Projects
What happens when people who are usually deprived of actively participating in the world of media and news-making receive an opportunity to express themselves? What if these people become photographers of their own reality? What would they focus on, and how would these perspectives differ from the world views conveyed to us by the media every day?
What happens when people who are usually deprived of actively participating in the world of media and news-making receive an opportunity to express themselves? What if these people become photographers of their own reality? What would they focus on, and how would these perspectives differ from the world views conveyed to us by the media every day?
In a period between 5 and 12 weeks, ipsum-photographers have the possibility to get to know photography in different modules and on simple technical grounds, they learn to use it and question it as a means of expression.
The focus lies on the topic that is chosen individually by each ipsum-photographer. By searching for personal points of interest, many aspects become visible that have so far remained unnoticed. Everyday aspects appear in a new light. Within the group, results are discussed and analyzed. ipsum-photographers as well as project-conductors are involved in a mutual and constant process of learning and reflecting.
At the end of the modules, the ipsum-photographers decide by themselves whether they wish to present their works. In smaller groups, different presentation concepts are developed and realized.
The ipsum-projects can be adapted to the special needs and requirements of different groups of age and different regions. When assembling the workshop groups, ipsum strives to make them as heterogeneous as possible, in order to enhance dialogue on different levels within the group. People with different social, political or religious backgrounds come together in working groups composed of 12 persons each. A balanced participation of men and women is a further objective. Should the ipsum-photographers insist to work in separated groups, this wish is respected.
Project Structure
The conceptualization of the ipsum-projects are based on the assumption that they can be easily implemented everywhere. The ipsum-photographers are accorded greatest possible liberty and independence. The ipsum-projects consist of three parts:
Part I: Introduction – Basics of Photography
At the beginning of the ipsum-projects, the ipsum-photographers get acquainted with photography on a practical level. Physical and chemical basics within photography are approached through the pinhole camera, with the overall objective of using it as a means of expression. Photos are created that have been taken with simple cardboard shoeboxes and that are then developed by the participants. Light and shadow as key elements of photography are observed particularly through various experiments.
Part II: Generative Topics
The ipsum-photographers choose their generative topics. As they search for individual points of interest, they perceive their surroundings more consciously and thoroughly: Many aspects become visible that have so far remained unnoticed. The everyday reality is taken in through a new angle. With analogue compact cameras, the ipsum-photographers are challenged to develop their own generative topics.
It is not only the own work that plays a role. In groups, the results are presented, discussed and reflected upon. ipsum-photographers as well as project-conductors are in a constant and mutual education process.
Part III: Presentation and Sustainability
In the third part of the project, the ipsum-photographers decide whether or not they want to present their work to the public. A central element of each project is the discussion on publication of the own works and a critical reflection on copyright and author’s rights.
Through public presentations in their surroundings, the ipsum-photographers develop their own approach towards the planning and creation of a presentation mode and thus also have the possibility of letting their works get in touch with a larger public. Thus, they can observe what reactions their pictures provoke and they receive important impulses for their work on generative topics in the future.
