily used for military reconnaissance, in order to break the

domain

information monopoly of the military (Published Enghsh

ye ars

Hubertus

world so

At the

strong.

Christiane

can

se e

How were photographic perspectives on the Gulf War processed

any

E urope an

examination of war.

Krieg

der

Bilder

(Photo

W ars)

Gehner,

stature.

observations on war presented in something of a pictonal

in editorial offices' like weapons. pictures were to serve as a

museum framework Over a penod of 7 years Viriho examined

deterrent Like arms, photographs of the Gulf War were either

equivalent

kept out of the sight of the public, or else there was a stnet

suddenly

le ast

If we

011

which contams photographs

It is an archeological

that

relegated

E urope. of

this

consult fact

again

amateurs, being

parts

has

never

century

the

so?

Ansel

Adams?

Why

we hardly any

the be en

is of

is there Why

taken of

subject,

there

photography

is this

the

other

genre

E urope an

there

041

and photographed the traces of war lelt by German bunkers on

037

the Atlantic coast from Spain to Denmark The theme of the book

prohibition against taking photographs A war without pictures

008

- war and visuality. military logistics and the technically

The role of the US Dept of Defense Pools (DOD) consisted in

for

total observation of accredited journalists and photo-reporters,

French DATAR (Mission Photographique de la DATAR), the

such

photography? photography

a gre at And

what

itselff

interest does

in this

and In

books this

van

E uropa).

is once in

landscape

Why

kleren

photographers

rejection

The conversation took place on occasion of the re-issue of Archéologie

photography

seriously.

Landscape

nieuwe

be en

publicity

landscape

F G 9 2 / 4 3 / 8 6 90

Summary, Germanl

Clothes?

(D e

Landschapsfotografie

no longer just one truth to be dealt with, at least fakes can be

Virilio's Bunker from 1958 to 1965

N ew

E urope

landscape interest

me an

Vanous piojects are discussed the

Scientific

Photography

008

mediated supervision and masienng of space - represents one of

Scientific

Visualiz ation

008

the main intellectual preoccupations of the urbanist and media

and the exercise of contmual censorship of undesirable photos

Mission Photographique Transmanche (Cross Channel

theoretician Paul Virilio According to Virilio, war is in a special

Thus photographic material arrived at the editorial offices of

Photographic Mission), the Swedish EK0D0K project, the

F O T O D O K Time

Square:

45 Y e ars

of Photography

B e l g i u m M i s s i o n Photographique a Bruxelles, and t h e Berlin

S t a t e m e n t by A m e r i c a n landscape photographe r Peter G o m

based c o m m i s s i o n "Fotografi e für d i e S t a d t " . a s w e l l as s o m e

concerning h i s series Nucle ar

D u t c h projocts. m o s t l y c o m m i s s i o n e d by City Art Councils W h a t

a b a n d o n e d bunker c o m p l e x e s o n Bikini A t o l I . a test site for

described by S f o u m e n as paper

these proiects have in c o m m o n is the

nuclear devices. The series w a s published in book f o r m i n 1 9 9 1 .

and text into a narrativ e s t r u c t u r e t h a t bears resemblance t o f i l m

In this a r t i c l e , partly excerpted f r om t h e p r o l o g u e t o t h e book, t h e

scripts i l l u s t r a t e d by f r a m e stil Is. The narrativ e structures of

that

the

visualiz es

human

ne ed

for

material

environment

The

exemplary DATAR project, f i m s h e d i n 1990, is critically P 92/43/33-37

e x a m i n e d (English, Dutch)

Burrowing

in the

S and:

Notes

(1985) a n d

£ n d | 1 9 8 6 | These photo books are movies

a w e a v m g of w o r d s

that

centers

address

around

the

a photographer

role

convey

photograph

how

of be auty.

