with Walter Pfeiffer, In Love With Beauty
Steidl, 2008
Fotomuseum Winterthur's storage

Development Thibaut Villemont 

Font created with Metaflop

Hal Foster, An Archival Impulse OctoberVolume - Issue 110, Fall 2004 p.3-22
David Horvitz, Mood Disorder, 2012
Digital print, 45 x 32 cm
Collection Fotomuseum Winterthur - Inv. no. 2014-026-034
© David Horvitz
David Horvitz
Mood Disorder, 2012
Digital print, 45 x 32 cm
Collection Fotomuseum Winterthur
Inv. no. 2014-026-056
© David Horvitz

Since the invention of computers, the data-storage race has been generating technological debates. The machines are obliged to keep offering more memory to enable us to preserve our own. Like a search engine, our brain uses this external memory more and more, and invents strategies to free itself from the overload of amassed information. It therefore knows where to find the details it needs, without needing to store the contents: a new way to operate our encephalon, approaching a form of artificial intelligence.

FORECAST from Anne de Vries on Vimeo.

Anne de Vries, Katanga Bub, 2011
Foam Fotografiemuseum Amsterdam
Elad Lassry, Egyptian Mau, 2010
C-print, framed, 36.8 x 29.2 cm
Collection Fotomuseum Winterthur, gift Michael Ringier - Inv. no. 2011-002-004
© Elad Lassry / Tom Powel Imaging Inc.
David Horvitz, Mood Disorder, 2012
Digital print, 45 x 32 cm
Collection Fotomuseum Winterthur - Inv. no. 2014-026-052
© David Horvitz

For SITUATIONS, It’s Our Playground will think about the future of the institution through the prism of the Internet and the digital using an online platform dedicated to curation. Taking the Fotomuseum Winterthur collection as a starting point, the duo will select content (online and IRL) and display its research on the evolving website. The upgrading process will happen ‘live’ on the page, meaning online visitors will be able to see the elements moving and being added in real time. New matter and images will then emerge from the curation and juxtaposition of documents.

Richard Hamilton
Growth and form, 1951
Institute of Contemporary Arts (ICA), London
Richard Hamilton
Growth and form, 1951
Institute of Contemporary Arts (ICA), London
Robert Heinecken, Ohne Titel, 1964-1968 (From: Are You Rea)
Lithograph, 32.4 x 25.4 cm
Collection Fotomuseum Winterthur - Inv. no. 2012-036-007
© The Estate of Robert Heinecken
Rémy Markowitsch, Ohne Titel, 2004 (From: On Travel:
Leigh Ledare, Ohne Titel, 2012 (From: Double Bind)
Offset print, 30.9 x 41.3 cm
Collection Fotomuseum Winterthur - Inv. no. 2012-032-448
© Leigh Ledare and mfc-michèle didier
Leigh Ledare, Ohne Titel, 2012 (From: Double Bind)
Offset print, 30.9 x 41.3 cm
Collection Fotomuseum Winterthur - Inv. no. 2012-032-442
© Leigh Ledare and mfc-michèle didier
Leigh Ledare, Ohne Titel, 2012 (From: Double Bind)
Offset print, 30.9 x 41.3 cm
Collection Fotomuseum Winterthur - Inv. no. 2012-032-426
© Leigh Ledare and mfc-michèle didier
Matthias Gabi, Uhr, 2010 (From: Buchdruck)
Inkjet print, 29.7 x 21 cm
Collection Fotomuseum Winterthur - Inv. no. 2011-008-013
© Matthias Gabi
Elad Lassry
Untitled (Assignment), 2018
Elad Lassry
Untitled (assignment), 2018
Elad Lassry
Untitled (Boots, Blue Cord), 2018
Press Text
Elad Lassry
20.09 - 09.12.18
Frac Ile-de-France, Le Plateau
Nicolas Faure, CERN: Stelle Aleph, April 1997 (From: Von einer Schweiz zur anderen)
C-print, 125 x 157 cm
Collection Fotomuseum Winterthur, gift Nicolas Faure
Inv. no. 1998-032-057
© © Fotostiftung Schweiz
Nicolas Faure, CERN: Stelle Delphi, Feb 1997 (From: Von einer Schweiz zur anderen)
C-print, 157 x 125 cm
Collection Fotomuseum Winterthur, gift Nicolas Faure
Inv. no. 1998-032-055
© Fotostiftung Schweiz
Deatils of Nicolas Faure, CERN: Stelle L3, Feb 1997 (From: Von einer Schweiz zur anderen)
C-print, 157 x 125 cm
Collection Fotomuseum Winterthur, gift Nicolas Faure
Inv. no. 1998-032-053
© Fotostiftung Schweiz
Fotomuseum Winterthur's storage
Wendy McMurdo's work in Fotomuseum Winterthur storage. 2018
Rémy Markowitsch, Swan (Schwan), 1995 (From: ÄsopScans)
Elektrostatic print on paper, aluminium, 131 x 200 cm
Collection Fotomuseum Winterthur, gift Rémy Markowitsch - Inv. no. 2007-013-010
© Rémy Markowitsch
Rémy Markowitsch, Snake (Schlange), 1995 (From: ÄsopScans)
Elektrostatic print on paper, aluminium, 98 x 131 cm
Collection Fotomuseum Winterthur, gift Rémy Markowitsch - Inv. no. 2007-013-011
© Rémy Markowitsch
Leigh Ledare, Ohne Titel, 2012 (From: Double Bind)Offset print, 30.9 x 41.3 cmCollection Fotomuseum Winterthur - Inv. no. 2012-032-043© Leigh Ledare and mfc-michèle didier

