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From Velázquez to Bloomberg 2020

The Portrait as a Representation of Power

João Pedro Amorim

Vol. 5, no. 2
2020
22/07/2021
https://doi.org/10.47659/m9.088.art

24 min.

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.

Abstract

Bio

References

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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.

Keywords: aestheticization of politics, Diego Velázquez, digital propaganda, Michael Bloomberg, politics and aesthetics, politics of representation

João Pedro Amorim is a visual artist, a PhD candidate and researcher at the Research Center for Science and Technology of the Arts (CITAR), with a FCT fellowship. His papers have been published in indexed journals (Scopus and WoS). His film on shadows and their names was premiered in Doclisboa 2020. Previously, he was a research fellow at the Digital Creativity Centre at the School of Arts at Universidade Católica Portuguesa, where he coordinated the communication team and the residency program in partnership with Calouste Gulbenkian Foundation. He holds a Master in Contemporary Artistic Practices (Faculty of Fine Arts of the University of Porto) and a Bachelor in Communication Sciences (University of Porto). Between 2014 and 2015 he collaborated with the collective Caucaso Factory (Bologna/ Berlin) in several film projects as assistant director.

Benjamin, W. 1939/2000. Oeuvres III. Translated by Maurice Gandillac, Rainer Rochlitz and Pierre Rusch. Paris: Gallimard.
Berger, John. 1972. Ways of Seeing. London: British Broadcasting Corporation and Penguin Books.
Blumenthal, Mark. 2020. “When it comes to Trump and Biden, honesty can mean different things.” August 10. Available online here.
Doyle, Jon. 2018. “The changing face of post-postmodern fiction: Irony, sincerity, and populism.” Critique: Studies in Contemporary Fiction 59 (3): 259-270. https://doi.org/10.1080/00111619.2017.1381069
Edgar, Andrew. 2003. “Velázquez and the representation of dignity.” Medicine, Health Care and Philosophy 6: 111–121.
Foucault, Michel. 1966/2005. The order of things. London and New York: Routledge.
Marcin, Tim. 2020. “Bloomberg is running his campaign’s Twitter like a brand, and it’s not landing.” February 12. Available online here.
Oliver, John. 2019. “Boris Johnson: Last Week Tonight with John Oliver (HBO).” Youtube, July 29, 2019.
O’Neil, Luke. 2019. “ ‘I’m inevitable’: Trump campaign ad shows president as Avengers villain Thanos.”. December 11.
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Rancière, Jacques. 2011. O Destino das Imagens. Translated by Luís Lima. Lisbon: Orfeu Negro.
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J. P. Amorim – From Velazquez to Bloomberg 2020

Vol. 5, no. 2
2020
22/07/2021

Jawaharlal Nehru, Prime Minister of India, arrived in Moscow on June 7, 1955. He was met by leaders of the Communist Party and the Soviet Government. The picture shows Jawaharlal Nehru, Prime Minister of India, and N.A.Bulganin, Chairman of the Council of Ministers of the U.S.S.R. at the Moscow Central Airport, NML- 60845 in Jawaharlal Nehru in the Soviet Union (Moscow: State Fine Arts Publishing House, 1955). Reproduced by permission of Nehru Memorial Library, New Delhi.

Article

The Master as a Transnational Figure

Jawaharlal Nehru in The Soviet Union

Krupa Desai

Vol. 5, no. 2
2020
22/07/2021
https://doi.org/10.47659/m9.078.art

20 min.

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.

Abstract

Bio

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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.

Keywords: diplomatic visit, Nehru, photography album, Soviet Union

Krupa Desai is a PhD scholar at the School of Art, Birkbeck. Her doctoral thesis is on the social history of photographic practices in India. Her work looks at photography around industrialisation, development, and transnational diplomatic exchange, during the Nehruvian period. Her PhD is supported by the Inlaks Shivdasani Foundation and the Birkbeck School of Arts Post Graduate Research Scholarship.

