Books by Friedrich Tietjen
Wenn man durch private Fotoalben aus Ostdeutschland der Jahre 1980 bis 2000 blättert, ändern sich... more Wenn man durch private Fotoalben aus Ostdeutschland der Jahre 1980 bis 2000 blättert, ändern sich in diesem Zeitraum die Bilder kaum — höchstens die Moden, Frisuren und Autos. Und wer in den 1980ern Urlaub an der Ostsee machte, fuhr in den 1990ern vielleicht nach Mallorca. Dass währenddessen erst ein Staat unterging und sich dann eine ganze Gesellschaft umwälzte, bleibt in den Bildern von Einschulungen, Wochenendausflügen und weihnachtlichen Bescherungen fast unsichtbar. „… irgendwer hat immer fotografiert …“ wertet ein Projekt aus, das seit 2020 die privaten Bildwelten dieser zwei Dekaden in Albensichtungen und anhand von Zeitzeugeninterviews untersucht hat. Die Aufsätze in diesem Band verstehen private Fotografie als soziale Praxis und diskutieren, wie Bilder hergestellt, in Alben geordnet und angesehen wurden und wie sich die politischen Verhältnisse in sie einschrieben.
Links: https://spectorbooks.com/de/buch/-irgendwer-hat-immer-fotografiert-
If you look through private photo albums from East Germany dating from the period 1980 to 2000, y... more If you look through private photo albums from East Germany dating from the period 1980 to 2000, you will notice very little changing in the pictures — at most the fashions, the hairstyles, and the cars. Meanwhile, the people who holidayed on the Baltic in the eighties quite possibly headed for Mallorca in the nineties. The fact that during this time a state went into terminal decline and then an entire society was turned upside down goes all but unseen in the pictures of children on their first day at school, weekend jaunts, and people exchanging Christmas presents. "... someone always had a camera ..." takes stock of a project that, since 2020, has been looking at private albums from these two decades to examine the world of private images they contain, informed by interviews with contemporary witnesses. In the essays in this volume, private photography is treated as a social practice, and the authors discuss how images were produced, organized in albums, and viewed, and how political conditions were registered in them.
Related links:
https://spectorbooks.com/book/someone-always-had-a-camera
https://en.stiftung-reinbeckhallen.de/privatefotografie/
This publication was initiated, edited and published by the students of a seminar Katja Müller-He... more This publication was initiated, edited and published by the students of a seminar Katja Müller-Helle and I taught in 2021 at the Humboldt-Universität zu Berlin in conjunction with a research project and exhibition on private photography in Eastern Germany between 1980 and 2000. For further information on the project, please visit https://en.stiftung-reinbeckhallen.de/program/someone-was-always-snapping-photos/
Sara Hillnhütter/Stefanie Klamm/Friedrich Tietjen [Eds.]: Hybrid Photography. Intermedial Practices in Science and Humanities. Routledge, 2021
This book explores the territories where manual, graphic, photographic, and digital techniques in... more This book explores the territories where manual, graphic, photographic, and digital techniques interfere and interlace in sciences and humanities.
It operates on the assumption that when photography was introduced, it did not oust other methods of image production but rather became part of ever more specialized and sophisticated technologies of representation. The epistemological break commonly set with the advent of photography since the nineteenth century has probably been triggered by photographic techniques but certainly owes much to the availability of a plethora of hybrid media—media that influence the relation of sciences, humanities, and their methods and subjects.
Felix Hoffmann, Friedrich Tietjen [Hgg./Eds.]: Das letzte Bild. Fotografie und Tod / The Last Image. Photography and Death, 2018
Living and dying, loving and letting go—images, films, books and music about death tap into our d... more Living and dying, loving and letting go—images, films, books and music about death tap into our deepest fears about the finiteness of existence and our own mortality. Photography may not be the first means used to vanquish, endure and protest against death. Yet since its invention in 1839, photography, its visual strategies, and its technologies have grappled with death like no other medium. Much of this links to photography’s unique traits: photographs are seen as cutting across both space and time to capture a moment, and are also considered direct records of reality. Some photographers’ works depict dramatic moments of killing, dying, and death with such intensity and complexity that the dead seem almost still to live. Other photographers working in a medical or forensic context produce detached and emotionless documents in which the dead body appears to be little more than an object. In their work, photographers create allegories of Death in which Death itself is not to be seen or, on the contrary, is almost unbearably present. Some of these images are so intense that we feel we are looking our own mortality in the eye.
