Photography - Theory - Visual Culture

The deadline for contribution proposals (150-word abstracts and/or visuals) is extended to April 28, 2022. The deadline for the finished contributions from accepted proposals is July 4, 2022. Please send proposals via the online form or contact us directly at editors(at)membrana.org.

The deadline for contribution proposals (150-word abstracts and/or visuals) is extended to April 28, 2022. The deadline for the finished contributions from accepted proposals is July 4, 2022. Please send proposals via the online form or contact us directly at editors(at)membrana.org.

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Articles - Essays - Interviews
With the evolution of the political regimes, the image of a successful leader has shifted from an image of majesty to one of dignity, and later on to one of closeness and simplicity.

When one visits the rooms dedicated to Velásquez in the Museum of Prado, it is extraordinary how portraits of kings and those of jesters and peasants are laid side-by-side. The nobility and dignity given to the lower members of the court exemplifies an early example of a revolution in the politics of representation. In the antipodes of this example, we analyse how the campaign of the millionaire Michael Bloomberg to be the Democratic Candidate for the 2020 elections hired companies to produce nonsense memes and digital propaganda. Our hypothesis is that on the center of its strategy the goal was to create an image of Bloomberg that besides viral would be relatable and humorous. The article overviews the evolution of the portrait as an element of political of representation and reflects on how the development of modern and contemporary art transformed the art of political portraiture. Furthermore it deliberates on the two-way appropriation of representation techniques between art movements and political movements.

The visuality of the master is not motivated merely by the desire to stand out from the audience, but in a self-contradictory manner, it is premised on the audience acknowledging and providing photographic space to him.

India’s Independence from the colonial rule saw the nation’s first Prime Minister Jawaharlal Nehru emerge as a powerful visual presence. At the peak of his popularity, in June 1955, he made a highly publicised 16-day visit to the USSR. This visit, made in the backdrop of the Cold War and the impending Big Four Conference, was covered in detail by the Indian and foreign press, as well as both government’s official photographers and camerapersons. Paper addresses an official album made after this iconic visit to investigate the role of photography within India-Soviet diplomatic networks. Casting Nehru as the Master persona, it delves into the function of photography in recasting his image as an international traveller, a crusader for peace, a negotiator, and a friend of the Soviet. Considering India’s and Soviet’s differing political stance and international position in that period, the article questions what does the presence of these official photographs reveal about emerging trans-national networks and if there were there any deviations in this careful reconstruction of the Master and his ally.

The power struggle that findom photography presents is actually just a hook, and the images do exactly what they set out to do. The free critic, by critiquing masculinity’s repetition and contrivance, is recruited into the performative duty of sustaining the eroto-economy.

Financial domination (findom) is a fetish practice in which a submissive derives erotic pleasure from sending money to a dominant or a cashmaster. Cashmasters produce photographs meant to elicit this desire in cashslaves, essentially arousing the desire to send money. This essay approaches this emergent genre of seemingly self-promotional photography as a genre of photographic performativity (Levin 2009). Rather than the desire to capture or represent (Batchen 1999), these images evidence a choreography of photographic performativity including both masters (as makers) and slaves (as viewers). Though the compliance with form and economic practice tempts the interpretation that masters are now slaves, this essay suggests that these images invite performances of domination, submission, and critique into wider performatives of arousal and elicitation. What critics and social analysts perceive as power (economic, erotic, or otherwise) are, in fact, desire at its seams, in the process of active and cooperative composition.

The deadline for contribution proposals (150-word abstracts and/or visuals) is April 28, 2022. The deadline for the finished contributions from accepted proposals is July 4, 2022. Please send proposals via the online form or contact us directly at editors(at)membrana.org.

The deadline for contribution proposals (150-word abstracts and/or visuals) is April 28, 2022. The deadline for the finished contributions from accepted proposals is July 4, 2022. Please send proposals via the online form or contact us directly at editors(at)membrana.org.

The figures are essentially ambiguous, at the crossroads of nature and culture.
What makes photographs so complex is how they render visible that which should not be possible to see. Therefore, in some way, all photographs teach us how to see and set out the co-ordinates for our visual understanding.

Open Access

In her photographs, Bučan often depicts the commercialization of nature that is becoming a matter of culture.

The article analyzes the artistic process of the Berlin-based photographer Vanja Bučan, who always manages to maintain at least some recognizable expression despite her varied approaches. Her works are visually rich, carrying complex meanings and associations. She chooses not to directly reflect the collective and the individual everyday life but depicts universal existentialist motifs where the social perspective is usually shown through metaphors and allegories. The centerpiece of her work is the relationship between culture and nature and between humans and their environment, as well as the ontology of image in mass media circulation. Her photography requires a considerable degree of cerebral activity and intuition in order to sense some of the fundamental questions of humankind in the Anthropocene.

Artists today try to find answers to the question of the role of photography today as a testament and catalyst of global social change.
Photo Studio is as much a story about photography in the age of selfies as it is about contemporary life and attachments.
Lee addresses the archiving of history in museums as a practice that establishes itself as more important than the actual preservation of certain areas, people and ways of life in the present moment.
Lee addresses the archiving of history in museums as a practice that establishes itself as more important than the actual preservation of certain areas, people and ways of life in the present moment.
The seemingly objective quality of the photographs is deliberately undermined in favour of a new order of images or image segments.
Samuel Ivin's Lingering Ghosts is a collection of 28 bust portraits of asylum seekers, who wait from several months to more than twenty years for an answer to or approval of their status application.

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