The current state of photography, is “the visual equivalent of cell-phone chatter” (Michael Kimmelman, Grundberg, 2005). Photographs no longer have the romantic purpose ascribed to them in the twentieth century; first drafts of history, treasures of affection or any of the other high-sounding social functions. They are now simply visual talk, and rarely are they capable of complete or coherent sentences. Nonetheless, this language is determined by a vocabulary, which is culturally and historically defined through conventional templates and age-old symbols that evoke a web of visual, semiotic and iconographical intertextualities.
My research can be categorised in two main components. The first and primary aspect consists of a long-term empirical investigation into the conventions of documentary photography and their ideological intentions and aesthetic forms within the documentary discourse. It is my aim to make its constructions explicit by giving a nuanced overview of specific recurring structures through cataloging and archiving a vast amount of visual material. The second aspect of the work consists of a number of successive documentary series produced around different subjects over the course of the research period. In the first photographic project, temporarily titled “The Struggle for Freedom in: ________” (in collaboration with Michiel Burger), I will be exploring how these photographic conventions play a role in the shaping of historical narratives.
|Periode||1/02/15 → 31/01/21|
Output: Tentoonstelling › Groepstentoonstelling