TO ANNIVERSARY RECEPTION AND BOOK LAUNCH IN GALLERY IMAGE
is the oldest photo gallery in Scandinavia, and on October 6 the
gallery celebrates its 30th anniversary! Over the years, there
have been over 300 exhibitions in our own gallery space, and curator
Beate Cegielska has been involved in numerous international exhibitions,
many of which have continued as travelling exhibitions. (Floating,
From China, Interferences and most recently
New Adventures, among others). Throughout the years,
the gallery has collaborated with many talented artists, including
some of the most prominent artists working with photography, nationally
and internationally. Having furthered the careers of many artists
considerably, they have been very exited about these collaborative
projects. Through this comprehensive exhibition activity, Image
has formed genuine collaborative contacts with a number of institutions
and individuals all over the world.
This is why we have decided to
celebrate our 30-year jubilee with a generous
publication on photography.
5 betragtninger Øjne
5 approaches Open Shutter
Having become the greatest collector
and transporter of visual information ever, photography is the
most central and persuasive visual medium in culture today.
Countless strategies are played out in the contemporary photographic
arena, which at best can be characterized as multitudinous,
decentralized and cross-disciplinary. There is no one dominant
school or direction, no centre from which all things stem, but
instead numerous different positions, running parallel to each
other and a multitude of voices expressing themselves at the
same time from a variety of locations. The situation is global
in that we no longer find ourselves in a closed national system.
Therefore, we have decided that
this anniversary publication should examine the development
of the photographic field, as well as its status and future
possibilities. We have invited four prominent writers to contribute
to the publication with their personal considerations on what
they find interesting and important in the world of contemporary
The book is first and foremost
about photography and less about the actual history of
Gallery Image whose story must wait for another time.
We have invited American author Dr. Allan D. Coleman to write
an essay on photography in an international perspective. With
his essay, Welcome to the IIC, he gives a view of
the development of the international world of photography from
a black and white subculture for the initiated to a mainstream
phenomenon with artistic offshoots to all corners of aesthetics.
A multitudinous world of images and expressions, where every
qualified glance eventually manifests a position in relation
to the efforts to define a broader general view and meaning
in the endless sea of pictures. Coleman embraces the present
state of things, acknowledging, tongue firmly in cheek, his
own unimportance in relation to the inexorable flow of images.
The optic has triumphed and no one can any longer colonize it
as a specific space in art, so Welcome to the International
Image Community, where the world shifts constantly between
the local and the global.
We have asked Søren Pold,
Associate Professor at the Institute of Aesthetic Disciplines,
University of Aarhus, to probe the future of photography in
a digital perspective. In Image Technologies, Søren
Pold recounts the development of digital art from the earliest
experiments with old-fashioned data machines to contemporary
intervention and chameleon-like art practices, thus outlining
and defining the perspectives now appearing on the horizon of
the digital era.
Finally, we have invited two art
historians, Rune Gade and Louise Wolthers, to contribute separate
essays. As inspiration they received the complete list of photographers
more than 900 in all exhibited by Gallery Image
through the years, and with these photographers in mind and
on the basis of their subjective viewpoints, they were free
to choose their own point of departure. We have not insisted
on an art historical approach encompassing the entire field,
on the contrary, we have encouraged the authors to discuss the
photographs they are most enamoured with, with all the idiosyncratic
and passionate excesses this might entail.
Rune Gades essay The Gallery
of Memory. Exposures, Processing, Afterlife and Shadows
is a linguistic saunter through a visual landscape, where the
two languages unite in a dreaming and associative text woven
from crossing trails, borrowing from and explicitly referring
to poetry and photography.
Louise Wolthers addresses the historical
photograph. In her essay In Retrospect she guides us through
picture archives, aided by numerous artists who have, each in
their own way, reintroduced the historical photo-document in
the context of contemporary art.
The book is rounded off with a
short poetic epilogue on blindness by Ali Ram Gilgee.
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