PHOTOSHOP BRAIN SYNDROME

As artists, we create images, and as curators we believe in their potential – the potential to travel, to spread and to inspire. The stroboscopic effects that flow across our screens largely produce constellations of attractive images, colours, shapes and textures; materials, artists’ names, sources and exhibition venues all intermingle.

Unlike the view of an exhibition taken by camera, that which is imprinted on our retina in our huge memory library is subject to our fleeting moods, emotional states and the vicissitudes of ageing. We mentally impose filters on these images, these memories of visits, similar to those produced by the inventors of Photoshop, the photo touch-up software produced by the Knoll brothers at the end of the 1980s and marketed by Adobe in 1990.

Our neurons, suffering from PBS, thus turn part of our brain into a kind of Adobe suite containing photo touch-up software, desktop publishing software, graphic design software all used as a crutch to our memories. Our brains now have the resources they need to transform this excess of artworks into raw materials1. Far from the kind of saturation potentially caused by the consumption of exponential numbers of images every day, artists have right in front of them a new material to be manipulated, copied, displayed, a raw material for new works.

Since IT tools were invented, the drive to store data has been central to technological discussions. Machines must be equipped with ever-increasing amounts of memory to allow us to preserve our own. Just like search engines, our brains increasingly use these external memories and invent strategies to cope with an excess of stored information. They know where to go to seek the information they need, without having to store content. This new way of using our brains is increasingly close to a form of artificial intelligence. Brains contaminated by this nervous disorder become galleries, museums, studios, palettes. As we are not doctors, much less consultants. we find it still too difficult to know what proportion of the world population is affected by Photoshop Brain Syndrome.

IOP - (Extract from Photoshop Bain Syndrome published in Augmented Photography by ECAL, 2017)

1 - It's Our Playground, Mental Matter at Les Bains-Douches, Alençon 2016.

Ane de Vries, Submisson, Cell Project Space, 2016
Omar Kholeif, 2018
Goodbye, World! Looking at Art in the Digital Age
Sternberg Press
Omar Kholeif
Goodbye, World! Looking at Art in the Digital Age, 2018
Sternberg Press, Berlin
Gavin Wade
Steal This Book, 2018
Gavin Wade
UpcycleThis Book, 2018
Book Works, London
Constant Dullaart, Jennifer in Paradise, 2013
SITUATION #68, SITUATIONS/Placeholder
Installation view at Fotomuseum Winterthur, 2017
© Philipp Ottendörfer
Jennifer_in_Paradise, restored digital image re-distributed online with steganographically encrypted message, 2013
© Constant Dullaart

Dear Jennifer,

Sometime in 1987, you were sitting on a beach in Bora Bora, looking at To'opua island, enjoying a holiday with a very serious boyfriend. The serious boyfriend, John, took a photograph of you sitting on the beach, not wearing your bikini top. John later became your husband and father to your children Sarah, Lisa, Alex and Jane.

