Periskop – Forum for kunsthistorisk debat

Bidragydere

Periskop Temaredaktionen — 2024-06-13

Temaintroduktion: Fotografi NU!

Mette Sandbye — 2024-06-13

Økobevisst fotografi

Hanne Hammer Stien — 2024-06-13

Current practices of eco-conscious photography, informed by the ongoing climate crisis and post-humanist theory, share characteristics such as collectivity, co-creation, and pro- cess orientation. By way of examples from the UK and the Nordic region, we investigate how these aspects are made (in)visible within the framework of photographic institu- tions: artist-led organizations, photographic festivals, exhibitions, and museums. We ask what implications can, or even should, eco-conscious photography have for the ways researchers, curators and institutions think about and engage with photography, both as an image and a practice.

Fotografiet som dokument

Mette Sandbye — 2024-06-13

Departing from John Roberts’ notion of “the social ontology of photography”, I discuss how recent research and theories about photography in an expanded field have interacted with contemporary art’s use of photography in recent years, especially in an intersection between documentary and art, and especially among artists working with more or less political topics such as migration and the postcolonial. It is photography beyond “the politics of representation” in the sense that it is not about problematizing photography’s relationship to reality, but rather about actively using the medium as a social encounter and making hitherto unseen, sometimes personal and memory-based, material from the “archive” visible. Common to many of these recent works is that they incorporate several forms of photography and photographic archive material in an effort to convey, revitalize and possibly also criticize various historical issues, here linked to Danish colonialism and migration. Whereas Danish art institutions historically have had problems including documentary practices, they have embraced these new “mixed” forms more recently. In 2022/2023, three exhibitions at Copenhagen art institutions brought such practices into focus, and the article is based on examples of the use of photography in them: Moments in Greenland with Inuuteq Storch (with John Møller) and Teit Jørgensen at Nordatlantens Brygge, Tina Enghoff 's Displaced at the Royal Danish Library, and Vladimir Tomić’s and Ana Pavlović’s works in the group exhibition Connections — Danish artists from Ex-Yugoslavia at The National Gallery of Denmark.

Det gengældte blik

Anne Kølbæk Iversen — 2024-06-13

This article asks how self-staging and self-exposure are employed as an artistic strategy to negotiate the boundaries between (self-)objectification and liberation. Focusing on the images of Danish artists Maja Malou Lyse and Kirsten Justesen as a dialogue between feminists of two different generations, the article inquires into the function of the staged image as performance across the contexts and infrastructures within which it is actual- ized. The artists’ practices in each their way inspire to reconsider and negotiate the relationship and exchange between the onlooker and looked-at, the posing object and producing subject, as it is expressed in the image. Drawing upon feminist theory, post- pornography, and contemporary image theory, the aim of this article is to investigate how these practices inspire to discuss the boundaries between a critical observing subject and an invested, embodied, and desiring one.

Når en mands blik på en mands krop sættes fri

Johan Zimsen Kristiansen — 2024-06-13

With works by Danish artists Niels Nedergaard (1944-1987) and Peter Nansen Scher- fig (b. 1963) and Vietnamese-Danish artist Danh Vo (b. 1975) as point of departure, the text examines how male homosexuality and the understanding of the gay self has been presented in photographs by Danish gay artists. The text uses archive theory by French philosopher Michel Foucault (1926-1984) to examine how the artists have used their sexuality to question and break free from the current sociocultural structures within society. Furthermore, the text uses gay studies by French sociologist and writer Didier Eribon (b. 1953) in the examination of the photographs as expressions of gay life. In addi- tion, the text uses Danish gay history to show how Nedergaard’s photos carry traces of a dialogue-based path in the fight for gay rights and elements of gay activism. Finally, the text raises the question if one can speak of a gay writing, an écriture gay, and discusses how the photographs by Nedergaard, Nansen Scherfig and Vo can be understood as examples of such a praxis.

Når eksplosioner er kunst

Steffen Kloster Poulsen — 2024-06-13

This article argues for an expanded effort to search for, and actively utilize, concepts and methods from the sociolinguistic periphery of the otherwise anglocentric academic lit- erature on photography in order to achieve a more level playing field between vernacular concepts and purportedly universal ones. Taking the history of public debate on photo- graphy in Japan as a departure point, this article aims to map out a new area of explora- tion for photographic research in the academic field of art history. Japan has been home to a vivid public and intellectual debate on photography since the birth of photography and, although its output of photographers and photobooks has been globally acclaimed and exported to museums and galleries internationally, especially in the past thirty years, lit- tle emphasis in academic research and elsewhere has been put on Japanese photographic critique, theory and debate outside the archipelago. As an example of unexplored theory, this article analyzes two published lectures by Japanese photographer Hatakeyama Naoya in which he reflects on photography's value as art, its place in the art world and the processes by which photographers become labelled as artists. Using a metaphor from analogue photography, he deems photographers “latent artists” who by a development process can become artists. Following Hatakeyama’s line of thought, this article argues furthermore that the metaphor can be extended to photographs themselves.

Under hvert billede

Kristine Kern — 2024-06-13

To rum

Tijana Mišković — 2024-06-13

Fotografi på danske kunstmuseer

Inger Ellekilde Bonde — 2024-06-13

At flippe linsen

Johanne Løgstrup — 2024-06-13

In Tender Terrain, 2023

Kirstine Autzen — 2024-06-13

Billederne er en del af en større serie med titlen In Tender Terrain, der tager form som en visuel oplevelsesrejse ind i et mikrokosmos af plantevæv. Værkerne er vokset ud af en fl erårig, eksperimenterende proces: Et forsøg på at krydsbefrugte analoge og digitale teknikker. Printerblæk og friskplukkede mælkebøtter har ligget sammen, blandet sig og påvirket hinanden, og da fugten fra plante og blæk tørrede ud, og plantevævet begyndte at sprække og nedbrydes, tog jeg dem med i farvemørkekammeret og lagde dem i forstørrelsesapparatets negativholder. I disse billeder zoomer jeg ind på nedbrydelsens materialitet og udforsker det hybride felt mellem organisk og syntetisk materiale. Jeg ønsker at transformere den konkrete nedbrydning af printerblæk og mælkebøtter til en abstrakt oplevelse, hvor tab af skala, genkendelighed og retning kan trække tankerne mod topografi, kropslighed og fragmentering.

Scanned Glass Plates #4, 2018

Myne Søe-Pedersen — 2024-06-13

Et værk baseret på glas, skåret i 4x5”, som er størrelsen på glaspladenegativerne, der bruges i et 4x5” storformatkamera. Den fotografiske glaspladeteknik blev brugt som en af de første måder at lave fotografi på i sidste halvdel af 1800-tallet. Stakken af glasplader undersøges som et objekt, der bevæger sig fra tredimensionalt til todimensionalt. Scannerens flade er glas, dermed er det glas, der fotograferer glas. Farverne opstår ved belysningen. Ændringer i farve og graden af opacitet afhænger af glaspladernes højde og placering. Det trykte billede viser den faktiske størrelse af glaspladerne.

En tænkemaskine for fotografiet

Inger Ellekilde Bonde — 2024-06-13