POSTPONED – Editing as Practice: Developing Personal Voice
19–31 July 2021
Machine Matter, 2017, filmstill.
Either Fortress Hohensalzburg (on site) or online*
English (Bengali also available)
What to bring Laptop/tablet with camera and microphone (if possible with basic photo-editing software [Photoshop, Adobe Bridge/Lightroom], digital camera (if available), material from ongoing projects (photographs, archival material, notes-scans).
Requirements Ongoing artistic/research project (about 60 working images), willingness to work in a group.
Maximum number of participants
12 on site, 6 online
Participation fee € 640,– (€ 480,–)
Postponed to 2022!
"I always listen to what I can leave out."(Miles Davis). How can we listen to what's not there? Spaces behind the images (notes) and the silence from which pictures (music) emerge. We are living in a time where ninety-five million photos are uploaded every day on Instagram alone. In such a time of constant visual feed, how can we create a voice and give meaning to our work? How can we listen through images and value authorship?
The focus of the course is to understand editing as a practice and a continuous process. By engaging with the idea of sequencing and narrative building, students explore how editing can create, alter and influence new meanings in our work. Students learn to analyse various theories and approaches to editing and look at the conjunction of flow, pace and rhythm in a narrative. By drawing parallels between composing music, cinema practices and textual forms, students explore various materials – taken or found, documentary or fiction – to understand editing in contemporary image-making practices. How can the same body of work respond to the needs of different forms of representation, such as for digital platforms, physical exhibition or as a book?
Students learn from intense dialogue about ongoing personal works, paired with one-on-one consultations. Other students’ engagements involve dissecting, juxtaposing and analysing a variety of critical work by other artists and photographers, while I will share personal experiences and approaches, from conceptualisation to exhibiting.
*If necessary, the course may be held exclusively online.
Wasif Munem‘s photography and film investigates conceptions of ‘documents’ and ‘archives’ and their corresponding influence on politically and geographically complex issues. Expressionistic in style and long term in method, Wasif often experiments beyond tradition, testing the possibilities of fiction through a familiar documentary language.
Solo exhibitions 2017Jomin o Joban, Project 88, Mumbai (IN). 2016Land of Undefined Territories, Dhaka Art Summit, Dhaka. 2015In God We Trust, 247 Gallery, Paris. 2012Salt Water Tears, Musée du sel, La Réunion (FR). 2010Salt Water Tears, Kunsthal Rotterdam, Rotterdam (NL). 2009Salt Water Tears, Prix Pictet, Mall Gallery, London.
Group exhibitions 2021 Land of Undefined Territories, Listening to the stones, Kunsthaus Dresden (DE). Seeds Shall Set Us Free II,Staple: What’s on your plate, Hayy Jameel, Jeddah (SA). 2020 Seeds Shall Set Us Free II, You and I don’t live in same planet, Taipei Biennale, Taipei (TW). 2019Seeds Shall Set Us Free II, Cosmopolis #2: Rethinking the Human, Centre Pompidou, Paris. Spring Song, Homelands: Art from Bangladesh, India, and Pakistan, Kettle Yard, Cambridge (UK). Machine Matters, Leaving the Echo Chamber, Sharjah Biennial 14, Sharjah (AE). Land of Undefined Territories, Undefined Territories. Perspectives on Colonial Legacies, Museu d'Art Contemporani de Barcelona, Barcelona (ES). 2018 Kheyal, 9th Asia Pacific Triennale of Contemporary art, Qagoma, Brisbane (AU). Machine Matter, A beast, a god, and a line, Museum of Modern Art, Warsaw. Seeds Shall Set Us free, Bearing Points, Dhaka Art Summit, Dhaka. 2017 Land of Undefined Territories, Prix Pictet Space, V&A Museum, London. 2016 Land of Undefined Territories, The Eighth Climate (What does art do?), Gwangju Biennale, Gwangju (KR). Land of Undefined Territories, An atlas of mirrors, Singapore Biennale, Singapore. 2016In God We Trust, You Cannot Cross the Sea Merely by Staring at the Waves, Krinzinger Projekte, Vienna.
Publications Homelands: Art from Bangladesh, India & Pakistan, exh.-cat., Kettle's Yard, Cambridge 2020.
Omer Kholeif, Making New Time, Sharjah Art Foundation, Sharjah 2019.
Wasif Munem, Belonging, edition, Clémentine de la Féronnière, Paris 2013.
Wasif Munem, Larmes salées / Salty Tears, Images Plurielles, Marseille 2011.
Wasif Munem, Kamra 1 & 2, with Tanzim Wahab, Kamra, Dhaka 2011–2013.