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PBM.Radio

Let’s Talk! Sessions

Photobook receptions: yesterday, today and in times of the pandemic

 

Which meaning a photobook develops depends largely on its recipients. Their critical view determines the social relevance and how a book is interpreted – based on the time and context. The potential of photobooks to have an impact, open up new perspectives or leave a mark in our cultural memory can only unfold through the eyes of their readers.

This is where their dynamic potential lies: photobooks address social issues, consolidate them within public discourse and thus interact with it. This process is currently taking place under the influence of a global pandemic resulting in far-reaching social and political upheavals. In addition, the reception of the photobook can significantly accelerate through social media.

This year's "Let's Talk!" Sessions focus on this topic: the past and present of the photobook reception. One area of the programme looks at the current situation and asks about the state of the medium and its producers in the context of the corona pandemic.

These first series of the “Let's Talk!” Sessions launch the new PBM.Radio programme on our You-Tube channel.

 

Click here for the full Let's Talk! program

 

 

  

Photo: Hans Aarsman, Spread from Hollandse Taferelen, Amsterdam 1989

Recommended reading

»I am shocked.«

The Reception of Photobooks.

What would photobooks be without their critical audience? Not much!
The articles in the new issue 35/21 of PhotoResearcher published by the European Society for the History of Photography show exactly that.


In seven case studies, authors examine the relationship between photobooks and their recipients. The selected books are remarkable examples of the history of photography. They have shocked, crossed social boundaries and opened the eyes of entire generations to social and political matters. The issue gives unexpected, fascinating insights into the reception history of well-known photobooks and allows its readers to follow up on how the books and social discourses influence one another.

Click here for PhotoResearcher

 

 

Photo: Michael Schmidt, Spread from Waffenruhe, Berlin 1987

New Release

Photobooks for everyone!


“The Photobook in Art and Society”
Participative Potentials of a Medium

Photography has been undergoing a paradigm shift since the turn of the millennium. The fine art print has been increasingly replaced, making way for the photobook which is experiencing a certain boom. However, it remains to be seen if the medium finds its way out of the ivory tower of the elitist photography scene. Is the photobook capable of establishing a visible literature that is accessible and understandable for everyone?

The PhotoBookMuseum and the Montag Foundation for Art and Society have tackled this question in a collaborative mobile project. Under the motto "World in Transition", the participatory qualities of photo books have been examined on the basis of new communication concepts. In the recent publication, professionals from the fields of science, art practice and culture institutions impressively unveil the social relevance of the medium. The Reader demonstrates how photobooks nowadays, act as a structuring force against the immanent flood of images.

 

PBM tempweb
“The Photobook in Art and Society”
Participative Potentials of a Medium

Montag Stiftung Kunst und Gesellschaft (Ed.)
in cooperation with The PhotoBookMuseum

Swiss brochure binding
16,7 x 24 cm
468 pages, 220 col. und b/w images.
English
Jovis Verlag, 2020
ISBN 978-3-86859-594-9; € 42,80

reading extract

Photo: Sarah Larissa Heuser
About

The PhotoBookMuseum


„The photobook is one of the most important mediums in our culture.“
Manfred Heiting, Photobook Collector, Los Angeles


The PhotoBookMuseum was founded in Cologne in 2014 as a non-profit organisation that aims to foster the photobook as a significant photographic medium. It serves as a public platform for collections, exhibitions and events and is committed to research and education on contemporary photobook culture. As a museum of the twenty-first century it offers an inclusive environment for active involvement with the arts to a diverse audience.

Acting as a mobile museum, it uses innovative exhibition strategies and hosts international curatorial co-operations far away from the mainstream of traditional museums. So far, the PhotoBookMuseum is the only museum in the world that is exclusively dedicated to the medium of photobooks, focusing on its democratic potential.

