Selbstportrait is a photographic series that shows Simon Freund wearing other people’s outfits and these people in one and the same outfit of Freund’s. He thereby queries our desire for self-presentation. How are we who and where are we him. Our yearning to belong gets caught in a tension with our striving for individuality. In the digital realm the stage of our self-presentation receives a double bottom. It is not secure. Fake or real, Freund’s work points the way, for with and against cultural codes.
Remember Me my Dear
Nanni Schiffli-Deiler’s photographic work “Remember Me My Dear” tells of nature and resonance. Brought back to the place of origin, she generates a visual echo with her image. Place and depiction enter into correspondence. Black-and-white meets colour, meets light, meets the alteration of the place. With this intrusive designerly act she temporarily transforms the natural space into a self-questioning cultural landscape.
In her artistic work “Range_rearranged” Judith Kaminski investigates proportions between digital and analogous image genesis. A number of images are computer-generated with the aid of 3D programs and encounter painting as digital prints. The traditional motif of the floral still life is repeatedly played all the way through and creatively queried. Spontaneous painterly gesture encounters precise computer-generated elements, with the result that analogue and digital image genesis are strikingly contrasted.
Aéroport de Luxembourg
This photograph from the series Particles depicts finds from the underground parking garage of Luxembourg airport. The series is the photographic realization of the notion of identity as a container, which as time goes by fills up with different, sometimes contradictory contents. The cubes contain finds that reproduce the character of various locations in Luxembourg in compressed form. The shape of the cube symbolically illustrates the arbitrary character of his aggregated finds and also points to the complex and unpredictable structures of identity.
Doug Spearman & Marc Samuel
This portrait of the actors Doug Spearman and Marc Samuel is part of Tom Atwood’s renowned photographic series and his book Kings & Queens In Their Castles (recently published at Damiani). The work has been described as the most ambitious photographic series that has ever been made about LGBTQ experience in the USA. For 15 years, Atwood shot more than 350 motifs within the country, almost 100 celebrities among them. Featuring persons from 30 federal states, Atwood offers an insight into the life and homes of some of America’s most fascinating and eccentric personalities.
Migration as Avantgarde
In “Migration as Avantgarde” Michael Danner investigates the new paths on which migrants pursue their hope for a better life. He unites countless perspectives on this phenomenon in his book project. Danner makes visible the protagonists that constitute migration and, recording, preventing, channelling or humanizing, influence it in different ways. His selected motif is part of this complex narrative.
The work “Das Gedeck” by Regina Tremmel is a tableau formed out of the multi-part photographic series “Ordnung muss sein”. Her series came about during a stay in a physiotherapy clinic in early summer 2019. Tremmel depicts the various breakfast dishes that are handed to patients in the mornings. According to what system, following what logic are the dishes revealed? Randomly, therapeutically balanced, or simply according to good taste? Optically, that cannot be distinguished. Flavour-wise, it hopefully can be, though.
Enjoy your meal!
Self Portrait as my Mother as a Cheerleader, 2018
With Larson Vaughan, the title of his work “Self Portrait as my Mother as a Cheerleader, 2018” is programmatic. He places himself in the empirical circumstances of his family members and recreates their experiences, in which – necessarily restricted by roles – he cannot take part. These re-enactments problematize gender assignments and associated experiential exclusion. Vaughan designs this restriction of identity deliberately negatively in his image, by making his head and body in the cheerleader’s costume the target of an unforeseen rugby goal.
Ohne Titel II-I
In her photographic work OHNE TITEL II, Anke Stiller shows a specific detail of a former billboard in the urban area. For Stiller, the jagged points of a star, such as are commonly used in advertising, function as a type of quintessence, or “supersymbol”. Along the way, her gaze focuses on the representative, typifying content of these posters, whose visual motives subliminally inundate us on a daily basis in the urban space.
Reconstructed and exhibited anew in the urban space on a hoarding – as advertising without advertising – it has an absurd effect and, in this absurdity, exposes its models’ image strategies.
Dinasour Park, Niagara Falls, Ontario
Alan Gignoux’s photograph is part of the Human Accumulations project. In his project Gignoux investigates the navigable water of fascination with one-of-a-kind natural spectacles. Having once veered into the downward vortex of publicness, their exploitation and ambient commercialization is imminent. Drawing on the example of the Niagara Falls he documents the transformation of the surrounding untouched landscape into privatized pleasure parks, thereby simultaneously documenting the decline of an American symbol that once stood for the greatness and loftiness of pristine American nature.