This photograph of a beautiful moment in your personal history has also become a part of my history, and that of many other people; it has even shaped our outlooks on the world at large. John's image of you became the first image to be publicly altered by the most influential image manipulation program ever. Of course, this is why I know the names of your children, and this is also why I know about the cool things you do trying to get a .green top level domain name to promote environmental sustainability. (Although, personally, I believe that the importance of the domain name has been reduced to a nostalgic, poetic value).

I still wonder if you felt the world change there on that beach. The fact that reality would be more moldable, that normal people could change their history, brighten up their past, and put twirl effects on their faces? That holiday image was distributed with the first demo editions of Photoshop, and your intimate beach moment became the reality for many people to play with. Two Jennifers, no Jennifer, less clouds, etc. In essence, it was the very first photoshop meme—but now the image is nowhere to be found online.

Did John ask you if he could use the image? Did you enjoy seeing yourself on the screen as much as he did? Did you think you would be the muse that would inspire so much contemporary image making? Did you ever print out the image? Would you be willing to share it with me, and so, the other people for whom it took on such an unexpected significance? Shouldn’t the Smithsonian have the negative of that image, not to mention digital backups of its endless variations?

All these questions have made me decide to redistribute the image ‘jennifer in paradise’ as well as I can, somewhat as an artist, somewhat as a digital archeologist, restoring what few traces of it I could find. It was sad to realize this blurry screen grab was the closest I could get to the image, but beautiful at the same time. How often do you find an important image that is not online in several different sizes already?

I have two exhibitions opening this coming Saturday in Berlin, Germany. Both of them are called Jennifer in Paradise. And you, or at least your depiction, play a central part in these exhibitions. A faint, blurry, pixelated focal point. To celebrate the time that you were young, and the world was young, as it still naïvely believed in the authenticity of the photograph.

Sometimes, when I am anxious about the future of our surveilled, computer-mediated world, when I worry about cultural imperialism and the politics behind software design, I imagine myself traveling back in time. just like the Terminator, to that important moment in technological world history, there on the beach in Bora Bora. And just sit there with you, watching the tide roll away.

