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Prefix Photo # 28: Monuments

Prefix Photo
21.5 × 25.5 × 1 cm

Prefix Institute of Contemporary Art is pleased to announce the release of the 28th issue of Prefix Photo magazine. On the subject of monuments, editor Scott McLeod writes: “A consideration of monuments and photography brings together a complex array of thoughts and associations. While photography may be used simply as a tool to document monuments, it also has the ability to monumentalize its subjects. As it endures over time, however, the photograph, like monuments themselves, comes to serve the purpose of historical preservation. In other words, one can both photograph monuments, and monumentalize photographs.”

Contributions to the magazine include the following:

Mark Durden examines the dominant themes in the work of Albanian artist Adrian Paci. Living in exile in Italy, Paci plumbs the depths of the experience of exile both symbolically and literally. Working predominantly in video but also with sculpture, painting and photography, he explores the dynamics of rupture and attachment. More recently, he has begun to think about global capitalism’s relations of production and distribution. Extending his long-standing preoccupation with the tension between reality and poetics, his latest project, The Column, embodies these relations.

Bruce W. Ferguson discusses the present-day issues of Egypt through an examination of works by four artists––Lara Baladi, Ahmed Basiony, Amal Kenawy and Bahia Shehab––created in the two years prior to the now-famous “18 days” of revolution that began in January of 2011. Reviewing recent developments in Egypt, and taking as his starting point the assumption that works of art can be symptomatic of larger cultural and political issues, Ferguson explores the ways in which art can be seen to be critical and, in a sense, diagnostic, even in a society in which “symbolic capital,” as he calls it, is most tightly controlled.

Leah Modigliani analyzes the work of Canadian artist Jeff Wall. She notes that, since the early 1980s, most critical writing about Wall’s work has ignored feminist readings of it, aligning it instead with cinematography, the historic avant-garde and a return to history painting. Tracking the gendered content in many of Wall’s works, Modigliani suggests that his artistic development was more directly influenced by the women’s movement of the 1970s than has been previously acknowledged.

Eldon Garnet, in his literary feature, conjures the image of a great work of art––a monumental photograph for which the negatives and files were destroyed, no reproductions were allowed and the only existent print was destroyed by fire.

Other contributors include Halil Altindere, Coco Fusco, Oliver Hartung, Jan Kempenaers and Michael Love, with book reviews by Aileen Burns & Johan Lundh, Sarah Munro, Amanda Rataj and Dara Solomon.

  1. Prefix Photo # 28: Monuments

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