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Not-quite/not-right: histories, bodies and concepts in conteporary photography

By 6. 4. 2007 May 14th, 2019 No Comments

Tomaž Gregorič, IRWIN, Jane Štravs, Trie in Aleksandra Vajd&Hynek Alt
Not-quite/not-right: histories, bodies and concepts in conteporary photography

6.04.2007 – 2.05.2007
20h

Let’s begin with the title. It refers to a notion developed by the theoretician Homi Bhabha, who in the 1990s reflected on the relation between art, culture and politics, situating art and culture in a broader context. In order to better grasp this relation, showing the process of radicalization of art and culture, and especially of forms of visual representations contaminated by politics, Homi Bhabha used the notion of not-quite/not-right.

Tomaž Gregorič, IRWIN, Jane Štravs, Trie in Aleksandra Vajd&Hynek Alt
Not-quite/not-right: histories, bodies and concepts in conteporary photography

Curator: Marina Grzinic

Producer: The House of Photography, Slovenia / Bojan Radovic

Let’s begin with the title. It refers to a notion developed by the theoretician Homi Bhabha, who in the 1990s reflected on the relation between art, culture and politics, situating art and culture in a broader context. In order to better grasp this relation, showing the process of radicalization of art and culture, and especially of forms of visual representations contaminated by politics, Homi Bhabha used the notion of not-quite/not-right. This notion describes a productive discontinuity in artistic practices that prevents the totalizing strategies of identity politics, where art is seen as simply geographically localized or intimately psychologized.

The exhibition and my curatorial approach brings to the surface of photography (dis)proportions and strategies that can be detected as structural interventions within contemporary photography, its history and the politics of representation. This exhibition’s primary concern is to display a paradigm of photography understood in the process of its fabrication and artificiality, being based on carefully staged and (re)played performances and performative actions behind and in front of the camera. Pointing toward what Bruno Latour defined as “techniques-of-representation” within photography and its condition of possibility, this exhibition is not about “the optical space of visibility,” but about the way “representation is (re)negotiated” within contemporary photography. In the age of technological and more precisely digitally produced images, the problematic status of the medium of photography can be precisely captured by insisting on a gap that exists between the concept of photography as presenting a true understanding of the world, and photography that accurately (de)constructs the rendering of things, bodies, spaces, and histories.

In this exhibition, photography strongly accentuates the different performative politics (re)played in and for photography. The performativity in the photographs points directly to the process of construction. Secondly, it is possible to acknowledge the strong idea of conceptuality in the works, which questions the condition of photography, taking what seems to be the exterior of photography, what is waiting at its “door” (from politics to fashion, from democracy to intimacy), to its very interior.

The notion of conceptuality is also connected with the intervention of several discourses in photography, from theory and history to politics.

For all the photographs and authors is valid that we do not have any documentary approach, but fiction. Maybe the point of this exhibition, is that is not presenting the sublime human essence but the medium rooted in discourses, not political correct positions, and haunted by spectral entities and remainders that prevent to write a happy story about contemporary photography.

Marina Grzinic

Tomaž Gregorič, IRWIN, Jane Štravs, Trie in Aleksandra Vajd&Hynek Alt

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