{"id":992,"date":"2019-09-11T10:01:51","date_gmt":"2019-09-11T08:01:51","guid":{"rendered":"https:\/\/www.reclaim-award.org\/karte\/"},"modified":"2019-09-26T17:24:20","modified_gmt":"2019-09-26T15:24:20","slug":"map","status":"publish","type":"page","link":"https:\/\/www.reclaim-award.org\/en\/map\/","title":{"rendered":"Map"},"content":{"rendered":"

\r\nAd free through public space. Follow the signs and symbols of the billboards of this year’s Reclaim Award. Take a look at the visual and content diversity of the awarded works. Art from A-Y.\r\n<\/p><\/div><\/div><\/div>\r\n

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A<\/span>\r\nAdam Geary<\/span>\r\nHouse washed up on beach<\/span><\/div>\r\nAdam Geary\u2019s work \u201cHouse Washed Up on Beach\u201d depicts the plastic-cast ideal notion of a house of one\u2019s own. Washed up on the coast, however, the child-size house in his photo becomes a memorial to our experiential world driven by the world of things. Even the sea seems unwilling to keep our civilization\u2019s trash.\r\n
B<\/span>\r\nAaron Yeandle<\/span>\r\nA Brief Encounter \/ Image 1<\/span><\/div>\r\nThe photo by Aaron Yeandle, \u201cA Brief Encounter\u201d, was taken in the context of a Photo-Canopy Arts Residence programme. His image symbolizes brief fleeting encounters which, the way we become aware of them, lead us to perceive the everyday and the world around us differently. They demand that we take breaks to reflect and focus from time to time on places that would otherwise have escaped our notice.\r\n\r\n\r\n<\/div>\r\n<\/div>\r\n
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C<\/span>\r\nSimon Freund<\/span>\r\nSelbstportrait, 2018<\/span><\/div>\r\nSelbstportrait is a photographic series that shows Simon Freund wearing other people\u2019s outfits and these people in one and the same outfit of Freund\u2019s. 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\u2019s work points the way, for with and against cultural codes.\r\n\r\n<\/div>\r\n
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D<\/span>\r\nNanni Schiffl-Deiler<\/span>\r\nRemember Me my Dear<\/span><\/div>\r\nNanni Schiffli-Deiler\u2019s photographic work \u201cRemember Me My Dear\u201d 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.\r\n\r\n\r\n\r\n<\/div>\r\n
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E<\/span>\r\nJudith Kaminiski<\/span>\r\nRange (rearranged)<\/span><\/div>\r\nIn her artistic work \u201cRange_rearranged\u201d 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.\r\n\r\n<\/div>\r\n
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F<\/span>\r\nBoris Loder<\/span>\r\nA\u00e9roport de Luxembourg<\/span><\/div>\r\nThis 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.\r\n\r\n\r\n<\/div>\r\n
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G<\/span>\r\nTom Atwood<\/span>\r\nDoug Spearman & Marc Samuel<\/span><\/div>\r\nThis portrait of the actors Doug Spearman and Marc Samuel is part of Tom Atwood\u2019s 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\u2019s most fascinating and eccentric personalities.\r\n\r\n\r\n<\/div>\r\n
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H<\/span>\r\nMichael Danner<\/span>\r\nMigration as Avantgarde<\/span><\/div>\r\nIn \u201cMigration as Avantgarde\u201d 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.\r\n\r\n<\/div>\r\n
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I<\/span>\r\nRegina Tremmel<\/span>\r\nDas Gedeck<\/span><\/div>\r\nThe work \u201cDas Gedeck\u201d by Regina Tremmel is a tableau formed out of the multi-part photographic series \u201cOrdnung muss sein\u201d. 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.\r\nEnjoy your meal!\r\n\r\n<\/div>\r\n
