Das Fotobuch in Kunst und Gesellschaft
ISBN 978-3-86859-594-9
ISBN 978-3-86859-594-9
You also want an ePaper? Increase the reach of your titles
YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.
The Photobook<br />
<strong>in</strong> Art<br />
and Society<br />
Participative Potentials<br />
of a Medium<br />
Edited by<br />
Montag Stiftung<br />
<strong>Kunst</strong> <strong>und</strong> <strong>Gesellschaft</strong>
11
15
20
Content<br />
Welcome<br />
Together We Are More 27<br />
Cooperation <strong>in</strong> Times of Transition<br />
Ruth Gilberger<br />
Photobooks for All! 31<br />
An Introduction<br />
Ruth Gilberger<br />
1. Introductions<br />
Between the Novel and the Film 55<br />
A Brief History of the Photobook<br />
Gerry Badger<br />
What Is It Made of? 67<br />
Experiences with Participation by Virtue of Art<br />
Susanne Bosch<br />
Worlds of Contradiction 77<br />
Between Global Upheavals and Local Lifeworlds<br />
Shal<strong>in</strong>i Randeria<br />
Photobooks on Transitions 87<br />
Books from an Exhibition<br />
Anne-Katr<strong>in</strong> Bicher, Frederic Lezmi, Markus Schaden
Welcome<br />
2. A Mobile Photobook Project: World <strong>in</strong> Transition<br />
From Concept to Realisation 151<br />
New Access to the Photobook<br />
Anne-Katr<strong>in</strong> Bicher<br />
2.1. Alliances on Site<br />
Interviews with Project Partners 199<br />
Michaela Sell<strong>in</strong>g (Kulturamt Rostock)<br />
Frank Jebavy (Kulturbetriebe Duisburg)<br />
Tobias Hartung (Kulturamt Kassel)<br />
Yasem<strong>in</strong> İnce Albayrak/Birgit Hengesbach-Knoop (Frauentreff Brückenhof, Kassel)<br />
Dieter Neubert (Fotobookfestival Kassel)<br />
2.2. Exhibit<strong>in</strong>g Photobooks Differently<br />
Please Browse! 231<br />
Notes on Exhibit<strong>in</strong>g the Photobook<br />
Anne-Katr<strong>in</strong> Bicher<br />
Aesthetic Experience—How Does That Work? 239<br />
Ruth Gilberger<br />
2.3. Publish<strong>in</strong>g Photobooks<br />
From the Artist Talks 279<br />
Andrea Diefenbach<br />
Peter Bialobrzeski<br />
Carolyn Drake<br />
Carlos Spottorno<br />
2.4. Seventy Dummies for the Future<br />
Everyone Can Make a Photobook! 311<br />
Frederic Lezmi, Markus Schaden
Content<br />
How Do I Encounter the Visual Chaos? 314<br />
An Editorial Guide<br />
L<strong>in</strong>n Phyllis Seeger, Wolfgang Zurborn<br />
From Upheavals and New Beg<strong>in</strong>n<strong>in</strong>gs 319<br />
Reports from the Photobook Workshops<br />
Ursula Birkner<br />
Arax Karapetjan<br />
Renate and Wolfgang Krieg<br />
Prem Lüers<br />
Joseph Maher<br />
Gabriele Luck<br />
Yasem<strong>in</strong> İnce Albayrak<br />
Big Little City 387<br />
Nico Baumgarten<br />
3. Perspectives<br />
Hyperpresence and Reflection 407<br />
The Photobook <strong>und</strong>er Digital Conditions<br />
Michael Hagner<br />
Stand Up and Speak Out! 413<br />
A Celebration of Photobooks by Women<br />
Russet Lederman<br />
The Photobook between Colonialism, 425<br />
Propaganda, and Activism<br />
Perspectives from Indonesia<br />
Gunawan Widjaja<br />
Take Part and Take a Chance! 433<br />
Participatory Potentials of a Medium<br />
Ruth Gilberger, Markus Schaden
Welcome<br />
SEE YOU!<br />
Partners 454<br />
Authors 455<br />
Photographs 460<br />
Special Thanks 467<br />
Impr<strong>in</strong>t 468
WELCOME<br />
Together We Are More 27<br />
Cooperation <strong>in</strong> Times of Transition<br />
Ruth Gilberger<br />
Photobooks for All! 31<br />
An Introduction<br />
Ruth Gilberger<br />
25
BETWEEN<br />
THE NOVEL AND<br />
THE FILM<br />
A BRIEF HISTORY<br />
OF THE PHOTOBOOK<br />
Gerry Badger
Introductions<br />
“A photobook is an autonomous art form,<br />
comparable with a piece of sculpture, a<br />
play, or a film.”<br />
Ralph Pr<strong>in</strong>s 1<br />
Ralph Pr<strong>in</strong>s was one of the first to use the word photobook with a specific connotation. It<br />
does not refer to just any book illustrated by photographs. Instead, it is used to denote a<br />
