msdm a nomadic house-studio-gallery for photographic art and curatorial research, an expanded practice of the artist's book, photobook publishing and peer-to-peer collaboration created by contemporary artist paula roush

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Rigorosamente Libri Biennale del Libro d’Artisti 
Selected by Maddalena Carnaghi and curated by Vito Capone & Gaetano Cristino 
Fondazione de Monte Uniti di Foggia 
June 8- July 10 2019

Curated by Rob McDonald
Herbert Read Gallery, Canterbury, 20 Oct – 9 Nov 2017
This exhibition includes works sourced from the Found Photo Foundation. Central to the works is the selection and publication of images in a variety of media, ranging from photobooks to photo-texts, newspapers and multiples. 

KALEID Oslo Artists' Books Exhibition
Curated by Victoria Browne
KHiO library,  Kunsthøgskolen i Oslo Norway National Academy for the Arts Oslo, May 2016
Bus-Spotting+ A Story featured in KALEID editions’ annual collection

Connecting Worlds
Curated by Drawing Room in collaboration with UBM, 9 Sept 2013 – 14 March 2014
The photocollage works Time of Its Other (allegories of history, included in the exhibition were sourced from Found Photo Foundation and unearth a period of collective amnesia and censorship in Portuguese history that lasted until 1974.

Queer Paper Gardens
Curated by: Joao Pinharanda
Museu da Eletricidade, Lisbon 2013
Flora McCallica installation of 28 framed, photowork sourced from the Found Photo Foundation.

Dear Aby Warburg: What can be done with images?
Curated by Eva Schmidt
Museum für Gegenwartskunst, Siegen, 2 Dec 2012- 3 March 2013

Paradigm Store
Curated by HS Projects
Howick Place, London, September 25 – November 5, 2014

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Order and Collapse: The Lives of Archives
With: Adam Broomberg & Oliver Chanarin, Leslie Squyres (Laura Volkerding Study Center, The Center for Creative Photography, University of Arizona), Jessica Bushey, Tyrone Martinsson, paula roush (Found Photo Foundation) and Peter Piller
Editors: Gunilla Knape, Niclas Östlind, Louise Wolthers, Tyrone Martinsson
Publishers: Hasselblad Foundation, Valand Academy at the University of Gothenburg, and Art and Theory Publishing. (part of Negative,  a series of publications that critically review and ana­lyse the practices, histories, and aesthetics of photographic culture)
This book presents FOUND PHOTO FOUNDATION in the context of contemporary artistic and research-based approaches to existing archives, the act of collecting images, and creating new archives. Peer-reviewed, bi-lingual English and Swedish.

Dear Aby Warburg: What can be done with images? Dealing with Photographic Material
With: Özlem Altin, Tobias Buche, Mariana Castillo Deball, Marianna Christofides, Koenraad Dedobbeleer, Katalin Deér, Thea Djordjadze, Hervé Garcia, Cécile Hummel, Franziska Kabisch, Ulrike Kuschel, Alexandra Leykauf, Elke Marhöfer, Katrin Mayer, Lia Perjovschi, Manfred Pernice, Abigail Reynolds, paula roush (Found Photo Foundation, Ines Schaber & Stefan Pente, Eske Schlüters, Batia Suter, Simon Wachsmuth and Haegue Yang
Editors: Eva Schmidt and Ines Ruttinger
Publisher: Museum für Gegenwartskunst Siegen and  Kehrer Verlag, Heidelberg
This book presents FOUND PHOTO FOUNDATION with recent positions in contemporary art that deal with photographic material. Starting from the "Mnemosyne" picture atlas by the famous art historian Aby Warburg (1866-1929), the book and related exhibition unfolds a contemporary aesthetic of photographic constellations.

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BUS-SPOTTING+ A STORY was part of KALEID 2016 Oslo exhibition at the KHiO Bibliotek, Oslo National Art Academy Norway and Offprint London 2016 at the Tate Modern.


bus spotting + a story at the KHIO Library, Oslo National Academy of the Arts, May 2016

BUS-SPOTTING + A STORY marks the launch of the Found Photo Foundation’s Orphan Series. Each work in the series explores a particular approach to publishing the printed material in the FOUND PHOTO FOUNDATION archive.

Orphan #1 BUS-SPOTTING + A STORY is the result of the collaboration between paula roush, artist, publisher and creator of the Found Photo Foundation and Mireille Ribière, author, photographer and scholar.

BUS-SPOTTING + A STORY is a 4-part photo-essay.

Parts 1 and 2 (Bus Ride) comprise a sequence of 32 photographs in the form of twin books, split in images of double and single-decker buses. Far from being static, the collaged sequence suggests a bus ride through past time and spaces. The momentum stems from the varying points of view the constantly changing street scenes, as well as from the way complete and partial images alternate and run on from page to page, leading the reader’s eye back and forth.

