Moderna Museet | Stockholm

Photography is a perfect illustration of Friedrich Nietzsche’s contention that every concept originates by equating the unequal. Strictly speaking, only a techno-chemical process unites everything we refer to as “photographs.” The “promiscuity” of photography—its malleability and tremendously varied applications—tends, however, to be obliterated as soon as we approach the gallery or the museum. In most photo exhibitions the diversity, complexity, and social dimensions of photography are tempered in favor of a formal, esthetic, and apolitical approach. This medium of mass communication par excellence is elevated to art and subjected to a hierarchic system, reducing it to an exclusive, symbolic object.

Post-Modern strategies and uses of photography have to some extent successfully undermined the formal and esthetic reductionism of art photography. Instead of focusing on the medium, this

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