book whose primary message is carried by photographs, but photobook also suggests a<br />
certa<strong>in</strong> creative ambition on the part of its author, and it is <strong>in</strong>deed used to mark a qualitative<br />
dist<strong>in</strong>ction. The American photographer John Gossage has def<strong>in</strong>ed the essence of<br />
a good photobook as follows: “Firstly, it should conta<strong>in</strong> great work. Secondly, it should<br />
make that work function as a concise world with<strong>in</strong> the book itself. Thirdly, it should have a<br />
design that complements what is be<strong>in</strong>g dealt with. And f<strong>in</strong>ally, it should deal with content<br />
that susta<strong>in</strong>s an ongo<strong>in</strong>g <strong>in</strong>terest.” 2<br />
As both Pr<strong>in</strong>s and Gossage <strong>in</strong>dicate, the photobook is part of the photographic world, an<br />
<strong>in</strong>tegral part of it, yet it is also its own world, with its own canon of great and highly regarded<br />
works. Nevertheless, many of the key photobooks have been created by the lead<strong>in</strong>g photographers<br />
of the day, and they have made key contributions to the development of photographic<br />
aesthetics. Yet, photographers who are not part of the canon of great photographic<br />
figures can occupy an honoured place <strong>in</strong> photobook history. Furthermore, <strong>in</strong> a<br />
relatively recent development, excellent photobooks are be<strong>in</strong>g made by non-photographers,<br />
us<strong>in</strong>g appropriated photographs of all k<strong>in</strong>ds.<br />
The first photobook appeared with<strong>in</strong> five years of the medium’s <strong>in</strong>vention. The first<br />
photographic method, Louis Daguerre’s daguerreotype, <strong>in</strong>troduced <strong>in</strong> 1839 <strong>in</strong> France,<br />
was a s<strong>in</strong>gular image on a copper plate, therefore hardly conducive to mak<strong>in</strong>g books. It<br />
was William Henry Fox Talbot’s calotype negative, and its ability to reproduce an endless<br />
number of positive pr<strong>in</strong>ts, that created the basis for modern photography and for the<br />
photobook <strong>in</strong> particular. In Great Brita<strong>in</strong> <strong>in</strong> 1844, Talbot produced the first part of his multi-volume<br />
treatise The Pencil of Nature 3 (1844–46) <strong>in</strong> which pasted-<strong>in</strong> calotypes accompanied<br />
commentaries discuss<strong>in</strong>g the virtues and the future of photography. The Pencil set<br />
someth<strong>in</strong>g of a standard for the genre, <strong>in</strong> that it was both a showcase for a photographer’s<br />
work but also a polemic for the photographic medium. Talbot was <strong>in</strong>terested <strong>in</strong> the<br />
practical uses of photography.<br />
However, <strong>in</strong> 1843, Talbot’s Pencil was beaten to the punch, as it were, by the British<br />
botanist Anna Atk<strong>in</strong>s’ Photograms of British Algae 4 (1843–53), now rightly regarded as the<br />
56
Between the Novel and the Film – Gerry Badger<br />
first photobook. Atk<strong>in</strong>s set a different standard. Indeed, whereas Talbot’s book is of its<br />
time, Atk<strong>in</strong>s’ could have been produced today. The stark but beautiful repetition of these<br />
blue-and-white images prefigures the conceptual photobooks of 60s and 70s artists by<br />
more than a century.<br />
In the beg<strong>in</strong>n<strong>in</strong>g, photography was referred to as the “half art, half science”. It was<br />
<strong>in</strong>vented <strong>in</strong> Great Brita<strong>in</strong> and France, the two ma<strong>in</strong> colonial powers at the time, and quickly<br />
became part of the knowledge-gather<strong>in</strong>g <strong>in</strong>dustry, at the service of the imperialist enterprise.<br />
