Hylla FOTOGRAFI - Inz Broomberg, Adam
Personnamn
Titel och upphov People in trouble laughing pushed to the ground
Utgivning, distribution etc.
Utgivningsår
DDC klassifikationskod (Dewey Decimal Classification)
SAB klassifikationskod
Fysisk beskrivning 196 leaves, xv p. : chiefly ill. (some col.) ; 24 cm.
Term
Geografiskt namn
ISBN 978-1-907946-04-2 (cased) : 1-907946-04-7 (cased) :
Antal i kö:
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*852 $5Ko$bKo$hFOTOGRAFI - Inz Broomberg, Adam
^
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The Belfast Exposed Archive occupies a small room on the first floor at 23 Donegal Street and contains over 14,000 black and white contact sheets documenting the Troubles from the early 1970s. These are photographs taken by professional photo-journalists and 'civilian' photographers, chronicling protests, funerals, acts of terrorism as well as the more ordinary stuff of life: drinking tea; kissing girls; watching trains. Belfast Exposed was founded in 1983 as a community photography initiative to help calm public concern over the careful control of images depicting British military activity during the troubles. Whenever an image in this archive was chosen, approved or selected, a blue, red or yellow dot was placed on the surface of the contact sheet as a marker. The position of the dots provided Broomberg and Chanarin with a code; a set of instructions for how to frame the photographs in this book. Each circular image reveals the area beneath these circular stickers; the part of each photograph that has been obscured from view the moment it was selected. Each of these fragments, rather like an Indian miniature painting, offers up a self-contained universe all of its own; a small moment of desire or frustration or thwarted communication that is re-animated after many years in darkness. The marks on the surface of the contact strips allude to the presence of many visitors. These include successive archivists who have ordered, catalogued and re-catalogued this jumble of images. For many years the archive was also made available to members of the public and they would sometimes deface their own image with a marker pen, ink or scissors. In addition to the marks made by generations of archivists, photo editors, legal aides and activists, the traces of these very personal obliterations are also visible. They are gestures of those who wished to remain anonymous.