How

C o n t e n t and

appe aling?

p o l i t i c a l effects Censorship, rather t h e regime of press c o n t r o l

027

T s e n g K w o n g C h i c : The

d u r i n g t h e Gulf W a t , is d e s c r i b e d in a m o r e historical

Works

a n d image P h M 92/96/5-10

Center Quarterly W i n t e r 1985-1986).

still

PhR 92/1/2 3

The author discusses t h e issue o f censorship a n d its cultural a n d

035

A Word

About

Photography

- Stoumen, Lou

S t a t e m e n t by A m e r i c a n photographer Lou S t o u m e n o n at Houston

C enter

for

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

E xpeditionary Photography

P h R 92/1/9

g e n e r a l . (Stoumen d i e d i n September 1991).

Caslin, Jean / Shackelford,

m e d i a M a s s m e d i a coverage of t h e w a r a n d p o s t w a r event s are

A p r e v i e w of t h e The

travel series c r e a t e d by C h i n e s e - A m e r i c a n artist Tseng K w o n g

Standing

Chi, b e t w e e n 1979 a n d 1989. His p h o t o g r a p h y i n v e s t i g a t es

I n t e r v i e w w i t h Canadian p h o t o g r a p h e r J u s t i n W o n n a c o t t o n t h e

91/3/3-4.20

Bill

E xpeditionary

Works,

a s h o w of t he

cultural c o n t r a s t s, t h e iconography of W e s t e r n c u l t u r e a n d 019

Press

Interview

C ensorship with

in the

P ersian

G ulf.

- Younger,

Photographer

036

J u s t i n W o n n a c o t t : From....Where

issue o f t r a d i t i o n a l d o c u m e n t a r y and its l i m i t s His series . . . until

w i t h W o n n a c o t a p p e a r i n g as director of a c t o r s , in w h i c h t h e

P h M 9 2 / 9 7 / 7 8 33

you

the restrictive press pools f o r m e d t o c o n t a i n press c o v e r a g e of

making

028

M A N U A L c ' s N ature:

the Gulf W a r Earlier W i g g s covered t h e 1989 U S i n v a s i o n o f

Art?

Hill, E d / B l o o m ,

Panama, w h e r e the

S t a t e m e n t by A m e r i c a n visual artist s E d H i l l a n d S u z a n n e

out.

or C an

E cology

H elp

The f o r m m g of press pools s e e m s t o b e t h e result of a m e e t i n g

B l o o m (together f o r m i n g M A N U A L ) o n their c o m p u t e r - b a s e d i m a g i n g c o n c e r n i n g t h e e n v i r o n m e n t a l threat art

W o r l d Report. N i g h t n d e r a n d A s s o c i a t e d Press). L a t e i , this

environment,

G a n g o f F i v e c o n t r o l l e d t h e s t r e a m of p i c t u r e s . a n d r e v i e w e d t h e m b e f o re p u b l i c a t i o n . It was " G ang

Five

" to self

basically

left

censor

the

problem.

Social/documentary

Photography

attach

Not

all its

is a piece

hold

only

'innocence'

part

020

Photo

gameke eper

turned

poacher

Alun,

about

the

gre at

world"

editing

services

offering

imagination

the

world

Political

Landscapes

It is remarkable with

one

make

another

use

same

how

9.1

the

of similar

historical

same

are

piece

arguments,

"facts",

interpretations

who

conflict

of soil

founded

albeit

often upon

given

the

Architecture:

effect

the

Doherty

P 9 2 / 4 3 / 1 8 19:32

IB P.:

history

landscape

Die

clarity,

This

which

prejudice fuz ziness,

in favor

A m e r i c a n p h o t o g r a p hy The text f o r m s part of a special e x h i b i t i o n

against

inaccuracy

has

C hanging

Landscape

Visions

modern

P h R 92/1/12-16

Art M u s e u m . P l u l a d e l p h i a . 1 9 9 1 .

the

s h o w n at t h e J a m e s A M i c h e n e r

Biographies/monographs

science.

that

which

and

it covered

rest

the

Rule

without

uitzonderingen)

exception

IR egel

- Gierstberg,

Frits

L e w i s B a l t z : The especially not

places

interesting

that

zonder

silence.

absolutely

mysterious

is why concern

because

P 92/43/4' 7

everything us may

that be kept

ne ar

approach

is distant

and

in cle arness

it, does

(German ;

E P 9 2 / 4 9 / 3 8 39

English)

031

S i s k i n d R evisited

- Silverman.