Barnes, Robert. (1979) 2013. “Between the Blocs: India, the United Nations, and Ending the Korean War.” The Journal of Korean Studies 18 (2): 263–286. Available online here. https://doi.org/10.1353/jks.2013.0022
Deleuze, Gilles. 1986. Cinema 1: The Movement-Image. Translated by H. Tomlinson and B. Habberjam. Minneapolis: University of Minnesota.
Dewan, Deepali, and Deborah S. Hutton. 2013. Raja Deen Dayal: Artist-Photographer in 19^th-Century India. Alkazi Collection of Photography.
Doane, Mary Ann. 2003. “The Close-up: Scale and Detail in the Cinema.” Differences: A Journal of Feminist Cultural Studies 14 (3): 89–111. https://doi.org/10.1215/10407391-14-3-89
Eisenstein, Sergei. 1949. Film Form: Essays in Film Theory. Edited and translated by Jay Leyda. San Diego: Harcourt.
Hegel, Georg Wilhelm Friedrich. 1998. Phenomenology of spirit. Motilal Banarsidass Publ.
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Mehrotra, Santosh K. 1990. India and the Soviet Union: Trade and Technology Transfer, No. 73. Cambridge: Cambridge University Press.
Menon, Kumara Padmanabha Sivasankara. 1963. The Flying Troika. London: Oxford University Press.
Mockba (Moscow). 1955. Moscow: State Fine Arts Publishing House.
Prasad, H. Y. Sharada, A. K. Damodaran, and Sarvepalli Gopal. 2005. Selected Works of Jawaharlal Nehru: Second Series, Vol. 29. New Delhi: Jawaharlal Nehru Memorial Fund.
Reddy, Gunupati Keshava. 1955. “Moscow Gives Mr. Nehru a Touching Send-Off: VISIT WAS SOVIET UNION’S FESTIVAL OF THE YEAR.” The Times of India (1861-current), June 24. [From the ProQuest database.]
Shimazu, Naoko. 2014. “Diplomacy as Theatre: Staging the Bandung Conference of 1955.” Modern Asian Studies: 225–252. https://doi.org/10.1017/s0026749x13000371
Singh, Sinderpal. 2011. “From Delhi to Bandung: Nehru,‘Indian-ness’ and ‘Pan-Asianness’.” South Asia: Journal of South Asian Studies 34 (1): 51–64. https://doi.org/10.1080/00856401.2011.549084
Teixeira, Mariana. 2018. “Master-Slave Dialectics (in the Colonies).” Krisis 2.

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K. Desai: The Master as a Transnational Figure

Vol. 5, no. 2
2020
22/07/2021

nel yang, Cashmaster, 2020. Courtesy of the author.

Article

Arousal and Elicitation

Photographic Performativity in FinDom

nel yang

Vol. 5, no. 2
2020
22/07/2021
https://doi.org/10.47659/m9.070.art

23 min.

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.

Abstract

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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.

Keywords: critique, desire, fetish, financial domination, masculinity, photography and performative

nel yang is a PhD candidate in the Department of Anthropology at the University of Texas at Austin. Their research engages the areas of ordinary finance, models of subjectivity (self, user, analyst), the semiotics of desire, and experimental ethnography. Current projects include investigations of digitally mediated transaction (of which findom is one), subjectivity-models in the field of user research (UX), and Taiwanese claw machines (娃娃機). Other media they work with include free verse, “lyric ethnography”, 35mm (color), and digital performatives (tweets).

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Johnston, Patricia A. 1997. Real Fantasies: Edward Steichen’s Advertising Photography. Berkeley, Calif: University of California Press.
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Call

Histories

Call for papers & projects 2022

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.

2022
18/02/2022

2022
18/02/2022

Project

Espiritus de Invierno

Yannick Cormier

Vol. 5, no. 1
2020
05/04/2021

The figures are essentially ambiguous, at the crossroads of nature and culture.

Vol. 5, no. 1
2020
05/04/2021

Article

How Does Photography Appear to Appear?

