“These things are invisible. You see those things only in some art galleries”. Michael Zupraner, Eyal Danon and Chen Tamir talk about HEB2′s cameras project of B’Tselem.
In the early 1990s, documentary photographer Susan Meiselas traveled to Northern Iraq to document the remains of destroyed villages and mass graves in the aftermath of Saddam Hussein’s al-Anfal Campaign. This work led her to embark on a visual investigation of the Kurdish history over the last century.
Creative Actuality brings together writing and specially commissioned internet-based projects that consider the influences of contemporary technologies on issues such as self-reflexivity, the difficulties of representation, self-made media content, and the camera’s role within documentary-based art and video.
Two years ago, Google sent out an army of hybrid electric automobiles, each one bearing nine cameras on a single pole. Armed with a GPS and three laser range scanners, this fleet of cars began an endless quest to photograph every highway and byway in the free world.
Eden Abergil is posting photos on Facebook, IDF soldiers are dancing: On the social-political aspect in photography
Historically, the overlap between documentary practices and the art field has produced heated debate. Historical documentary modes were primarily forged within the art field, but repeatedly denied any part in it. This conflict reflects the tension between the two different tendencies inherent in documentary creation:the desire to both let the subject express itself without much interference and yet on the aesthetic level to turn it into something unique.