18
Sep
12

Exhibition: ‘Lost Places. Sites of Photography’ at the Hamburger Kunsthalle, Hamburg

Exhibition dates: 8th June – 23rd September 2012

.

“Fredric Jameson wrote that in the postmodern world, the subject is not alienated but fragmented. He explained that the notion of alienation presumes a centralized, unitary self who could become lost to himself or herself. But if, as a postmodernist sees it, the self is decentred and multiple, the concept of alienation breaks down. All that is left is an anxiety of identity. The personal computer culture began with small machines that captured a post-1960s utopian vision of transparent understanding. Today, the personal computer culture’s most compelling objects give people a way to think concretely about an identity crisis. In simulation, identity can be fluid and multiple, a signifier no longer points to a thing that is signified, and understanding is less likely to proceed through analysis than by navigation through virtual space.”

.
Sherry Turkle 1

.

.
As we navigate these (virtual) worlds a signifier no longer points to a thing that is signified. In other words there is a split between referent and (un)known reality = a severance of meaning and its object.

“The image has nothing to do with signification, meaning, as implied by the existence of the world, the effort of truth, the law and the brightness of the day. Not only is the image of an object not the meaning of that object and of no help in comprehending it, but it tends to withdraw it from its meaning by maintaining it in the immobility of a resemblance that it has nothing to resemble.”2

Such is the case in these photographs. In their isolation each becomes the simulacra, the restaged models that are Thomas Demand’s photographs. That they do not allow any true reference to reality means that they become the image of memory in the present space. As the press release notes, “What happens to real places if a space loses its usual significance and can be experienced on a virtual plane?”

Kenneth Gergen observes,

“The current texts of the self are built upon those of preceding eras, and they in turn upon more distant forms of discourse. In the end we have no way of “getting down to the self as it is.” And thus we edge toward the more unsettling question: On what grounds can we assume that beneath the layers of accumulated understandings there is, in fact, an obdurate “self” to be located? The object of understanding has been absorbed into the world of representations.”3

.
So we return to the split between referent and reality, a severance of meaning and its object in representation itself. These photographs, our Self and our world are becoming artifacts of hyperreality, of unallocated (un/all/located) space in which a unitary self/world has always been “lost.”

Dr Marcus Bunyan for the Art Blart blog

.

Many thankx to the Hamburger Kunsthalle for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

.

.

.

Tobias Zielony (*1973)
Dirt Field
2008
(aus der Serie Trona – Armpit of America)
C-Print
56 x 84 cm
Sammlung Halke / Courtesy KOW, Berlin
© Tobias Zielony

.

.

Beate Gütschow (*1970)
S#11
2005
Light Jet Print
180 x 232 cm
Hamburger Kunsthalle
© Beate Gütschow / VG Bild-Kunst, Bonn 2012

.

.

Alexandra Ranner (*1967)
Schlafzimmer II (Bedroom II)
2008
Installation, Holz, Teppich, Styrodur, 
Licht, Farbe
H: 240 cm, B: 500 cm, L: 960 cm
© Alexandra Ranner, Galerie Mathias 
Güntner, Hamburg / VG Bild-Kunst, 2012

.

.

Sarah Schönfeld (*1979)
Wende-Gelände 01
2006
C-Print
122 x 150 cm
Privatsammlung / Courtesy Galerie 
Feldbuschwiesner, Berlin
© Sarah Schönfeld

.

.

Guy Tillim (*1962)
Apartment Building, Avenue Bagamoyo, Beira, Mozambique
2008
(aus der Serie Avenue Patrice Lumumba)
Pigmentdruck auf Papier, kaschiert auf Aluminium
91.5 x 131.5 cm
Guy Tillim / Courtesy Kuckei + Kuckei, Berlin und Stevenson, Cape Town
© Guy Tillim

.

.

Jeff Wall (*1946)
Insomnia
1994
Cibachrome in Leuchtkasten (Plexiglas, 
Aluminium, Leuchtröhren)
174 x 214 cm
Hamburger Kunsthalle
© Jeff Wall

.

.