Thus, n<strong>in</strong>eteenth century photography, and especially the photobook, which was<br />
adept at collat<strong>in</strong>g and categoris<strong>in</strong>g, focussed generally on the practical rather than the<br />
artistic side of the medium <strong>in</strong> document<strong>in</strong>g the world.<br />
For example, a book like Maxime du Camp’s Egypt, Nubia, Palest<strong>in</strong>e and Syria 5 (1852),<br />
served the discipl<strong>in</strong>es of travel and antiquarianism, as did Auguste Salzmann’s Jerusalem 6<br />
(1856), and Francis Frith’s Egypt, S<strong>in</strong>ai and Jerusalem 7 (1862–63), and many others. If the<br />
past was an <strong>in</strong>terest, so was the present, thus Philip Delamotte’s Crystal Palace 8 (1855),<br />
and Édouard Baldus’s The Railway From Paris to Lyon and the Mediterranean 9 (1861–63),<br />
showcased architecture, eng<strong>in</strong>eer<strong>in</strong>g, and national pride. War also occupied photographers,<br />
not so much to condemn it but rather to justify the decisions of politicians, especially<br />
the Crimean War <strong>in</strong> Great Brita<strong>in</strong> and the American Civil War, as seen <strong>in</strong> George N. Barnard’s<br />
Photographic Views of Sherman’s Campaign 10 (1866). In John Thomson’s Illustrations<br />
of Ch<strong>in</strong>a and Its People 11 (1873), an apparently objective book document<strong>in</strong>g place,<br />
architecture, and ethnology actually was serv<strong>in</strong>g the dictates of colonialism.<br />
There were many other such books. Photography was <strong>in</strong>terested <strong>in</strong> document<strong>in</strong>g the<br />
other from the beg<strong>in</strong>n<strong>in</strong>g, whereby middle-class, largely European photographers photographed<br />
the lower classes and people of other races. Some books also served more dubious<br />
sciences, like phrenology, the study of human physiognomy aim<strong>in</strong>g to detect crim<strong>in</strong>als<br />
on the basis of their physical features. Photographic documentation was def<strong>in</strong>itely a means<br />
of social control, but could also be used <strong>in</strong> progressive social enterprises, like Thomas<br />
Annan’s 12 Old Glasgow (1878–79), which was <strong>in</strong>tended to document slum liv<strong>in</strong>g conditions,<br />
but also memorialise areas swept away for new social hous<strong>in</strong>g.<br />
All the books mentioned were illustrated with orig<strong>in</strong>al pr<strong>in</strong>ts pasted <strong>in</strong>to the pages, a<br />
method both cumbersome and expensive. From photography’s beg<strong>in</strong>n<strong>in</strong>g, various <strong>in</strong>ventors<br />
sought to comb<strong>in</strong>e photography with <strong>in</strong>k, enabl<strong>in</strong>g photographs to be pr<strong>in</strong>ted <strong>in</strong> conventional<br />
pr<strong>in</strong>t<strong>in</strong>g presses. Some of the methods <strong>in</strong>itially developed were as cumbersome as handmade<br />
pr<strong>in</strong>ts, but <strong>in</strong> 1890, a small, roughly made book appeared, conta<strong>in</strong><strong>in</strong>g both photographs<br />
and lithographs pr<strong>in</strong>ted <strong>in</strong> <strong>in</strong>k. Jacob Riis’s How the Other Half Lives 13 (1890), published <strong>in</strong><br />
New York by the Danish-born emigré, <strong>in</strong>troduced the half-tone plate, which became the<br />
basis for all photographic book pr<strong>in</strong>t<strong>in</strong>g prior to the digital age, and marked the beg<strong>in</strong>n<strong>in</strong>g<br />
of photography as a mass medium. 14<br />
57
Introductions<br />
Food<br />
Henk Wildschut<br />
How Does the Future Taste?<br />
For a commission, Henk Wildschut spent two years <strong>in</strong> the Netherlands<br />
photograph<strong>in</strong>g the work of farmers and entrepreneurs look<strong>in</strong>g for<br />