Curated by Felix Hoffmann, the exhibition The Last Image . Photography and Death presents a survey unprecedented in its scale and diversity of over 400 photographic works on death from the dawn of photography to the present day. For the first time, an extensive selection of artistic works will be placed alongside numerous personal, journalistic, scientific and studio photographs.
The catalog published by Spector Books, Leipzig on the occasion of the exhibition will feature essays by Aleida and Jan Assmann, Hartmut Böhme, Ole Frahm, Felix Hoffmann, Georges Didi-Huberman, Linda Hentschel, Thomas Macho, Christoph Ribbat, Katharina Sykora, and Friedrich Tietjen.
Moving Stills. Images in Motion. Brüssel [Hogeschool Sint-Lukas], 2013
In film theory, the history of photography is often read as the prehistory of cinema, the step fr... more In film theory, the history of photography is often read as the prehistory of cinema, the step from still to moving images appearing as a teleological consequence of a desire for the replication of the real world (Bazin) or as a culmination of the history of art (Benjamin). From this perspective, film came to be defined in terms of what it added to the photographic image: movement and projection, while photography was understood as both the predecessor (still image) and the material basis (film frame) of the filmic image. Film, then, is a dispositif of display: the spatial constellation of film projector, screen, and viewer, while photography is a dispositif of recording: the alignment of an object, a camera lens, and a photosensitive surface, generating a material image-object, which can be viewed as such, i.e. without viewing instruments such as the film projector needed for the display of the film image.
Ph.D. Dissertation, 2007
Art predominantly is being perceived by way of reproductions. This counts as well and in particul... more Art predominantly is being perceived by way of reproductions. This counts as well and in particular for art history. Only rarely however the science gives attention to them – and if, the reproductions are mostly depreciated when compared with the originals. The PhD looks into the subjects on three levels: It is the sketch of a history of art reproduction yet to be written; it investigates how the industrialisation of image production around 1800 contributed to the constitution of art history as an academic discipline; and finally it discusses with some examples that the little attention art history has given to its visual material is no unfortunate accident but fundamental for the discipline. // Kunst wird in erster Linie mittels ihrer Reproduktionen rezipiert – auch und gerade von der Kunstgeschichte. Dennoch würdigt die Wissenschaft sie nur selten einiger Aufmerksamkeit – und wenn doch, werden die Reproduktionen gegenüber den Originalen zumeist abgewertet. Die Dissertation setzt sich mit diesem eigentümlichen Verhältnis in dreifacher Hinsicht auseinander: Sie versteht sich als Skizze einer noch ungeschriebenen Geschichte der Kunstreproduktion, untersucht, wie die Industrialisierung der Bildproduktion um 1800 zur Konstitution der universitären Disziplin Kunstgeschichte beitrug und diskutiert schliesslich exemplarisch, dass die geringe Aufmerksamkeit der Kunstgeschichte für ihr Material kein unglücklicher Zufall, sondern grundlegend für die Disziplin ist.
Peter Weibel (Ed.): Kunst ohne Unikat. Art without the unique. Köln [Verlag der Buchhandlung Walter König], 1998
Book Chapters by Friedrich Tietjen
Artcadia, 2023
Pál Gyöngyi kindly translated my essay "Post-post photography" to Hungarian. The English version ... more Pál Gyöngyi kindly translated my essay "Post-post photography" to Hungarian. The English version was published first in: Moritz Neumüller (Ed.): The Routledge Companion to Photography and Visual Culture, 2018
https://orcid.org/0000-0002-7807-0557
Winfried Gerling, Sebastian Möring, Marco De Mutiis (Eds.): Screen Images. In-Game Photography, Screenshot, Screencast, 2023
The text is concerned with two photographs of TV-screens, the one being of a broadcast of the tri... more The text is concerned with two photographs of TV-screens, the one being of a broadcast of the trial of Adolf Eichmann (most likely shot in Western Germany), the other of a Western TV music show shot by a GDR citizen around 1980. For an Open Access .pdf of the book follow the link at https://www.kulturverlag-kadmos.de/programm/details/screen_images
