Back to top

Photography on Strike

Letter 1
29/05/2020
Carles Guerra
to Ariella Aïsha Azoulay
“The formal innovation that has done so much to mark the history of photography is of no use to us now.”
“The formal innovation that has done so much to mark the history of photography is of no use to us now.”
Letter 2
12/06/2020
Ariella Aïsha Azoulay
to Carles Guerra
“We should therefore invest in disrupting our semi-automatic participation in photography for photography’s sake and engage with it based only on a different kind of commitment”
“We should therefore invest in disrupting our semi-automatic participation in photography for photography’s sake and engage with it based only on a different kind of commitment”
Allan Sekula, Waiting for Tear Gas (1999-2000).
Letter 3
26/06/2020
Carles Guerra
to Ariella Aïsha Azoulay
“If we can really get rid of that conception that, among other things, has allowed photography to enter museums, we will have to accept that its destiny is linked to evolution…”
“If we can really get rid of that conception that, among other things, has allowed photography to enter museums, we will have to accept that its destiny is linked to evolution…”
03.08_Forensic_Architecutre-1024x594
Letter 4
10/07/2020
Ariella Aïsha Azoulay
to Carles Guerra
“…the operation of the camera, like the production of a photograph, is optional (rather than indispensable) in the event of photography”
“…the operation of the camera, like the production of a photograph, is optional (rather than indispensable) in the event of photography”
Letter 5
09/07/2020
Carles Guerra
to Ariella Aïsha Azoulay
To close the correspondence between Carles Guerra and Ariella Aïsha Azoulay during these months, we invite you to watch the following conversation.
To close the correspondence between Carles Guerra and Ariella Aïsha Azoulay during these months, we invite you to watch the following conversation.

Meet the participants

Carles Guerra

Carles Guerra (1965) is an art critic, teacher, and researcher. He has been director of Fundació Antoni Tàpies (2015-2020), chief curator of the Contemporary Art Museum of Barcelona MACBA (2011-2013), director of La Virreina Centre de la Imatge (2009-2011) and director of the Primavera Fotogràfica de Catalunya (2004). Among the exhibitions he has curated, stands out Después de la noticia. Prácticas documentales postmedia (CCCB, 2003), Antifotoperiodismo (La Virreina, 2010), 1979. Un monumento a instantes radicales (La Virreina, 2011), Ahlam Shibli. Dead (MACBA, Jeu de Paume y Serralves 2012), Xavier Ribas. Nitrato (MACBA, 2013), Harun Farocki. Empatía (FAT, 2016), Oriol Vilanova. Domingo (2017), Allan Sekula. Sísifo colectivo (Fundació Antoni Tàpies, 2016), Susan Meiselas. Mediaciones (FAT, 2017) y Ariella Aïsha Azoulay. Errata (FAT, 2019).

Ariella Aïsha Azoulay

Professor of Modern Culture and Media and Comparative Literature, film essayist and curator of archives and exhibitions. Her books include: Potential History – Unlearning Imperialism (Verso, 2019), Civil Imagination: The Political Ontology of Photography (Verso, 2012), The Civil Contract of Photography (Zone Books, 2008) and From Palestine to Israel: A Photographic Record of Destruction and State Formation, 1947-1950 (Pluto Press 2011). Among her films: Un-documented: Undoing Imperial Plunder (2019), Civil Alliances, Palestine, 47-48 (2012). Among her exhibitions Errata (Tàpies Foundation, 2019), and Enough! The Natural Violence of New World Order, (F/Stop photography festival, Leipzig, 2016).

http://cargocollective.com/ariellaazoulay