worst photos we’ve ever taken/nasze najgorsze zdjęcia
Yildiz Aslandogan__________And what if I wanted to buy it back ? For Sale 1-3
„The Wasteland”, colonial capitalism and somewhere inbetween a vast skyscraper for sale. But who would want to buy anything like that? Asking the taxi driver makes no sense because he doesn’t know English. Looking for the worst of her pictures and time trying to tell a story at the same time, the artist found this series of three photos. For her they are reminiscences of maybe not a bad situation but a “mad” one that consisted of a visual experience of a lonely skyscraper for sale and of an offer of a sposored trip to China that the artist got – a madness of capitalism, of British colonialism, Chinese comunocapitalism. The absurd of a situation in life and of the pictures observed form the taxi window.
For Max Bensemer a good photo tells a story. Photography that does not tell anything is empty, bad. A photo chosen by the artist (as the worst that he’d ever taken) according to him does not tell any story, it is a (fragmented) shot that – in opposition to these bad pictures that record by chance something significant, a fragment of life worth remembering – a situation captured here could as well never have happened. This photo does not function within aims that are set by the photographer , does not function as a reminiscence because it does not remind about anything. It is a photo “without history”.
Stefan Meier_____ My five fingers of the left hand after eating delicious paprika crips with them
Five photographs correspond to five fingers of the artist. Photos were taken immediately after having eaten a pack of paprica crisps. Grease, crumbs and spices cover the fingers the nails of which have been apparently systematically biten. The worst possible subject plus terribly arranged light and “poor” colours are the components of this humorous project – a cheerful (however ruthless) critique on one’s ugly habit made by the usage of adequately ugly means. The effect is complemented by the frame made of a tape in “ugly-beautiful” style.
The taking of this picture, which was commissioned by an advertising company, was for the artist an ‘unpleasant obligation’, taking the time intended for artistic work and as such couldn’t give him satisfaction. What is more, the final effect was a result of a compromise between the commissioner, the artist and the advertising company. The whole tiring, painstaking process of discussions and improvements lead to a photo that was not liked by anybody causing frustration and a sense of wasted time. What is interesting, aan idyllic scene in the picture does not in anyway suggest the terrible torture of the artist that were experienced during the process of creation. It is like an innocently looking monster.
Rahim Blak__________The Circumcision
The photo shows a seemingly typical scene from a home celebration: family members gather, embrace, smile radiantly posing for it. Seemingly typical because the cheerful celebration accampanies the vary painful act of cricumcise that had been performed on young Rahim. The tension is reached by the contrast between the terrible memory of the event and its version (cheerful and full of ‘festive’ atmosphere) offered by the picture. Regarding his own painful experience, the hero of the event will view the photo as a curvature of reality. It makes one ask about the usefulness of photography as a substitute for dreams.
Rahim Blak___________Everybody knows that Rahim Blak was a child prodigy
Rahim Blak’s photo shows a young artist being embraced by Tadeusz Mazowiecki. Despite the fact that everybody knows that Rahim Blak was a child prodigy and form his early years he was surrounded by famous people, the direct confrontation with its visual proof (the picture) may cause distrust and a suspicion of photomontage. In the era of digital photography and all the possibilities offered by image-editing software such suspicions are fully justified. The doubts are to be dispelled by the negative displayed in a lightbox. In the 21st century the standard photo is not enough to boast about one’s connections. To somehow state ‘I was here. Rahim Blak’ you have to use an ‘old-fashioned’ negative.
Sally Motana ___________Viking Woman
Salwy Montana’s photo shows a woman stroking a horse. On one hand it refers to the popular habit of taking pictures of oneself with one’s pets (dogs, cats, hamsters etc.), on the other it alludes to kitschy pictures of a woman and a horse (both with their hair/mane flowing in the wind) that were popular subject for posters adorning teenagers’ bedrooms. Here the picture was taken ‘seriously’ as portrait of a Texan farmer. However, it is not interpreted this way – the unintentional comic effect of the horse’s ears that can be seen behind the woman’s head make the viewer want to laugh behind the back of the woman, who’s absolutely unaware of it all. The photo, intended as an atmospheric memento, became a funny though unsophisticated joke. Posing and arranging makes no sense as photography is a medium living its own life, playing tricks against the author’s intentions.
Kuba Dąbrowski___________Mom and Dad
The film is a sort of an analysis of the medium of photography itself. The analysis is conducted on two parallel levels: verbal and visual. The arstist’s parents, who have nothing to do with professional photography, talk about it as amateurs. They present opinions characteristic for such position: photography should tell us something, it should be figurative etc., which is illustrated by the scenes of the film. The scenes try to imitate these features of photography which are being talked about.
For the artist-photographer the question which photos are good and which are bad is the most difficult one. To ask one’s parents about it is a risky undertaking, however somehow natural.
Cora Piantoni_______________The worst Artwork
The film by Cora Piantoni is a series of statements made by different people connected with making or promoting art. They describe teh worst exhibitions or works they have ever seen or just say what they dislike in art. These statements create a series of portraits of ‘bad art’ and ‘bad exhibitions’ – complicated, heterogeneous, without a common denominator. The viewer may conclude that there is no final definition of either bad or good art, it is blurred by subjectivity and individual taste based on different experience. The unstable picture built by words is somehow put to order by a perfectionist frame. This film is an ‘open work’ – open toward the viewer. We are all invited to form our own portrait of ‘bad art’.
