Imago Winter 95/96 [antikvár]

There can be no doubt about the need for an ever more closely-knit and copious exchange of values. Even in «/hat is such a narrowly delimited sphere as that of photography, or contemporary visual art, in Europe alone hundreds of periodicals of one form or another are published^ information on what is happening in this or that area or country is highly developed. If we add to that the sharp rise in information made available through computer networks, it might appear that there is nothing on which information is not available. No doubt this is true, but at the same time we are also witnessing an opposite trend in which, while data is available with ever increasing promptness and globailty, it is ever more superficial and perfunctory. Even events, works and individuals who should command more detailed evaluation are left on the periphery in this trend for globalisation, no longer meriting critical scrutiny, but merely a brief report. On the one hand, then, the sufficiency of information is incontrovertible, but so, on the other, is its inadequacy. If we add to this the fact that Europe is in fact made up of numerous Europes, and that for a long time now we have encountered in the press the vague notion of something which Is more and something which is less European, something that is the core of Europe, something that is the periphery - as if geographical inclusion could determine adherence to a spiritual tradition - then it becomes evident that the situation as regards information is far from ideal. It is for such reasons that we have decided to launch a new biannual of photography which would help redress this state of affairs. Our prime ambition is to examine ideas, works and individuals who, in our opinion, are an authentic part of European photography but, for various reasons, do not enjoy the wider recognition they deserve. At the same time, we want to provide space for conversations and discussions that offer perceptive analyses of key issues and the development of visual culture. And, last but not least, we shall provide the fullest possible information on exhibitions, books and events which we feel merit attention. The content of the review will reflect the fact that it is published in Slovakia, in Central Europe, and, understandably, its content will be concerned to a great extent - though by no means exclusively - with what Is happening In this region. This first Issue Is itself an indication of the ground plan on which we shall endeavour to build. Even while preparations for the launch of IMAGO were undenA/ay, we were provided with further proof of how urgently It was required. When we were deciding on an epithet for the review, we discovered that we could not use any combination of the phrase "European photography", for in one European Union country this is, apparently, a registered trade name. It seems to me indicative that'something which would at first sight appear to be, and should be, available to all - as we refer to "world photography" or "contemporary photography" - is already appropriated and registered. If this is anything to go by, no one is any longer entitled to style his project " European" because someone somewhere took a patent out on it years before. I hope that this first issue, and those that follow, will show that despite this legalistic implication that IMAGO is not a European review, it will prove in practice to be just that. We should like the review to fulfil our perception of European photography as a tradition drawn from many sources, cultures and individuals and as a history that is not fixed once and for all, but which continues to acquire new layers, new names, new personalities and new historical realities. Together with all those who contribute to IMAGO we want to participate In the shaping of a new European photography and not merely be passive consumers of something that has thus far been considered to be European. An essential part of this endeavour should be a re-assessment of our perceptions of that tradition. I am convinced that we shall succeed. Vaclav Macek