<strong>in</strong>novations <strong>in</strong> food production. Their work fasc<strong>in</strong>ates him. He f<strong>in</strong>ds<br />
himself over-romanticis<strong>in</strong>g organic products and realis<strong>in</strong>g that our<br />
food is born <strong>in</strong> a cl<strong>in</strong>ical world full of regulations and protocols. A<br />
world that is too complex to allow one to easily dist<strong>in</strong>guish between<br />
good and evil.<br />
Wildschut, Henk (2013), Food, Rotterdam: Post Editions.<br />
The Table of Power 2<br />
Jacquel<strong>in</strong>e Hass<strong>in</strong>k<br />
Power Brokers<br />
What do the centres of power of the largest companies <strong>in</strong> the world look<br />
like? This question <strong>in</strong>terested Jacquel<strong>in</strong>e Hass<strong>in</strong>k (1966–2018)beg<strong>in</strong>n<strong>in</strong>g<br />
<strong>in</strong> the early 1990s, when she travelled aro<strong>und</strong> the globe for the first time<br />
and photographed the boardrooms of the forty most important global<br />
corporations and banks (The Table of Power, 1 1996). Fifteen years later,<br />
she returns, for she is <strong>in</strong>terested <strong>in</strong> whether there has been a change <strong>in</strong><br />
the companies and corporate boardrooms follow<strong>in</strong>g the 2007 global<br />
f<strong>in</strong>ancial crisis. As <strong>in</strong> 1993, a few doors rema<strong>in</strong> closed for the photo artist,<br />
<strong>in</strong>clud<strong>in</strong>g Daimler AG <strong>in</strong> Stuttgart.<br />
Hass<strong>in</strong>k, Jacquel<strong>in</strong>e (2011), The Table of Power 2, Ostfildern: Hatje Cantz.<br />
1 Hass<strong>in</strong>k, Jacquel<strong>in</strong>e (1996), The Table of Power, Amsterdam: Menno van de Koppel.<br />
92
Photobooks on Transitions – Anne-Katr<strong>in</strong> Bicher, Markus Schaden<br />
Die Mauer ist weg!<br />
Mark Power<br />
Gatecrash<strong>in</strong>g the Fall of the Berl<strong>in</strong> Wall<br />
As Mark Power flies by pure co<strong>in</strong>cidence and with his last money <strong>in</strong> his<br />
pocket on 9 November 1989 from London to Berl<strong>in</strong>, he does not yet<br />
suspect that the wall will fall that night—and this occurrence will change<br />
his life. Like “crash<strong>in</strong>g a party I hadn’t been <strong>in</strong>vited to” 1 was how Power<br />
felt photograph<strong>in</strong>g the celebrations <strong>in</strong> the no-man’s land aro<strong>und</strong> Checkpo<strong>in</strong>t<br />
Charlie. The next morn<strong>in</strong>g, news agencies spread his photos<br />
aro<strong>und</strong> the world. His career as a press photographer began, as the title<br />
of the Berl<strong>in</strong> tabloid B.Z. headl<strong>in</strong>ed, “The wall is gone!”—<strong>in</strong>spir<strong>in</strong>g him<br />
to present this book twenty years later.<br />
Power, Mark (2014), Die Mauer ist weg!, Brighton: Globtik Books.<br />
1 Ibid.<br />
Wild Pigeon<br />
Carolyn Drake<br />
Images of Resistance<br />
How can you become acqua<strong>in</strong>ted with people who are be<strong>in</strong>g silenced by<br />
state censorship? One way is to exchange pictures. Or this, at least, is<br />
how American photographer Carolyn Drake approached the Uyghurs<br />
who live <strong>in</strong> the X<strong>in</strong>jiang Autonomous Region <strong>in</strong> Western Ch<strong>in</strong>a. The title<br />
of her self-published book Wild Pigeon pays homage to Uyghur writer<br />
Nurmuhemmet Yas<strong>in</strong>, who was arrested <strong>in</strong> Ch<strong>in</strong>a <strong>in</strong> 2004 for publish<strong>in</strong>g<br />
his eponymous story (“Wild Pigeon”) and died <strong>in</strong> prison <strong>in</strong> 2011, accord<strong>in</strong>g<br />
to Amnesty International. 1<br />
Drake, Carolyn (2014), Wild Pigeon, n.p.: self-published.<br />
1 “Ch<strong>in</strong>a. Uigurischer Schriftsteller im Gefängnis gestorben”, Amnesty.de, 03.01.2013,<br />
