Trump and ”The society of the spectacle”. Robert Zaretsky

Posted by | February 28 | No Comments on Trump and ”The society of the spectacle”. Robert Zaretsky

We want to thank Robert Zaretsky for this essay, first published in “The New York Times” on the 20th of februari 2017. We see this contribution as a part of the ongoing debate dealing with “The politics and the spectacle”.

Nearly 50 years ago, Guy Debord’s “The Society of the Spectacle” reached bookshelves in France. It was a thin book in a plain white cover, with an obscure publisher and an author who shunned interviews, but its impact was immediate and far-reaching, delivering a social critique that helped shape France’s student protests and disruptions of 1968. “The Society of the Spectacle” is still relevant today. With its descriptions of human social life subsumed by technology and images, it is often cited as a prophecy of the dangers of the internet age now upon us. And perhaps more than any other 20th-century philosophical work, it captures the profoundly odd moment we are now living through, under the presi-dential reign of Donald Trump.
As with the first lines from Jean-Jacques Rousseau’s “The Social Contract” (“Man is born free, and everywhere he is in chains”) and Karl Marx’s “Communist Manifesto” (“The his-tory of all hitherto existing society is the history of class struggles”), Debord, an intellectu-al descendant of both of these thinkers, opens with political praxis couched in high dra-ma: “The whole life of those societies in which modern conditions of production prevail presents itself as an immense accumulation of spectacles. All that once was directly lived has become mere representation.”
In the 220 theses that follow, Debord, a founding member of the avant-garde Situationist group, develops his indictment of “spectacular society.” With this phrase, Debord did not simply mean to damn the mass media. The spectacle was much more than what occupied the screen. Instead, Debord argued, everything that men and women once experienced directly — our ties to the natural and social worlds — was being mulched, masticated and made over into images. And the pixels had become the stuff of our very lives, in which we had relegated ourselves to the role of walk-ons.

The “image,” for Debord, carried the same economic and existential weight as the notion of “commodity” did for Marx. Like body snatchers, commodities and images have hijack-ed what we once naïvely called reality. The authentic nature of the products we make with our hands and the relationships we make with our words have been removed, replaced by their simulacra. Images have become so ubiquitous, Debord warned, that we no longer remember what it is we have lost. As one of his biographers, Andy Merrifield, elaborated, “Spectacular images make us want to forget — indeed, insist we should forget.” But in Debord’s view, forgetting doesn’t absolve us of responsibility. We are not just inno-cent dupes or victims in this cataclysmic shift from being to appearing, he insisted. Rather, we reinforce this state of affairs when we lend our attention to the spectacle.

The sun never sets, Debord dryly noted, “on the empire of modern passivity.” And in this passive state, we surrender ourselves to the spectacle. For Marx, alienation from labor was a defining trait of modernity. We are no longer, he announced, what we make. But even as we were aliena-ted from our working lives, Marx assumed that we could still be ourselves outside of work. For Debord, though, the relentless pounding of images had pulverized even that haven. The consequences are both disastrous and innocuous. “There is no place left where people can discuss the realities which concern them,” Debord concluded, “because they can never lastingly free themselves from the crushing presence of media discourse.” Public spaces, like the agora of Ancient Greece, no longer exist. But having grown as accustomed to the crushing presence of images as we have to the presence of earth’s gravity, we live our lives as if nothing has changed.

Robert Zaretsky specializes in French history when not teaching in The Human Situation. His books include Nîmes at War (Penn State University 1995), Cock and Bull Stories: Folco de Baroncelli and the Invention of the Camargue (Nebraska 2004), and with John Scott, The Philosophers’ Quarrel: Rousseau, Hume, and the Limits of Human Understanding (Yale 2009). His most recent books are Albert Camus: Elements to a Life (Cornell 2010) and, with Alice Conklin and Sarah Fishman, France and its Empire Since 1870 (Oxford 2010). His book “A Life Worth Living: Albert Camus and the Quest for Meaning” was published in 2013 by Harvard UP. His new book, “Boswell’s Enlightenment,” will be published by Harvard in spring 2015, and he is also writing a book on the friendship between Catherine the Great of Russia and the French philosophe Denis Diderot. Zaretsky is also the history editor for the Los Angeles Review of Books, regular columnist for the Jewish Daily Forward and frequent contributor to the New York Times, Boston Globe, Los Angeles Times, Foreign Policy and Chronicle of Higher Education. (Ph.D., University of Virginia).

