Author initial: C

Image Archive Vienna

“Antique paper lover, photos, ephemera. Feeding the archive mostly with flea market finds.

Interested in contemporary art for a long time I started collecting photography some years ago with a stereoview, a technique unknown to me before. out of curiosity… and developed a interest in antique photography; buying most of the photos, prints, drawings, books i have on flea markets or local shops;

collecting without hierarchy; thinking about A.Warburg a lot;

Creating INTERMEDIATES: pattern images, tableau collages, collages and graphical works as intermediates to leave the dry archive space to maybe reach people that are not as fascinated by single images, details or collections or the research thereof as I am…

My takeover put me in the position to bring my collection in some kind of order for that project, what was new for me; which to choose and how to display? Exploring different variations; each one altering the original what is unwanted, as archivist, enjoying the pure existence of an object.”

Suspension of Disbelief

DAY 4: “Missing Heads”

In the late 1800s, “trick photos” pushed the boundaries of photography’s claims to represent truth and reality. Among several popular themes were photos of people with “missing heads”. Achieved through photo-montage, double exposures and other techniques, these fake decapitation images were meant to both startle and amuse. 

The intense interest in decapitation was likely inspired by stage magic. In the Victorian era magicians often performed illusions featuring decapitation and “talking heads” — a motif that was quickly picked up by photographers.

During WWI images of fake decapitations were also common in military portraits – as soldiers often embraced comical attitudes toward death and dismemberment to help cope with theirs fears and the horrors of war.

Christine Marie Serchia

UK based curator, designer, and Art Director who uses research to define considered visual concepts for the creative and retail industries. She produces high quality image and film content, develop visually memorable campaigns that highlight brand qualities and narratives, curate content and exhibitions, and form creative and commercial partnerships with talented artists and collaborators. She’s been awarded for providing innovative solutions and proposing ideas that inspire others.

Founder of Just Friends Studio, a collaborative arts organisation, which publishes, designs, and creates conceptual work about the relationships most important to us.

Curator of exhibitions and photographic publications for Valentine Editions, a digital platform for case studies on photography and promoting the creative explorations of visionary humans.

Director of SERCHIA, a residential not-for-profit gallery in Bristol, UK celebrating ways of seeing and recognising artists whom make visible what would otherwise never be seen.

Named ‘Best Art Directors of 2020’ by Creativepool

Macaroni Book

Macaronibook is an independent publishing house founded by the photographer and visual artist Camille Carbonaro in 2016 based in Brussels. It focuses on photographic and poetic projects that deal about memory, identity, genealogy and exile with a particular attention to the relation between pictures, archives and texts.

It’s driven by a spirit of independence and permanent research of the harmony between paper, printing and images through the publication of hand made book-object and fanzines in a limited number of copies.”

1 – Thibault Tourmente

2 – Prune Phi

3 – Antonia Petritti

4 – Maria Vittoria Desiato

5 & 6 – Milica Stefanovic

7 – Païen

8 – Quentin Yvelin

Shadow over Shadow

“Shadow over Shadow” is a research about the tropes and genre conventions of film noir.

“A dark street in the early morning hours, splashed with a sudden downpour. Lamps form haloes in the murk. In a walk-up room, filled with the intermittent flashing of a neon sign from across the street, a man is waiting to murder or be murdered. (…) Standard lamps fallen on pile carpets, spilling a fan of light about the face of a corpse; interrogation rooms filled with nervous police, the witness framed at their center under a spotlight, heels clicking along subway or elevated platforms at night. (…) Here is a world where it is always night, always foggy or wet, filled with gunshots and sobs, where men wear turned-down brims on their hats and women loom in fur coats, guns thrust deep in their pockets…
And above all, shadow over shadow over shadow.”