Faisal Abdu´Allah&Clive Allen (GB) · · · Art in Ruins (GB) · · · Gilles Barbier (F) · · · Richard Billingham (GB) · · · Sabine Bitter/Helmut Weber (A) · · · Anna + Bernhard Joh. Blume (D) · · · Henry Bond (GB) · · · Alain Bublex (F) · · · Daniele Buetti (CH) · · · Manuela Burkart (D) · · · Helen Chadwick (GB) · · · Critical Art Ensemble (USA) · · · Petér Csikvári (H) · · · Thomas Demand (D) · · · Darko Fritz (CRO) · · · Rainer Ganahl (A) · · · G.R.A.M. (A) · · · Michael Hofstetter (D) · · · Gerald van der Kaap (NL) · · · Ali Kepenek (D) · · · Ivana Keser (CRO) · · · Jürgen Klauke (D) · · · Allan McCollum/Laurie Simmons (USA) · · · John Miller (USA) · · · Christoph Nebel (A) · · · Shirin Neshat (IR/USA) · · · Tony Oursler (GB/USA) · · · Beate Passow (D) · · · Jack Pierson (USA) · · · Richard Prince (USA) · · · Sophie Ristelhueber (F) · · · Ugo Rondinone (CH) · · · Klaus Scherübel (A) · · · Bruno Serralongue (F) · · · Andres Serrano (USA) · · · Cindy Sherman (USA) · · · Martin Sjoberg (SWE) · · · Sven Westerlund (SWE) · · · Stephen Willats (GB)
The austrian triennale on photography - organised by the federal ministry of science - is a major international exhibition which provides an oppertunity every three years to question and discuss current positions in photography. Important as it is for the austrian photographic profession, it has significance for a far wider public. The point of departure for ideas at the 1996 exhibition is RADICAL IMAGES, the topic for 1993 was WAR. .
In the 90s the debate in the arts has shifted to concerns about the about the contextual an social construction of art, as well as about modes of criticism, opposition an resistance. The debate can be regarded as a reaction against the post-modern view that all the items in the store of signs - artistic, social and political - are of equal value, and affects contemporary photography in a particular manner. In virtual reality , where pictorial forms of our own design are permanently available in digital space, the traditional forms (documentary and staged) in which photographs present reality may largely fade away, and their status, whether in media productions or in art, has accordingly come into question.
The title RADICAL IMAGES serves as a screen on to which various fractures, disruptions and questionings, in the social and cultural sphere as well as in that of art, can be projected. 39 international artists have been invited to create new work, based on their previous oeuvre but specially produced for the triennale and relising its theme. At the centre of the concerns addressed by artists and curators alike was the question of how photography is to radicalise itself if it is to continue to play a part in the construction and interpretation of contemporary reality. Seen from this angle the role of photographic images in systematically mediating between the world around us, society and the individual becomes central to a debate that is not confined to artists but concerns culture as a whole. Radicalism, in this context, refers not merely to content but also, and primarily, applies to method and to the concept of the image. It recognises that the artist's perception of the world needs continually to be updated. At present RADICAL IMAGES are possibly alone in contributing documents and interpretations based on this perception to the vast pictorial and media archives that exist today.
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