Group contribution
Published in Camera Austria International 142
For issue 142 of the magazine Camera Austria International, the photography class of Adam Broomberg and Oliver Chanarin created a sequence of images in the “Forum” section. I contributed the photograph “Teachers on strike in front of the Ministry of Education in Tunis, 2011.” This work also formed the basis for the class’s contribution to the festival week of the 2018 Triennale der Photographie in Hamburg. In light of the mass depravation and appropriation of photographic images in social media, the students had engaged with selected images that have great significance for them. They questioned the medium of photography about its source code: the emotional, cultural, political and financial validity of photographs. This resulted in a collaborative work. In the [Photo Schools] section of the Phototriennale, the class presented the work in a transparent, three-dimensional arrangement in an overseas container on Deichtorplatz. The photographs were reproduced on glass plates and mounted on steel rods in such a way that from a distance they overlapped to form an image collage, but when viewed closely they could also be perceived individually or in different constellations.
Exhibition view “Breaking Point,” Triennial of Photography Hamburg, 2018
Group contribution
Published in Camera Austria International 142
For issue 142 of the magazine Camera Austria International, the photography class of Adam Broomberg and Oliver Chanarin created a sequence of images in the “Forum” section. I contributed the photograph “Teachers on strike in front of the Ministry of Education in Tunis, 2011.” This work also formed the basis for the class’s contribution to the festival week of the 2018 Triennale der Photographie in Hamburg. In light of the mass depravation and appropriation of photographic images in social media, the students had engaged with selected images that have great significance for them. They questioned the medium of photography about its source code: the emotional, cultural, political and financial validity of photographs. This resulted in a collaborative work. In the [Photo Schools] section of the Phototriennale, the class presented the work in a transparent, three-dimensional arrangement in an overseas container on Deichtorplatz. The photographs were reproduced on glass plates and mounted on steel rods in such a way that from a distance they overlapped to form an image collage, but when viewed closely they could also be perceived individually or in different constellations.
Exhibition view “Breaking Point,” Triennial of Photography Hamburg, 2018