Sincerely,

Constant Dullaart

From : http://rhizome.org/editorial/2013/sep/5/letter-jennifer-knoll/

Matthias Gabi, Torso, 2010 (From: Buchdruck)
Inkjet print, 29.7 x 21 cm
Collection Fotomuseum Winterthur - Inv. no. 2011-008-006
© Matthias Gabi
Max Pinckers, Mona Lisa, 2012 (From: The Fourth Wall)
Inkjet print, 33 x 27 cm
Collection Fotomuseum Winterthur, acquisition with funds from Blickpunkt LebensraumInv.
no. 2014-015-041
© 2012 Max Pinckers
Leigh Ledare, Ohne Titel, 2012 (From: Double Bind)
Offset print, 30.9 x 41.3 cm
Collection Fotomuseum Winterthur - Inv. no. 2012-032-048
Katja Novitskova, Approximations III, digital print on aluminum dibond, cutout display, 2013
Exhibition view
Beastly / Tierisch, 2015
Duncan Forbes & Daniela Jansen(Eds.)
Spector Books
Leigh Ledare, Ohne Titel, 2012 (From: Double Bind)
Offset print, 30.9 x 41.3 cm
Collection Fotomuseum
Winterthur - Inv. no. 2012-032-209
© Leigh Ledare and mfc-michèle didier
e-flux journal #94 — october 2018
Boris Groys, Curating in the Post-Internet Age
e-flux journal #94 — october 2018
Boris Groys, Curating in the Post-Internet Age
e-flux journal #94 — october 2018
Boris Groys, Curating in the Post-Internet Age
e-flux journal #94 — october 2018
Boris Groys, Curating in the Post-Internet Age
e-flux journal #94 — october 2018
Boris Groys, Curating in the Post-Internet Age
e-flux journal #94 — october 2018
Boris Groys, Curating in the Post-Internet Age
It's Our Playground, Infinite Memory, www.galeriechezvalentin.com/ 2017
It's Our Playground, Infinite Memory, www.galeriechezvalentin.com/ 2017
It's Our Playground, Infinite Memory, www.galeriechezvalentin.com/ 2017
It's Our Playground, Infinite Memory, www.galeriechezvalentin.com/ 2017
It's Our Playground, Infinite Memory, www.galeriechezvalentin.com/ 2017
It's Our Playground, Infinite Memory, www.galeriechezvalentin.com/ 2017
Simon Fugiwara, The Happy Museum, 2016 (with Daniel Fujiwara)
Exhibition view at Lafayette Anticipations, Paris
Simon Fugiwara, The Happy Museum, 2016 (with Daniel Fujiwara)
Exhibition view at Lafayette Anticipations, Paris
Simon Fugiwara, The Happy Museum, 2016 (with Daniel Fujiwara)
Exhibition view at Lafayette Anticipations, Paris
Annelies Štrba, Ån 1999, 1999 (From: Lost Garden)
Digital print, 20.5 x 29.2 cm
Collection Fotomuseum Winterthur, permanent loan Sammlung Andreas Züst
Inv. no. 2004-015-019
© Annelies Štrba
Aneta Grzeszykowska, Selfie #10, 2014Inkjet print, 27 x 36 cm
Collection Fotomuseum Winterthur - Inv. no. 2014-039-003
© Aneta Grzeszykowska
Becky Beasley, Curtains (l), 2009
Gelatin-silver print behind Plexi,181 x 70.5 cm
Collection Fotomuseum Winterthur - Inv. no. 2010-018-001
© © Becky Beasley
Liza May Post, Ohne Titel, 1994
C-print, 137 x 150 cm
Collection Fotomuseum Winterthur - Inv. no. 1998-021-002
© Liza May Post
Liza May Post, Ohne Titel, 1994
C-print, 137 x 150 cm
Collection Fotomuseum Winterthur - Inv. no. 1998-021-002
© Liza May Post
Fischli Weiss, Ohne Titel, 1999 (From: Flowers)
Inkjet print, 60.5 x 85 cm
Collection Fotomuseum Winterthur - Inv. no. 2004-005-001
© Peter Fischli David Weiss
Jacques Berthet, Ohne Titel, 1997/98
C-print, 74 x 73 cm
Collection Fotomuseum Winterthur - Inv. no. 1998-029-007
© Jacques Berthet
Marcel Stüssi, Im Botanischen Garten, Basel (am 25. Juni), 1978
C-print, 65 x 75 cm
Collection Fotomuseum Winterthur, gift Estate of Marcel Stüssi - Inv. no. 2000-001-196
© Nachlass Marcel Stüssi
James Welling, Page 232, from Nancy Newhall and Paul Strand's Time in New England, 1950, 2012
(From: Time in New England, Regained / Aperture Remix))