The dance of two transparencies in the red-drenched light. Artificial bodies that yet appear human. In the background a high-voltage mast. In the work “Tension” by Ness Ruby there is flickering and shimmering. The two transparencies seem to revolve around each other in self-absorption. Electrified, with the night sky as their backdrop, they seem to rub against and recharge each other again and again, only to remain at a distance after all.
Sung Ho Woo
Links: Any.. Minjung / rechts: Any.. Damian
Sung Ho Woo searched through dozens of profile pictures from various social network sites for profiles that share a name. He archives all of his finds, pictures of people of different religions, ethnic groups and countries, in an image file, in which he layers them and condenses them back into a portrait by means of transparencies. In a certain way, the arising image has the effect of a stand-in for all the Damians and Minjungs of this world.
Christina Marie Pietsch
In the work “Play” by Christina Marie Pietsch from 2018, the 35mm cartridge format, with the dimensions Ø 4cm x 22cm, which is a common format for US Army fighter planes, is translated into an alternative narrative. Due to the change of material (pH-neutral silicon) and colour, the objects are given a completely different look and become the object of speculations. Cruelty and play, pleasure and destruction. Two changes in register and everything is possible.
Einhorn mit Senf
Bulky shape, fantastic title. Hauswald’s minimally abstract work “Einhorn mit Senf” (“Unicorn with Mustard”) ranges precisely between these two poles. Here the legible is not the actual and the seeable is not the assumed. Elaborately self-knotted faux fur is combined with oil painting in strict geometric shapes and presented as a subject between the genres.
Platzhalter des Nichts
In her work “Platzhalter des Nichts” Anna Siggelkow decodes found scenes and places them in a new context. She depicts a flattened world between figuration and abstraction. Even if certain elements of the scene are by nature pragmatic and functional, in the images they unfold a remarkable, special energy. The banal objects in the settings appear to play a role in a somehow important and, on the other hand, absurd spectacle. Anna Siggelkow lampoons the human aspiration to try and assign a clearly defined function to everything. It is a manic response to a capitalistically shaped world that plays a visual game of a goal-oriented lifestyle.
Thelma Pott’s work “Lotus Flower” investigates spatial phenomena in painting. Individual brushstrokes condense into black, slightly elevated transparent surfaces on a red ground. The form reduced to a handful of brushstrokes automatically demands debate about form and content and exposes the artist’s courage in committing herself to her form, to her colours and to her stratifications. In seeking the space that can also signify publicness.
I Wish I Could See You #13
Lying on its back and captured in painting, overthrown commerce seems almost worthy of deliverance. In the collage “I Wish I Could See You” by Jooeun Bae, the excerpt of a commercial image is robbed of its purpose and transferred to different contexts. Different techniques are materials are applied along the way. The arising storytelling of her work consciously withdraws from the unambiguousness that underlay the actually promotional purpose of the purloined image.
Julie Hrudova’s street photography conceals the essential and displays it simultaneously. In her image, the billowing cloud in the streets of Prague becomes a symbol of the poetic. Fleeting, unique and reduced to human dimensions, it whirls through time and space and transforms the profane event of smoking into a staging worthy of Kaurismäki and the surroundings into the backdrop to match.
Antonia Gruber dissects the human physiognomy in her work “Artvertisting_2019_007”. An attack on our intactness. Humanity in crisis? The prosthetically combined facial parts open up the whole, and call on the beholder to see genuinely. The shift in the structure makes it difficult for our perception to get to the bottom of the generated dizziness and interpret what is shown. Additionally, all determinants remain fleeting in the work’s hallucinatory colourfulness and access to the image is deliberately restricted.
Jana Sophie Nolle
In her photographic series Living Room (2017/2018), Jana Sophie Nolle examines the forms of human habitations. Her focus lies in a typological representation of homeless shelters. She does not depict them in situ, though, but reconstructs them in their original form in prosperous people’s habitations. She approaches these private surroundings with particular respect and unites these very different habitations in her images in a dignified way. However, her work also refers to wider phenomena, such as societal upheaval, the housing shortage, exclusion and gentrification.
Untitled (Berliner Meldestellen)
Carla Åhlander investigates the properties of spaces that, within power structures, become effective instances of control and discipline. The faceless architecture of such spaces and their setting to arrange and order humanity conveys the person into the bureaucratic logic of the subject to be managed. In Åhlander’s image the countless stories of what is to be recorded are characteristically illustrated with dark humour in the form of black botches over red chairs.