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Series: Image, 76

117Practical section – Specifi c insights Zwischen Nachbarn Photography Exhibition during “eyes on – Monat der Fotografi e” (June–December 2010) Brunnenpassage conceptualized the photography exhibition Zwischen Nachbarn (Between Neighbors) to create new possibili- ties for meeting people at Brunnenmarkt. During “eyes on – Monat der Fotografi e,” photographer Ulrich Eigner was invited by Brun- nenpassage to shoot portraits of people who live at Yppenplatz/ Brunnenviertel. The exhibition took place at Brunnenpassage in November 2010 during “eyes on – Monat der

Images and Identities Across Time and Space

War Museums and Photography Alexandra Bounia, Theopisti Stylianou-Lambert 1. INTRODUCTION Museums and photography seem to have one thing in common. They are both con- sidered unquestionable reflections of reality, that is, objective, authentic and credible sources of knowledge. Museums are repositories of real material testimonies of the past, and construct narratives, which are believed to be academic, historical and, as such, indisputable.1 Thus, their voice becomes authoritative and influential. Photo- graphs are also considered a “transparent” window to

Of Photography and Men Encounters with Historical Portrait and Type Photographs1 MICHAEL KRAUS The historical photography collection of the Ethnologisches Museum in Berlin includes a picture of a young, serious-looking, about eleven-year-old Guató boy with a melancholy gaze standing in front of a hut. He is barefoot and wearing only a pair of trousers that he wrapped around his waist in the manner of a loincloth, held by a non-Indian belt. In his left hand he carries a bow and an arrow (Figure 1). The photograph was taken by the ethnolo- gist Max

Photography in Latin America Images and Identities Across Time and Space – An Introduction INGRID KUMMELS AND GISELA CÁNEPA KOCH Case studies tracing current uses of historical photographs taken several decades ago in Mexico, Colombia, Peru, and Brazil demonstrate their value as key sites of memory politics, ethnographic imagination and the negotia- tion of identity. Anthropologists who participated in these processes and analyzed them as part of their ethnographic research are the contributing authors in this volume. During this time the

Mapping Norway. Knud Knudsen and the discovery of Norway in photography Anne Wriedt Introduction In 1922 German-Norwegian travel journalist Ferdinand Scarlett reported: “For a long time, it remained unclear to the public what Knudsen had done for the pro- motion of Norway as a tourist country with his landscape photographs” (Scarlett 1927: 128), and not until the publication of the first Norway travel guide – “Tourist Country Norway” – featuring his photographs and discussing the reception of his work, was his reputation established. Arguably, no other

Memory and the Snapshot: some thoughts on photography, drawing, and writing as inscriptions of Northern landscapes Aileen Harvey A snapshot is an everyday object with a particular relationship to our desire to remember, and it also describes a certain idea of photographic time. The dynam- ic between the snapshot and memory is here taken as a motif, in order to frame some thoughts around my landscape practice: about the territory that photogra- phy shares with drawing and writing. Areas of f low between these three artis- tic methods are discussed in the

077THE END OF PHOTOGRAPHY B THE END OF PHOTOGRAPHY Throughout the 1970s and the 1980s, the convergence of various cu- ratorial and editorial projects established photography as an autono- mous art form by resorting to a re-actualization of the history of the medium. The German documentary paradigm was built upon the re- reading of preceding visual and theoretical models, inscribing author photography into a newly discovered tradition. Klaus Honnef’s docu- menta 6 contribution explicitly invokes that tradition to circumscribe the preconditions of

Re-framing Photography – Some Thoughts STEFANIE MICHELS Conventional historiography on photography stresses its evolution as a story of technological progress. Histories of photography, even “world histories of photography”, have long lacked a global perspective. A global narrative of photography would thus have to not only include these neglected regions but would also alter the conventional narratives. Research in this area is currently booming and what is being uncovered are stories of connection beyond west- ern exceptionalism. Central in this