Imago Winter 1996/97 [antikvár]

The Month of Photography in Slovakia has lived to see its sixth year. The first round was cared for by the French in 1991: from the collections of the just founded European House of Photography they borrowed exhibits for seven exhibitions - naturally focusing on their own authors. Following years of censorship behind the iron curtain the French menu was a welcome morsel. In the catalogue issued in its time by the Ministry of Culture of the Slovak Republic, Farideh Cadot and Jean-Luc Monterosso wrote their enthusiastic words: "At a time when Europe is redefining its cultural identity, it seems to us that the Month of Photography in Bratislava is a unique occasion for strengthening mutual relations " Over the past six years much has changed, but not always for the better. On the one hand the Month of Photography in Slovakia has become a festival with a much wider participation than at its debut organized by the French - on the other hand the nineties have demonstrated that for Europe the definition of a new cultural identity is not a matter of course. This can also be felt in Germany, which has lived to see its formal unification. The Slovak festival of photography has found its specific role in presenting authors from Central and Eastern Europe. And this is also the purpose of the Imago Project: to present internationally what hitherto has remained hidden. Unabbreviated translations of all articles into all languages of the participating countries is not possible, for the time being, for financial reasons, A supplement printed on thin paper would not pose a technical problem for the generously conceived magazine. In a situation when in most countries of Central and Eastern Europe photographic periodicals have closed and only profit-motivated magazines persist, it would certainly have been an advantage. Nevertheless, Imago constitutes a valuable publication platform for artists while being a communication forum for writers and fans of information from the given half of Europe. Imago was constituted on the awareness that nobody will articulate on our behalf what we consider to be of importance. The postwar political division of the continent strongly lingers on in culture, irrespective of geographical location. Bohemia, Slovakia, Poland, Hungary and Slovenia are generally described as East European countries. While Vienna is considered to be a West European metropolis. As a native of Prague, closer to Greenwich than a Viennese, I cherish every occasion to return Central Europe in the minds of people to the map of our continent. Imago, with its very existence, is doing its best in this effort in the field of photography. Gratitude is due to all who support this magazine. From issue to issue the magazine is fighting for sun/ival, but if you read these lines, it is a sign that the third issue has seen the light of day. Originally, it was planned that each issue would be prepared by a different member of the editorial board. The rotating editorship was to have secured a more profound variety of content than is usual, as well as the shifting of financial responsibility. Neverthless, preparation of the past issue revealed various drawbacks to this intended system; this has been partially overcome by the fact that Vaclav Macek, the magazinei's founder, has become its permanent editor. It is under his supervision that a group of correspondents are to compete in presenting information about unique contributions to the artistic application of the photographic medium. To prove that this is the editori's ambition was testified to by the introduction of a regular column in which personalities answer the question as to which authors from our part of the continent have enriched the European and international scene. Naturally, there can only be talk of this enrichment if it is genuinely original. It is essential to publish only new - not those included in books - discoveries of history. It is necessary to demand originality even in theoretical and pictorial contributions. If the second issue of Imago is more successful than the first, it shows potential for further growth in the importance of this magazine. As regards diversity of contributions, this may be considered a fortunate circumstance, for its provides synergy. But in the core there remains a hidden problem. The quality of whipped up froth does not lose the taste of the original ingredients. At first glance all appears worldly - but what can this mean for the worid, if is is only a matter of modifying procedures of thought, slowly evolving by the post-war visual culture of the West? The political and economic division of Europe also severed the flow of information.,. No wonder that many around us uncritically adopt models already tested elsewhere. But there must have existed, and in all countries there continue to exist authentic stories of art, taking place in spite of the politics of the day, and even irrespective of it. In this country - similarly as anywhere in the world consciousness of what is to be seen close by. As correspondents of a magazine published in English we should make use of this: the export of belated epigones is counterproductive. Josef Moiicha