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Updates Februari 2017

Posted by | February 13 | No Comments on Updates Februari 2017

The countdown has started. 4 month to go. A few more meeting this week. The open call is on untill the end of this month. We are happy for all the upcoming collaboration during the Biennal:
Köpenhamn Fotofestival
Biograf Panora,
Malmö Fotomaraton,
Reclaim photography,
In-discourse / Lokstalarna

We are also delighted to welcome many institutions in the region:
Malmö konsthall,
Malmö museer
Kulturen i Lund.

Looking forwards to the springtime in Sweden

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Open call (Closed)

Posted by | January 24 | Comments Off on Open call (Closed)

Submission deadline: 28th February 2017. The open-call are under review in Mars 2017

To exhibit at this year’s biennale send your project description and images to (Email’s subject: Open Call 2017). Malmö Fotobiennal takes place in the south of Sweden, 30 minutes by train from Copenhagen in Denmark. On its eighth edition we are looking for projects to occupy gallery spaces and also to participate in outdoor exhibitions around the city.

This edition of Malmö Fotobiennal celebrates 50 years since the release of the essay The Society of the Spectacle by French philosopher Guy Debord. Debord devoted his book to understand the structure in which we are living in, where the social relations are interpolated by a society of representations, the being is replaced into having and appearing. To be is to consume, and the images serve as a mediator of the spectacle. We take his work and his concepts as a starting point for Malmö Fotobiennal 2017, an attempt to understand how these ideas would apply to the use of Photography today.


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Februari 2017 in the Press

Posted by | January 13 | No Comments on Februari 2017 in the Press

Så ska Malmö fotobiennal bli nästa år
av Jonas Gillberg

Malmö fotobiennal satsar nästa år på temat ”The society of the spectacle” med frågor om hur sann den fotografiska bilden är. Dessutom blir det fotomaraton, samarbete med Köpenhamns fotofestival och kanske en stor bioduk på Möllevångstorget.

Malmös fotobiennal startade 2003, då under namnet Fotografi i fokus. 2015 års biennal hade mer än 50 000 besökare och 30 gallerier deltog.
Nu har planerandet för 2017 års fotobiennal startat och den kommer att gå under temat ”The society of the spectacle”. Vi ämnar problematisera den fotografiska bilden tillskrivna normer. Fotografi utnyttjas för att propagera och för att sälja. Bilden kan manipuleras och förvrängas i det oändliga. Hur väljer vi att representera vår verklighet? Hur sann är den fotografiska bilden? Temat kan tolkas fritt men vår förhoppning är att få in fotografer vars projekt visar oss parallella historier av ett samhälle i förvandling”, skriver styrelsen i sin avsiktsförklaring. Michel Thomas hoppas få in mer pengar till nästa års biennal.
– Ja, såklart hoppas vi få in mer bidrag än förra året då vi klarade allt på 200 000 kronor. Vilket inte räcker långt med tanke att endast tryck av katalogen gick på 100 000 kronor. Vi vill åter igen visa bilder på stan, typ pannåer på Södra Förstadsgatan. Jag har en vision om att även visa bilder på utomhusbioduk på Möllevångenstorget, säger Michel Thomas och betonar att allt är under planering och väldigt lite är bestämt.
I planerna finns förhoppningar >om samarbete med Köpenhamns fotofestival och Malmö fotomaraton.
– Köpenhamns fotofestival har ett stort urval utställningar som kommer att pågå samtidigt som Biennalen och vi vill gärna samarbeta över sundet. Malmö Fotomaraton kommer att äga rum under samma tid och har en bredd publik av fotoentusiaster. Dessa vi vill även nå, säger Michel Thomas.
Malmö fotobiennal kommer att arrangeras den 9-18 juni 2017.

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Site under reconstruction

Posted by | September 27 | No Comments on Site under reconstruction

Our website was hacked att the end of 2016. We re so sorry but we are have a make-over for the Biennal 2017. You find some samples of the program of the biennal 2015 under the main menu.


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