Vol. 4 No. 1 (2019): Instinct

The notion of being human revolves around our perception of what it means to be an animal or beast – and this relationship is constructed through the medium of photography (among other media). Photographs of animals always held a significant presence throughout the history of the medium, a testimony of particular fascination and desire to either decode or ascribe meaning to the non-human. The sheer number and diversity of photographic representations of animals (and non-photographic pictorial tradition of representing imaginary beasts) testifies of co-dependency of the relationship. Whether used as commodities for exchange, marketing tools for commodification, tools of scientific research or tokens of domestic familiarity, silent trophies from exotic places or city zoos, the images speak of a certain process of domestication of both a sign and a referent. Nowadays there seems to be a shift from the old photo-humanistic belongingness of The Family of Man to the growing disillusionment of Anthropocene. A certain demand for a new kind of responsibility, a new kind of belonging arises – not only trans-cultural but also trans-species.