Over the past two decades photographers have witnessed unprecedented changes in their medium. Τhe proliferation and digitisation of the camera has made the photographic medium accessible, with an almost total assurance to all of capturing technically acceptable photographs. Although the camera generally limits the photographer to depicting existing objects rather than invented imagery or interpretive views, the skilled photographer, can introduce personal, expressive, and experimental creativity into what is generally considered by many as a mechanical process. At a time when photographic cameras are upgraded every six months and the digital industries concerns itself more with built in obsolescence, many artists worldwide are experimenting with the medium of photography, not as a medium which deals with the representation of reality, but by questioning its modality of production in a rapidly changing world. This exhibition joins the debate around the long tradition and historical context of photographic experimentation especially how the growth and domination of digital media has transformed the long-held presumptions and practices of analogue methods.
By focusing on the modalities of the medium, this exhibition separates itself from the historicities and ontological traditions of genre, pointing to new and alternative ways of looking at and studying the processes of image creation. This practice is anchored in photography’s unrealised artistic potential to engage with new debates about ways of presenting, seeing, and interpreting the world.
The exhibited images create their own position in the intersection between fine art, sciences, and photography with the addition of what Flusser called a “theory filter” which transforms the images and expands the role of photographer outwitting and superseding the camera‘s limitations. As such photographers are no longer mere functionaries of the photographic apparatus. Contemporary (post-)photographers not only abstract fragments of the world, but reconstruct the world, producing an abstraction not only of the world but of concepts elevating photography into a visualisation of abstract language.
Sheila Pinkel (US), Tim Otto Roth (DE), Theopisti Stylianou-Lambert & Omiros Panayides (CY).
Sheila Pinkel also led a series of workshops, the results of which have also been exhibited. The workshop participants were: Maria Andreou, Argyro Christodoulou, Anna Christofini, Nicholas Constantinou, Artemis Evlogimenou, Evdokia Georgiou, Nitsa Hadjigeorgiou, Nicole Ioannidou, Natalie Kalli, Erato Kantouna, Athinoula Karouzi, Vanessa Kirzi, Myrto Makridou, Flora Mavrommati, Christina Olympiou, Yiota Peratikou, Eleni Pericleous Kesta, Liana Polycarpou, Ricci Desui, Elena Sarri Varnava, Elina Theodotou, Marios Theophilides, Gianna Theocharous, Zacharoula Varnava, George G. Vasileiades, Marina Yerali.
Organisation/Coordination: Yiannis Colakides, Helene Black
Curator: Yiannis Colakides
Workshop leader: Sheila Pinkel
Photography: Evdokia Georgiou
Funding: Cyprus Ministry of Education and Culture
Support: Department of Multimedia and Graphic Arts of the Cyprus University of Technology & the Cyprus Photographic Society (Limassol Branch).
NeMe Arts Centre, Limassol, Cyprus