Photofile 82 - Guilty Secrets
Editor: Alasdair Foster
Reality and fiction. Truth and falsehood. The authorisation of meaning. Photography seems forever caught up in the vortex that swirls between these concepts. This issue of Photofile has no formal theme, but these concerns with reality, fiction and authorisation are all here. The traditions of documentary witness are to be found in the work of the artist-run photo agency Oculi and in the harsh realties made evident in Stephen Dupont's ongoing project in Afghanistan. However, Lewis Morley is dismayed that some of the classic photojournalistic shots of the 20th century were in fact staged set-ups.
On the other hand, the imaginative fictions published here cut to the heart of very real situations. Elaine Campaner's tiny tableaux make a biting comment on Australia's detention centres and Graham Miller's dramatised portraits evoke the melancholy of middle Australia. Meanwhile, the serious business of game playing and fantasy is at the heart of Polixeni Papapetrou's practice - she discusses her approach in the main interview. And Li Guangxin's ironic saccharine portraits take a satirical look at the ambivalent mix of vanity and vulnerability felt by China's new consumer generation.
In an incisive and critical article, artist Scott Redford takes on the world’s leading curators. He argues that they have turned their back on the important cultural issues of our age in favour of cosy nostalgia. He makes a powerful argument for greater democracy in the arts and more serious attention to be paid by the art world to phenomena such as YouTube, Facebook and Second Life.Regulars:
IMAGE © Li Guangxin Noise Prohibited 2007
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