https://www.amnesty.de/2013/1/3/ch<strong>in</strong>a-uigurischer-schriftsteller-im-gefaengnis-gestorben.<br />
93
Julian Germa<strong>in</strong><br />
For Every M<strong>in</strong>ute You Are Angry You Lose Sixty Seconds Of Happ<strong>in</strong>ess<br />
London 2005 (Mack)<br />
104
Yves Gellie<br />
Human Version<br />
Paris 2013 (Loco)
137
A Mobile Photobook Project: World <strong>in</strong> Transition<br />
A Mobile<br />
Photobook<br />
Project<br />
Exhibition<br />
The centrepiece of World <strong>in</strong> Transition was the photobook exhibition with<br />
works by twenty-two <strong>in</strong>ternationally renowned photographers who work<br />
on contemporary transitions. The range of topics covered by the books on<br />
display was wide: climate change, urbanisation, migration and flight, and<br />
political and economic upheavals, to name a few, as well as personal transitions.<br />
The books were displayed <strong>in</strong> three cargo conta<strong>in</strong>ers and were freely<br />
accessible to be read and touched. The spatial stag<strong>in</strong>g was reduced, and<br />
short texts <strong>in</strong>troduced the content of the books.<br />
Outdoor Installation<br />
We showed the majority of the <strong>in</strong>dividual photographs from the picture<br />
atlas <strong>in</strong> XXL size as weatherproof PVC pr<strong>in</strong>ts on euro pallets. These stood<br />
outside the exhibition conta<strong>in</strong>ers on the exhibition site, so that passers-by<br />
could <strong>in</strong>teract directly with the images, take selfies, or study their details.<br />
Touch<strong>in</strong>g was encouraged! Like all other exhibition elements, these rema<strong>in</strong>ed<br />
<strong>und</strong>amaged, even though we had consciously decided not to hire a<br />
security service. In Rostock, the volunteers not only helped with the production<br />
of the outdoor <strong>in</strong>stallation but also curated the placement of the<br />
images on site.<br />
156
From Concept to Realisation – Anne-Katr<strong>in</strong> Bicher<br />
Catalogue Workshop<br />
In the Catalogue Workshop visitors were able to compile their own exhibition<br />
catalogue free of charge, us<strong>in</strong>g photographs from the various photobooks,<br />
as a loose-leaf collection. This proved to be a highly enterta<strong>in</strong><strong>in</strong>g<br />
and popular way of tak<strong>in</strong>g an extra moment to engage with what visitors<br />
had seen, try out image comb<strong>in</strong>ations, and share thoughts about one’s<br />
visual preferences with other visitors or the arts education team. In the<br />
workshop, the catalogue pages could be further developed <strong>in</strong>to collages or<br />
other formats. When it ra<strong>in</strong>ed, the workshop also offered shelter for the<br />
children‘s workshops, which otherwise took place outside.<br />
Café Courage<br />
The Courage was still a prototype <strong>in</strong> Groß Kle<strong>in</strong>. The conta<strong>in</strong>er, open on one<br />
of the long sides, was conceived as an important social meet<strong>in</strong>g po<strong>in</strong>t,<br />
supplied with dr<strong>in</strong>ks and snacks by a local caterer. Given the cool weather<br />
and the space’s comparatively sparse furnish<strong>in</strong>g, however, the café <strong>in</strong> Rostock<br />
did not yet offer the relax<strong>in</strong>g atmosphere and artistic environment<br />
which was needed. In the later stages of the project, the design of the<br />
Courage as a “walk-<strong>in</strong> photobook” was thus developed more clearly, and<br />
the cater<strong>in</strong>g was reduced to free dr<strong>in</strong>ks offered by the team.This achieved<br />
the desired effect: over the course of the project, the Courage significantly<br />
contributed to the social quality of World <strong>in</strong> Transition and was highly frequented<br />
by visitors as an <strong>in</strong>spir<strong>in</strong>g communicative hub.<br />