Part 3 (A Story) engages with the narrative and fictional potential of found photographs –  a different approach to the material – using  text and image with reference to the genre of photo-romance.

Part 4 (Transport Enthusiasts) elucidates the raison d’être of the overall work, as well as the context in which the photographs were taken, through correspondence with one of the original photographers; additional material such as the  reproduction of the copyright stamps at the back of the prints, as well as a letter dated 1971 between a photographer and a collector further highlight the tangible nature of the collection.

Edited, designed and bound by paula roush

Text by Mireille Ribière, with Colin Stannard

Photographs from the FOUND PHOTO FOUNDATION by Colin Stannard, Douglas F. Parker, G. Mead, J. G. S. Smith, Phil Picken, Robert F. Mack, T.E.S., T. L. Jones, and unknown photographers.

4 separate booklets in a slipcase 108 pages (B&W, duotone and colour) Laser printed on Fabriano 120gsm and 200gsm (slipcase) 21 x 30 cm (Parts 1, 2 ,4) and 14.8 x 21 (Part 3)

Published by msdm 2016 in an edition of 250

bus-spotting + a story displayed at KHIO LIBRARY at the Oslo National Academy of the Arts May 2016

bus spotting + a story at the KHIO Library, Oslo National Academy of the Arts, May 2016

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I perhaps don’t have the words to describe what I’m seeing, since I work on film rather than photography. But there was lots that I could see that reminded me of moving images.  I especially like the layout of the two bus series. Bleeding some of the images across the page edge worked especially well for me; it reminded me as a reader/viewer of the editing process that went into producing the book, and I also liked the way it plays with the expectation that a cutaway or a close up will reveal the truth of the image, whereas actually it’s often just another layer or perspective that becomes visible.

I also enjoyed the dynamism that is introduced by juxtaposing two or more images; it brings the buses back into movement, whereas the single shots seem to freeze them in time. Plus of course, as you said yesterday, what become visible when the edges of the image are selected are the everyday stories that circulate around the buses as groups gather around them, or individuals pass across the shot. 

Another thing: the story of the excursion was exquisite – it tells a history of ordinary (working-class) people going about their  business, but also taking their lives in their hands, having places to go and things to do – collectively. Again, the serial organisation accentuates the mobility of the crowd – so the photographs move away from documenting a moment, and start to embody the movements and feelings of the group excursion as a social experience in history

Erica Carter,  Professor of German and Film, King’s College London, comments to paula's presentation of BUS-SPOTTING + A STORY  during "Chaos of memories- Surviving archives & the found photo foundation" for the launch of Order and Collapse: The lives of Archives April 2016

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Space for thinking between the images

Ludwig Seyfarth,  Dear Aby Warburg, what can be done with images? Dealing with Photographic Material
Museum für Gegenwartskunst Siegen, 2012
Space for thinking between the images: on the genesis of the ‘photographic collection’ as an artistic genre [pdf]

The question 'What is to be done with images?' is also a question about the relationship between the archive and the presentation- the atlas, the tableau, the display. Does the archive in question represent a limited body of material, for example, the glass negatives exposed in a photo studio during the 1930s and 1940s and purchased by Cecile Hummel from a street vendor in southern Italy, or the images that paula roush gathered at portuguese flea markets and garage sales to archive in her Found Photo Foundation? It is ususally impossible to trace the provenance of these photographs which roush refers to as 'orphans'. they have become homeless, but nonetheless tell something like a private subterranean history of the time spent under a dictatorship..

Or do the images derive from a variety of sources, without being founded upon a coherent archive, as int he case of Ozlem Altin's investigation of formal correspondences between depictions of the body in motion. Are the images stolen away, so to speak, out of their original context or are their sources carefully documented, as i the case of Katrin Mayer, who also repeatedly juxtaposes them with passages of text that interest her - resulting in the creation of a new context for both image and text?

Regardless of all the differences in terms of the technique and the potential sources of the images, the art of the 'photographic collection' can be summarily described as a sort of game of Memory. When playing the normal version of Memory, it is the still hidden cards whose pictures cannot be seen. But let us assume that Memory were to consist of thousands of cards, most of which are not even on the table and some of which may even have been lost. Ultimately, Warburg was already playing this game, as Didi-Huberman at least optically establishes in the case of the Mnemosyne Atlas:"The images of an ensemble photographed on a single plane are suggestive of a card game spread out on a table.'

The artists of the exhibition Dear Aby Warburg are collectors of images; their artistic individuality consists less in a style or gesture than in the specific manner in which they...also physically open up new spaces for thinking between the images- something begun with Warburg when he started to pin photos to canvasses.
found photo foundation, installation view at Museum für Gegenwartskunst, Siegen 2012-13


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