Mare

A r e v i e w of an A a r o n S i s k i n d r e t r o s p e c t i v e at t he Photo

het

The

dialectische

word

is the

activities

the

kijken) thre ad

of Micha el

dialectical

view

IM G

runs

through

all

the

A n i n t r o d u c t i o n t o recent

photo-text w o r k by this British b o m artist a n d critic. (English.

of Production

- J e f f r i e s , Bill

Black

C opper

Soldiers,

Portraits:

Soldiers,

Portraits:

Wool

tourists'

response

to our

experience

landscape

and

social

history,

broadly

documentary

The author locates D o n GiU's w o r k in t h e

92/97/36-37

PhM 038

P ast,

Analog

C oncepts

Digital

F uture:

in Photographic

C hanging

Imagination

- Hulick,

Diana especially d i g i t a l i m a g i n g , a n d i t s e f f e c t s o n our perceptions of the

issue

capacity capacity

not

to manipulate,

to discern

the

but

the

manipulation

a n e x a m p l e , t h e author discusses t h e history o f T i m o t h y 0 ' S u l l i v a n ' s p i c t u re Home G ettysburg,

July,

of a R ebel

Sharpshooter,

7 8 6 3 c o r r e c t l y a t t r i b u t e d t o h i m . but

p u b l i s h e d in 1866 by Alexander Gardner in h i s Photographic S k e t c h Book of t h e Civil W a r under Gardner's n a m e Research b y W i l l i a m Frassanito. publishe d m h i s " G e t t y s b u r g : A J o u r n e y in

photographs

Historical

toward style. the

lts

cre ator. of

about digital "true "

040

019

into

if it confirms

the

our

these

understanding

service

that

History of

of the

world.

selected

mythology. soon

facts

fact,

accepted

analog

imagery

041

Material

92/3/265-272

027.033,054 045

Photography

W ar,

U S A,

American,

Crime an

W ar,

French-G erman,

W ar,

G ulf

W ar,

Italy,

W ar,

Mexican

W ar,

O pium

W ar,

P aris

1853-1855 1870

039

Von

038,039.045

Bilder

zum

039,043.045

F otografie.

1861-1865

1871

1990-1991

045 007,011,013,019

1859

039

W ar, W ar,

1846-1848 C hina,

C ommune,

045

1859-1860

039

1871 W ar,

039,045

the

Vorgeschichte

Zustand (The

state

des Prehistory

of warfaring

Amelunxen,

des

Abschieds.

Kriegerischen

der

D eparture.

Pictures

in photography)

Hubertus

Is it possible t o speak of w a r p h o t o g r a p h y today? W a r is a n event in w h i c h t h e course o f h i s t o r y is s u s p e n d e d W a r closes a n d opens history In this process, p h o t o g r a p h y is on t h e side of w a t . i n v a d i n g t h e historical a n d d o c u m e n t i n g t h a t invasion From t h e t r o o p d e p l o y m e n t in t h e Texas W a r of 1846 a n d t h e Crimean

i m p o r t a n t f o r military logistics, as a w e a p o n of

W ar,

1864

der

013,044

1846-1848

045

W a r . t o t h e p h o t o g r a p h s of t h e H arvest

039

A m e r i c a n Civil W a r , t h e p h o t o g r a p hy o f w a r b e a rs w i t n e s s t o

023

reconnaisance

D e ath

during t h e

A t t h e latest since t h e Gulf W a r a n d its

s a t e l l i t e pictures, photograph y as a m e d i u m of d i s p l a c e d t i m e