Inkjet print, 27.9 x 21.6 cm
Collection Fotomuseum Winterthur - Inv. no. 2012-015-025
© James Welling
Fazal Sheikh, Krishna icon sleeping, Vrindavan, India, 2005 (From: Moksha)
Inkjet print, 52 x 65 cm
Collection Fotomuseum Winterthur, gift Jane Watkins - Inv. no. 2009-012-034
© Fazal Sheikh
Katja Richter, Ohne Titel, 2005 (From: Ein Auge für dein Auge)
C-print, 66 x 48.5 cm
Collection Fotomuseum Winterthur, gift Ulrich Görlich - Inv. no. 2011-027-001
Curtain designed by Frank Lloyd Wright, ca. 1955
Woven rayon and cotton, 193 x 213.4 cm
From the New York Metropolitan Museum of Art, collection
© 2018 Artists Rights Society (ARS), New York
William Morris, ca. 1882
Woven Cotton, 269.2 x 129.5 cm
From the New York Metropolitan Museum of Art collection
Gift of Mrs. Joseph M. Shapiro, 1962
Annelies Štrba, Ån 1999, 1999 (From: Lost Garden)
Digital print, 20.5 x 29.2 cm
Collection Fotomuseum Winterthur, permanent loan Sammlung Andreas Züst
Inv. no. 2004-015-018
© Annelies Štrba
Max Pinckers, Ohne Titel, 2012 (From: The Fourth Wall)
Inkjet print, 27 x 33 cm
Collection Fotomuseum Winterthur, acquisition with funds from Blickpunkt Lebensraum
Inv. no. 2014-015-083
© 2012 Max Pinckers
Mikiko Hara, Ohne Titel, 1998 (From: Agnus Dei)
C-print, 44.5 x 44.5 cm
Collection Fotomuseum Winterthur, gift Mikiko Hara and Galerie Bob van Orsouw
Inv. no. 2012-031-002
© Mikiko Hara
Jordan Wolfson
Untitled, 2018
Aluminium panel, ½'' hot rolled steel cleats, UV printed inks, gloss varnish, oil based gloss black enamel, black marker
Sadie Coles HQ
Ian Wallace
In the studio (the table), 2015
Photolaminate and acrylic on canvas, 61 x 61 cm.
David Maljkovic
Yet to be titled, 2017
Inkjet print on cotton canvas mounted on aluminium composite panel, laser drawings
Michael Riedel
Untitled (Packing Material Turquoise), 2013
Inkjet Print on canvas
John Baldessari
All Z's (Picabia/Mondrian):Zap, 2017
Varnished inkjet print on canvas with acrylic paint
John Baldessari
All Z's (Picabia/Mondrian):Zap, 2017
Varnished inkjet print on canvas with acrylic paintMarian Goodman
Leigh Ledare, Ohne Titel, 2012 (From: Double Bind)
Offset print, 30.9 x 41.3 cm
Collection Fotomuseum Winterthur
© Leigh Ledare and mfc-michèle didier
Leigh Ledare, Ohne Titel, 2012 (From: Double Bind)
Offset print, 30.9 x 41.3 cm
Collection Fotomuseum Winterthur
© Leigh Ledare and mfc-michèle didier
Leigh Ledare, Ohne Titel, 2012 (From: Double Bind)
Offset print, 30.9 x 41.3 cm
Collection Fotomuseum Winterthur
© Leigh Ledare and mfc-michèle didier
Leigh Ledare, Ohne Titel, 2012 (From: Double Bind)
Offset print, 30.9 x 41.3 cm
Collection Fotomuseum Winterthur
© Leigh Ledare and mfc-michèle didier
Leigh Ledare, Ohne Titel, 2012 (From: Double Bind)
Offset print, 30.9 x 41.3 cm
Collection Fotomuseum Winterthur
© Leigh Ledare and mfc-michèle didier
Leigh Ledare, Ohne Titel, 2012 (From: Double Bind)
Offset print, 30.9 x 41.3 cm
Collection Fotomuseum Winterthur
© Leigh Ledare and mfc-michèle didier
Leigh Ledare, Ohne Titel, 2012 (From: Double Bind)
Offset print, 30.9 x 41.3 cm
Collection Fotomuseum Winterthur
© Leigh Ledare and mfc-michèle didier
Leigh Ledare, Ohne Titel, 2012 (From: Double Bind)
Offset print, 30.9 x 41.3 cm
Collection Fotomuseum Winterthur
© Leigh Ledare and mfc-michèle didier
Leigh Ledare, Ohne Titel, 2012 (From: Double Bind)
Offset print, 30.9 x 41.3 cm
Collection Fotomuseum Winterthur
© Leigh Ledare and mfc-michèle didier
Leigh Ledare, Ohne Titel, 2012 (From: Double Bind)
Offset print, 30.9 x 41.3 cm
Collection Fotomuseum Winterthur
© Leigh Ledare and mfc-michèle didier
