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Pub Date 3/15/2005
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| | | Jules Spinatsch: Temporary DiscomfortEssay by Martin Jaeggi.
Temporary Discomfort is artist Jules Spinatsch's documentation of three cities in a transitory state of emergency lock-down during two global economic summits (WEF and G8). It comines different photographical genres: landscape photography of the site, photojournalism, and police photography, but with the camera lens turned, atypically, on the security forces. The photo series and videos aim to achieve a speculative reconstruction of the situations in Davos, New York, Genoa and Evian/Geneva, while they also ask questions about the conditions under which photography is and can be produced today. Spinatsch's position while working on the project was that of an informed outsider--his presence in the area around the meetings was acknowledged by the security forces but not really appreciated, which was one the factors that determined his work. Spinatsch's new approach to documentary photography is theorized here by essayist Martin Jaeggi and presented through beautiful photographs with strong political undertones.
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| | | |  | Lars Müller PublishersISBN: 9783037786482
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|  | Spector BooksISBN: 9783959052924
USD $45.00 | CAN $62Pub Date: 9/17/2019
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|  | Lars Müller PublishersISBN: 9783037780473
USD $50.00 | CAN $67.5Pub Date: 3/15/2005
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FORMAT:
LIST PRICE: U.S. $50.00
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ISBN: 9783037780473
PUBLISHER: Lars Müller Publishers
AVAILABLE: 3/15/2005
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PUBLISHING STATUS: Active
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| Jules Spinatsch: Temporary Discomfort Published by Lars Müller Publishers.
Essay by Martin Jaeggi. Temporary Discomfort is artist Jules Spinatsch's documentation of three cities in a transitory state of emergency lock-down during two global economic summits (WEF and G8). It comines different photographical genres: landscape photography of the site, photojournalism, and police photography, but with the camera lens turned, atypically, on the security forces. The photo series and videos aim to achieve a speculative reconstruction of the situations in Davos, New York, Genoa and Evian/Geneva, while they also ask questions about the conditions under which photography is and can be produced today. Spinatsch's position while working on the project was that of an informed outsider--his presence in the area around the meetings was acknowledged by the security forces but not really appreciated, which was one the factors that determined his work. Spinatsch's new approach to documentary photography is theorized here by essayist Martin Jaeggi and presented through beautiful photographs with strong political undertones.
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