Michael Binuko Sri Herawan
A little questioning about the photographic habitus that contains representation and evidence, seems to place photography in line with the breath of the Postmodern and even contemporary movement. This underlines that this media has always been an important target of discussion in the field of visual media discourse today. It became a controversy in the art world in the Modern era, instead of bringing photography into a medium that had a significant impact on art practices in the Postmodern and Contemporary eras. Therefore, it stands to reason that today we need to observe photography practices in various cultural backgrounds and how they respond to this media through practitioners who take photography media seriously from various conceptual approaches. The Bandung Photo Showcase is a photography festival that involves academic-based practitioners, critics, writers, and curators from various countries to map and reformulate new practices and possibilities through this media. Through this festival, we also hope to formulate new parameters on how to respond to photographic media in wider applications in the future, and placing Bandung and the academics involved can become important coordinates in the constellation of media practice and photography discourse in the Southeast Asia region or the world. During the research activities, the Team had several limited meetings to organize this activity, such as: determining a curator, designing a schedule, contacting showrooms and related institutions, as well as collecting data on potential sponsors in order to help organize this event.
Penerapa Karya Seni/Desain/Arsitektur/Perencanaan Wilayah, Penerapan Karya Tulis
The development of photography media technology today is experiencing significant changes both in practice, its impact, and discourse. From the beginning it was discovered, photography has a tendency of negation rather than affirmation, in other words, photography has always breathed an air of controversy from the beginning to the present day. Even in the ontological area, the media habitus of photography is being questioned again when digital photography technology dominates its current practice. As the most influential medium in visual culture, photography is not only about producing images, but also has the tendency to shape perceptions and ways of seeing. As a media that produces visuals and was born in the era of the Industrial Revolution, photography has been directly involved in the development of visual aesthetics after the Industrial Revolution in various parts of the world. On the other hand, photography is an industrial commodity that forms visual culture to this day along with the development of media technology. Industry and the phenomena that it affects will always be the mainstay of civilization change, photography is no exception. The use of cameras that produce photographic images is currently integrated with everyone, from cameras on smartphones to high-resolution cameras, plus surveillance cameras such as CCTV and so on. Therefore, it is not wise if the discussion of photography practice only touches on technological developments, however the discourse area, impacts on society, habitus, and the visual aesthetic approach should be a more serious discussion.