In: Fabienne Liptay (Hrsg.): PostProduktion. Bildpraktiken zwischen Film und Fotografie. Schüren Verlag Marburg, 2023
Wann ist Postproduktion? Der Begriff selbst suggeriert eine Antwort: Sie wäre dann, wenn die eige... more Wann ist Postproduktion? Der Begriff selbst suggeriert eine Antwort: Sie wäre dann, wenn die eigentliche Produktion beendet ist, wenn-mit anderen Worten-etwas fertig produziert ist, das zwar schon für sich selbst stehen, aber auch Gegenstand der Postproduktion werden kann. In der Fotografie würde das bedeuten: Postproduktion ist ein von der eigentlichen Produktion abzutrennender Prozess, der dann beginnt, wenn ein fotografisches Bild vorhanden ist, das weiterverarbeitet werden kann. Aber wann (und ab wann) ist Fotografie? Darauf eine brauchbare Antwort zu finden, ist verblüffend schwierig. Denn die Phasenübergänge in den ohnedies vielgestaltigen und sich von Verfahren zu Verfahren unterscheidenden Prozessen der Fotografie sind kaum präzise zu fassen-schon deswegen, weil sich aus der Perspektive der Produktion und der Materialität der Bilder nicht konsistent formulieren lässt, welche Bedingungen ein Bild erfüllen muss, um eine Fotografie sein zu können. Doch selbst wenn die gedruckten Fotografien ausgeklammert werden und dazu all jene Bilder, die mit Hilfe fotografischer Verfahren hergestellt wurden, ohne als Fotografie erkannt zu werden (Lichtpausen beispielsweise), selbst wenn es also bloß um die Bilder geht, die mit Hilfe einer Kamera hergestellt wurden, ist nicht scharf zu bestimmen, in welchem Moment des Prozesses ein fotografisches Bild fertig produziert ist. Ist der-zeitlich ja durchaus ausgedehnte-Moment der Aufnahme der entscheidende Punkt, an dem die Produktion endet und die Postproduktion einsetzen kann? Dann würde deren Aufgabe in der analogen Fotografie schon damit beginnen, das latente Bild des Negativs qua Entwicklung in ein sichtbares zu überführen, denn mit der Aufnahme ist in der Regel ja noch kein Bild vorhan
superILLU. Zu einer Theorie der Illustration // Towards a Theory of Illustration, 2022
The book (German/English) is hot off the press; review copies can be ordered at the publishers.
superILLU. Zu einer Theorie der Illustration/Towards a Theory of Illustration, 2020
– mit Einwürfen von Ulrike Stoltz (us) und Friedrich Tietjen (ft) –
«The Missing Critical History... more – mit Einwürfen von Ulrike Stoltz (us) und Friedrich Tietjen (ft) –
«The Missing Critical History of Illustration» beklagt Rick Poynor im Print Magazine, mache es schwer, Illustrationen zu analysieren und bewerten. Er stellt die Frage, wie ernst Illustration zu nehmen sei – und wie ernst sie sich selbst eigentlich nehme.
Dreistimmig vollziehen die Überlegungen nach, von welchen Ideen und Ansätzen aus sich über Illustration reflektieren lässt.
Sara Hillnhütter/Stefanie Klamm/Friedrich Tietjen [Eds.]: Hybrid Photography. Intermedial Practices in Science and Humanities. Routledge, 2021
In: Kunst ohne Unikat. Das Finale. Edition Artelier, Graz 1985–2019, 2019
The book was published in conjunction with the exhibition "Too much is not enough!
The Donation ... more The book was published in conjunction with the exhibition "Too much is not enough!
The Donation "Artelier Collection"" at the Neue Galerie in Graz.
In: Kunst ohne Unikat. Das Finale. Edition Artelier, Graz 1985–2019., 2019
Das Buch wurde anlässlich der Ausstellung "Zu viel ist nicht genug! Die Schenkung "Sammlung Artel... more Das Buch wurde anlässlich der Ausstellung "Zu viel ist nicht genug! Die Schenkung "Sammlung Artelier"" in der Neuen Galerie in Graz publiziert.
Moritz Neumüller (Ed.): The Routledge Companion to Photography and Visual Culture, 2018
In: Susanne Breuss (Ed.): Mit Haut und Haar. Frisieren, Rasieren, Verschönern. Ausstellungskatalog WienMuseum. Metroverlag (Wien), 2018
In: Beate Gütschow: Z/I/S/LS. Heidelberg (Kehrer Verlag), 2016
Oliver Klimpel (Hg.): The Visual Event. Leipzig [Spector Books] 2014
An implementation of the visual event in graphic design is aiming less at the profession, but rat... more An implementation of the visual event in graphic design is aiming less at the profession, but rather at the theory of the profession. It questions the assumption that the task of graphic design is just to make objects, such as books and posters, and that subsequently these objects represent what graphic design is. Instead, in conjunction with the visual event, graphic design is understood as a practice rather than as making.
