In this essay I describe two projects within the field of visual art. Both works are examples of how the workflow techniques of digital photography can be modified in order to produce artworks that take on a distinct physicality and objecthood, and, as such, may form a spatial and/or haptic relation with the viewer. I discuss how such an approach relates to the ability of photography to point beyond the physical situation of viewing due to the particular virtuality of the photograph. By relating my work to the ideas of Vilém Flusser and Roland Barthes, recent theory on photography and photographic indexicality, as well as contemporary artistic work, I speculate here on how my own work illuminates perceptions of the photograph and understandings of the role of photography in today’s media culture and economy.


Erik Friis Reitan is a visual artist and currently Ph.D research fellow at Bergen academy of contemporary art. He holds an MA from Trondheim Academy of Fine Art, and a BA in photography from Kent Institute of Art & Design, UK.

Keywords (exposition): photography, technology, materiality, indexicality, virtuality, Installation Art, Roland Barthes, Jeff Wall, Wilem Flusser, Digital, handscroll, installation, Internet, media culture, object, panorama, phenomenology, Erik Friis Reitan, sculpture, semiotics, teleportation, workflow, DIGITAL IMAGING, Handscroll, Media culture, Sculpture, Semiotics, Teleportation, Workflow

Language: English

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