P h R 92/1/10-12

w h i t e abstract images.

debate versus

photography

and

than

the

of analog

perceptions

may true

the

its

implications

to clarify

discover

of cultural

photography

of of of

cultural

helps

our

apparently

attitude as a

authority

it is particulariz ed

an itself

circumstances

truthfulness

systems. history,

digital

personal

history

relative

imply

manifests

individual

as the

R ese arch the

one

which

is based

and

photographic

040

effect

as well

documentary

as this

subject

cultural

045

Historically,

such the

image

031

043 P eru

o r i g m a l m e s s a g e n o w becomes a m e s s a g e about s e p a r a t i n g

has ceded i t s role in logistics t o v i d e o , t h e m e d i u m of real t i m e . C onverging

Stoumen.

F orces:

Interview

with

Lou

9.2

Iconography by

B elgium,

Bultman, Janis movies,

magazine).

Brussels Rio

Janeiro

S askatoon

Will

Camhi,

the

re al

L o u S t o u m e n ple ase

rise?

Morrie

The author. trustee f o r t h e Lou S t o u m e n e s t a t e , introducés this

P h M 92/96/3 4

Robideau. Roy A r d e n . J o e y M o r g a n a n d Eleanor Bond L o u S t o u m e n ' s P aper

Movies

Hugunin,

The author discusses Lou S t o u m e n ' s photo-book s Argue

With

Sunrise(Wb).

Ordinary

C an't Miracles(m\).

P aris

France,

m f i n i t e e n d . (Published English S u m m a r y ; German)

027

P aris,

G B,

London,

G B,

Northern

Notre

D ame

Tower

Bridge

Ireland

G ermany

Kuwayt Tulum

NL,

Amsterdam

The

1900-1930,

020 027 021

Frayed

Photography Fernando

021

Mexico,

FG 040

027

044,046

Isra ël

Twine

in the at Houston

92/43/27-38

Modernity:

Southern

Andes

F otofest

P eru,

- Castro,

This essay is a sketch of t h e indigenists

m o v e m e n t in Peru,

d o n e w i t h broad strokes of c u l t u r a l , p o l i t i c a l a n d economie history l t s second part examines t h e role of s o m e Peruvian p h o t o g r a p h e r s i n t h e s o u t h e r n A n d e a n region of Peru vis-è-vis t h a t m o v e m e n t a n d t h e t i m e s Photographers d i s c u s s e d: M i g u e l

007.011.019

Cham, J u a n M i c h e l Figueroa-Aznar, t h e V a r g a s Brothers Carlos

026

a n d M i g u e l , Crisanto Cabrera , S e b a s t i a n Rodriguez, a n d M a r t i n

016

Chambi. W o r k by t h e s e p h o t o g r a p h e r s w a s s h o w n at t h e

042

H o u s t o n Fotofest 1992.

P h M 92/97/5-17

040

USA U S A,

h a p p e n i n g , but never w h a t has h a p p e n e d ; t h e p e r p e t u a t i o n of

027

017

P eru

James

In today's televisio n w a r r e p o r t i n g w e m a y f i n d out w h a t is 047

025

NL 034

Geography

029

W estern

GB 033

w h o d i e d i n 1991 )

" -

U n i o n a n d t h e p h o t o g r a p h e r ' s p e r s o n a l feeling s t o w a r d t h e

of a r t i c l e s in this issue o f Photo M e t r o , d e v o t e d t o Lou S t o u m e n

Landscapes

Discussed a r e t h e t e c h n o l o g y u s e d by A l e x i s K o m e n i c h for

W aste

lan W a l l a c e . M i c h a e l d e Courcy, Rodney G r a h a m . Henri

" Nucle ar

with -

W ar,

already visible in Siskind's H a r l e m Document

activity, a n d compares Gill's project w i t h w o r k d o n e by J e f f W a l l .