Hubert Czerepok_______________Order of things
It is a torment to pose to one’s photographs. It takes a grin, a dramatic pose and time. Hubert Czerepok’s film is about posing, about smiling and about assuming strange, pseudonatural poses. Posing to photographs reveals its aburdity when it is stretched over a long period of time. Artificiality and imperfection of one medium are revealed only after using some other one. Stillness ‚immortalized‘ by the means of a ‚moving picture‘. The whole impression is increased by the complete pointlessness of the model’s effort. The man is posing to advertise ridiculous objects: a cone, a white board, a cable, a torch, a book. These objects are the only changing element in the picture. They provide the rhythm of the work and put reality in order.
Stefan Burger__________________The no-motif-job
Performance can be witnessed, known from visual documentation or, as it often happens, we can learn about its course only form what some witnesses tell us, actually without any visual data. Stefan Burger made one step further. He has rendered an event (in which he took part as a maker and as a witness) a performance only a long time after it actually took place. His job was to simulate taking pictures of so-called VIP’s, but not for real but only to make them feel important. No roll of film in the camera, no material remains. But doing it he took some pictures anyway. They are photographs taken when the VIP’s were out of sight, sometimes without proper flash. Photography in-between, photography without a motive, antidocumentary photography, photography as a break from simulated photography, from non-photography. An antidocumentary of pseudoperformance.
Gabi Vogt_____________________ Mein kleiner starker Bruder
Within the area of technically perfect photography we can make a distinction between these that have no content and these that have too much of it. The work of Gabi Vogt can be definitelly put into the second category. It is a family photography in a way. It shows a boy presenting him muscular body to the camera. The innocent scene of brother and sister having fun is somehow brutalized by the depth of focus, by the shot, by conveying everything too accurately. This photo does not present the atmosphere of the moment, it reveals the superficiallity of the image. The truth of photography is reduced to the physical and literal. The boy’s pose and the way of showing him reveal his boyish masculinity and the photography reveals its brutal nature.
Herbert Weber_______________ derniere photo (avec arbre)
Many people still have this romantic vision of a suicidal genius artist. It seems that some of these people are really disappointed that artists stopped thinking of taking their lives away. Using this image of a brilliant creator, Herbert Weber offers a game, a little lie. It’s his last photo, with a tree. The title suggests an existence of entire series of the last photos. This time it’s with a tree but some other time it may be with something else. A small-size perfectly developed photo. Somewhere in the thickets we can see a person hanging upside down on a branch of a tree. The body is tied up. Reckless attempt to immortalize one’s own death on a photographic film.
Sabeth Anna Drumheller________________Anna alone at home
What do women think about when she stay alone at home? Certainly about many things but sometimes whes she is bored and wants to free herself from her role she fancies herself as a porn-magazine model. Porn often evoke in us disgust or revulsion. But imagina a situation in which an amateur porn photos are the way to liberate, a source of extatic pleasure and realization of the most secreets fantasies. Sabeth impersonate herself/play a role of hausewife bored with a monotonny of her life, dreaming about men’s desire. Aware of fact that men love bodies, she also wants to become a body. She knows that posing nude in front of the camera, without beutiful clothes, without makeup and all gives her photographer’s studio’s back will not make her a porn star but the conscious of that transformation gives her happiness and even obscene joy. An amateur photos can be even more brutal than a professional ones. Their awful/bad copy and randomly taken shots shows that for the Author the process of photographing herself is more important than the end effect.
Anna-Maria Karczmarska________For the sake of the project entitled ‘The worst photos’ – ‘I was here –
Everyday,the eye of the laboratory technician working at the photographer’s studio is scanning through hundreds of negatives containing thousands of stories and events closed up in colour, black and white or bleached, framed or cut out pictures. The eye of the technician is never wrong, it is experienced and it knows best which photo is good and which is bad.
It’s better not to develop the bad one, the klient will not buy it and will be dissatisfied to see a part of his life so badly represented. The eye of the technician guarantees the same outlook on the world formed by the means of the photo, it guarantees that our story stored in the photo has its definite aesthectic frameworks. The lines of seeing put in order by the harmonious composition, depth of focus, the object of interest of the photographer being recognizable, the colour saturation and contrast similar to the natural perception and so on. Classic photography has, in addition, formed its own genres, branches and names. Thanks to this there was a possibility for different specialists to emerge, who achieved perfection in a particular area of looking at things and go in for one or two genres of photography, such as portrait or landscape. But what is going to happen when the eye of the technician falls asleep for a second or – on the contrary – will be cautious enough to save this extraordinary, ugly way of seeing, to save the unwanted, defective and lame aesthetics? Can the classic division of photography comprise also the unwanted pictures? From the collection of saved stories, the worst photos, rejected and undesireable I’m arranging a catalogue based on the classic division adding also new categories, my own. It forms a shortened handbook, a useful introduction to ‘how to learn the worst photography and the art of taking it’. I’m choosing the worst camera, with very bad lens, autofocus, an aggressive flash and so on. A camera that does not recquire any thinking or effort from the user and even encourages him to give up any reflection in the moment of ‘taking the picture’. I am photographing the moments from my life obtaining knowledge from the practical handbook. I receive a self-portrait from a moment ago, here, in a while, somewhere – I’m watching myslef through the aesthetics of the worst photography. (A-M Karczmarska, Kraków 2.05.2006)
Marcin Przybyłko__________„Good news” Marcin Przybyłko after Wojciech OLKUŚNIK
Grzegorz Sztwiertnia__________In search of lost time
Sally Motana__________Viking Woman
Wojtek Doroszuk__________Istambul photostory
Michał Kowalski__________ HYPERLINK “http://www.malopolska.policja.gov.pl/osoby_poszukiwane.php”www.malopolska.policja.gov.pl/osoby_poszukiwane.php
Sandrine Ferrito__________Time exposed