John Hillman

Vol. 5, no. 1
2020
04/04/2021

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.

Vol. 5, no. 1
2020
04/04/2021

Open Access

Radio Filter by Subject

Absence at the Time of Expected Authenticity

Nataša Berk

Miha Colner

By blurring her visual identity in a public virtual space, which is almost subversive in the period of generalised extrovertedness and narcissism, Berk turns to the postulates of the dominant culture. Nevertheless, it is with this steady state of absence, during expected authenticity, that she receives a new and different type of attention from the users of social media networks.

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Miha Colner (born 1978) has graduated from Art History and works as a freelance curator and art critic. Colner works as a curator and programme coordinator at the International Centre of Graphic Arts / Svicarija Creative Centre in Ljubljana. He is also active as a publicist, specialised in photography, printmaking, artists’ moving image and various forms of (new) media art. In the period 2006-2016 he was a curator at Photon – Centre for Contemporary Photography, Ljubljana. Since 2005 he has been a contributor of newspapers, magazines, specialist publications, and his personal blog, as well as part-time lecturer. In 2006, he became a member of the project group Station DIVA at the SCCA Institute in Ljubljana, which is creating an archive and conducts research on Slovenian video art. In 2007, he co-curated and co-organized Break 2.4 festival, held biannually by K6/4 Institute. Since 2005, he has also worked as an art critic and a regular member of the cultural department at Radio Študent – he is an editor of the show on contemporary art Art-Area. He is also a regular external contributor to the daily newspaper Dnevnik and to the magazines Fotografija and Art-Words. He occasionally contributes to other specialist magazines on fine art and music, such as Maska, Forum, Časopis za kritiko znanosti, Flash, Folio, Zarez, Art Kontura, Frakcija (Croatia), Foto dokumenti (Serbia), Flaneur, Cluster (Great Britain), and Sculpture Network (USA).

He lives and works in Ljubljana, Slovenia.

http://mihacolner.com

http://www.mglc-lj.si

Nataša Berk graduated from the Academy of Fine Arts in Vienna, and since 2003 she regularly creates and presents multimedia and interdisciplinary works, projects and actions ranging from performance, the adoption of identities and situations, photographs, videos, drawings to visual poetry. She lives and works in Maribor, Slovenia.

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M. Colner: N. Berk – Absence at the Time of Expected Authenticity

Vol. 3, no. 1
2018
06/08/2020

Amalia Ulman: Excellences & Perfections, 2014.

Review

Amalia Ulman, Photographer and Artist

Miha Colner

Contemporary consumerist culture reacts very positively to visual manifestations of wealth, popularity and enviable lifestyles, something which Instagram enables and promotes.

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Contemporary consumerist culture reacts very positively to visual manifestations of wealth, popularity and enviable lifestyles, something which Instagram enables and promotes.

He lives and works in Ljubljana, Slovenia.

http://mihacolner.com

http://www.mglc-lj.si

Amalia Ulman (1989) is a visual artist born in Argentina. In 2011 she graduated from the Central Saint Martins College in London. In her author’s practice she addresses phenomena such as class struggle, social gender, representation of individual in mass media and on social networks, while using photos, videos, performative practices and modern communication tools, which often go beyond classical gallery practices. Ulman lives and works in Los Angeles.

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Miha Colner: Amalia Ulman

Vol. 5, no. 1
2020
05/04/2021

Karen Smith, Exorcism in Camera. Saturday.

Project

Exorcism in Camera: An Experiment in Ontology (1999)

from The Karen Smith Archive

Victoria Halford

She chose to be possessed and then dispossessed by the seven spirits associated with the planets of classical antiquity.

Vol. 3, no. 2
2018
27/04/2020

© Kedar Nani Rajkarnikar Collection / Nepal Picture Library.

Project

New Conversations around Old Photographs

BIND Collective

In this project, BIND collaborates with photo.circle to explore the relationship between memories of the locals and the city of Kathmandu.

