Tag Archives: Post-Photography

AFTER POST-PHOTOGRAPHY 5 Conference, 23-25 May 2019, St. Petersburg

Conference APP. Cultural, historical and visual studies in photography

23-25 May 2019,
European University in St Petersburg

Addressing one of the most common concepts that define the nature and function of photography, the fifth edition of the conference After Post-Photography  aims to re-think the fundamental notions and offer new perspectives on the subject of photography and its connection with memory.

Memory is a notion commonly brought forward when speaking about photography. The very idea of close connection between memory and photography has long found itself at the basis of the (re)construction of histories and identities.

The photographic image, when regarded as a material evocation of memories, is supposed to not only preserve the past, but to represent a selection of moments worthy of being captured and retained. In this sense, photography has caused fundamental changes to mental structures, such as remembrance and forgetting. Its mechanics, however, is still indecisive: is photography something that evokes memory – or something that enhances oblivion? Furthermore, is a photograph something that really speaks of a moment of the past, or does it rather testify of certain modes of cultural optics? Is there still a possibility to ‘remember’ with, or through photographs? After all, the traditional belief in photography’s truthfulness, its indexical function, the freezing of a decisive moment, or proof of “what has been”, all this stands in strong contrast with the contemporary discussions on fake news, artificially constructed memories, post-reality politics and “augmented” realities.

The conference is chaired by Maria Gourieva, Olga Davydova, Natalia Mazur, Moritz Neumüller, Daria Panaiotti, and Friedrich Tietjen. It is organized in collaboration with the conference “PHOTOGRAPHY AS ART. Current trends in study and the history of national schools”, at the Russian Academy of Arts, Moscow, May 27-29, 2019.

This three-day event will feature four keynote speeches, eight presentations, and a round table, by scholars from Russia, Europe, the United States and Japan.   

Day 1 will feature two evening lectures, one by Fred Ritchin on The Post-Photographic Challenge, the other by Helen Petrovsky on Photography: Memory Formulae.

Day 2 will start with a morning panel dedicated to Photograph Politics, or: How to Show (and how to not). The afternoon will feature the panel Present Photography, or: How to Rethink Pictures. A get-together dinner will be the perfect setting to keep the discussions going on into the later hours.

Day 3 will be dedicated to the panel Photographic Projections, or: How to Show What Never Happened, and a round table discussion on Photography Studies in Russia, before we wrap up the conference in a general Q&A session.

All talks will take place at the European University in St. Petersburg, 1 Shpalernaya street / metro Chernyshevskaya

Talks and presentations will be held both in English and Russian. Simultaneous translation will be provided.  

Timetable

23 May 2019

16.30 Registration for speakers

17.00 Keynote: Fred Ritchin (ICP, USA): The Post-Photographic Challenge

18.30 Keynote: Helen Petrovsky (Russ. Acad. of Sciences, Russia): Photography: Memory Formulae

24 May 2019

10.15 Registration for speakers

10.45 Welcome

Panel 1: Photograph Politics, or: How to Show (and how to not).

11.00 Carole Naggar France/USA): A Closet, a Suitcase and a Warehouse: David «Chim» Seymour’s Archives

11.30 Susumu Shimonishi (Tokyo University of the Arts): Japanese Photography Magazines. The Case of CAMERA MAINICHI

12.00 Coffee break

12.30 Denis Skopin (St. Petersburg State Univ.): Elimination of the Enemies of the People from Group Photographs in Stalin’s Russia: Political and Psychological Aspects

13.00 Discussion

13.30 Lunch break

Panel 2: Present Photography, or: How to Rethink Pictures

14.30 Irina Chmyreva (Research Centre for Theory and History of Arts, Russian Academy of Fine Arts): Echo of Political Realities in Photography: Studies of Reading National History in Art Photography Projects from 1990-2010s

15.00 Michelle Bogre (Parsons School of Design, USA): The Photograph Unmoored: Truth and Authenticity in the 21st Century

15.30 Alexander Streitberger (Univ. catholique Louvain, Belgium): The Photographic Ruins of the Future

16.00 Discussion

16:30 Coffee break

17.00 Keynote: Andrés Mario Zervigón (Rutgers University, USA): The Camera Lens: Fully Visible and Transparent

18.30 Keynote: Gil Pasternak (Photographic History Research Centre, De Montfort University, UK): Photography in Politics: Remembering and Being Together, With Photographs

25 May 2019

Panel 3: Photographic Projections, or: How to Show What Never Happened

10.30 Oksana Sarkisova (Central European University, Hungary): Imagining Soviet Space: Representations of Travel in Vernacular Photographic Collections

11.00 Maria Gourieva (European University/St. Petersburg State University), Friedrich Tietjen (Germany/Austria): Everybody Lives the Same (in private photographs)

11.30 Discussion

12.00 Coffee break

12.30 Keynote: Galina Orlova (Higher School of Economics, Russia): Anonymous Archive, Digitalization, Recycling

14.00 Lunch break

15.00 Roundtable discussion for educators and researchers: Photography Studies in Russia: Challenges and Perspectives

17.00 Final remarks and outlook

 

The Conference takes place at the European University, 1 Shpalernaya street, St. Petersburg. Nearest metro station: Chernyshevskaya.