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J<\/span>\r\nVaughan Larsen<\/span>\r\nSelf Portrait as my Mother as a Cheerleader, 2018<\/span><\/div>\r\nWith Larson Vaughan, the title of his work \u201cSelf Portrait as my Mother as a Cheerleader, 2018\u201d is programmatic. He places himself in the empirical circumstances of his family members and recreates their experiences, in which \u2013 necessarily restricted by roles \u2013 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\u2019s costume the target of an unforeseen rugby goal.\r\n\r\n\r\n<\/div>\r\n
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K<\/span>\r\nAnke Stiller<\/span>\r\nOhne Titel II-I<\/span><\/div>\r\nIn 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 \u201csupersymbol\u201d. 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.\r\nReconstructed and exhibited anew in the urban space on a hoarding \u2013 as advertising without advertising \u2013 it has an absurd effect and, in this absurdity, exposes its models\u2019 image strategies.\r\n\r\n<\/div>\r\n
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L<\/span>\r\nAlan Gignoux<\/span>\r\nDinasour Park, Niagara Falls, Ontario<\/span><\/div>\r\nAlan Gignoux\u2019s 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.\r\n\r\n<\/div>\r\n
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M<\/span>\r\nNess Rubey<\/span>\r\nTension<\/span><\/div>\r\nThe 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 \u201cTension\u201d 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. \r\n\r\n\r\n<\/div>\r\n
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N<\/span>\r\nSung Ho Woo<\/span>\r\nLinks: Any.. Minjung \/ rechts: Any.. Damian<\/span><\/div>\r\nSung 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.\r\n\r\n\r\n<\/div>\r\n
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O<\/span>\r\nChristina Marie Pietsch<\/span>\r\nPlay Safe<\/span><\/div>\r\nIn the work \u201cPlay\u201d by Christina Marie Pietsch from 2018, the 35mm cartridge format, with the dimensions \u00d8 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.\r\n\r\n<\/div>\r\n
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P<\/span>\r\nAnica Hauswald<\/span>\r\nEinhorn mit Senf<\/span><\/div>\r\nBulky shape, fantastic title. Hauswald\u2019s minimally abstract work \u201cEinhorn mit Senf\u201d (\u201cUnicorn with Mustard\u201d) 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.\r\n\r\n<\/div>\r\n<\/div>\r\n
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Q<\/span>\r\nDietmar Wehr<\/span>\r\nHEAD_CC<\/span><\/div>\r\nHumanity\u2019s fascination with itself is made visible in Dietmar Wehr\u2019s work “HEAD_CC”. In the eye of the beholder, his vegetable still of a celeriac is involuntarily transformed into a head. Celeriac stores up water the way our heads store up memories, which makes it virtually predestined for this transformation process. Exhibited on a promotional panel in the public space, the work plays with the notion that this could be product placement in a very ironic way.\r\n\r\n<\/div>\r\n
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R<\/span>\r\nAnja Schlamann<\/span>\r\nUnterBr\u00fccken<\/span><\/div>\r\nThe series UnterBr\u00fccken by Anja Schlamann features low-angle shots of Cologne river-crossings. They are photographed from the water and some of them are structured out of 150 individual shots. These graphically constructive and simultaneously extensively painterly images conjoin in snippets to form one unit, a new bridge. The novel gaze beneath the spanning works of engineering is surprising; their rarely noticed steel constructions become legible in this way. On the undersides, little is seen of the liveliness on the bridges, and that enhances the images\u2019 attraction. Their colour scheme, standardized in 1929, unites them to form one series.\r\n\r\n<\/div>\r\n<\/div>\r\n
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S<\/span>\r\nAnna Siggelkow<\/span>\r\nPlatzhalter des Nichts<\/span><\/div>\r\nIn her work \u201cPlatzhalter des Nichts\u201d 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.\r\n\r\n\r\n<\/div>\r\n