Vol. 2, no. 1
2017
31/03/2020

Chambliss Giobbi: Portrait of Fisher Stevens 1, 2007.

Review

Chamblis Giobbi

Jasna Jernejšek

The primary expressive media of New York based artist Chamblis Giobbi are sculpture and photographic collages. He is a self-taught artist with a long history of creating collages and who had chosen the path of visual arts after a fifteen-year career as a composer of Late-Romantic classical music. His adoption of the concept of (passing of) time and simultaneity in the development of musical ideas was to become an integral part of his artistic endeavours.

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Jasna Jernejšek (born 1982) holds a BA in Cultural Studies and an MA in Media and Communication Studies from the Faculty of Social Sciences, University of Ljubljana. Since 2012 she is an editor of radio programme on contemporary visual arts Art-Area at Radio Student. She is a regular contributor to Fotografija magazine. Since 2013 she collaborates as project manager and curator with gallery Photon – Centre for Contemporary Photography and with festival Photonic Moments – Month of Photography. She lives and works in Ljubljana, Slovenia.

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Jasna Jernejsek: Chamblis Giobbi

Vol. 1, no. 1
2016
06/08/2020

Bojan Salaj: Interiors.Correspondence, National Gallery of Slovenia, 2014.

Review

The Ambivalent Eclecticism of Contemporary Photography

Bojan Salaj, Photographer

Miha Colner

Salaj is one of those photographers who are characterized by deep reflection of the meaning and perception of image from different, mainly philosophical viewpoints, while at the same time following the objectivistic principles of photography.

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The article that aims to analyse the artistic production of photographer Bojan Salaj is based on conversations and reviews of his archive. Among Slovenian photographers, Salaj is the one who has been seen as an embodiment of the decisive shift in perception of the photographic medium that occurred in the late 1980s and early 1990s. He has never worked as documentary photographer or photojournalist; his authorial practice has always been primarily focused on the context of exhibition and against unconventional solutions. Salaj is one of those photographers who are characterized by the deep reflection of the meaning and perception of image from different, mainly philosophical, viewpoints, while at the same time following the objectivistic principles of photography. At a glance, his practice is extremely eclectic and post-modern, which is due to the fact that he is not looking to find an individual and recognizable artistic voice; he dedicates his focus to individual projects, bringing into his work various different references and themes. Nevertheless, a central motive can still be perceived throughout his output. In the past 25 years, Salaj has mostly been attracted to the here and now; this includes the fundamental problems of representation of photography in mass media, iconography of power structures, models of construction of history, and ways of establishing national and cultural identities.

Keywords: cultural identities, here and now, philosophy, photographer as the author, photography

He lives and works in Ljubljana, Slovenia.
http://mihacolner.com
http://www.mglc-lj.si

Bojan Salaj (born 1964) is a photographer, who since the early 1990s continuously creates and exhibits his artistic projects. In his works he highlights and questions the representation of photography in mass media, iconography of power structures, models of construction of history, and ways of establishing national and cultural identities. He commonly follows distinctly conceptual approaches and objectivistic principles. Since 1994, he is employed as a photographer at the National Gallery in Ljubljana, and is the author of numerous photographs from the field of Slovenian fine art cultural heritage. He lives and works in Ljubljana.

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journal

Membrana

Vol. 9 No. 1 - Data

Call for Papers 2024

current

From Velázquez to Bloomberg 2020

The Portrait as a Representation of Power

The Master as a Transnational Figure

Jawaharlal Nehru in The Soviet Union

Arousal and Elicitation

Photographic Performativity in FinDom

Histories

Call for papers & projects 2022

Espiritus de Invierno

How Does Photography Appear to Appear?

Open Access

Absence at the Time of Expected Authenticity

Nataša Berk

Amalia Ulman, Photographer and Artist

Exorcism in Camera: An Experiment in Ontology (1999)

from The Karen Smith Archive

New Conversations around Old Photographs

Chamblis Giobbi

The Ambivalent Eclecticism of Contemporary Photography

Bojan Salaj, Photographer

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