EXIT MAGAZINE - Issue#90
We can understand an album as a surface, a device, or an artifact in which one or more people inscribe the memory of an experience, in which they try to leave evidence of their passage or reflect one of the profiles of their identity. In this issue 90 of EXIT, we open a first door to address the topic of the album from a personal, intimate perspective, focusing on works by photographers who have used this strategy to speak about something particularly close to themselves: their family, their environment, their friendships, or even themselves.
EXIT 90 Album I – Personal Narratives brings together the work of up to sixteen photographers who, from different perspectives, are representative of the theme. The central text, signed by researcher María Rosón, speaks of the album and the photographic compilation as a structure of memory and a writing of the self/ourselves, relying on the works of artists such as Jo Spence, Fernando Montiel Klint, Anna Fux, or Ignacio Navas. In the dossier section, we present the work of twelve photographers. Trish Morrissey leads the way with an exercise in fiction; Sian Davey and Doug DuBoys document their daily environment, linked to people from their family; Ana Casas Broda, Sara Davidmann, Diana Tamane, and Suwon Lee dust off family archives to revisit the concept of the album; Sara Angelucci and Joy Gregory undertake a similar exercise but starting from objects like a wallet or the clothes in a closet; Lebohang Kganye, Chino Otsuka, and Jon Uriarte intervene, manipulate directly in the archives, either from phantasmagoria or from erasure.
In Portfolio, the section where we give space to the most interesting photographers in the contemporary scene, we present Laia Abril, Nicola di Giorgio, Clothilde Matta, Marianne Matouk, and Kamonlak Sukchai.
Editorial
Rosa Olivares. Sometimes I see dead people: memory and fiction
Texts
María Rosón. Photograph album. Between the collection of traces and the writings of ourselves
Central theme artists
Sara Angelucci, Ana Casas Broda, Sian Davey, Sara Davidmann, Doug DuBois, Anna Fux, Joy Gregory, Lebohang Kganye, Suwon Lee, Fernando Montiel Klint, Trish Morrissey, Ignacio Navas, Chino Otsuka, Jo Spence, Diana Tamane, and Jon Uriarte
Portfolio artists
Laia Abril, Nicola di Giorgio, Clothilde Matta, Marianne Matouk, and Kamonlak Sukchai
We can understand an album as a surface, a device, or an artifact in which one or more people inscribe the memory of an experience, in which they try to leave evidence of their passage or reflect one of the profiles of their identity. In this issue 90 of EXIT, we open a first door to address the topic of the album from a personal, intimate perspective, focusing on works by photographers who have used this strategy to speak about something particularly close to themselves: their family, their environment, their friendships, or even themselves.
EXIT 90 Album I – Personal Narratives brings together the work of up to sixteen photographers who, from different perspectives, are representative of the theme. The central text, signed by researcher María Rosón, speaks of the album and the photographic compilation as a structure of memory and a writing of the self/ourselves, relying on the works of artists such as Jo Spence, Fernando Montiel Klint, Anna Fux, or Ignacio Navas. In the dossier section, we present the work of twelve photographers. Trish Morrissey leads the way with an exercise in fiction; Sian Davey and Doug DuBoys document their daily environment, linked to people from their family; Ana Casas Broda, Sara Davidmann, Diana Tamane, and Suwon Lee dust off family archives to revisit the concept of the album; Sara Angelucci and Joy Gregory undertake a similar exercise but starting from objects like a wallet or the clothes in a closet; Lebohang Kganye, Chino Otsuka, and Jon Uriarte intervene, manipulate directly in the archives, either from phantasmagoria or from erasure.
In Portfolio, the section where we give space to the most interesting photographers in the contemporary scene, we present Laia Abril, Nicola di Giorgio, Clothilde Matta, Marianne Matouk, and Kamonlak Sukchai.
Editorial
Rosa Olivares. Sometimes I see dead people: memory and fiction
Texts
María Rosón. Photograph album. Between the collection of traces and the writings of ourselves
Central theme artists
Sara Angelucci, Ana Casas Broda, Sian Davey, Sara Davidmann, Doug DuBois, Anna Fux, Joy Gregory, Lebohang Kganye, Suwon Lee, Fernando Montiel Klint, Trish Morrissey, Ignacio Navas, Chino Otsuka, Jo Spence, Diana Tamane, and Jon Uriarte
Portfolio artists
Laia Abril, Nicola di Giorgio, Clothilde Matta, Marianne Matouk, and Kamonlak Sukchai
We can understand an album as a surface, a device, or an artifact in which one or more people inscribe the memory of an experience, in which they try to leave evidence of their passage or reflect one of the profiles of their identity. In this issue 90 of EXIT, we open a first door to address the topic of the album from a personal, intimate perspective, focusing on works by photographers who have used this strategy to speak about something particularly close to themselves: their family, their environment, their friendships, or even themselves.
EXIT 90 Album I – Personal Narratives brings together the work of up to sixteen photographers who, from different perspectives, are representative of the theme. The central text, signed by researcher María Rosón, speaks of the album and the photographic compilation as a structure of memory and a writing of the self/ourselves, relying on the works of artists such as Jo Spence, Fernando Montiel Klint, Anna Fux, or Ignacio Navas. In the dossier section, we present the work of twelve photographers. Trish Morrissey leads the way with an exercise in fiction; Sian Davey and Doug DuBoys document their daily environment, linked to people from their family; Ana Casas Broda, Sara Davidmann, Diana Tamane, and Suwon Lee dust off family archives to revisit the concept of the album; Sara Angelucci and Joy Gregory undertake a similar exercise but starting from objects like a wallet or the clothes in a closet; Lebohang Kganye, Chino Otsuka, and Jon Uriarte intervene, manipulate directly in the archives, either from phantasmagoria or from erasure.
In Portfolio, the section where we give space to the most interesting photographers in the contemporary scene, we present Laia Abril, Nicola di Giorgio, Clothilde Matta, Marianne Matouk, and Kamonlak Sukchai.
Editorial
Rosa Olivares. Sometimes I see dead people: memory and fiction
Texts
María Rosón. Photograph album. Between the collection of traces and the writings of ourselves
Central theme artists
Sara Angelucci, Ana Casas Broda, Sian Davey, Sara Davidmann, Doug DuBois, Anna Fux, Joy Gregory, Lebohang Kganye, Suwon Lee, Fernando Montiel Klint, Trish Morrissey, Ignacio Navas, Chino Otsuka, Jo Spence, Diana Tamane, and Jon Uriarte
Portfolio artists
Laia Abril, Nicola di Giorgio, Clothilde Matta, Marianne Matouk, and Kamonlak Sukchai