Protest

CFP 2019

Deadline Extended to 9.4.2019.

Throughout the twentieth century, political and social protests have become one of the most widespread forms of political contention and collective social action and are to an ever greater extent shaping the contours of public debate since the beginning of the new millennium. Unsurprisingly, within the present milieu of crumbling social consensus, growing political polarization and legitimacy crisis of key institutions of modern state, various forms of political and social protests are on the rise. Visual capabilities of new communication technologies have not only significantly changed the nature and extent of documentation and challenged the institutionalized mediation and communication, but also contributed to codification, even standardization of the visual representations of protests. Strained between symbols (e.g. tank man), metaphors (e.g. protesters giving flowers to police/military) and visual clichés (e.g. rock-throwing masked protester), images of protests and protesters play an important role in struggles over interpretation of the events, legitimacy of protester’s demands and their status as either citizens, crowds, “the people” or mobs. Moreover, 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. 

We invite textual and visual contributions that explore both images of protest and protest through images from (but not limited to) the following perspectives:

  • representation of protests and protesters
  • protest images as icons, symbols, metaphors or clichés 
  • circulation and reinterpretation of protest imagery
  • mimicking iconic photographs
  • historical perspectives of protest imagery
  • protests and photography
  • changes of protest paradigm
  • protests and/on social media
  • archiving
  • surveillance
  • visual activism
  • protests in art

Format of contributions


  • Essays, theoretical papers, overview articles, interviews (approx. 14.000 characters with spaces), visuals encouraged.
  • Theoretical articles (approx. 20.000 characters with spaces), visuals encouraged.
  • Short essays, columns (approx. 6.000 characters with spaces), visuals encouraged.
  • Photographic projects and artwork: proposals for non-commissioned work or samples of work.

Contributions will be published in the English edition – magazine Membrana (ISSN 2463-8501) as well as in the Slovenian edition – magazine Fotografija (ISSN 1408-3566).

Proposals and deadlines


Please contact the editors at editors(at)membrana.org. The deadline for contribution proposals (150-word abstracts and/or visuals) is 09.04.2019. The deadline for finished contributions from accepted proposals is 24.06.2019. Please send proposals or contact the editors at editors(at)membrana.org.

About Membrana


Membrana is a contemporary photography magazine dedicated to promoting a profound and theoretically grounded understanding of photography. Its aim is to encourage new, bold, and alternative conceptions of photography as well as new and bold approaches to photography in general. Positioning itself in the space between scholarly magazines and popular publications, it offers an open forum for critical reflection on the medium, presenting both analytical texts and quality visuals. The magazine is published biannually in the summer and winter in the English language and in Slovenian under the title Fotografija by the Slovene non-profit institute Membrana.

Reading Time: 3 minutes
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.
Reading Time: 3 minutes
Share on facebook
Share on twitter
Share on linkedin
Share on facebook
Share on twitter
Share on linkedin
In general terms, uploading and circulating visual content on social media entails intricate decisions regarding self-presentation and calculated performances of identity.
In augmented reality, as things behave in unexpected ways, our ‘real’ reality seems more obscure, confused and hidden.
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.
To be honest, I am shy and people frightened me. Animals only pooped on your shoes.
THE MARKET became about exploring the predatory impact of the market through 'thick' cultural description of the nature of its functioning through critical representation of both labour and the environment which so decisively shape our future, but at the same time remain so thoroughly unseen.
I don’t think I learned a lot from Henri Cartier-Bresson as a photographer; but he was an extraordinary men and I learn enormously from him as a person, including taking his advice that I should never lose ’my eye’ and become a photojournalist. Still, I adopted his system to archive my negatives. – Josef Koudelka
Rather than a Posthuman photography, it makes more sense to talk of strands of Posthumanist thought and practice permeating the contemporary photographic art practice.
The distorted faces of the youths on social media feature ready-made expressions that do not correspond with any deeply felt psychic reality. The face no longer acts as a surface but as a mere plane where highly standardized signs can be projected.

Our site uses cookies to improve our services. As an user you need to agree to the usage and accept our conditions. We are currently using only necessary cookies for normal web page functioning. For more information visit our Privacy Policy and Terms of Service. For more information on the cookies that we use please check the list below.  

Cookies that we use

PHPSESSID
This cookie is native to PHP applications. The cookie is used to store and identify a users’ unique session ID for the purpose of managing user session on the website. The cookie is a session cookies and is deleted when all the browser windows are closed.

I consent to the cookie usage, agree with the Terms of Service and Privacy Policy and want to continue using the web-page. 

sign up

and get the latest news and calls for papers & projects