  • Carlswerk Prototype / Köln / 2014 / Foto: Daniel Zakharov
  • Carlswerk Prototype / Köln / 2014 / Foto: Dieter Röseler
  • Carlswerk Prototype / Köln / 2014 / Foto: Daniel Zakharov
  • Carlswerk Prototype / Köln / 2014 / Foto: Daniel Zakharov
  • Carlswerk Prototype / Köln / 2014 / Foto: Wolfgang Zurborn
  • Carlswerk Prototype / Köln / 2014 / Foto: Daniel Zakharov
  • TRACK-22 / Krakau / 2015 / Foto: Frederic Lezmi
  • TRACK-22 / Krakau / 2015 / Foto: Frederic Lezmi
  • Cargo to Oslo / Oslo / 2015 / Foto: Frederic Lezmi
  • Cargo to Oslo / Oslo / 2015 / Foto: Frederic Lezmi
  • PhotoBookStudy: Reading New York / Barcelona / 2017 / Foto: Frederic Lezmi
  • PhotoBookStudy: Reading New York / Barcelona / 2017 / Foto: Frederic Lezmi
  • Welt im Umbruch / Rostock-Duisburg-Kassel / 2016-2018 / Foto: Eisenhardt Keimeyer
  • Welt im Umbruch / Rostock-Duisburg-Kassel / 2016-2018 / Foto:Marvin Ibo Güngör
  • Welt im Umbruch / Rostock-Duisburg-Kassel / 2016-2018 / Foto:Marvin Ibo Güngör
  • Welt im Umbruch / Rostock-Duisburg-Kassel / 2016-2018 / Foto:Marvin Ibo Güngör
  • Welt im Umbruch / Rostock-Duisburg-Kassel / 2016-2018 / Foto: Thekla Ehling
  • Welt im Umbruch / Rostock-Duisburg-Kassel / 2016-2018 / Foto: Sarah Larissa Heuser
  • Nobody’s Library - Stephen Gill’s Photobooks / Braunschweig / 2018 / Foto: Frederic Lezmi
  • Nobody’s Library - Stephen Gill’s Photobooks / Braunschweig / 2018 / Foto: Frederic Lezmi
  • Nobody’s Library - Stephen Gill’s Photobooks / Braunschweig / 2018 / Foto: Frederic Lezmi
  • DAS CHARGESHEIMER PROJEKT / KÖLN / 2018-2020 / FOTO: DAVID KLAMMER
  • DAS CHARGESHEIMER PROJEKT / KÖLN / 2018-2020 / FOTO: FREDERIC LEZMI
  • DAS CHARGESHEIMER PROJEKT / KÖLN / 2018-2020 / FOTO: DAVID KLAMMER
  • DAS CHARGESHEIMER PROJEKT / KÖLN / 2018-2020 / FOTO: DAVID KLAMMER
  • DAS CHARGESHEIMER PROJEKT / KÖLN / 2018-2020 / FOTO: DAVID KLAMMER
  • DAS CHARGESHEIMER PROJEKT / KÖLN / 2018-2020 / FOTO: MARVIN IBO GÜNGÖR
  • DAS CHARGESHEIMER PROJEKT / KÖLN / 2018-2020 / FOTO: MARVIN IBO GÜNGÖR
  • DAS CHARGESHEIMER PROJEKT / KÖLN / 2018-2020 / FOTO: MARVIN IBO GÜNGÖR
  • DAS CHARGESHEIMER PROJEKT / KÖLN / 2018-2020 / FOTO: MARVIN IBO GÜNGÖR
  • DAS CHARGESHEIMER PROJEKT / KÖLN / 2018-2020 / FOTO: MARVIN IBO GÜNGÖR
  • DAS CHARGESHEIMER PROJEKT / KÖLN / 2018-2020 / FOTO: MARVIN IBO GÜNGÖR
  • DAS CHARGESHEIMER PROJEKT / KÖLN / 2018-2020 / FOTO: MARVIN IBO GÜNGÖR
  • DAS CHARGESHEIMER PROJEKT / KÖLN / 2018-2020 / FOTO: FREDERIC LEZMI
  • DAS CHARGESHEIMER PROJEKT / KÖLN / 2018-2020 / FOTO: FREDERIKE FINSTER
  • DAS CHARGESHEIMER PROJEKT / KÖLN / 2018-2020 / FOTO: FREDERIKE FINSTER
  • DAS CHARGESHEIMER PROJEKT / KÖLN / 2018-2020 / FOTO: FREDERIC LEZMI
  • DAS CHARGESHEIMER PROJEKT / KÖLN / 2018-2020 / FOTO: FREDERIC LEZMI
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