Photobook Workshops<br />
The workshops offered the most <strong>in</strong>tensive artistic experience with the photobook<br />
and their own photographic practice. With the support of photographers<br />
and book designers, participants who had no previous knowledge<br />
of photography or book production were able to produce a photobook<br />
dummy with<strong>in</strong> two days. They worked with photos from smartphones or<br />
digital cameras, as well with analogue pr<strong>in</strong>ts. In Rostock, this <strong>in</strong>tensive<br />
format of engag<strong>in</strong>g aesthetically with photobooks showed its potential.<br />
We consequently optimised the the workshop programme, <strong>in</strong>creas<strong>in</strong>g the<br />
number of workshops and encouraged diversity of the groups <strong>in</strong> terms of<br />
age, gender, social context, and photographic <strong>in</strong>terests.<br />
157
Publish<strong>in</strong>g Photobooks<br />
“If you ignore the audience,<br />
the audience will ignore you.”<br />
Carlos Spottorno<br />
In Kassel, Carlos Spottorno and Markus Schaden had a sofa talk on new strategies <strong>in</strong><br />
photobook mak<strong>in</strong>g and distribution, reach<strong>in</strong>g big audiences, and travell<strong>in</strong>g light.<br />
For The Pigs, 1 you faked the Economist magaz<strong>in</strong>e, for the photobook project Wealth<br />
Management 2 you set up a website by the fictional WTF bank. When did you have the<br />
ideas for these unusual photobook projects?<br />
I have been focuss<strong>in</strong>g on the Southern European crisis for a long time and I wanted to<br />
make The Pigs book to address the story of Europe. First of all, I wanted to make very<br />
expensive and good look<strong>in</strong>g books, because I thought the contrast of very poor social<br />
conditions depicted <strong>in</strong> an expensive book would be someth<strong>in</strong>g <strong>in</strong>terest<strong>in</strong>g. But at some<br />
po<strong>in</strong>t, I thought to myself: “Why not just fake the source of where the term ‘PIGS’ was<br />
born? So I came up with the idea of creat<strong>in</strong>g a book <strong>in</strong> a f<strong>in</strong>ancial magaz<strong>in</strong>e design. The<br />
most difficult th<strong>in</strong>g was to f<strong>in</strong>d the right paper.<br />
Could the book f<strong>in</strong>d new audiences from different parts of society? Were there forms<br />
of feedback which you had never expected?<br />
This has been my goal for a long time, to reach out to big audiences. Yes, The Pigs is<br />
cheap and light, so you can carry it easily. When you go to festivals and other photobook<br />
events, it is a very good idea to produce light books. People like to buy them, as it is easy<br />
to take them back home.<br />
And you used guerrilla strategies of distribut<strong>in</strong>g The Pigs—tell us about it!<br />
By chance, just after the photo-festival <strong>in</strong> Arles, I had to travel to Los Angeles with<strong>in</strong><br />
forty-eight hours. At all the airports where I had a stop-over, I put the magaz<strong>in</strong>e <strong>in</strong> the<br />
stack of the airport newsagents and posted a picture of that on Facebook and Instagram.<br />
Some people believed it was true, that I actually sold The Pigs at the airport. It worked out<br />
well to attract people’s attention and to create the impression that sell<strong>in</strong>g photobooks<br />
via ma<strong>in</strong>stream book distributors could actually be possible.<br />
290
From the Artist Talks – Carlos Spottorno<br />
Is the response of the audience important for you when mak<strong>in</strong>g a book? Does it<br />
motivate you?<br />
The orig<strong>in</strong>al motivation of anyth<strong>in</strong>g I do is because I am <strong>in</strong>terested <strong>in</strong> the topic, not a<br />
possible audience. But once I have chosen my topic, I certa<strong>in</strong>ly try to f<strong>in</strong>d ways to reach<br />
