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EIKON #115


EIKON #115

Carl Aigner | Simon Bowcock | Pia Draskovits | Anne Katrin Feßler | Ramona Heinlein | Ameli M. Klein | Marion Krammer | Peter Kunitzky | Fabian Müller-Nittel | Annemarie Nowaczek | Lara Pan | Danièle Perrier | Gerald Piffl | Markus Reindl | Florian Ronc | Mona Schubert | Michael Stoeber | Erik Vroons | Sabine Winkler

Languages | German / English
Dimensions
| 280 x 210 mm
ISBN
| 978-3-904083-08-9
108 pages

Price: € 15,00 (incl. 10% VAT)

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Content

PORTFOLIO

Tony Oursler | Lara Pan
Tina Lechner | Anne Katrin Feßler
Alan Butler | Mona Schubert
Ursula Biemann | Pia Draskovits

ARTS & STUDIES

Peter Kozek | Florian Ronc

IN FOKUS: NFTs

Agents of Change: Blockchains, NFTs and Structural Change 2.0 | Fabian Müller-Nittel, Markus Reindl

EXHIBITIONS

Yael Bartana. Redemption Now | Peter Kunitzky
Nikolaus Korab. Portraits und Pictures of People | Carl Aigner
Outside the Algorithm | Simon Bowcock
Shifting Proximities | Erik Vroons
Yevgeny Khaldei. Photographer of Liberation | Marion Krammer
Everyone is an Artist. Cosmopolitical Exercises with Joseph Beuys | Danièle Perrier
Tell Me What You See. Skrein Photo Collection | Gerald Piffl
Zanele Muholi. Zazise | Michael Stoeber

SCHEDULE

with Lucie Stahl

COLLECTOR‘S EDITION

Karimah Ashadu—Open Shields

PUBLICATIONS

Jürgen Klauke. Antlitze | Ramona Heinlein
Natascha Auenhammer. 104.068.800.000/60 SEC. | Carl Aigner
Japan Revisited 202X. Then-Now-After | Sabine Winkler
Aneta Grzeszykowska. Family Skin | Annemarie Nowaczek

Editorial

„The museum people who rave about aura have never understood Walter Benjamin,“ says Peter Weibel in the last issue of EIKON. After all, it is „a tele-experience, in reality a distance experience,“ and thus has nothing in common with a „proximity,“ (1) as the author said, following Benjamin, who once described the aura as a „unique phenomenon of a distance however close it may be.“(2) Even if the recipient would not interprete the German philosopher’s groundbreaking essay in terms of a necessary digitization of the art industry, it has become clear, at the latest since the sensational auction of the digital collage Everydays: The First 5000 Days by Beeple, that a new era has dawned in terms of the technical reproducibility of art distributed through the mass media: Thanks to the NFTs (non-fungible tokens) which protect digital files from unwanted copying, a large part of previous media theories will have to be rethought. This technology, now also applied to art, has given media artists in particular a valuable tool for identifying their works as unique, which could ultimately have consequences for any art deal that takes place in the future. The fact that all this new development’s inherent effects on the themes of authorship, rights of use and the art market can by no means be assessed at the present time was also in the consciousness of the curators right at the start of their preparations for the exhibition Proof of Art. A Brief History of NFTs… (open in the Francisco Carolinum in Linz until September 15). This is why the Focus, which determines this issue and was created by Fabian Müller-Nittel and Markus Reindl, has been composed as a kind of continuous experiment, on the one hand including quite practical questions on all aspects of NFTs, on the other hand conducting basic research on this theme.

Nela Eggenberger
for EIKON, September 2021

(1) Peter Weibel, “‘The museum people who rave about aura have never understood Walter Benjamin.’ On the necessary step of digitalizing cultural institutions”, in: EIKON #114, 6/2021, 56.
(2) Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction,” in: Illuminations, edited by Hannah Arendt, translated by Harry Zohn, New York: Schocken Books, 1969, 21.

 

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