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T<\/span>\r\nThelma Pott<\/span>\r\nLotus Flower<\/span><\/div>\r\nThelma Pott\u2019s work \u201cLotus Flower\u201d 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\u2019s courage in committing herself to her form, to her colours and to her stratifications. In seeking the space that can also signify publicness.\r\n\r\n<\/div>\r\n
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U<\/span>\r\nJooeun Bae<\/span>\r\nI Wish I Could See You #13<\/span><\/div>\r\nLying on its back and captured in painting, overthrown commerce seems almost worthy of deliverance. In the collage \u201cI Wish I Could See You\u201d 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.\r\n\r\n<\/div>\r\n
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V<\/span>\r\nJulie Hrudov\u00e1<\/span>\r\nPrague<\/span><\/div>\r\nJulie Hrudova\u2019s 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 Kaurism\u00e4ki and the surroundings into the backdrop to match.\r\n\r\n<\/div>\r\n
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W<\/span>\r\nAntonia Gruber<\/span>\r\nArtvertisting_2019_007<\/span><\/div>\r\nAntonia Gruber dissects the human physiognomy in her work \u201cArtvertisting_2019_007\u201d. 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\u2019s hallucinatory colourfulness and access to the image is deliberately restricted.\r\n\r\n<\/div>\r\n
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X<\/span>\r\nJana Sophie Nolle<\/span>\r\nLiving Room<\/span><\/div>\r\nIn 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\u2019s 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.\r\n\r\n<\/div>\r\n
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Y<\/span>\r\nCarla \u00c5hlander<\/span>\r\nUntitled (Berliner Meldestellen)<\/span><\/div>\r\nCarla \u00c5hlander 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 \u00c5hlander\u2019s 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. \r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>","protected":false},"excerpt":{"rendered":"

A Adam Geary House washed up on beach Adam Geary\u2019s work \u201cHouse Washed Up on Beach\u201d depicts the plastic-cast ideal notion of a house of one\u2019s own. Washed up on the coast, however, the child-size house in his photo becomes a memorial to our experiential world driven by the world of things. Even the sea […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"yoast_head":"\nMap — Reclaim Award<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.reclaim-award.org\/en\/map\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Map — Reclaim Award\" \/>\n<meta property=\"og:description\" content=\"A Adam Geary House washed up on beach Adam Geary\u2019s work \u201cHouse Washed Up on Beach\u201d depicts the plastic-cast ideal notion of a house of one\u2019s own. Washed up on the coast, however, the child-size house in his photo becomes a memorial to our experiential world driven by the world of things. Even the sea […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.reclaim-award.org\/en\/map\/\" \/>\n<meta property=\"og:site_name\" content=\"Reclaim Award\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/reclaimaward\/\" \/>\n<meta property=\"article:modified_time\" content=\"2019-09-26T15:24:20+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.reclaim-award.org\/wp-content\/uploads\/2019\/09\/reclaim-map-1-1.png\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"11 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.reclaim-award.org\/en\/#website\",\"url\":\"https:\/\/www.reclaim-award.org\/en\/\",\"name\":\"Reclaim Award\",\"description\":\"Eine weitere WordPress-Website\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.reclaim-award.org\/en\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"ImageObject\",\"@id\":\"https:\/\/www.reclaim-award.org\/en\/map\/#primaryimage\",\"inLanguage\":\"en-US\",\"url\":\"\/wp-content\/uploads\/2019\/09\/reclaim-map-1-1.png\",\"contentUrl\":\"\/wp-content\/uploads\/2019\/09\/reclaim-map-1-1.png\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.reclaim-award.org\/en\/map\/#webpage\",\"url\":\"https:\/\/www.reclaim-award.org\/en\/map\/\",\"name\":\"Map — Reclaim Award\",\"isPartOf\":{\"@id\":\"https:\/\/www.reclaim-award.org\/en\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.reclaim-award.org\/en\/map\/#primaryimage\"},\"datePublished\":\"2019-09-11T08:01:51+00:00\",\"dateModified\":\"2019-09-26T15:24:20+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/www.reclaim-award.org\/en\/map\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.reclaim-award.org\/en\/map\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.reclaim-award.org\/en\/map\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Startseite\",\"item\":\"https:\/\/www.reclaim-award.org\/en\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Map\"}]}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Map — Reclaim Award","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.reclaim-award.org\/en\/map\/","og_locale":"en_US","og_type":"article","og_title":"Map — Reclaim Award","og_description":"A Adam Geary House washed up on beach Adam Geary\u2019s work \u201cHouse Washed Up on Beach\u201d depicts the plastic-cast ideal notion of a house of one\u2019s own. Washed up on the coast, however, the child-size house in his photo becomes a memorial to our experiential world driven by the world of things. Even the sea […]","og_url":"https:\/\/www.reclaim-award.org\/en\/map\/","og_site_name":"Reclaim Award","article_publisher":"https:\/\/www.facebook.com\/reclaimaward\/","article_modified_time":"2019-09-26T15:24:20+00:00","og_image":[{"url":"https:\/\/www.reclaim-award.org\/wp-content\/uploads\/2019\/09\/reclaim-map-1-1.png"}],"twitter_card":"summary_large_image","twitter_misc":{"Est. reading time":"11 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebSite","@id":"https:\/\/www.reclaim-award.org\/en\/#website","url":"https:\/\/www.reclaim-award.org\/en\/","name":"Reclaim Award","description":"Eine weitere WordPress-Website","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.reclaim-award.org\/en\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-US"},{"@type":"ImageObject","@id":"https:\/\/www.reclaim-award.org\/en\/map\/#primaryimage","inLanguage":"en-US","url":"\/wp-content\/uploads\/2019\/09\/reclaim-map-1-1.png","contentUrl":"\/wp-content\/uploads\/2019\/09\/reclaim-map-1-1.png"},{"@type":"WebPage","@id":"https:\/\/www.reclaim-award.org\/en\/map\/#webpage","url":"https:\/\/www.reclaim-award.org\/en\/map\/","name":"Map — Reclaim Award","isPartOf":{"@id":"https:\/\/www.reclaim-award.org\/en\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.reclaim-award.org\/en\/map\/#primaryimage"},"datePublished":"2019-09-11T08:01:51+00:00","dateModified":"2019-09-26T15:24:20+00:00","breadcrumb":{"@id":"https:\/\/www.reclaim-award.org\/en\/map\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.reclaim-award.org\/en\/map\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/www.reclaim-award.org\/en\/map\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Startseite","item":"https:\/\/www.reclaim-award.org\/en\/"},{"@type":"ListItem","position":2,"name":"Map"}]}]}},"_links":{"self":[{"href":"https:\/\/www.reclaim-award.org\/en\/wp-json\/wp\/v2\/pages\/992\/"}],"collection":[{"href":"https:\/\/www.reclaim-award.org\/en\/wp-json\/wp\/v2\/pages\/"}],"about":[{"href":"https:\/\/www.reclaim-award.org\/en\/wp-json\/wp\/v2\/types\/page\/"}],"author":[{"embeddable":true,"href":"https:\/\/www.reclaim-award.org\/en\/wp-json\/wp\/v2\/users\/1\/"}],"replies":[{"embeddable":true,"href":"https:\/\/www.reclaim-award.org\/en\/wp-json\/wp\/v2\/comments\/?post=992"}],"version-history":[{"count":12,"href":"https:\/\/www.reclaim-award.org\/en\/wp-json\/wp\/v2\/pages\/992\/revisions\/"}],"predecessor-version":[{"id":1005,"href":"https:\/\/www.reclaim-award.org\/en\/wp-json\/wp\/v2\/pages\/992\/revisions\/1005\/"}],"wp:attachment":[{"href":"https:\/\/www.reclaim-award.org\/en\/wp-json\/wp\/v2\/media\/?parent=992"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}