new audiences. If you ignore the audience, the audience will ignore you. That is a very<br />
basic idea that I believe <strong>in</strong> s<strong>in</strong>ce my advertis<strong>in</strong>g times. If people do not <strong>und</strong>erstand<br />
whatever you are try<strong>in</strong>g to say, it is useless. So <strong>in</strong>deed, my aim is to reach people and<br />
their feedback is very important. It is part of the equation.<br />
So what was the next step after The Pigs? How did Wealth Management come along?<br />
Wealth Management mimics a private bank brochure. I had been work<strong>in</strong>g on the f<strong>in</strong>ancial<br />
world for an assignment. So I travelled to Switzerland, Luxembourg, and London and<br />
photographed people and situations who to me looked like rich gangster plott<strong>in</strong>g <strong>in</strong> the<br />
back of society ways to enrich themselves. For The Pigs I photographed poor people, for<br />
Wealth Management I photographed rich people. When I had completed the book, I<br />
presented it at the festival <strong>in</strong> Kassel and Mart<strong>in</strong> Parr was rais<strong>in</strong>g the questions: “Carlos, is<br />
there anyth<strong>in</strong>g beyond pastiche books? Can you do anyth<strong>in</strong>g different?” And I said:<br />
“Yes, I am work<strong>in</strong>g on someth<strong>in</strong>g new.” However, eventually, my new book also ended<br />
up be<strong>in</strong>g “pastiche”—La Grieta 3 (2016).<br />
Let’s speak about this new book of yours. With La Grieta you actually developed a new<br />
photobook genre: the photographic novel. How did the idea for this come about?<br />
Aga<strong>in</strong>, this book project began with an assignment by a magaz<strong>in</strong>e to shoot the borders of<br />
the European Union. After some trips, the writer Guillermo Abril and I had come home<br />
with 25,000 images, had recorded lots of voices and had many stories to tell. We realised<br />
that the traditional black and white photobook was not appropriate with regard to narrat<strong>in</strong>g<br />
a story about the EU, which is dramatically chang<strong>in</strong>g. Brexit news were rife at the time,<br />
for example. So I thought to myself, what is similar or close to our photographic world<br />
that is a useful narrative to tell a long and complicated story? Graphic novels came to my<br />
m<strong>in</strong>d, and they gave me the impulse to turn the photographic images <strong>in</strong>to graphic images.<br />
I like this treatment of the photographs so much. I get addicted to it. You have the same<br />
image, but see it from a different perspective.<br />
You fo<strong>und</strong> a German, French, Italian, and Spanish publisher for the book …<br />
Yes, so far 22,000 copies have been published. The topic is very relevant for all the European<br />
countries that the book is published <strong>in</strong>. The feedback I have on the content of the book is<br />
similar almost everywhere we go. Everyone is <strong>in</strong>terested, shocked to see how many th<strong>in</strong>gs<br />
are currently happen<strong>in</strong>g <strong>in</strong> Europe at the same time and yet appreciative of the fact that<br />
291
Seventy Dummies for the Future<br />
HOW DO I<br />
ENCOUNTER THE<br />
VISUAL CHAOS?<br />
AN EDITORIAL GUIDE<br />
As part of the versatile workshop format World <strong>in</strong> Transition, certa<strong>in</strong> editorial approaches<br />
have emerged over the years which make it possible to analyse and structure any pictorial<br />
material, however heterogeneous it may be. On the follow<strong>in</strong>g pages we will expla<strong>in</strong>, with<br />
the use of graphics, how this flood of images has actually come about and how it is possible<br />
to navigate the visual chaos of one’s own images without betray<strong>in</strong>g this livel<strong>in</strong>ess to<br />
conventional systems of order.<br />