Any changes to this timetable will be announced on the website www.after-post.photography and the telegram channel afterpostphotographytelegram.   

 

Call for papers – After Post-Photography. Deadline: 20 Dec. 2017

————- English (véase abaja para español ————

Call for papers, for Conference

AFTER POST-PHOTOGRAPHY 4 – MODES OF PRODUCTION

Сultural, Historical and Visual Studies in Photography

16-18 May 2018, European University in St. Petersburg, Russia

That photographic media, in one way or the other, record, depict and represent truth, realities and the past, is a staple. In theory this relation has been called into question, in particular with the advent of digital image manipulation, and the doubts have been extended since to analogue photography, too. Yet despite these doubts the notion of photographs being somewhat true permeates most, if not all, practices with these media: in science and humanities, photographic images replace and represent the object of research; in an ID, the portrait connects a face and a body with a name and other personal data; photographs in family albums and books allow to look back into the past. And though it may have been the reason for recent doubts in photography’s veracity, digital photography thrives on this promise as well: we share meals with our social networks the moment they are served, video telephony lets us talk not only to a voice but a face, and GPS metadata tells us where on Earth we took a certain picture. Moreover, photography is hybridized when the camera in our smartphones becomes a scanner for QR-codes, drones are equipped with face-recognition software, and augmented reality systems transform the material world into a space and surface for digital data.

 

Under these conditions, photography has ceased to be a specific medium generating still images. It has become a dispositif in the sense of being a network of applications, institutions, materialisations and theoretical settings such as its privileged relation in representing truth – which, looking back, it has always been. The discussions concerning the re-evaluation of photography, however, usually give most attention to individual pictures as products and as depictions. What we would like to focus upon  with our next conference are the modes of the technical, optical, chemical and social conditions of pre-, post-, mass and over-production, of  the distribution, consumption, circulation and archiving of what is so commonly known as photographs. We welcome in particular submissions concerned with new theoretical and empirical approaches and perspectives on these fields. And we would be delighted to receive papers dealing with rarely researched topics such as photographic optics, photochemistry and the applications of soft- and hardware for generating photorealistic images. We plan to arrange the talks in four panels:

 

  • Ça eu été? What photography has been and will become.
  • What is needed. The material bases of photography
  • How to use them. Production, dissemination, application and perception of photographic images
  • What else is new? Photographic practices at the fringes of photography.

 

Please submit your application, including a short summary of your paper (250-400 words) in English using the following link: https://easychair.org/conferences/?conf=app4 no later than 20 December 2017. Note that you should register at the Easychair website in order to submit your application. There is no participation fee.

We shall consider the possibility of online participation for a limited number of participants. The working languages of the conference are Russian and English. Conference materials are planned for publication in 2018-2019. For programs of After Post-Photography since 2015 and past publications, please see http://www.after-post.photography

We would appreciate it if you would circulate the call to your own networks and other mailing lists.

Organising committee After Post Photography 4:

Maria Gourieva, Olga Davydova, Natalia Mazur, Daria Panaiotti, Friedrich Tietjen

E-mail address:app@mur.at

http://www.after-post.photography

 

————— Español ——————–

Convocatoria de trabajos, para conferencia

DESPUÉS DE LA POST-FOTOGRAFÍA 4 – MODOS DE PRODUCCIÓN

Estudios culturales, históricos y visuales en fotografía

16 -18 de mayo de 2018, Universidad Europea de San Petersburgo, Rusia

El medio fotográfico de una u otra manera, registra, representa y plasma la verdad, las realidades y el pasado, como un elemento fundamental. En teoría, esta relación se ha puesto en tela de juicio, en particular con la aparición de la manipulación de la imagen digital y las dudas se han extendido desde entonces también a la fotografía analógica. Sin embargo, a pesar de estas dudas, la noción de fotografía como algo verdadero impregna la mayoría, si no todas, las prácticas: en ciencia y humanidades. Las imágenes fotográficas sustituyen y representan el objeto de la investigación; como identificación, el retrato conecta un rostro y un cuerpo con un nombre y otros datos personales; las fotografías en álbumes y libros de familia permiten mirar hacia atrás en el pasado. Y aunque puede haber sido el motivo de la recientes dudas sobre la veracidad de la fotografía, la fotografía digital también se basa en esta promesa también. Compartimos las comidas con nuestras redes sociales en el momento en que se sirven, la videotelefonía nos permite hablar no sólo con una voz sino con una cara, y los metadatos GPS nos dicen en qué lugar de la Tierra tomamos una determinada foto. Además, la fotografía se hibrida cuando la cámara de nuestros smartphones se convierte en un escáner para códigos QR, los drones están equipados con software de reconocimiento facial y los sistemas de realidad aumentada transforman el mundo material en un espacio y una superficie para datos digitales.

