Symposium “Against Photograpy. Reactivation and re-enactment of photographic archival material”

Please register (0211 8381-204 or service@kunstsammlung.de) – free admission

 

Program

 

11.00 – 12.00: Tour of the exhibition “Akram Zaatari – Against Photography. A commented history of the Arab Image Foundation “. With Doris Krystof and Annika Plank

 

12.00 – 12.30 pm: Valeska Bührer (Berlin). About the role of images. Akram Zaatari and the Arab Image Foundation.

 

12.45 – 13.15 hrs: Ilka Becker (Cologne). Show the archive. Photographic action in the context of an exhibition using the example of Zoe Leonard.

 

13.15 – 14.15: Lunch break at Pardo’ s

 

14.15 – 14.45 hrs: Mareike Foecking. platform artialism “- facebook, twitter, instagram, tinder, snapchat: Autonomy or mainstream? About new and transformative image archives in old structures.

 

15.00 – 15.30: Thomas Ruff (Düsseldorf): The potential of used pictures. Discussion with Doris Krystof about the development of the series “Press++”, which has been produced since 2016.

 

15.30 – 16.00: Discussion
Presented by Doris Krystof and Annika Plank

 

Artistic interest in the aesthetics and conditions of the archive has played a central role since the modern age. Collecting and archiving contain an idea of the overcoming of time and thus represent a central motif of artistic work. With the Arab Image Foundation, Lebanese artist Akram Zaatari co-founded an institution in Beirut in 1997, which operates semi-documentary, semi-artistically and provides an immeasurable reservoir of amateur and studio photographs from the Middle East, North Africa and the Arab diaspora.

 

In a region where most institutional archives are barely accessible to private individuals or have been destroyed during wartime conflicts, in countries where historiography often has to remain without a critical opposition through rigorous censorship and by restricting freedom of the press, the AIF’s task is to promote a pluralistic political self-determination in which the whole of Lebanon and many other states in the Middle O“ With its focus on private and commercial everyday and commercial photography from the middle of the 19th century to the 1990s, the AIF focuses on microstories. In this way, the Foundation – following Pierre Bourdieu’s interest in the social uses of photography – preserves an enormous conglomeration of personal memories which, due to their subjectivity and the marginalism attributed to them, would not have actually reached an official archive.

 

As a co-founder of the Foundation, Zaatari’s main focus of his artistic practice is on researching the AIF holdings, which he himself, along with many others, has collected for the Foundation to a large extent. When he researches, views, evaluates and reactivates and recontextualizes photographs in his exhibitions and book projects, he sees this as an archaeological excavation activity. In doing so, he exposes the complex plot structure of photography layer by layer – its aesthetic, material, technical, social and political implications.

 

As part of the supporting programme to Akram Zaatari’s exhibition “Against Photography. A commented history of the Arab Image Foundation “(18.11.2017 – 25.2.2018) in the K21 Ständehaus would like to raise and discuss the one-day symposium” Against Photography – Reactivation and Re-staging of photographic archival material “: How can the history of photography be told? And which ones? What strategies can be used to interrupt, suspend or divert power and power relationships in photographic arrangements?” How can the artistic fascination for the archive be explained? Can knowledge be gathered? How does the artistic re-staging of historical photographs relate to the question of authorship? What role does the materiality of photography play in the age of digital archives?

 

Ilka Becker

studied art history, German literature and philosophy at the University of Cologne and received his doctorate in “Photographic Atmospheres”. Since 2013, she has been visiting professor at the Institute for Art Studies with a focus on Modern and Contemporary Art and is a researcher at the Research Training Group “The Photographic Dispositive” of the HBK Braunschweig.

 

Valeska Bührer

is an art scholar and worked from 2012 to 2015 as a researcher in the DFG project “At the Borders of the Archives – New Artological and Artistic Challenges in Dealing with Archives” at the KHM Cologne. In her dissertation she deals with artistic techniques of re-staging archival materials. She studied art history, German language and literature, communication design and new media studies in Stuttgart and Portsmouth.

 

Mareike Foecking

studied at the Kunstakademie Düsseldorf and was a master student of Magdalena Jetelova. She taught at the Hochschule für Künste, Bremen, as well as at the Fachhochschule Dortmund and has been professor of photography at the Hochschule Düsseldorf since 2014. Her research interests include photography and its various applications and visual languages as well as the image in media change.

 

Doris Krystof

studied art history and literature in Freiburg and Cologne. Since 2001 she has been working as curator for contemporary art at the Kunstsammlung Nordrhein-Westfalen and has set up Akram Zaatari’s exhibition in K21, curated by the Museu d’ Arte Contemporani in Barcelona (MACBA).

 

Annika Plank

studied art history, art education and German language and literature studies in Munich and Stuttgart. She has been working as a research assistant in the Department of Education at the Kunstsammlung Nordrhein-Westfalen since 2011 and has developed the educational programme for the exhibition “Akram Zaatari – Against Photography”.

 

Thomas Ruff

studied with Prof. Bernd Becher at the Kunstakademie Düsseldorf, where he taught himself as professor of photography from 2000 to 2006. With numerous international exhibitions since the 1980s, Ruff is one of the most influential contemporary artists. His conceptual approach to photography and its media and aesthetic conditions developed at an early stage is based on a strong interest in the history of photography.