Photography as a Reaction to the World of Images<br />
Today, photography reflects not only an encounter with reality but also with the collective<br />
world of images, because <strong>in</strong> everyday life we move not only through architecture,<br />
landscape, and social <strong>in</strong>teractions but also amidst images that constantly confront us<br />
<strong>in</strong> urban space and the media. Our consciousness is therefore shaped from early on by<br />
the perception of images whose content and mean<strong>in</strong>g communicate far beyond<br />
language barriers. This collective image memory is part of how we see, and it <strong>in</strong>fluences<br />
the images we produce. In this sense, the photograph of a landscape not only depicts<br />
the landscape itself but also gives an impression of already-exist<strong>in</strong>g pictures of it, and<br />
of the personal perspective of the photographer.<br />
314
How Do I Encounter the Visual Chaos? – L<strong>in</strong>n Phyllis Seeger, Wolfgang Zurborn<br />
How Do I Encounter the Visual Chaos?<br />
The world we move through is chaotic—at least once you zoom out: apart from the<br />
microcosm of our everyday life, which might be highly structured, we f<strong>in</strong>d ourselves <strong>in</strong> a<br />
world <strong>in</strong> which myriad cultures, realities, structures of identity and habit, and mentalities<br />
overlap. This is the richness of the world many people seek to discover when they<br />
travel and attempt to break out of their own microcosm. In the act of photograph<strong>in</strong>g,<br />
moments and situations amidst this chaos are discovered and s<strong>in</strong>gled out. But photographs<br />
that are taken based on an <strong>in</strong>tuition often leave even the photographer perplexed,<br />
with the question: why did I take this picture? A new chaos emerges: the chaos<br />
fo<strong>und</strong> on the table when dozens and h<strong>und</strong>reds of such images are wait<strong>in</strong>g to be edited.<br />
At this po<strong>in</strong>t, the pr<strong>in</strong>ciple is not to clear or clean up this chaos, but to structure it. The<br />
photographer’s <strong>in</strong>tuition must be trusted. What is to be discovered—through an analysis<br />
of the visual language and what we call visual modules—is why the photographer took<br />
the shot.<br />
Creat<strong>in</strong>g Order without Betray<strong>in</strong>g Chaos<br />
Photographs follow a visual syntax that needs to be deciphered. In every assemblage<br />
of images, however disorderly it may be, there are modules of visual language which<br />
allow structures to be discerned. If the collection of images describes a journey, for<br />
example, the experience can be def<strong>in</strong>ed by modules such as “person”, “space”, “object”,<br />
or the like. This makes portraits, for example, a module, because they def<strong>in</strong>e persons<br />
as an element of the narrative. Similarly, architecture, landscape, or <strong>in</strong>terior photographs<br />
describe the place <strong>in</strong> question and thus function as a module “space”. Objets<br />
trouvés, which can tell someth<strong>in</strong>g about the processes, habits, and peculiarities of<br />
life <strong>in</strong> a particular place, are also a common subject for photographs. Nevertheless,<br />
every photographer expresses such modules <strong>in</strong> different visual forms. The process of<br />
analys<strong>in</strong>g the <strong>in</strong>dividual visual means and modules is retrospective. It gradually<br />
counters the supposed arbitrar<strong>in</strong>ess of the images with structures and criteria that<br />
make images <strong>in</strong>telligible through comparison.<br />
315
360
ARCHEOLOGY OF THE SOUL<br />
„Cardie“ – Marie Schlüter<br />
Duisburg 2017
452
SEE YOU!<br />
Partners 454<br />
Authors 455<br />
Photographs 460<br />
Special Thanks 467<br />
Impr<strong>in</strong>t 468