The Promise

2011

Marion Kaufer referiert in ihrer Master-Thesis die Diskussion über Erwerbungsprofile, ihren Inhalt und ihren Nutzen, die in den letzten zwanzig Jahren stattgefunden hat. Zu Beginn wird dargestellt, dass Erwerbungsprofile Regeln für den Bestandaufbau beschreiben und ...

New Trends and Issues Proceedings on Humanities and Social Sciences [Online], 2018

Architecture and photography have closely interacted with each other since the invention of the photography. Through the 20th century, architectural photographs were utilised for documentation, preservation, historiography, presentation and as a tool of design. Until the turn of the 21st century, the dissemination of architectural photographs was limited by the accessibility of printed media. Today, owing to the digital communication technologies, architectural photographs are being disseminated and circulating rapidly in an unprecedented way. Therefore, not only architectural photographs produced by professionals but also a high number of photographs which were taken by users or visitors of a building started to disseminate. Accordingly, not only the audience but also consumption and production processes of architecture have changed. This study focuses on photography's affiliation as a tool of architectural (re)presentation and (re)production.

The diversity of the artists' attitudes and actions as well as the multiplicity of the tools they were using triggered a steady and internally diversified process of changing the character of newly created installations. As a result, the concept of the art of installation, just like many other categories of contemporary art, lacks a homogeneous and unequivocal character. Looking at the contemporary works referred to by artists and critics as installations, we can in fact state that none of their classical attributes mentioned so far is obligatory for them today. The presence or absence of those features only makes it possible for us to identify the types of installations. For example, the close relation to a particular place, until today regarded by numerous theoreticians and critics as a defining feature of the art of installation, is now in fact only a feature of one of its types, referred to as site specific, or in situ installation. As for the other types, only the impermanence, ephemerality or temporality manifesting themselves in various ways can be considered to be a remnant, or a consequence of the original relation to some concrete space. After their presentation at the exhibition, such installations are dismantled and, when shown again in another gallery, they often take on a different form. Thus they occur in different shapes and formats, which means that they remain the same artwork only owing to the identity of their concept, idea or meaning. Installations of this type thus have sort of the character of a work in progress. Their ephemerality ultimately becomes, to some extend, a defining feature of each type of installation, achieving, as stated above, its maximum concentration only in the form of the installation in situ. This type of installation is characterised by an unbreakable, and yet unique, relation between the person (artist), the place and the time.

Nummer 10. Magazin der Hochschule Luzern Design & Kunst, 2021

We intend to examine here some of the questions concerning the theoretical variants of discussions on photography: we are specially interested in those discursive trends that are still investing in the technical conditions of image’s origins and its relationships with the semiotical regimes of these visual icons. We refer to those theories by the title of “arguments on the apparatus”, recognizing them as an actual driving force in the general assumptions of about the meanings of visual forms in photographs: we still find them specially influential in the assumed semiotic status of indexicality, as an essential trait of photographic processes. As a corolary of such discourses, we find a commitement to ontological pressupositions about some intrinsic, originary nature of photography, identified with the role played by its technical apparata. We seek the matrix of such discourses, departing from the reading of two influential essays on the nature of photography, L’Acte Photographique, by Phillipe Dubois (1983) and L’Image Precaire, by Jean-Marie Schaeffer (1987).