BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Sabre//Sabre VObject 4.5.8//EN CALSCALE:GREGORIAN BEGIN:VTIMEZONE TZID:Europe/Zurich X-LIC-LOCATION:Europe/Zurich TZURL:http://tzurl.org/zoneinfo/Europe/Zurich BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:19810329T020000 RRULE:FREQ=YEARLY;BYMONTH=3;BYDAY=-1SU END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:19961027T030000 RRULE:FREQ=YEARLY;BYMONTH=10;BYDAY=-1SU END:STANDARD END:VTIMEZONE BEGIN:VEVENT UID:news530@kunstgeschichte.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20250616T080201 DTSTART;TZID=Europe/Zurich:20250929T181500 SUMMARY:Darkroom Exposures: Colour and Contamination at the Filmfabrik Wolf en DESCRIPTION:Lecture by NOMIS Fellow Katerina Korola [https://eikones.philh ist.unibas.ch/de/personen/katerina-korola/]\\r\\nDarkroom Exposures: Colou r and Contamination at the Filmfabrik Wolfen\\r\\nIn the mid-1960s\, the i ndustrial photographer Wolfgang G. Schröter turned his camera on the VEB Filmfabrik Wolfen. Located at the center of East Germany’s “Chemical T riangle\,” the Filmfabrik was\, at the time\, Europe’s largest produce r of color film\, second only to Kodak in the world. Guiding the viewer fr om the manufacture of celluloid to the packaging of the finished film\, Sc hröter’s photographs present the (gendered) labour of photographic manu facturing as a chromatic spectacle in its own right. In doing so\, the ser ies did more than advertise the factory’s product line. It also promoted an ostensibly socialist vision of chemical modernity\, to be disseminated within the GDR and abroad.\\r\\nTaking Schröter’s series as a starting point\, this talk explores the intertwined histories of photography\, che mistry\, and contamination at the socialist film factory. More specificall y\, it considers how the act of picturing the film factory provokes a conf rontation with the material ambivalences of photochemical colour. Though c reated for the purpose of advertising\, Schröter’s series ultimately em erges as an unlikely archive that not only reveals the material conditions of photographic production\, but also prompts us to reflect on the medium ’s toxic legacy.\\r\\n\\r\\nImage: Wolfgang G. Schröter\, Workers in t he Production Hall of the VEB Filmfabrik Wolfen\, 1955–1973\, colour d iapositive. Deutsche Fotothek\, Dresden. X-ALT-DESC:

Lecture by NOMIS Fellow \;Katerina Korola

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Darkroom Exposures: Colour and Contamination at the Filmfabrik Wolfen< /p>\n

In the mid-1960s\, the industrial photographer Wolfgang G. Schröt er turned his camera on the VEB Filmfabrik Wolfen. Located at the center o f East Germany’s “Chemical Triangle\,” the Filmfabrik was\, at the t ime\, Europe’s largest producer of color film\, second only to Kodak in the world. Guiding the viewer from the manufacture of celluloid to the pac kaging of the finished film\, Schröter’s photographs present the (gende red) labour of photographic manufacturing as a chromatic spectacle in its own right. In doing so\, the series did more than advertise the factory’ s product line. It also promoted an ostensibly socialist vision of chemica l modernity\, to be disseminated within the GDR and abroad.

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Taking Schröter’s series as a starting point\, this talk explores the intertw ined histories of photography\, chemistry\, and contamination at the socia list film factory. More specifically\, it considers how the act of picturi ng the film factory provokes a confrontation with the material ambivalence s of photochemical colour. Though created for the purpose of advertising\, Schröter’s series ultimately emerges as an unlikely archive that not o nly reveals the material conditions of photographic production\, but also prompts us to reflect on the medium’s toxic legacy.

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Image: Wol fgang G. Schröter\, \;Workers in the \;Production Ha ll of \;the VEB Filmfabrik Wolfen\, 1955–1973\, colour diaposit ive. Deutsche Fotothek\, Dresden.

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