Oppgrader til nyeste versjon av Internet eksplorer for best mulig visning av siden. Klikk her for for å skjule denne meldingen
Ikke pålogget
{{session.user.firstName}} {{session.user.lastName}}
Du har tilgang til Idunn gjennom , & {{sessionPartyGroup.name}}
Leder
(side 59)
av Asbjørn Grønstad og Øyvind Vågnes
Vitenskapelig publikasjon
(side 60-75)
av Ann-Sofie N. Gremaud
This article analyses photographic representations of changing landscapes in contemporary Iceland. Using media-specific attributes of photography, the images become laboratories of the time and space of vanishing and remodelled ...
SammendragEngelsk sammendrag

Sammendrag

I denne artikel analyseres fotografiske repræsentationer af islandsk landskab i forandring. Via fotografiets mediespecifikke egenskaber bliver billederne laboratorier for undersøgelser af steder, som forandres og forsvinder. Kunstværkerne beskæftiger sig med steder, som udraderes, udvikler sig eller fremstår forladte, og de fleste forholder sig direkte eller indirekte til narrativer, der findes i officielle udmeldinger og visuel kultur, og genforhandler således steddannelsers spatio-temporalitet. De aktuelle overlappende økonomiske, klimamæssige og politiske kriser i Island har befordret kritiske fremstillinger af fortidens, nutidens og fremtidens relationer imellem samfund og natur, en undersøgelse af de grundlæggende narrativer, som ligger til grund for dominerende kollektive værdier samt udviklingens fysiske spor. Således behandles utilitaristisk miljøpolitik og tvetydige politiske strategier kritisk af nogle af de inddragede kunstnere. Fotografier rejser spørgsmål om, hvilke værdier og kræfter som i øjeblikket konstituerer både de nære omgivelsers og fjerntliggende landskabers glokale dimensioner.

Geographies of Crisis in Icelandic Photography

This article analyses photographic representations of changing landscapes in contemporary Iceland. Using media-specific attributes of photography, the images become laboratories of the time and space of vanishing and remodelled places. The artworks deal with places that disappear, evolve or seem abandoned, and most of them relate directly or indirectly to narratives found in official visual culture and statements, and thus renegotiate the spatio-temporality of place-making. The current overlapping crises of economy, environment and self-image in Iceland have fostered critical representations of the past, present and future of the human-environment relationship, an investigation into the basic narratives of collective values, as well as of the physical traces of recent developments. Thus, utilitarian environmental policies and shallow ecology are treated critically by some Icelandic artists, as is the question of which values and forces are tied to the glocality of intimate surroundings and remote landscapes.

Vitenskapelig publikasjon
(side 77-94)
av Moa Goysdotter
The article investigates the breaking point between American modernist straight photography and the art movement which in the 1970s became known as staged photography from a technological-philosophical perspective. The ...
Engelsk sammendrag

Impure and Uncanny: The Photographic beyond the Visual in American Staged Art Photography of the 1970s

The article investigates the breaking point between American modernist straight photography and the art movement which in the 1970s became known as staged photography from a technological-philosophical perspective. The view on camera technology and its ability to convey a true picture of reality in straight photography is compared to the view of the staging photographers of the 1970s. The differences are then explained in the light of Don Ihde's postphenomenological theory of technology as prosthesis, and Sigmund Freud's notion of «the uncanny» (Das Unheim-liche). The breaking point is explained as a shift from the view of the camera as a straightforward extension of the human eye to a view of the camera as a prosthesis, where a built-in paradox between a desired enhanced experience and an actual experience of reduction are reflected in the 1970s photographers' uncanny imagery.

Forum
(side 97-99)
av Erika Doss
(side 105-106)
av Marita Sturken
Debatt
(side 107-111)
av Torbjörn Gustafsson Chorell
(side 113-115)
av Helge Ridderstrøm
Anmeldelse
(side 117-120)
av Tonje Haugland Sørensen
(side 125-126)
av Asbjørn Grønstad
Idunn bruker informasjonskapsler (cookies). Ved å fortsette å bruke nettsiden godtar du dette. Klikk her for mer informasjon