Visual Art in Iran Inhalt!Content 9

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Visual Art in Iran Inhalt!Content 9 #108 D/E INTERNATIONAL BJØRN MELHUS LaUREN Moffatt MAGAZINE FOR PHOTOGRAPHY BERNHaRd kLEBER aNgELika kRiNziNgER AND MEDIA ART tERESa MaRgoLLES iN focUS: ViSUaL aRt iN iRaN Inhalt!Content 9 EIKON gehört mit mehr als 50 anderen Initiativen, 7 Editorial 7 Editorial Portfolio Portfolio Agenturen, Vereinen 10 Teresa Margolles!Pia Draskovits 10 Teresa Margolles!Pia Draskovits 16 Bernhard Kleber!Martin Prinzhorn 16 Bernhard Kleber!Martin Prinzhorn 24 Bjørn Melhus!Carla Susanne Erdmann 24 Bjørn Melhus!Carla Susanne Erdmann und Redak tionen aus 34 Angelika Krinzinger!Veronika Rudorfer 34 Angelika Krinzinger!Veronika Rudorfer 42 Lauren Mofat!Margit Emesz 42 Lauren Mofat!Margit Emesz COVER dem Kunst- und Kultur- BJØRN MELHUS Projects Projects Weit Weit Weg, 1995 16mm-Film / 48 Manuel Gorkiewicz. Kabuf!Tina Schelle 16mm film 48 Manuel Gorkiewicz: Kabuf!Tina Schelle bereich zum kreativen Dauer / duration: 39′ 50 Misha Stroj. An einem Körper!Patricia Grzonka 50 Misha Stroj: Of a Body!Patricia Grzonka Arts & Studies Arts & Studies 52 Simon Hanzer. Shh Houses!Ada Karlbauer 52 Simon Hanzer: Shh Houses!Ada Karlbauer Schaffensraum Q21. 54 Edition Angewandte: Neuerscheinungen 54 Edition Angewandte: New Releases Im Fokus: Bildende Kunst im Iran In Focus: Visual Art in Iran Entdecke sie alle auf 57 Versuch einer Orientierung !Bernd Fechner 57 Atempt at Orientation! Bernd Fechner @Q21vienna @Q21_vienna 72 Forum 72 Forum www.Q21.at 76 Ausstellungen 76 Exhibitions Parner des Q21 Arist-in-Residence-Programms im MuseumsQuarier: 88 Termine 88 Dates (German only) Mit Unterstütung der ERSTE Stifung 92 Collector’s Edition 92 Collector’s Edition (German only) 94 Publikationen 94 Publications (German only) Gefrder von 96 Meldungen 96 Announcements (German only) Bezahlte Anzeige Bezahlte EIKON!108 98 AutorInnen 98 Contributors Im Fokus!In Focus 57 VISUAL ART IN IRAN Versuch einer Orientierung Attempt at Orientation Bernd Fechner Bernd Fechner Der westliche Blick Te Western Conception Traditionen der Ausblendung Traditions of Blanking Out Wo fängt man an, wenn man etwas über den Iran sagen will, die Where to begin when you want to write about Iran, its art scene Kunstszene dort und die Fotografie? Schließlich betrit man ein weites Feld. and photography? Afer all, there’s a lot of ground to cover. Tere’s a Es geht um vieles. Atombomben, Erdöl, Religion, Menschenrechte, das lot to talk about. Atom bombs, oil, religion, human rights, the hijab, the Kopftuch, die Persistenz kolonialer Perspektiven, Wirtschaftssanktionen persistence of colonial perspectives, sanctions, and, not least, war and peace. und schließlich bedrückend aktuell: Krieg und Frieden. I recently spent quite some time working in the photobook library Jüngst beschäftigte ich mich ausgiebig mit der Bibliothek von Leo of Leo Fritz (1908–2005) and Renate Gruber. In his functions for Fritz (1908–2005) und Renate Gruber. In seinen Funktionen für die Kölner Koelnmesse, photokina, the German Photographic Association, and as Messegesellschaft, die photokina, die Deutsche Gesellschaft für Photogra- an exhibition-maker, Fritz Gruber was a central fgure in shaping the phie und als Ausstellungsmacher prägte Fritz Gruber bis in die späten 1980er perception of twentieth-century photography both in Germany and Jahre die Wahrnehmung der Fotografie des 20. Jahrhunderts, deutschland- internationally well into the late 1980s. It would have been nearly weit ebenso wie international. Kaum ein Museumsdirektor oder Kurator impossible to fnd a museum director or curator!at the time there weltweit – für Fotografie gab es die noch kaum – war derartig vernetzt und were hardly any of them specialized in photography!who could match auf Reisen. Der Buchbestand der Grubers spiegelt die Geschichte des Mediums Fritz and Renate Gruber’s global network. Te Gruber library refects wider: in Fotobüchern aus Europa, den USA, aus Japan. Aber eben auch aus the history of the medium: photobooks from Europe, the United States, der UdSSR, aus China, Indien, Israel, Südostasien, Süd- und Mittelamerika and Japan but also from the USSR, China, India, Israel, Southeast Asia, und der Türkei. Darunter jedoch kein einziges Buch über oder aus dem Iran. South and Central America, and Turkey. But not a single book about or Diese Auffälligkeit bestätigt sich beim Blick in die 2004 und 2006 from Iran. erschienenen Bände The Photobook: A History von Gerry Badger und Martin Tis conspicuous detail seems to be confrmed when we open Parr: Der Iran kommt darin schlicht nicht vor. Gleiches in den bisher unüber- the volumes of Te Photobook: A History by Gerry Badger and Martin Parr troffenen Standardwerken von Hans-Michael Koetzle: Das Lexikon der Foto- published by Phaidon in 2004 and 2006: Iran doesn’t make a single grafen. 