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Various thinkers have contextualised the practice of photography in society in light of changes in digital technologies and the information industry. Lev Manovich, media and visual culture researcher, has argued in his article Database as a Symbolic Form (1998), that the new-media era is characterized by transition from the narrative paradigm to the database paradigm.
But, while Manovich claims that in the process of experiencing and creating meaning by the viewer, the database model is antithetical to the narrative model, the works in #PHOTOGRAPHY exhibition raise another possibility. We are witnessing the emergence of a hybrid language that allows the reconstruction of a "patches narrative", being liberated of the serial logic that characterizes the linear sequence of images, but do not give up the opportunity of building a story. Eventually, even if it is not a stable classical narrative, as we knew it in the past, with a beginning, middle and end, still the cluster of images resonates both the archive logic and the narrative logic. Indeed, it is a loose storyline, highly fragmented with many gaps, but still, at the same time, it is unraveling and being rehatched by the viewer consciousness. The fluttering referential experience is perhaps the most dominant feature of the way we are now exposed to images and process them, whether by smoothing a finger on the iPhone screen, whether by watching a static display on the gallery walls. (The text was written with the help of Hamutal Wachtel - to be continued)