SUPRAVISION: PHOTOGRAPHY AND THE VISUAL SERVITUDE OF THE UNSEEN
(« Supravision : La photographie et la servitude visuelle de l’invisible»)
Un projet de Brad Feuerhelm (Londres, Royaume-Uni)
Présenté par COSMOS
“In regione caecorum rex EST luscus”
“Au royaume des aveugles, les borgnes sont rois”
Brad Feuerhelm is a photography collector, curator, dealer, and writer on photography. He is also a photographer.He has published several books on his collection and has exhibited his collection of photography widely.
In 2012, he published his first book with Self Publish Be Happy (Coll. MOMA, NY) and in 2013 he published his second book TV Casualty on the Kennedy Assassination and popular screen culture with Archive of Modern Conflict. He has contributed his writings and collection to Granta, British Journal of Photography, Photography & Culture, Art Review, Dazed & Confused, and American Suburb X. He has also promoted shows such as On the Ephemeral In Photography (Hotshoe, 2011), Haunting the Chapel: Photography and Dissolution (Daniel Blau Ltd., 2012), On Paraphotography: Uncertainty, the Uncanny & the Occult (Harlan Levey Projects, 2013), And Unnatural Selection: Nice Women Artists Respond to the Collection of Brad Feuerhelm for Unseen Photography Fair September, 2013.
In 2013, he has begun a partnership with MAPP publishing to promote selections from his collection in e-book format. The first publication in December 2013, The Genealogy of Mortals looks at his collection of photography and murder.
In September 2014, his collaboration with Anouk Kruithof, The Bungalow, was released. In November, 2014 he released Let us Now Praise Infamous Men with Paralaxe Editions. In Spring 2015 his collaboration with Marcin Dudek Diyaustria will be published. In Autumn 2015 his book The Family of Men will be released with Infinity Land Press.
Brad Feuerhelm is also Managing Editor for American Suburb X and a collector, curator, and writer based in London, UK.
The cult of vision has an unnatural relationship with photography, its false representations of truth, and the potential instruction for belief it enables. Portraits of the blind and that of belief systems offer a fallibility of sorts. In the for- mer, the representation of disability observed by the visibly able, offers a parallel system of opposition in which the subject observed is unaware of how their representation is interpreted by the design of their “disability”. The blind, in a culture awash with visible information, are not to be seen as infirmed, but could rather be seen as those with a vision which is super, or that above the visually un-impaired. The blind relay largely on all other sensory possibilities to see their world. Notations of echolocation, super-sensitivity, and extra auditory perception all account to promoting a supravision by the sightless.
Within religion and forms of spiritual belief, the sighted and the blind are equal amongst their ability to “see” their beliefs. It is this corollary practice of belief that the division of the sighted and the blind become coalesced into a fraternity of equality unencumbered by the notion of image.
The images presented in this collection look to examine the visual representations of the unseen, the blind, and the religious, and to correlate the notions of vision with that what spiritual belief systems desire to see. At the base of its instruction, photography is about the eye and vision. When we explore the notion of incompatibility within the normative qualities of vision, we may question further the relationship of document, sight, and the system of belief within spiritual dogma. Some of the images of the blind displayed are documents of the subjects engaged in acts like sculpture, or home building that under sighted condition, would be seen as a normal function. At the apex of blindness comes the supravision of act, when the subject is able to perform duties or creation that would under sighted circumstances be only slightly additive to that of the norm. These acts, without the use of sight may be inferred to as a spiritual engagement where the corporeal acts as a vessel for complete vision over that of the simple oculus.