Marie comment3: Difference between revisions

This page was last edited on 31 January 2024, at 11:16.
(Created page with "<!------------------------> <!-- do not remove this --> <div id="{{PAGENAME}}" class="comment"> <!------------------------> Firstly, it really resonates with me on a broader plane of circulation of war images on social media because lately I've been thinking a lot about the ethics of this (for clear reasons). But beyond ethics of representation, when I started reading, I immediately started thinking about documentary practices in art (and visual culture) and it...")
 
No edit summary
Line 1: Line 1:
<!------------------------>
<!------------------------>
<!-- do not remove this -->
<!-- do not remove this -->
<div id="{{PAGENAME}}" class="comment">
<div id="Marie comment3" class="comment">
<!------------------------>
<!------------------------>



Revision as of 11:16, 31 January 2024





Firstly, it really resonates with me on a broader plane of circulation of war images on social media because lately I've been thinking a lot about the ethics of this (for clear reasons). But beyond ethics of representation, when I started reading, I immediately started thinking about documentary practices in art (and visual culture) and it felt so natural to get to a Martha Rosler reference (and made me think also of Oliver Ressler and Harun Farocki). I guess this performativity of a staged media image, immediately clashing with a war reality, and widely circulated online, is somehow exemplifying a different relationship to visual documentation - mediated by publishing technologies and ultimately rendered as content? I mean different in comparison to earlier ways in which the lens was dominating documentary discourse (in art, activism, performance etc.)