Peter

interview

E xaminer)

1932 19401. a n d fully e x p l o r ed later in t h e w e l l k n o w n b l a c k - a n d -

lesser k n o w n A m e r i c a n d o c u m e n t a ry photographer, f i l m m a k e r ,

Photographing

Francisco

(a social d o c u m e n t a r y project m s t i g a t e d by t h e Photo League.

script w r i t e r a n d maker of several photo-books (First of a series

Goin,

Photography: (S an

Alexis

w h a t is n o n - r e p r e s e n t a b l e a b o u t w a r Photography w a s

aspects

W e s t e r n Canadian landscape i n t e r ms of its social a n d political

026

Digital

Komenich

013,046

formal

t r a d i t i o n . b e g u n in t h e 1970s. of e x a m i n i n g a n d p i c t u r i n g t h e

B l a 92/4/5-6.12

Kim

in the

P h M 9 2 / 9 6 / 1 0 14

connotative

Gill speaks of h i s w o r k i n t e r m s of

043

technology

interest

The author c r i t i c a l l y discusses t h e notion of

spe aking

Crime a

W ar,

Siskinds serious

d o c u m e n t a r y style a n d i t s s t a t u s of primary t r u t h g a t h e r e r, replacing this n o t i o n by doing

Workers,

W ar,

France,

the

history

direct

history

Union,

Photographic

007,011,013,018,039,044.046

( I n t e r v i e w d a t e s f o r m 1 9 8 1 , f o r D arkroom

Nuns

American British

Art

Civil

France

his

P eople,

P eru

Bullets

acquaintances w i t h Edward W e s t o n . and Ansel Adams

reflect

Industry,

S elfportraits

C anada,

that

R eligious

Portraits:

C anada,

series by

social

037

a u t h o r ' s conclusion

040

P eru

Miners,

his activities as a street-

images

IdentificationIndians,

photographer. his use of still-pictures in h i s m o t i o n - p i c t u r e s : his

through

P eople

Portraits:

books, t h e so-called paper

Production with

027

Union

029

051

Men

Portraits:

Topics d i s c u s s e d ; S t o u m e n ' s peculiar use of i m a g e - t e x t photo-

works

Rushmore

028

Black

wandering

who

Mount

d o c u m e n t a r y style f r o m a p h o t o g r a p h s v a l u e as a record. The

037

Canadian photographer Don Gill D o n Gill is described as a artist

027

D akota,

026

009,051

Tre es

Brasil,

A n e x t e n s i v e r e v i e w of t h e Sites

Soviet

027

T exan

032 D o n G i l l : Sites

NYC

South

031

F alls

Prussian-D anish

P 92/43/38-39.48

Dutch) 025

N Y,

U S A,

026 026

W ar,

picture-making

- Perrée, R o b that

Gibbs

U S A,

012

W ar,

Forum Gallery i n Pittsburgh, 1991 The reviewer a c c e n t u a t e s M i c h a e l G i b b s and

Male

Things:

The author traces t h e d e v e l o p m e nt a n d

latest i n s t a l l a t i on by A m e r i c a n N e w Topographer L e w i s Balt?.

024

Roads

G ardens

R eproductions

distinr.tly

The author

012

Woods

Portraits,

W ar,

not

are

(English; Dutch)

Bunkers

Abandoned

Portraits,

W ar

and

H arlem

Niagara

Site

T i m e " (19751, revealed t h a t this image w a s a ' s e t - u p ' The

Plants:

to counte r such a vision, c i t i n g such a u t h o r s as A b r a h a m M o l e s

which

they

and

Site

(The Science of t h e Imprecise). discussing M a n d e l b r o t sets a n d

I photograph

because

and

exclusively

cle arly

T est

Portraits

analyses Plossu's Iblurry) a u t o b i o g r a p h i c a l images i n an a t t e m p t

uncle ar

NYC,

N Y,

012.039

Landscape

Portraits:

this...

