The ‘other’ Europeans: the semiotic imperative of style in Euro Visions by Magnum Photos

Abstract

In this article, the author examines Euro Visions, the exhibition created by Magnum Photos to portray the new countries that joined the European Union in 2004 and 2007. She begins by observing that this project’s deviations from the world-leading agency’s trademark humanist style of photography were discursively ascribed to Euro Visions photographers’ authorial style. In this regard, she identifies two key semiotic resources – typing and juxtaposition – that were mobilized as markers of individual style. She then argues that both typing and juxtaposition should instead be seen as generic semiotic resources rooted in corporate styles of visual communication, which contribute to othering the ‘new’ Europeans. She also argues that in Euro Visions, the notion of ‘distinctive’ authorial style was deployed as symbolic currency for a global(ist) market that rewards cultural production and, broadly, aestheticization. She finally posits that, in projects like Euro Visions, what is mostly (generic) design may get passed off as (specific) representation, and that this aestheticization of styles and identities may be mystified as the substantial honouring of difference and diversity.