Leigh Ledare, Ohne Titel, 2012 (From: Double Bind)
Offset print, 30.9 x 41.3 cm
Collection Fotomuseum Winterthur
© Leigh Ledare and mfc-michèle didier
Leigh Ledare, Ohne Titel, 2012 (From: Double Bind)
Offset print, 30.9 x 41.3 cm
Collection Fotomuseum Winterthur
© Leigh Ledare and mfc-michèle didier
Leigh Ledare, Ohne Titel, 2012 (From: Double Bind)
Offset print, 30.9 x 41.3 cm
Collection Fotomuseum Winterthur
© Leigh Ledare and mfc-michèle didier
Leigh Ledare, Ohne Titel, 2012 (From: Double Bind)
Offset print, 30.9 x 41.3 cm
Collection Fotomuseum Winterthur
© Leigh Ledare and mfc-michèle didier
Leigh Ledare, Ohne Titel, 2012 (From: Double Bind)
Offset print, 30.9 x 41.3 cm
Collection Fotomuseum Winterthur
© Leigh Ledare and mfc-michèle didier
Leigh Ledare, Ohne Titel, 2012 (From: Double Bind)
Offset print, 30.9 x 41.3 cm
Collection Fotomuseum Winterthur
© Leigh Ledare and mfc-michèle didier
Hal Fischer
Figure 1, 1977 / 2014
From: Gay Semiotics
Inkjet print, 50.8 x 40.6 cm
Collection Fotomuseum Winterthur
Inv. no. 2014-051-001
© © Hal Fischer
Hal Fischer
Figure 2, 1977 / 2014
From: Gay Semiotics
Inkjet print, 50.8 x 40.6 cm
Collection Fotomuseum Winterthur
Inv. no. 2014-051-002
© © Hal Fischer
Hal Fischer
Figure 4, 1977 / 2014
From: Gay Semiotics
Inkjet print, 50.8 x 40.6 cm
Collection Fotomuseum Winterthur
Inv. no. 2014-051-004
© © Hal Fischer
W.P.
Tina Hage, Universal Pattern II, 2008
Inkjet-print, 102 x 124 cm
Collection Fotomuseum Winterthur - Inv. no. 2010-009-001b
© Tina Hage
W.P.
W.P.
W.P.
*Walter Pfeiffer
Bildrausch. Drawings 1966 – 2018
Editions Patrick Frey, 2018
*Walter Pfeiffer
Bildrausch. Drawings 1966 – 2018
Editions Patrick Frey, 2018
*Walter Pfeiffer
Bildrausch. Drawings 1966 – 2018
Editions Patrick Frey, 2018
Nicolas Faure, CERN: Stelle Aleph, April 1997 (From: Von einer Schweiz zur anderen)
C-print, 125 x 157 cm
Collection Fotomuseum Winterthur, gift Nicolas Faure
Inv. no. 1998-032-052
© Fotostiftung Schweiz
Nicolas Faure, CERN: Stelle Delphi, Feb 1997 (From: Von einer Schweiz zur anderen)
C-print, 157 x 125 cm
Collection Fotomuseum Winterthur, gift Nicolas Faure
Inv. no. 1998-032-056
© Fotostiftung Schweiz
Nicolas Faure, CERN: Stelle Delphi, Feb 1997 (From: Von einer Schweiz zur anderen)
C-print, 157 x 125 cm
Collection Fotomuseum Winterthur, gift Nicolas Faure
Inv. no. 1998-032-056
© Fotostiftung Schweiz
Max Pinckers, Mona Lisa, 2012 (From: The Fourth Wall)
Inkjet print, 33 x 27 cm
Collection Fotomuseum Winterthur, acquisition with funds from Blickpunkt LebensraumInv.
no. 2014-015-041
© 2012 Max Pinckers
Elad Lassry, Egyptian Mau, 2010 in Fotomuseum Winterthur's storage
Wendy McMurdo
Computer Class, Edinburgh I, 1997
C-print, 139 x 142 cm
Collection Fotomuseum Winterthur
Inv. no. 1999-006-001
© Wendy McMurdo
Jacques Berthet, Ohne Titel, 1997/98
C-print, 74 x 73 cm
Collection Fotomuseum Winterthur - Inv. no. 1998-029-007
© Jacques Berthet
Wendy McMurdo
Computer Class, Edinburgh II, 1997
C-print,139 x 143 cm
Collection Fotomuseum Winterthur
Inv. no. 1999-006-002
© Wendy McMurdo
Jacques Berthet, Ohne Titel, 1997/98
C-print, 74 x 73 cm
Collection Fotomuseum Winterthur - Inv. no. 1998-029-003
© Jacques Berthet
Jacques Berthet, Ohne Titel, 1997/98
C-print, 74 x 73 cm
Collection Fotomuseum Winterthur - Inv. no. 1998-029-002
© Jacques Berthet
Jacques Berthet, Ohne Titel, 1997/98
C-print, 74 x 73 cm
Collection Fotomuseum Winterthur - Inv. no. 1998-029-002
© Jacques Berthet
With Vivianne Sassen's book
Adrian Sauer, Glossar, 2017
Adrian Sauer, Glossar, 2017
Adrian Sauer, Glossar, 2017
Adrian Sauer, Glossar, 2017