whole

the Theory of Chaos, a n d c o n c l u d i n g . E verything 023

the

and

discusses with

for

of precision

he defined the

ga z e

of cle arness

marked

Science

may

N Y,

U S A,

viewer's

010 Nucle ar

Portraits:

and

responsible

in favor

against

American

the

it is D escartes

are

of ours

A short i n t r o d u c t i o n t o landscape i n t h e history of p a i n t i n g a n d msert i n Photo Review

Vilém

and

U S A,

T est

C arolina

photographic truth

030

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Nude,

des

The author introducés this article as f o l l o w s : O ur E nlightenment

Stephen

Science

Wissenschaft

- Flusser,

Minnesota

photography's

012,015,016,017,021,022,023,025,026,027.047

B l a 92/4/4:14

B e r n a r d P l o s s u : The

Nucle ar

Northern

012. 026

021,023,025,027,031,042,047

Landscape:

perturbed brief

limages)

Landscape:

030

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North

U S A,

The author examines t h e p h e n o m e n o n of c h a n g i n g t e c h n o l o g y .

045

Cityscape

materialize t h e private , indicating t h a t t h e p o w e r of t h e e l i t e is

Ungenauen)

- Perloff,

B alloons

art as a c e l e b r a t i o n of t h e p e r s o n a l ; t h e history o f t h e right t o

cityscapes i n s c n b e d w i t h w o r d s ) (English, Dutch)

A Ivery)

Bomb

Landscape:

Imprecise

photography

USA

Blurred

A series of p a n o r a m ic

025

006

Aviation:

the

012,026 Archeology

Architecture:

i n t e r p r e t a t i o n o n t h e perception of Pelkey's w o r k . t h e notion of

|a series e n t i t l e d U n k n o w n D e p t h , d e p i c t i n g landscapes /

022

Bunkers

Atomic

H o l t z m a n (a series e n t i t l e d A Sense of Place, d e p i c t i n g b o r d e r l m e s i t u a t i o n s i n Israël) and Derry-born W i l l i e

026

T est

m i n i a t u r e v e r s i o ns o f t h e Eifel T o w e r . t r a i n s . w i n d m i l l s , g r o t t o s

males.

Mexico

Nucle ar

Cheryl

Antiques,

Buildings,

legitimized c u l t u r e as t h e singular d o m a m of w h i t e , u p p e r c l a s s

The author discusses t h e c o m m i t t e d

landscape p h o t o g r a p hy o f Israelian photographer A v i

N evada,

U S A,

023

Military

constructed a n d m a m t a i n e d by privacy; t h e a r b i t r a r y n o t i o n of

different

026 027

intelligent use of d i g i t a l tools in t h e service of p h o t o j o u r n a l i s m

Iconography

Architecture

influence of t h e art s y s t e m w i t h i t s c o d e d processe s of

- G i e r s t b e r g , Frits

groups

027

C anal

of digital t e c h n o l o g y . Q u e s t i o n s arise a r o u n d t h e e t h i c a l a n d

W all,

and a host o f B a m b i e s Q u e s t i o n s raised by t h e r e v i e w e r : The 021

Hollywood

026 Francisco

t h e San Francisco Examiner. h i s recent t r i p t o t h e f o r m e r Soviet

Atlantic

Cibachromes, d e p i c t i n g 19 Saskatoon back yards a d o r n e d w i t h

P h J 92/2/66-67

provoke of

Buildings,

P h M 92/97,70

- Meszaros, gre at

U S A,

Gerard,

B l a 9 2 / 4 / 7 11

Military

The author r e v i e w s a n e x h i b i t i o n of Canadian photographer

picture

ethics

Industrial

Brenda Pelkey, e n t i t l e d . . . the

corporale

and

Architecture:

Editor a t t h e B n t i s h n e w s p a p e r s The I n d e p e n d e n t , a n d The European, n o w s t a r t i n g w i t h British reportage style p h o t o g r a p h e r

procedures

Architecture:

A personal account of A l u n J o h n , d e s c n b m g his w o r k as Picture

S t e w a r l Goldstein h i s o w n p i c t u r e desk o p e r a t i o n

the

Architecture:

the

to it. Quite a n e x t e n s i ve p o r t f o l i o of their

P e l k y : " . . . the

Brenda

imagination

Erie

037

(staged scènes

N ature,

similarly,

w o r k is published i n this issue of Photo M e t r o .

