[T]he SITUATIONS programme is organised around key clusters: the first was Relations (SITUATIONS #1 to #8), examining the changing social ontology of photography in relation to digital culture. The second cluster Seeing Machines (SITUATION #9 to #19) explored the way that technologies of seeing are increasingly devoid of human agency, the unprecedented power of algorithmic vision developing a new mode of ‘seeing’. Formats (SITUATION #20 to #22), the third cluster, dealt with lost and changing visual formats and the implications of these medial transformations for an examination of art and photography. Cluster four, Vanishing (SITUATION #23 to #27), explored the transitional moments inherent in the act of vanishing and asked how, and in what way, these moments are marked by the dynamics of (re-)configuration and (re-)appearance. Each cluster can be searched and reordered by visitors in the SITUATIONS online archive using a system of tags. Over time, new clusters and combinations – and new virtual exhibitions – will emerge.
The latest cluster, launched on 6 February 2016, is (in)stability (SITUATION #28 to #31). In today’s online culture, we are witnessing radical transformations in the production, distribution and consumption of both still and moving photographic images as they appear on, and migrate across, mobile and interactive displays. Processes of (de)stabilisation are constantly at play, even in the most static forms of archival printed matter. The new cluster traces productive moments of (in)stability in the history and contemporary experience of photography and film.
Submitted by Daniela Schwendimann