Deadline for proposals extended to 28. April, 2022.
Throughout its history, photography has been used to deceive, to construct, to lie, to create fictitious worlds and to convince us of their indisputable truths – both with equal impact on our notion of reality – on our experience, on the notion of society and culture. As “incomplete utterances”, photographs are inseparable from and dependent on narrative and storytelling. Contrary to popular belief, photographs are not primarily means of communication, but objects of communication. It is not just that narrative anchors the meaning of photographs – photographs as objects anchor narrative.
Our narratives through or with photographs are always constructed or reconstructed in the face of the medium’s seductive promise of veracity and visual insight. Photography’s ability to conjure up new meanings and reinterpret past meanings while giving the appearance of documentary veracity is and has been used extensively in both art and politics. As a result, photography has become not only an effective means for constructing factual stories and creating facts (a factography), but also a powerful and persuasive instrument for the creative appropriation of facts. Whether as a tool or mere raw material for the production of creative fictional worlds, aesthetic pleasure, lies or political deception, photography supports these practises of reconstructing our sense of time and reality, producing alternative timelines, histories and stories.
Membrana Vol. 7, No. 2 explores the imaginative, re/constructive possibilities of photography, different creative strategies, its possibilities for ruptures, interruptions and counter-narratives through (but not limited to) following topics:
– Photography as a narrative tool (storytelling)
– Deconstruction of dominant narratives (art, history)
– Artistic appropriation of archives
– Illusion and photography
– Fictional documentary (docu-fiction / faux documentary)
– Alternative facts and alternative fiction
– Re-creation of the past with/via photographs
– Veracity as a creative strategy
– Computer-generated images, fictitious photographic worlds
– Fictional words, computer-generated illusions and deep-fakes
– Hoaxes, deceptions – past and present
– Exhibition and narrative
– Photography and myth
– Photography, narration and alternative temporalities
Format of contributions
- Essays, theoretical papers, overview articles, interviews (approx. 2,500–6,000 words), visuals encouraged
- Short essays, columns (1,200–3,000 words), visuals encouraged
- Photographic projects and artwork: proposals for non-commissioned work or samples of work
More information about the contributions can be found in our guidelines. The contributions will be published in the English edition – journal Membrana (ISSN 2463-8501; eISSN: 2712-4894) and/or in the Slovenian edition – magazine Fotografija (ISSN 1408-3566; eISSN: 1855-8941).
Proposals and deadlines
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.
Find more about us at: http://www.membrana.org
Contact: Membrana, Maurerjeva 8, SI-1000, Ljubljana, Slovenia.