| | | |  | | | | | 8th Triennal of Photography Hamburg 2022 | | | 8th Triennal of Photography Hamburg: "Currency"
Opening Week: 19 – 22 May 2022
Symposium "Lucid Knowledge"
30 September – 2 October 2021
Livestream: here | | |  | | | | | | | | | |  | | | Contribution to the Errant Photo Album
Klaus Matwijow, Kulturfrauen resting, ca. 1950s, Lower Saxony, Germany
Courtesy the photographer | | | | | | The 8th edition of the Triennial of Photography Hamburg will be framed around the concept of Currency, inviting reflection on the contemporary power of the photograph to relay and relate meaning across distance. Rerouting this economic term to art and visual culture guides a multipart engagement with photography and its relationship to value-making, canon-making, access, circulation, and knowledge production.
Positioned as a discursive forerunner to the exhibitions, the symposium "Lucid Knowledge" will take place 30 September to 2 October, 2021, with all proceedings live-streamed.
The event gathers together artists, critics, curators, filmmakers, poets, researchers, scholars, and theorists to engage with three key themes, each devised with the aim of deconstructing an aspect of the Triennial's curatorial theme: Narrative Currents, Fields of Perception, and Image as Currency. Fostering interdisciplinary dialogue, the symposium provides a dedicated site for critical exchange and reflection with lectures, presentations, and roundtable discussions.
Contributors are: Nancy Adajania | Akinbode Akinbiyi | Ariella Aïsha Azoulay | Natalia Brizuela | Antawan I. Byrd | Tina Campt | Biljana Ciric | Robin Coste Lewis | Frieda Ekotto | Ariel Goldberg | Joana Hadjithomas and Khalil Joreige | Tala Hadid | Saidiya Hartman | Kapwani Kiwanga | Léopold Lambert | Miguel A. López | Doreen Mende | Maaza Mengiste | Samaneh Moafi | Bonaventure Soh Bejeng Ndikung | Tuan Andrew Nguyen | Uzma Z. Rizvi | Esther Ruelfs | Elias Sanbar | Andreas Schlaegel | Nicholas Tammens | Françoise Vergès. | | | | | |  | | | Contribution to the Errant Photo Album
Identification index card. Fulton County Prison Farm, Atlanta, Georgia, ca. 1940s–70s
House of Photography/F.C. Gundlach Collection Hamburg | | | | | | DAY 1:
"FIELDS OF PERCEPTION"
Thursday, 30 September, 2021
4:30pm – 7pm
Since the early twentieth century, thinkers have attributed prosthetic qualities to the medium of photography for how it shapes perception and structures experience. Day one is dedicated to a series of explorations regarding photographic impetus, the social uses of photography, and the ethics of spectatorship. Traversing image-making, curating, and theorizing, Fields of Perception engages alternative registers for reading the relationship between sight and image. Thinking through a series of entangled fields, instead of a singular unitary field, the sessions are attuned to ongoing efforts to account for photography as a site of encounter and appearance. Such an effort involves disrupting the readiness of terms such as "capture" and "gaze" to make way for "non-deterministic" and open-ended encounters that allow for consideration of what is missing or speculatively possible in the photographic domain.
The day revolves around two invited contributions––a theory lecture and a conversation. The invited proposition is that of thinking, feeling, and sensing photography beyond institutionalized logics of interpretation, temporality, and categorization: whether by prioritizing slow and returning observations against the media flows of late capitalism or challenging positions of exteriority when viewing images.
DAY 2:
"NARRATIVE CURRENTS"
Friday, 1, October, 2021
11am – 7pm
Day two’s proceedings are dedicated to the discursive, literary, and critical imaginaries through which photography flows. With a range of invitations, Narrative Currents explores photography’s relationship to metaphor and literal meaning. While images both support and carry interpretative leaps, they also provide glimmering propositions of their own that act as guiding forces into archives and other knowledge repositories. As evoked by photography’s foundations in "writing in light," imaging and writing practices are not disconnected in their narrative possibilities. Speakers are invited to consider how, beyond the idea of images illuminating text, photography has its own affective bearings––in moods, atmospheres, and rhythms––that fracture and skew narrative conventions, leading to richer storytelling for it.
Poet and writer Robin Coste Lewis will open with a lecture, followed by two conversations. A recurring discursive motif in the Triennial, panels of Errant Photo Album entries extend the invitation to think with and imagine an audience for a single photograph—familial, public, or speculative. The day closes with a lecture performance by Joana Hadjithomas and Khalil Joreige.
DAY 3:
"IMAGE AS CURRENCY"
Saturday, 2 October, 2021
11am – 8pm
The final day convenes in response to the proposition of Image as Currency. "Currency" most immediately evokes the instrumentation of value through trade flows, canon-making, and structures of systemization. The term has been critically repurposed in this setting to invite exploration of the ongoing and unfinished exchanges that take place around acts of noticing and listening to images. The results that follow––whether the individuated "frequencies" of photographs or modes of fabulation that insist on following trajectories not yet taken––expose a set of circulations resistant to and defiant of conventional approaches. The day hosts three conversations, interspersed with contributions from the Errant Photo Album. Contributors here reflect on visual production, circulation, and consumption through the lenses of art and film, as well as literary and cultural theorizations guided by feminist, queer, trans, ecological, decolonial, and Indigenous epistemologies. | | | | | |  | | | Contribution to the Errant Photo Album
Fide Struck (1901–1985), Arbeiter in einer Fischräucherei, Altona, ca. 1931
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