Interiors of Photography, with Sophie Thun (2019)
Camera Austria, Graz
Getting into photography always also means getting into an elaborate apparatus, a widely sprawling dispositif, a kind of machine, but which one? Into the technological machine, the cultural one, the body machine, the desiring machine, the machine of fixing and classifying, into the artistic, aesthetic, scientific machine, the machine for the production of subjectivities and identities, or into the historical machine (to name just a few), which in different ways, by different strategies, can be brought to light, applied, reflected on, suppressed, liberated, or criticized? Félix Guattari proposed seeing machines as interfaces in order to counteract their foreignness—and in order to get over the fascination with technology and the humiliating form it sometimes adopts, we have to reconceptualize the machine. Getting into photography always also means getting into an elaborate apparatus, a widely sprawling dispositif, a kind of machine, but which one? Into the technological machine, the cultural one, the body machine, the desiring machine, the machine of fixing and classifying, into the artistic, aesthetic, scientific machine, the machine for the production of subjectivities and identities, or into the historical machine (to name just a few), which in different ways, by different strategies, can be brought to light, applied, reflected on, suppressed, liberated, or criticized? Félix Guattari proposed seeing machines as interfaces in order to counteract their foreignness—and in order to get over the fascination with technology and the humiliating form it sometimes adopts, we have to reconceptualize the machine.
Reinhard Braun