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Books by Friedrich Tietjen
Links: https://spectorbooks.com/de/buch/-irgendwer-hat-immer-fotografiert-
Related links:
https://spectorbooks.com/book/someone-always-had-a-camera
https://en.stiftung-reinbeckhallen.de/privatefotografie/
It operates on the assumption that when photography was introduced, it did not oust other methods of image production but rather became part of ever more specialized and sophisticated technologies of representation. The epistemological break commonly set with the advent of photography since the nineteenth century has probably been triggered by photographic techniques but certainly owes much to the availability of a plethora of hybrid media—media that influence the relation of sciences, humanities, and their methods and subjects.
Curated by Felix Hoffmann, the exhibition The Last Image . Photography and Death presents a survey unprecedented in its scale and diversity of over 400 photographic works on death from the dawn of photography to the present day. For the first time, an extensive selection of artistic works will be placed alongside numerous personal, journalistic, scientific and studio photographs.
The catalog published by Spector Books, Leipzig on the occasion of the exhibition will feature essays by Aleida and Jan Assmann, Hartmut Böhme, Ole Frahm, Felix Hoffmann, Georges Didi-Huberman, Linda Hentschel, Thomas Macho, Christoph Ribbat, Katharina Sykora, and Friedrich Tietjen.
Book Chapters by Friedrich Tietjen
https://orcid.org/0000-0002-7807-0557
«The Missing Critical History of Illustration» beklagt Rick Poynor im Print Magazine, mache es schwer, Illustrationen zu analysieren und bewerten. Er stellt die Frage, wie ernst Illustration zu nehmen sei – und wie ernst sie sich selbst eigentlich nehme.
Dreistimmig vollziehen die Überlegungen nach, von welchen Ideen und Ansätzen aus sich über Illustration reflektieren lässt.
The Donation "Artelier Collection"" at the Neue Galerie in Graz.
Links: https://spectorbooks.com/de/buch/-irgendwer-hat-immer-fotografiert-
Related links:
https://spectorbooks.com/book/someone-always-had-a-camera
https://en.stiftung-reinbeckhallen.de/privatefotografie/
It operates on the assumption that when photography was introduced, it did not oust other methods of image production but rather became part of ever more specialized and sophisticated technologies of representation. The epistemological break commonly set with the advent of photography since the nineteenth century has probably been triggered by photographic techniques but certainly owes much to the availability of a plethora of hybrid media—media that influence the relation of sciences, humanities, and their methods and subjects.
Curated by Felix Hoffmann, the exhibition The Last Image . Photography and Death presents a survey unprecedented in its scale and diversity of over 400 photographic works on death from the dawn of photography to the present day. For the first time, an extensive selection of artistic works will be placed alongside numerous personal, journalistic, scientific and studio photographs.
The catalog published by Spector Books, Leipzig on the occasion of the exhibition will feature essays by Aleida and Jan Assmann, Hartmut Böhme, Ole Frahm, Felix Hoffmann, Georges Didi-Huberman, Linda Hentschel, Thomas Macho, Christoph Ribbat, Katharina Sykora, and Friedrich Tietjen.
https://orcid.org/0000-0002-7807-0557
«The Missing Critical History of Illustration» beklagt Rick Poynor im Print Magazine, mache es schwer, Illustrationen zu analysieren und bewerten. Er stellt die Frage, wie ernst Illustration zu nehmen sei – und wie ernst sie sich selbst eigentlich nehme.
Dreistimmig vollziehen die Überlegungen nach, von welchen Ideen und Ansätzen aus sich über Illustration reflektieren lässt.
The Donation "Artelier Collection"" at the Neue Galerie in Graz.
Konrad Heiden: Hitler. A Biography. Alfred A. Knopf, New York 1936, p. 305
Between 1932 and 1944, the photo-book "Hitler wie ihn keiner kennt" (The Hitler Nobody knows) was printed in more than 400.000 copies. Published by Heinrich Hoffmann, the book shows Hitler speaking to his audiences, standing at the deathbed of a SS-trooper, sitting at his desk in the Braunes Haus in Munich and some portraits; but he is also shown while carrying a deck-chair from the lawn, stepping out of a church, leafing through a paper and sitting at the roadside for a picnic on his way for the next meeting.