029

eyes.

photographs

Sites John

of their

collective

of of the

of it, and

does

the

representation

naive,

image

value

be, in

E very

most

cultural

problems

it may

the

even

V w s 91/3/10-11

or salve

whites

Atoll S an

r a d i c a l c h a n g e s t h e m e d i u m is undergoin g t h r o u g h t h e use m a d e

b e t w e e n Pete W i l l i a m s (director of Pentagon's Public Relations)

solve

the

Suzanne

a n d t h e G a n g o f F i v e (Time, N e w s w e e k , U.S N e w s a n d

not

se e

photographer's e q u i p m e nt is o b v i o u s l w a s t h o u g h t f o thought

shut

U S A,

consistent strategy of s e l f - p o r t r a i t u r e . Some 2 2 photographs are published.

completely

C A,

Globe

Daniël

were

Julian

The photographe r r e l a t es his e x p e n e n c e s a n d frustration s w i t h

media

- Mills,

t o u r i s m The a r t i s t c h r o n i c l e d h i s e x t e n s i v e travels using a

J o n a t h a n L W i g g s , Boston

Bikini

U S A,

Soviet

perspective. s t a r t i n g w i t h Ronald Reagan's m a n a g i n g of t h e analyzed lor its nationalist and c o n s e r v a t i v e c o n t e n t s Vws

U S A,

these paper m o v i e s a n d their use of montage

does

Postwar

Daniël

to Land's

j u x t a p o s i t i o n s a r e a n a l y s e d (This article originall y appeared i n

dialogue

the

Younger,

Journey

critical

make

Media.

w h i c h depicts

author discusses c o n t e m p o r a r y landscape photography : a photographers

018

Landscapes,

015,018.023,028,032,03 4 A Z,

Grand

C anyon

027

041

Rossetti's

Dissemination

R eputation: of His

Art

A Study through

the

Photographs

C r a ig F a x o n . Alicia

transmission of information As exposure times rapidiy became

M a p p l e t h o r p e . B r i a n l a n k e r and the Afro-Amencans

An attempt to decipher one of the mysteries Surrounding the

shorter photographic possibilities with respect to speed began to

J e f f r e y S c a l e s and L y l e A s h t o n H a r r i s

mfluence of D a n t e G a b r i e l R o s s e t t i s arl on the continent

exceed those of the military FJy dissectmg photographs of the

from the 1870s on how did artists obtam access to Rossetti's

mDvement of soldiers an optimum marching tempo could be

work. as he never exhibited his paintings or drawmgs on the

caiculated. the capacity of units could be observed m

continent, nor did com mental collections have any examples of

photographs of manouvres. by pursuing projectiles

his work Rossetti was particularly interested in photography as a

photographically. wider studies in ballistics could be done In the

medium to reproduce woiks of art. as he was never satisfied by

la-ge industrial countries at the turn of ihe century the military

the way in which his drawmgs were transformed by professional

potential of the implementation of photography was tested,

wood engravers into fmished illustrations An overview is given of the photographers Rossetti commissioned to photograph his F or a n artist

work Concluding remarks by the author Rossetti

who

and

never

that

confirmed

and

gave

themes be

works

viewers

technique.

other

as an

T h e role

times

19th century

Britain,

artists

artist,

his could

sides

channel

046

Schiessen

oder

F G 92/43/5-16

fotografieren?

Soldaten

during

(D eceived,

C onference

O st-W est-Treffen

brutished.

- Kaufhold

E e n be zoek

atlas stad

a an

d e historisch

v a n Amsterdam. in h et geme ente archief.

photography