Chanel Von Habsburg-Lothringen
Deadstock

Poster Insert Q&A by Dorothée Dupuis

2017
color images and poster insert

64 pages, 12 x 12 in book, 18 x 24 in poster
digital print, perfect bind
matte peach, satin-feel cover

cop it here

1st edition
150 copies
printed and bound in Minneapolis, MN

ISBN: 978-0-9905672-2-6

                                                                                                           poster insert, excerpt below

                                                                                                         poster insert, excerpt below

Dorothée Dupuis: Can you discuss Deadstock and the initial interest for image making within the series Seduced & Abandoned?

Chanel Von Habsburg-Lothringen: I grew up in the suburbs of Detroit witnessing the constant discussions of the city's rebirth. Financial and racial disparities appeared in high relief as I traveled between Detroit and the affluent suburbs. Living in a single parent household, I didn't have the same privileges as those around me. The experience has led me to explore the American notion of aspiration as a center point in my work. 

CVHL (cont'd): Within Seduced & Abandoned, I collaborated with my grandmother – creating an archive of objects she used for health and daily functioning as well as an archive of fashion and commercial photographs of 1980s-1990s luxury brands. These archives helped to generate my own "stock" photography, which was then cropped and composed into this body of work.

Deadstock brings together my "stock" photography in book format – images I really loved, but for some reason did not end up in any of the final S&A works.

DD: The Internet and social media have changed our relationship to images, their making and circulation. How do you think this "image revolution" affects our relationship to visual culture? What is the role of the photographer within this shift?

CVHL: We live in this "new image economy," a saturated place where there is constant consumption and production of images – a democratization of the photographic craft.

I think one of the most important questions that artists have to content with and what drives research in my studio is, How does the construction and use of a photographic archive function within the new image economy? And what is the status of the personal documentary within that economy?

CVHL (cont'd): The use of technology has created this massive accumulation of information: texts, images, phone conversations, etc. There is really no filter for what is saved. Because the creation of archives is part of my working process, I've started to think of the archive as a political gesture.

The parameters for collecting and preserving images have awareness towards future research and use. For me the meaning is being produced through these parameters.

Book photographed by: Miria-Sabina Maciągiewicz