Revision as of 09:48, 31 January 2024 by Marie Naja (talk | contribs) (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...")
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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.)