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EIKON #108


EIKON #108

Artists | Bernhard Kleber | Angelika Krinzinger | Teresa Margolles | Bjrn Melhus | Lauren Moffatt |

Gregor Auenhammer | Thomas Ballhausen | Simon Bowcock | Pia Draskovits | Margit Emesz | Carla Susanne Erdmann | Bernd Fechner | Synne Genzmer | Patricia Grzonka | Ada Karlbauer | Peter Kunitzky | Martin Prinzhorn | Antonia Rahofer | Veronika Rudorfer | Tina Schelle | Walter Seidl | Steffen Siegel | Mirjam Steinbock | Margarethe Szeless

Languages | German / English
Dimensions | 
280 x 210 mm

ISBN | 978-3-904083-01-0
100 pages

Price: € 15,00 (incl. 10% VAT)

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Content

PORTFOLIO

Teresa Margolles | Pia Draskovits
Bernhard Kleber | Martin Prinzhorn
Bjørn Melhus | Carla Susanne Erdmann
Angelika Krinzinger | Veronika Rudorfer
Lauren Moffatt | Margit Emesz

ARTS & STUDIES

Simon Hanzer: Shh Houses—Ada Karlbauer
Edition Angewandte: New Releases

PROJECTS

Manuel Gorkiewicz: Kabuff—Tina Schelle
Misha Stroj: Of a Body—Patricia Grzonka

IN FOCUS: Bildende Kunst im Iran

Attempt at Orientation—Bernd Fechner

FORUM

What Does the Dataset Want? Symposium, The Photographers’ Gallery

EXHIBITIONS

Raphaela Vogel. I Woke Up Barking | Mirjam Steinbock
Peggy Buth. On the Uses of Fear. The Politics of Selection | Antonia Rahofer
Japan Unlimited | Walter Seidl
Amateur Photography. From Bauhaus to Instagram | Carla Susanne Erdmann
Street. Life. Photography. Street Photography from Seven Centuries | Margarethe Szeless

TERMINE

with Franz Thalmair

COLLECTOR‘S EDITION

Michaela Moscouw—Werkschau-Fotoedition Nr. 18

PUBLIKATIONEN

Walter Keller: Beruf: Verleger | Gregor Auenhammer
Senga Nengudi: Topologien | Peter Kunitzky
Narrative in Culture | Thomas Ballhausen
Lukas Marxt: From Light to Cold | Synne Genzmer
Lukas Heibges: Herr M.: Justizfall eines Fälschers | Steffen Siegel

Editorial

News from and around Iran are currently dominating international media. Like so often before, the coverage is focused on oil (“Oil Prices Climb After Iranian Tanker Damaged in Possible Strike,” Wall Street Journal, Oct. 11), controversies with Saudi-Arabia and its Western allies (“Conflict with Iran: USA Sends More Troops to Saudi Arabia,” Spiegel Online, Oct. 11) and human rights—especially women’s rights in the Persian Gulf region “Iran: Women Attend Soccer Stadium for First Time in 40 Years,” Zeit im Bild, Oct. 10). Headscarf debates, a mainstay of Austrian right-wing nationalist politicians, do their share in kindling resentment toward Iran and other Middle Eastern countries.
It’s also hardly surprising that the way the Islamic Republic treats its own people—which a Western democratic perspective of course has often deemed too critical—blocks our view of the country’s long tradition of excellence in educational policy and its rich cultural history, as Bernd Fechner, curator of the section “In Focus: Visual Art in Iran,” noted in the course of his research. And so, the fact that the Golestān Palace in Tehran holds one of the world’s largest nineteenth-century photography archives or that the Tehran Museum of Contemporary Art has the most comprehensive collection of Western art beyond Europe and the United States, remains largely unknown in our parts. Hence the essay published in this issue may be seen as an attempt to break with the long tradition of blanking out the history of Iranian art, and especially photography, and to open up the possibility of an overview (one that makes no claim of completeness) of said history against the background of numerous historical upheavals.


Nela Eggenberger
for EIKON, November 2019

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