Fotofestival Knokke Heist April-June 20

For the Knokke Heist exhibition, Strand returns to her research archive, producing three new works; The Seven Basic Propositions, The Ragpicker's Tower and 75 Indicative images

The Ragpicker's Tower is a ‘totem’ to research comprising of Strand's selected issues of American pulp magazines. The magazines making up the tower have been much consulted over time, and the evidence of Strand’s speculative selections are clearly marked by dayglow page markers. However, The contents ofThe Ragpicker's Tower is no longer available for consultation, as they are now locked in a vertical tower, fused in a block and held in suspension. Though exuding a particular pulp odor The Ragpicker’s Tower teeters on uselessness, having now become a sealed archive and no more than a monument to the act of research.

75 Indicative Images, Courtesy of the Clare Strand Archive, is a work partly dictated by the number of frames available to her for this exhibit. Strand selected 75 Indicative Images from her archive, though what these images are indicative of is questionable? Those with prior knowledge of Strands work might be able to make viable connections; those without are invited to consider these indications in relationship to their experience.

lare Strand (UK), Andrea Geyer (USA/D), Anouk Kruithof (NL), Olivier Cornil (BE), Noémie Goudal (UK), Benjamin Girette (FR) and Anette Kelm(D)


Strand’s project The Seven Basic Propositions is again resourced from Strand’s archive, this time by utilising the taglines from a selection of 1950's Kodak magazine adverts. These Seven Propositions point to the early excitement about the possibilities for photography as a mass participatory medium. But when removed from their original context and time, and used to drive Google image searches, they take on a different meaning, pointing out the proliferation of photography into every area of our lives. The advertising statements are unequivocal and definite. The Seven Basic Propositions project, however, consciously and playfully reveals the end-point of this promise and reports that, when everything is recorded and made available to everybody, nothing is really unique or individual, and certainly nothing about photography is definate.