En estas condiciones, la fotografía ha dejado de ser un medio específico para generar imágenes fijas. Se ha convertido en un dispositivo en el sentido de ser una red de aplicaciones, instituciones, materializaciones y escenarios teóricos como su relación privilegiada en la representación de la verdad -que, mirando hacia atrás, siempre lo ha sido. Sin embargo, los debates sobre la reevaluación de la fotografía, sin embargo, por lo general prestan la mayor atención a las imágenes individuales como productos y como representaciones.

Lo que nos gustaría destacar en nuestra próxima conferencia son los modos de las condiciones técnicas, ópticas, químicas y sociales de pre, post, producción y sobreproducción del medio, la distribución, consumo, circulación y archivo de lo que comúnmente se conoce como fotografías. Son especialmente bienvenidas, los proyectos relativas a nuevos enfoques teóricos y empíricos y las perspectivas sobre estos ámbitos. Y nos encantaría recibir trabajos sobre temas raramente investigados como la óptica fotográfica, la fotoquímica y las aplicaciones de soft- y hardware para la generación de imágenes fotorealistas. Planeamos organizar las charlas en cuatro paneles:

– Qué fue? Lo que la fotografía ha sido y será.

– Lo que se necesita. Las bases materiales de la fotografía.

– Cómo usarlas. Producción, difusión, aplicación y percepción de imágenes fotográficas.

– ¿Qué hay de nuevo? Prácticas fotográficas al margen de la fotografía.

 

Por favor envíe su solicitud, incluyendo un breve resumen de su trabajo (250-400 palabras) en inglés utilizando el siguiente enlace: https://easychair.org/conferences/?conf=app4 a más tardar el 20 de diciembre de 2017. Tenga en cuenta que debe registrarse en el sitio web de Easychair para enviar su solicitud. No hay cuota de participación.

Consideraremos la posibilidad de participación en línea para un número limitado de participantes.

Los idiomas de trabajo de la conferencia son el ruso y el inglés.

Los materiales de la conferencia están previstos para su publicación en 2018-2019.

Para los programas de After Post-Photography desde 2015 y las publicaciones anteriores, por favor vea http://www.after-post.photography

Le agradeceríamos que hiciera circular el llamada entre sus redes y listas de correo.

Comité Organizador After Post Photography 4: Comité Organizador

Maria Gourieva, Olga Davydova, Natalia Mazur, Daria Panaiotti, Friedrich Tietjen

Correo electrónico: address:app@mur.at

http://www.after-post.photography DIFUNDE LA PALABRA-

 

Submissions on the Post-Photographic Condition for Montreal 2015. Deadline: Jan 6, 2014

Le Mois de la Photo à Montréal 2015 CALL FOR SUBMISSIONS

CALL
Around the theme The Post-Photographic Condition proposed by Catalan curator and artist Joan Fontcuberta, Le Mois de la Photo à Montréal 2015 will explore the dramatic transformations the image has undergone due to the impact of the second digital revolution, in which the Internet and smartphones play a prominent role. It will feature works of artists who critically react to the massive presence of images and their absolute availability in our current visual culture.

THEME
The Post-Photographic Condition
We find ourselves at a crucial moment in the history of images. The proliferation of cameras and digital point-and-shoot devices, the incorporation of picture taking into cell phones, the Internet,
social networks, new surveillance techniques, the development of virtual reality mechanisms – all this and more is configuring a second digital revolution in which the identity of photography
must be rethought. Platforms such as Facebook, Twitter, Instagram, Google, Flickr, YouTube, Wikipedia, eBay, and Blurb have become tools for experimentation and new creative processes.
Today, how can we define photographic quality? Is it possible to identify the photographic canon that is being created in the new vernacular spaces of the image?

The deadline for submissions for artists is January 6, 2014.

Download the complete submission guidelines for artists.

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APPEL DE DOSSIERS
L’appel de dossiers d’artistes est en cours jusqu’au 6 janvier 2014.
Sous le thème La condition post-photographique proposé par le commissaire et artiste catalan Joan Fontcuberta , Le Mois de la Photo à Montréal 2015 examinera les transformations radicales qu’a subi l’image dans la foulée de la seconde révolution numérique, caractérisée par la prédominance d’Internet et des téléphones intelligents. L’événement présentera des œuvres d’artistes qui posent un regard critique sur la présence massive des images et leur disponibilité absolue dans la culture visuelle d’aujourd’hui.

Téléchargez les directives de l’appel de dossiers d’artistes.