Consequently they have left behind traditional boundaries, discourses and conventions to align the medium’s fundamentals with properties more associated with other classical genres.
What links the artists together is a common shift from ‘taking’ a photograph to ‘making’ a photograph—essentially reinventing the medium according to a completely different societal context. Though using approaches and techniques deeply rooted in photography and it’s (technical) development, when reflecting on these works one could ask: are we witnessing a remarkable renaissance of the medium itself or is it a photograph we’re seeing at all?
The interesting aspect of ‘image-making’ here is the clear act of ‘decision-making’—the selection process among a myriad of possibilities. This character trait of photography is the marker that enables these image ideas. Rather than a depiction of what is possible or a question of what kinds of new techniques, materials and forms of display have developed, the profusion of potential is counteracted by a clear artistic and visual approach rooted in a profound knowledge of the medium and consistently implemented with the freedom gained therein.
‘The Human Apparatus’ makes way for subjectivity against a background of overwhelming possibilities... now and then.