Dates: June 25 – July 2, 2017
It began with the passion for theatre during the 1990ies in Bielefeld. Karen Stuke passed her studies as a photographer with Professor Gottfried Jäger. From that time her first theatrical pictures with a Camera Obscura originated.
While theatrical photographers usually use telephotolens , the Berlin artist was always interested in the events as a whole, timewise and spatially. Thus she exposed a whole play on one single negative with a Camera Obscura. These are long time observations in which the time phases overlap and melt to an overall impression. The enthusiasm for both artistic expression media theatre and photograph is also reflected in the use of the Camera Obscura.
The class in Venice will start from the Camera Obscura as a stimulating input and it will be every participants role to develop his/her specific applications, deviations or further development of ideas as a result of this interaction. We will begin with the introduction to the Camera Obscura photograph. Moreover, various hole camera types will be on disposal which can be used by the participants or be built on site. Experience with cameras or darkroom work is not necessary. Of course any analogous camera or digital camera can be used in the workshop beside or instead of the Camera Obscura.
This Workshop is suitable for beginners, as well as for the experienced photographers who would like to experiment and develop new ways.
Teaching Professor: Karen Stuke, Berlin
Dates: July 2 – July 16, 2017
With the group we can work together to elaborate pictures / posters that we would be able to put on some places dedicated to add or posters of any kind ... with only pictures, no text. This we will documented every day and maybe send via Instagram, or similar. This is an exemple of what we could do. All technical questions and practice will be part of the everyday work.
The master class will focus on the status of photography today. Some already introduce the idea of post-photography. I would like to interrogate / understand what are the relation between the idea of time that has been part of the act of making photo and immediacy in relation to memory.
A common definition of photography, would tend to give to the medium the ability to freeze moments from the past that we visually experience in the present. In "La Chambre Claire" published in 1980, Roland Barthes delivered us a particular analysis of the nature of the photography. Besides the fact that the photography can be compared with no other "classic" form of representation, it is not a memory. Resulting of a mechanism, and a chemical process, it does not look back on the past, it gives evidence that what I see, ''ça a été"." that was it ". " The photography does not look back on the past (...) The effect which (it) produces on me is not to restore what is abolished (...) But to give evidence that it that I see, was there."
Photography does not necessarily say what is not any more, but only and certainly, what was there. While cutting a moment and by fixing it, all the photos testify of the work of ceaseless dissolution of time. Paradoxically Roland Barthes added to this expression "ça a été"." that was" another expression which underlines for him the obvious fact of the truth which is attached to the photography. The author notices that the photography " repeats mechanically what can repeat never existentially." It says "that's it" "c'est ça".
How should this two expression be understand today ?
Teaching Professor: Laurent Montaron, Paris