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Kindly supported by Art Mentor Foundation Lucerne and Temperatio Foundation.
Formats (SITUATION #20 to #22), the third cluster, dealt with lost and changing visual formats and the implications of these medial transformations for an examination of art and photography.
Vanishing (SITUATION #23 to #27), explored the transitional moments inherent in the act of vanishing and asked how, and in what way, these moments are marked by the dynamics of (re-)configuration and (re-)appearance. Witnessing radical transformations in the production, distribution and consumption of images that migrate across mobile and interactive displays, the fifth cluster,
(in)stability (SITUATION #28 to #31), revolved around moments of (in)stability in the history and contemporary experience of photography and film.
Play (SITUATION #32 to #38) looked at new play practices and platforms – artistic game modifications, the gamification of photography, or new forms of social online interaction – that have emerged in the digital realm, questioning, in turn, how new parameters of game/play challenge the agency of the players.
Proletariats (SITUATION #39 to #41) examined the potential of artistic strategies of representation to deconstruct the complex imbrications of labour, subjectivity, gender, and social positioning. The eight cluster,
Filter (SITUATION #42 to #53), examined the politics of images, questioning the hierarchies of social power and value systems that are inscribed into their production, selection and circulation and that are deeply embedded in media technologies and their representations. The
Re-enactment cluster (SITUATION #54 to #58) exposed the photographic representation as a process of creation rather than of reproduction of reality. Revolving around the theme of
Flesh, the tenth cluster (SITUATION #59 to #67) looked at the interfaces where the gaze meets the body, where they both intersect to question their transforming nature. The cluster
Placeholder (SITUATION #68 to #79) dealt with photography as an object of information and exchange, entangled in circulatory processes, cultural semantics and social structures that determine its understanding. This was followed by the cluster
Fact (SITUATION #80 bis #89), which set out to inquire photography's crucial role in the current debate around a 'post-truth condition'. What are we to make of photography's claim for the factual in a time when images and information circulate uncontrollably across digital networks and social media platforms, reproduced, manipulated and put in new contexts in an ever-increasing pace?
Each cluster can be searched and reordered by visitors in the SITUATIONS online archive using a system of tags. Over time, new clusters and combinations – and new virtual exhibitions – will emerge.
(in)stability (SITUATION #28 to #31), revolved around moments of (in)stability in the history and contemporary experience of photography and film.
Play (SITUATION #32 to #38) looked at new play practices and platforms – artistic game modifications, the gamification of photography, or new forms of social online interaction – that have emerged in the digital realm, questioning, in turn, how new parameters of game/play challenge the agency of the players.
Proletariats (SITUATION #39 to #41) examined the potential of artistic strategies of representation to deconstruct the complex imbrications of labour, subjectivity, gender, and social positioning. The eight cluster,
Filter (SITUATION #42 to #53), examined the politics of images, questioning the hierarchies of social power and value systems that are inscribed into their production, selection and circulation and that are deeply embedded in media technologies and their representations. The
Re-enactment cluster (SITUATION #54 to #58) exposed the photographic representation as a process of creation rather than of reproduction of reality. Revolving around the theme of
Flesh, the tenth cluster (SITUATION #59 to #67) looked at the interfaces where the gaze meets the body, where they both intersect to question their transforming nature. The cluster
Placeholder (SITUATION #68 to #79) dealt with photography as an object of information and exchange, entangled in circulatory processes, cultural semantics and social structures that determine its understanding. This was followed by the cluster
Fact (SITUATION #80 bis #89), which set out to inquire photography's crucial role in the current debate around a 'post-truth condition'. What are we to make of photography's claim for the factual in a time when images and information circulate uncontrollably across digital networks and social media platforms, reproduced, manipulated and put in new contexts in an ever-increasing pace?
Each cluster can be searched and reordered by visitors in the SITUATIONS online archive using a system of tags. Over time, new clusters and combinations – and new virtual exhibitions – will emerge.
Proletariats (SITUATION #39 to #41) examined the potential of artistic strategies of representation to deconstruct the complex imbrications of labour, subjectivity, gender, and social positioning. The eight cluster,
Filter (SITUATION #42 to #53), examined the politics of images, questioning the hierarchies of social power and value systems that are inscribed into their production, selection and circulation and that are deeply embedded in media technologies and their representations. The
Re-enactment cluster (SITUATION #54 to #58) exposed the photographic representation as a process of creation rather than of reproduction of reality. Revolving around the theme of
Flesh, the tenth cluster (SITUATION #59 to #67) looked at the interfaces where the gaze meets the body, where they both intersect to question their transforming nature. The cluster
Placeholder (SITUATION #68 to #79) dealt with photography as an object of information and exchange, entangled in circulatory processes, cultural semantics and social structures that determine its understanding. This was followed by the cluster
Fact (SITUATION #80 bis #89), which set out to inquire photography's crucial role in the current debate around a 'post-truth condition'. What are we to make of photography's claim for the factual in a time when images and information circulate uncontrollably across digital networks and social media platforms, reproduced, manipulated and put in new contexts in an ever-increasing pace?
Each cluster can be searched and reordered by visitors in the SITUATIONS online archive using a system of tags. Over time, new clusters and combinations – and new virtual exhibitions – will emerge.
Re-enactment cluster (SITUATION #54 to #58) exposed the photographic representation as a process of creation rather than of reproduction of reality. Revolving around the theme of
Flesh, the tenth cluster (SITUATION #59 to #67) looked at the interfaces where the gaze meets the body, where they both intersect to question their transforming nature. The cluster
Placeholder (SITUATION #68 to #79) dealt with photography as an object of information and exchange, entangled in circulatory processes, cultural semantics and social structures that determine its understanding. This was followed by the cluster
Fact (SITUATION #80 bis #89), which set out to inquire photography's crucial role in the current debate around a 'post-truth condition'. What are we to make of photography's claim for the factual in a time when images and information circulate uncontrollably across digital networks and social media platforms, reproduced, manipulated and put in new contexts in an ever-increasing pace?
Each cluster can be searched and reordered by visitors in the SITUATIONS online archive using a system of tags. Over time, new clusters and combinations – and new virtual exhibitions – will emerge.
Placeholder (SITUATION #68 to #79) dealt with photography as an object of information and exchange, entangled in circulatory processes, cultural semantics and social structures that determine its understanding. This was followed by the cluster
Fact (SITUATION #80 bis #89), which set out to inquire photography's crucial role in the current debate around a 'post-truth condition'. What are we to make of photography's claim for the factual in a time when images and information circulate uncontrollably across digital networks and social media platforms, reproduced, manipulated and put in new contexts in an ever-increasing pace?
Each cluster can be searched and reordered by visitors in the SITUATIONS online archive using a system of tags. Over time, new clusters and combinations – and new virtual exhibitions – will emerge.
Each cluster can be searched and reordered by visitors in the SITUATIONS online archive using a system of tags. Over time, new clusters and combinations – and new virtual exhibitions – will emerge.