By intertwining his public and political appearance and the images of a seemingly modest private life, Hitler is meant to be perceived not only as a „rousing leader, but also as a great and good man”, as Baldur von Schirach suggests in the preface to the book. At the same time the aesthetics in particular of the seemingly private pictures of the book are similar to those of the countless family albums that people of all walks of life assembled in these decades. There, too, the staged portraits from the studio are mixed with snaps of moments of leisure and exceptions from the daily grind – a weekend hike in the woods, the kid's first steps, a ride on the new autobahn, a visit to the zoo, the soldier on furlough.
In their iconography and staging the images of "Hitler wie ihn keiner kennt" resemble those in the private albums; and in some of these albums doppelgangers of Hitler appear. These men, too, pose in mundane situations such as a collegial meeting, sitting at a desk in an office or in a photographic studio together with their spouse, their wife or their children. But at the same time they sport a toothbrush mustache, this little patch of hair on the upper lip that had become Hitler's physiognomical trade mark since he went into politics in the early 1920s. Combining geometric modernist aesthetics with a high recognition value, the toothbrush moustache made Hitler's face unique and set him apart from the more uniform physiognomies of his political adversaries and partners. And with the advent of the party he led, this face became ubiquitous on posters, in the papers and newsreels, reaching a first apex during the election campaigns in 1930 that gained the NSDAP a landslide success.
Certainly it is not the facial hairdo that makes the nazi: but whoever in these years decided to grow a toothbrush moustache in Germany knew whom he looked like, and so did his family, his friends and colleagues. Irrespective of their age, figure, colour of hair, physiognomy or profession these men appropriated the one part of Hitler's appearance that at the same time was exceedingly characteristic and yet accessible without any regulations. In doing so, their bodies and that of their 'Führer' merge in an uncanny way, multiplying and dissipating the latter not only as a living image but as a sign with its own agency.
Based on more than 400 private photographs, the video installation "Hitler wie ihn keiner kennt" shows portraits of mostly anonymous and often uniformed German and Austrian men sporting toothbrush moustaches and taken until 1945. The pictures are enlarged and cropped so that the moustache will always show at the same spot. They are stored on a Raspberry Pi; a script randomly grabs one of them after the other, presenting it for a random duration between one and four seconds: None of the portraits is given prominence, there is no narrational link between the images other than the moustache. The video was first shown in a solo exhibition at the Leipziger Kunstverein in February/March 2017. Here it was presented as a back projection (1.20x1.20 cm) on the windows facing the street with perfect visibility in particular at night, together with a table holding about 100 of the original portraits under glass. The project has been presented with extensive public lectures since some years; a book on the subject is in preparation.
[For registration please use the link]
The Russian invasion of Ukraine is not only a war against soldiers and civilians. It is also a war against the exchange of research and ideas between East and West, and against the ability of scholars and academics from these politically defined areas to practice collective thinking and constructive disagreement. Organised by a group of researchers in history and theory of photography from both Eastern and Western countries, the conference In Light of War is a reaction to the war in Ukraine, aiming at continuing our exchange of ideas against all odds by putting our academic knowledge and skills to practice. The conference will feature relatively spontaneous papers, talks, and discussions as a way of sharing observations and ideas concerning the performance of photographic cultures in the context of the war in Ukraine and the Russian sphere, whether directly or more implicitly.
The conference will take place on 4 June online, at 13.00 - 19.30 Berlin time (GMT+2). Attendance is free.
Conference speakers:
Jennifer Tucker, Wesleyan University, USA: TBA (USA)
Friedrich Tietjen, researcher and curator at Stiftung Reinbeckhallen (Berlin)
Olga Davydova, independent researcher, St.Petersburg (Russia)
Farrah Karapetian, San Diego University (USA)
Samuel Driver, Brown University (USA)
Gil Pasternak, Photographic History Research Centre (PHRC), De Montfort University (UK)
Denis Skopin, St.Petersburg State University (Russia)
Abstracts of talks will be published by 4 June.
Conference organizing committee: Winfried Gerling, Maria Gourieva, Daria Panaiotti, Gil Pasternak, Friedrich Tietjen
If need be there's a raw translation into English; not so good though that I'd put it here.
