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Rundbrief Fotografie
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Colonial Photographs in Dialog: Repatriation and Re-Evaluation
of the Eickstedt Archive
Many ethnographic/anthropological archives were created in a
colonial context; accordingly, dealing with them is often
problematic and culturally burdened. In order to use them as
ethno- historical sources, not only must the historical background
and the attributions of meaning given by the photographer and by
cultural heritage institutions be investigated, but the
perspective of perception of colonial photographs must also be
expanded regionally. This means that the Eickstedt Archive, for
example, which was set up by a German anthropologist in India in
the 1920s and which has been housed in the Ethnographical Museum
in Dresden since 2003, should be examined and re-evaluated by
Indian citizens as well. Two examples show how the Eickstedt
Archive was made use of under these premises.
Koloniale Fotografie - Das Eickstedt-Archiv - Fotografien aus
Kerala in Kerala - Fotografien aus Gujarat in Gujarat - Fazit -
Anmerkungen
Ambivalences of Picture Production: Historical Photographs of
Portraits and Genre Types from the South American Lowlands
This article analyses the context of the taking of photographs
of peoples from the South American lowlands during the last
quarter of the 19th century. It describes the relationship between
the photographer and the photographed person and investigates the
intentions and usage contexts of the pictures. The article focuses
on pictures made in Peru by the commercial photographer Georg
Hübner as well as those made by the physician and
anthropologist Paul Ehrenreich in Brazil.
Eine Kolonialfotografie aus Deutschland - Auf Bildfang in der
Kautschukregion: Georg Hübner in Peru - Typenaufnahmen und
Körpermessungen: Paul Ehrenreich in Brasilien - Erinnerungen
an die Gegenwart? - Anmerkungen
What Remains of 80,000: The Photographic Institute Carl Simon
& Co. in Düsseldorf and its Remaining Inventory of
Hand-coloured Slides
In 2010, the remaining inventory of the photographic institute
Carl Simon & Co. in Düsseldorf was discovered. The
company was active from 1907 until the 1960s and traded with
slides and photo-optical devices. Of the originally 80,000, mostly
hand-coloured 8.5 x 8.5 cm photographs, about 23,000 glass slides
have been preserved. Summarized in 134 thematic series, they
illustrate every aspect of life at that time and were disseminated
by means of a loan system. Many presentation booklets have also
been preserved: these were used to read aloud from during
projection, and they contain captions for each individual slide.
Simon provided catalogues of his picture series, which reflect the
broad spectrum of his inventory. The collection was sold at
auction in 2012. 7,000 images from the collection have been
digitized and will be successively available through the
newly-founded image database as well as through the Deutsche
Fotothek.
Der Firmensitz - Die Lichtbildreihen - Die Unternehmensgeschichte
nach 1945 - Anmerkungen
Art Documentation as Art Photography: The Photographic Work of
Nic Tenwiggenhorn in the AFORK
Nic Tenwiggenhorn was and is well known among art world
insiders: in collaboration with artists, collectors, gallery
owners and institutions, he has made himself a name with his art
photography not only in the Rhineland, but also reaching beyond
the Federal Republic of Germany to Western Europe and as far as
the USA. Browsing through the catalogues of current art events and
publications on renowned artists of the last forty years, one
repeatedly encounters Tenwiggenhorn’s name in the credit
notes. He has made his mark in the ‘scene’. The
‘big’ names as well as the sometimes equally exciting
‘outsiders’ of contemporary avant-garde art were and are
his consistently loyal clientele. However, he himself has
deliberately never come forward through own publications or
exhibitions. With financial support from the Arts Foundation NRW,
the Museum Kunstpalast in Düsseldorf recently acquired Nic
Tenwiggenhorn’s photographic work for the Photographic
Archive of the Rhine Art Scene (AFORK).
Zwischen Reportage und Labor - Industrie, Werbung und Kunst -
Kunstfotografie - Konservierung und Erschließung - Das AFORK
heute und morgen - Anmerkungen
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