1900 bis heute, 2002, Fotografen A–Z, 2011, und Augen auf! 100 Jahre appearance in them. Te same is true for the still unsurpassed standard EIKON!108 Leica, 2014. Nehmen wir ein weiteres Werk, eine Generation früher: Helmut works by Hans-Michael Koetzle: Das Lexikon der Fotografen. 1900 bis 58 Im Fokus!In Focus Gernsheim, Geschichte der Photographie. Die ersten hundert Jahre, Propyläen heute, Knaur, 2002, Photographers A–Z, Taschen, 2011, and Eyes Wide Kunstgeschichte, 1983. Überall Fehlanzeige, nirgends auch nur das Stichwort Open! 100 Years of Leica Photography, Kehrer, 2014. Let’s take another „Iran“. Gab es denn dort keine Fotografie? work, one generation prior: Helmut Gernsheim’s Te Origins of Photography, Tames and Hudson, 1982. Negative on all counts, not even the slightest Persische Fotografe des 19. Jahrhunderts mention of the word “Iran.” Didn’t they have photography in Iran? Doch, es gab und gibt dort viel – und zwar bereits sehr früh, in außer- Nineteenth-Century Persian Photography ordentlich reichen Beständen. Die Dichte der persischen Fotografe des 19. Jahr- hunderts verdankt sich dem Umstand, dass kurz nach Bekanntwerden des Of course they did and still do!quite a lot, and in fact quite technischen Verfahrens die Fotografe gewissermaßen von höchster Stelle ein- early; an extraordinary wealth of it. Te density of nineteenth-century geführt wurde: Noch vor dem Beginn seiner langen Regentschaf, als junger Persian photography owes a great debt to the circumstance that shortly Mann, wandte sich Nāser ad-Din Schāh (1831–1896) mit Begeisterung dem afer its invention, photography was introduced by the highest levels, so to neuen Medium zu. Die Fotografe wurde zum allgegenwärtigen Hobby des speak: Even before he began his long regency, Nāser ed-Din Shāh Monarchen und seines Hofs, und sie begleitete ihn auf allen Reisen innerhalb (1831–1896) devoted much time and enthusiasm to this new medium. und außerhalb des Reichs. Teheran wurde ab den 1870er Jahren lukratives Photography became the omnipresent hobby of the monarch and his Zentrum einer sich rasch entwickelnden Fotobranche, auch für Fotografen aus court, and it accompanied him on all his travels across his kingdom and dem Ausland. Allen voran für Antoin Sevruguin (gest. 1933). Er stammte aus abroad. From the 1870s onward, Tehran became the bustling center of a einer russisch-georgisch-armenischen Familie, brachte es zum Hofotografen rapidly growing photo industry, even for non-Iranian photographers. und war ein kluger Unternehmer, der den Europäern ihre Klischee-Bilder des Above all for Antoin Sevruguin (who died in 1933). Born into a Orients lieferte, für Reisende ebenso wie auch durch Verträge mit westlichen Russian-Georgian-Armenian family, he rose to the status of court Presseagenturen. Auch der Türinger Ernst Hoeltzer (1835–1911) verbrachte photographer and was a savvy entrepreneur, supplying Europeans with sein Leben fotograferend im Iran. Hauptberufich Telegrafeningenieur und clichéd pictures of the Orient, both for travelers and through contracts Hochschullehrer in Isfahan, hinterließ Hoeltzer tausende von Glasplaten, with Western press agencies. Also the German-born photographer Ernst deren Aufnahmen für iranische Publikationen zusammengetragen wurden. Hoeltzer spent his working life in Iran. A telegraph engineer by trade and Die heutigen historischen fotografschen Bestände des Teheraner a professor in Isfahan, Hoeltzer lef us thousands of glass plates, whose Golestān-Palasts umfassen mehrere zehntausend Objekte. Es handelt es sich images were collected for recent Iranian publications. um eines der größten Archive der Welt für die Fotografe des 19. Jahrhunderts. Today’s historic holdings of the Golestān Palace in Tehran Ebenso zeigt das 1995 gegründete Fotografemuseum Teherans alte Kamera- comprises tens of thousands of objects. It is one of the world’s largest und Fototechnik, sich im Iran entwickelnde Fotopublizistik, frühe Fachbücher archives of nineteenth-century photography. Te capital’s Photo und historische Alben. Museum, which opened in 1995, shows old camera and photo techniques, Bekanntlich wurde auch am Hof von Queen Victoria andauernd photojournalism as it evolved in Iran, early specialist literature, and fotografert. Ihr Mann, König Edward, hegte ein großes Interesse an Kameras. vintage albums. Undenkbar im prüden Europa jener Jahre wäre allerdings die intime Ofenheit, It is well-known that photography was also all the rage at Queen mit der die Fotografe Persiens höchst private Einblicke liefert: Aufnahmen Victoria’s court. Her husband, King Edward, was greatly interested in von Harems, Festen, dekorierten Diplomaten, von Frauen untereinander. cameras. What would then have been unthinkable in the prudish Europe, Schon immer standen in Persien nicht nur
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