As a back-reference, not as identity, the relation to the factual is so deeply inscribed in photography that it is obscured by the constantly renewing mass of media images. The fact that this difference is not always intended to become visible does not make it any easier to distinguish between the picture and what is depicted in the various forms of photography: journalistic, commercial and amateur photography are generally quite amenable to the fact that the picture is what is depicts – a monument, a perfume, a person. Wall, too, does not seek to evade this tremendous suggestive power of the medium. However, both in terms of techniques and subjects, his works balk at any authenticity. Their subjects are not the objects in front of the camera, but rather the view of them and the doubling of this in the view of the photograph: Wall’s works do not so much provide information on the state of the world as they do on how they become visible.
This research exhibition stems from the interview project Biographie und Geschichte. Private Fotografie in Ostdeutschland 1980–2000, which has been underway since early 2020. In the more than fifty album discussions carried out until now, album owners have talked about the role private photography played for them before, during, and after the fall of the GDR. There are relatively few private photos of the dramatic events in autumn of 1989. But the albums allow us to impressively trace how, through photography, the communality of families, work brigades, youth cliques, and other groups were produced, organized, and sometimes preserved and stabilized across all ruptures in society. The disappearance of one political system and establishment of a new one is visible, at most, in the details in these albums: people no longer pose proudly next to a Trabant, but instead, next to a Golf. In some holiday albums, the Baltic Sea is replaced by Mallorca; in others, the same tents stand on the same beach year after year. Many photographers also switched from black-and-white to color photography, a move usually made for economic reasons — bringing the films to the new drugstore chains was less expensive than having them developed in local darkrooms.
https://en.stiftung-reinbeckhallen.de/program/someone-was-always-snapping-photos/
Eight albums from the years between 1932 and about 1955 deliver fragments of Ferry S.'s life. He works at an institute for soil biology, travels to Graz and the Wachau and to the Baltic Sea, and curiously the bathers watch as a submarine moors at the pier where they sunbathe. Apart from a few pictures showing Ferry in uniform, these are the only shots that indicate that times were not as peaceful as they appear. He extensively photographs the rooms in which he lives, his parents he visits, the women he travels with; he often gives them the camera, so that there are also many pictures of him in the albums. Spring 1945 must have been particularly beautiful - you can see Ferry with his wife in the Prater, her with sunglasses, him in a long coat, both with an elegant hat. It is hard to imagine that the war and its end left them untouched. But they photographed as if they didn't want to remember.
And perhaps private photography isn't just that either: a medium of comprehensive memory. In the act of photographing, the future contemplation of the images is already anticipated; the past then should appear as a good life. With the help of private photography, the continuity of one's own existence in and also against history can be established and defended with foresight and in retrospect, across all historical ruptures, all traumas, all guilt.
With the exhibition "Everybody, line up! We‘ll snap some pictures!" for the first time a larger collection of private photography in Austria is examined. In preparation, the two curators Herbert Justnik and Friedrich Tietjen sifted through hundreds of albums and thousands of photographs; within the framework of album reviews, more than 30 conversations were conducted and recorded with owners of albums. The aim is to understand private photography as a web of practices that produce, circulate, and give sight to images. The fact that the occasions and motifs of many pictures are extraordinarily similar and that they hardly change over time is the starting point for research, which the exhibition will give space to. During the course of the exhibition, colleagues from both Austria and abroad will use the workplaces in the exhibition space to examine in more detail the growing collections; these workplaces will be available to anyone interested in either examining existing holdings or comparing their own albums with others. The results of these activities will be fed directly into the exhibition, whose display will thus change dynamically and, on the basis of clouds of images from scanned photographs on the walls, will show, for example, what impact 1938 had on private photography, what family celebrations between 1930 and 1950 looked like, or what types of images were used to represent a happy, fulfilled life. Finally, the technical and aesthetic foundations of private photography are presented in showcases: How were the pictures taken, how were they reproduced, and how were they shown? Parallel to the exhibition, there will be an extensive programme of events. The album reviews will also be continued - interested parties can contact +43 677 625 354 00 or fotosammlung@volkskundemuseum.at for more information.
International conference on visual studies, history and theory of photography
1-3 June 2023, European University (St. Petersburg, Russia // online)
Deadline for submissions: 30 March 2023