Reading time: 18 minutes
Breaking of the convention is an argument for certain kind of authenticity. A grimaced face is not a posed face, therefore it must be an authentic, truly expressive face, the real face.

In the interview, Robert Hariman talks about his latest co-authored book The Public Image: Photography and Civic Spectatorship (University of Chicago Press, 2016), presenting the main argument that they put forward with John Louis Lucaites – that a paradigm shift is needed within the field of photographic theory in order to understand the changing social role of photography in contemporary societies. They argue for a redefinition of the medium’s burden of representation, embracing its limitations and treating it as a small language, firmly embedded within the notion of the vernacular. This move beyond simple politics of representation, he argues, should however not be apolitical. In fact, the paradigm shift is needed to re-politicise photography and therefore increase its political efficacy in the wake of unsustainability of the dominant neoliberal socio-economic order and the specific catastrophic idea of progress which it promotes.

The files are often restored completely and we can see the original photos, but sometimes due to errors in file reconstruction, the result is a mutation.
Reading time: 5 minutes
Facial recognition technology, which seeks to identify the shape of the skull beneath the skin and tissue of the face, is based on the assumption that it can be anything that occurs on the surface of the face, a potential camouflage, while the bone structure underneath it is impossible or at least very difficult to transform.

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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Vol. 4, no. 2

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What role do photographs play in the creation, strengthening, or subversion of (the images of) the master? Do the photographs (un)wittingly legitimize the power, or do they recast power within the wider social network of signs?
The belief in some sort of special power of photography persists, our continuous investment with mystical qualities making it one of the most enchanted technologies of present day.
Protest visuals are not simply part of representation of events; they are increasingly becoming tools of political mobilization, resistance and even modes of protesting themselves through image-based activism, documentation and archiving projects and more.
While captivating our sight, animals also look back at us as if questioning our very notion of humanity – as if we instinctively understand that we can only look for human-ness via our engagement with the pet, the wild or tamed animal, the beast.

“The mask, being first of all a social, historical product, contains more truth than any image claiming to be ‘true’; it bears a quantity of meanings that will gradually be revealed.”

— Italo Calvino

open access

Notes on Preservation, Death and Art

The series of images explores taste and appetite in relation to animal meat.
Nature doesn’t need humans, but humans, especially capitalist society, need Nature in order to establish and sustain the order they insist upon, which is based on often incomprehensible strong and inexplicable laws of nature.
Reading time: 4 minutes
For Jure Kastelic, a radical turn in the relationship with the medium was brought about by the realization of the true potentials of photography, extending beyond its intrinsic value as documenter of reality.

Emina Djukić (1982) is a visual artist and pedagogue. She completed her master’s degree in photography at the VŠVU in Bratislava, and currently she is a professor at the Academy of Fine Arts and Design, photography department. From 2005 to 2010 she collaborated with the Medvode Youth Cultural Center, where she was also a program director for some time. For several years as a mentor she participated in the Celje Fokus summer workshop and was her artistic director in 2013. Since 2015 she has been a member of the editorial board of Fotografija magazine. She is researching the media of photography for a long time; Currently she is mainly concerned with the narrative possibilities of photography and its relation to the past.


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