The Photograph That Doesn’t Exist

Now that’s a question!
That’s a proposal for a show that I just received from a Slovenian curator, Vasja Nagy.
The show is to be held at the Piran Coastal Galleries in December.

Some issues to consider:

  • The questions that arise in this project are to do with understanding emptiness, gaps, white noise (or whatever we might call it) as a space of creativity.
  • The artist’s statements, descriptions, stories, etc. are understood as photographic matter in the moment of taking on a form, which are however still at the stage of an incomplete metamorphoses in relation to the finished photographic object.
  • The artist’s personal, inner world and outside physical and technological reality intertwine.

Some questions to consider:

  • What form could the exhibition/space/exhibits take?
  • Words, artist’s books, art objects, artefacts, …
  • How to show the gap between the tangible and intangible?
  • Did the photograph ever exist/ Has the photographe ever existed in the past?
  • Is it a draft/blueprint/concept for the photograph’s future existence?
  • What is the relationship between the taker of the photograph and the photograph that doesn’t exist?
  • Is it the void or manifestation between the creator and that which isn’t created?
  • The writer with the book that doesn’t exist, the mechanic with the car that doesn’t exist, the nurse with the patient that doesn’t exist, the mother with the child that doesn’t exist, …
  • How important is the above relationship? Is it key in this concept?
  • What should a photographer produce when he is denied the production of his trade, or when the latter is made non-existant?
  • If a photograph doesn’t exist, what exists before it in terms of process?
  • When the photograph didn’t exist, were photographers painters and printmakers?
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