Visitors of the exhibition, in conversation with Akram Zaatari, photo: Wilfried Meyer

Symposium “Against Photograpy. Reactivation and re-enactment of photographic archival material”

Please register (0211 8381-204 or service@kunstsammlung.de) – free admission

 

Program

 

11.00 – 12.00: Tour of the exhibition “Akram Zaatari – Against Photography. A commented history of the Arab Image Foundation “. With Doris Krystof and Annika Plank

 

12.00 – 12.30 pm: Valeska Bührer (Berlin). About the role of images. Akram Zaatari and the Arab Image Foundation.

 

12.45 – 13.15 hrs: Ilka Becker (Cologne). Show the archive. Photographic action in the context of an exhibition using the example of Zoe Leonard.

 

13.15 – 14.15: Lunch break at Pardo’ s

 

14.15 – 14.45 hrs: Mareike Foecking. platform artialism “- facebook, twitter, instagram, tinder, snapchat: Autonomy or mainstream? About new and transformative image archives in old structures.

 

15.00 – 15.30: Thomas Ruff (Düsseldorf): The potential of used pictures. Discussion with Doris Krystof about the development of the series “Press++”, which has been produced since 2016.

 

15.30 – 16.00: Discussion
Presented by Doris Krystof and Annika Plank

 

Artistic interest in the aesthetics and conditions of the archive has played a central role since the modern age. Collecting and archiving contain an idea of the overcoming of time and thus represent a central motif of artistic work. With the Arab Image Foundation, Lebanese artist Akram Zaatari co-founded an institution in Beirut in 1997, which operates semi-documentary, semi-artistically and provides an immeasurable reservoir of amateur and studio photographs from the Middle East, North Africa and the Arab diaspora.

 

In a region where most institutional archives are barely accessible to private individuals or have been destroyed during wartime conflicts, in countries where historiography often has to remain without a critical opposition through rigorous censorship and by restricting freedom of the press, the AIF’s task is to promote a pluralistic political self-determination in which the whole of Lebanon and many other states in the Middle O“ With its focus on private and commercial everyday and commercial photography from the middle of the 19th century to the 1990s, the AIF focuses on microstories. In this way, the Foundation – following Pierre Bourdieu’s interest in the social uses of photography – preserves an enormous conglomeration of personal memories which, due to their subjectivity and the marginalism attributed to them, would not have actually reached an official archive.

 

As a co-founder of the Foundation, Zaatari’s main focus of his artistic practice is on researching the AIF holdings, which he himself, along with many others, has collected for the Foundation to a large extent. When he researches, views, evaluates and reactivates and recontextualizes photographs in his exhibitions and book projects, he sees this as an archaeological excavation activity. In doing so, he exposes the complex plot structure of photography layer by layer – its aesthetic, material, technical, social and political implications.

 

As part of the supporting programme to Akram Zaatari’s exhibition “Against Photography. A commented history of the Arab Image Foundation “(18.11.2017 – 25.2.2018) in the K21 Ständehaus would like to raise and discuss the one-day symposium” Against Photography – Reactivation and Re-staging of photographic archival material “: How can the history of photography be told? And which ones? What strategies can be used to interrupt, suspend or divert power and power relationships in photographic arrangements?” How can the artistic fascination for the archive be explained? Can knowledge be gathered? How does the artistic re-staging of historical photographs relate to the question of authorship? What role does the materiality of photography play in the age of digital archives?

 

Ilka Becker

studied art history, German literature and philosophy at the University of Cologne and received his doctorate in “Photographic Atmospheres”. Since 2013, she has been visiting professor at the Institute for Art Studies with a focus on Modern and Contemporary Art and is a researcher at the Research Training Group “The Photographic Dispositive” of the HBK Braunschweig.

 

Valeska Bührer

is an art scholar and worked from 2012 to 2015 as a researcher in the DFG project “At the Borders of the Archives – New Artological and Artistic Challenges in Dealing with Archives” at the KHM Cologne. In her dissertation she deals with artistic techniques of re-staging archival materials. She studied art history, German language and literature, communication design and new media studies in Stuttgart and Portsmouth.

 

Mareike Foecking

studied at the Kunstakademie Düsseldorf and was a master student of Magdalena Jetelova. She taught at the Hochschule für Künste, Bremen, as well as at the Fachhochschule Dortmund and has been professor of photography at the Hochschule Düsseldorf since 2014. Her research interests include photography and its various applications and visual languages as well as the image in media change.

 

Doris Krystof

studied art history and literature in Freiburg and Cologne. Since 2001 she has been working as curator for contemporary art at the Kunstsammlung Nordrhein-Westfalen and has set up Akram Zaatari’s exhibition in K21, curated by the Museu d’ Arte Contemporani in Barcelona (MACBA).

 

Annika Plank

studied art history, art education and German language and literature studies in Munich and Stuttgart. She has been working as a research assistant in the Department of Education at the Kunstsammlung Nordrhein-Westfalen since 2011 and has developed the educational programme for the exhibition “Akram Zaatari – Against Photography”.

 

Thomas Ruff

studied with Prof. Bernd Becher at the Kunstakademie Düsseldorf, where he taught himself as professor of photography from 2000 to 2006. With numerous international exhibitions since the 1980s, Ruff is one of the most influential contemporary artists. His conceptual approach to photography and its media and aesthetic conditions developed at an early stage is based on a strong interest in the history of photography.