“In recent years, photography has reached a new peak in artistic media. Starting with the Düsseldorf School, with artists such as Andreas Gursky, Thomas Struth, Thomas Ruff or Candida Höfer, a young generation of artists developed that adopted different approaches by which to present the subject-matter of “space” and “place” in an era of historic change and social crises. With the exhibition Lost Places, the Hamburger Kunsthalle art museum dedicates itself to these new approaches, which document a wide range of different places and living spaces and their increasing isolation through the media of photography, film and installation works.

Joel Sternfeld’s documentary photographs depict places that were crime scenes. Thomas Demand restages real crime scenes, initially as models in order to then photograph them. In turn, in her large-scale photographs, Beate Gütschow constructs cityscapes and landscapes that are reminiscent of well-known places, but that do not allow any true reference. Sarah Schönfeld illustrates “the image of memory in the present space” in her photographs. She visits old places from her GDR childhood and captures these in their present state, whereby both points in time collide. In his fictional video installation Nostalgia, Omer Fast recounts the story of illegal immigrants from three different perspectives.

In his book The collective memory, French philosopher Maurice Halbwachs pointed out the significance of “spatial images” for the memory of social communities. Today the reliable spatial contextualisation of objects and memories (also due to digital photography) is under threat, hence this pretence begins to crumble. What happens to real places if a space loses its usual significance and can be experienced on a virtual plane?

The exhibition comprises about 20 different approaches of contemporary photography and video art with many loans from museums and private collections. The exhibition features the following artists: Thomas Demand (*1964), Omer Fast (*1972), Beate Gütschow (*1970), Andreas Gursky (*1955), Candida Höfer (*1944), Sabine Hornig (*1964), Jan Köchermann (1967), Barbara Probst (*1964), Alexandra Ranner (*1967), Ben Rivers (*1972), Thomas Ruff (*1958), Gregor Schneider (*1969), Sarah Schönfeld (*1979), Joel Sternfeld (*1944), Thomas Struth (*1954), Guy Tillim (*1962), Jörn Vanhöfen (*1961), Jeff Wall (*1946) and Tobias Zielony (*1973).”

Press release from the Hamburger Kunsthalle website

.

.

Thomas Struth (*1954)
Times Square, New York
2000
C-Print
140,2 x 176,2 cm
Courtesy Thomas Struth, Berlin
© Thomas Struth

.

.

Jörn Vanhöfen (*1961)
Asok #797
2010
C-Print auf Aluminium
122 x 147 cm
© Jörn Vanhöfen, courtesy: Kuckei + Kuckei, 
Berlin

.

.

Thomas Demand (*1964)
Haltestelle
2009
C-Print / Diasec
240 x 330 cm
Thomas Demand, Berlin
© Thomas Demand / VG Bild-Kunst, Bonn 2012

.

.

Thomas Demand (*1964)
Parlament
2009
C-Print / Diasec
180 x 223 cm
Staatliche Museen zu Berlin, Nationalgalerie 2010 
erworben durch die Stiftung des Vereins der 
Freunde der Nationalgalerie für zeitgenössische Kunst
© Thomas Demand / VG Bild-Kunst, Bonn 2012

.

.

Tobias Zielony (*1973)
Vela Azzurra
2010
(aus der Serie Vele)
C-Print
150 x 120 cm
Tobias Zielony / Courtesy und KOW, Berlin und Lia Rumma, Neapel
© Tobias Zielony

.

.

Andreas Gursky (*1955)
Sáo Paulo Sé
2002
C-Print, Plexiglas
286 x 206 cm
Dauerleihgabe der Stiftung für die 
Hamburger Kunstsammlungen
© SHK/Hamburger Kunsthalle/bpk/ 
VG Bild-Kunst, 2012

.

.

Andreas Gursky (*1955)
Ohne Titel XIII (Mexico)
2002
Photographie
276 x 206 cm
Dauerleihgabe der Stiftung für die 
Hamburger Kunstsammlungen
© SHK/Hamburger Kunsthalle/bpk/ VG 
Bild-Kunst, 2012

.

.

1. Turkle, Sherry. Life on The Screen: Identity in the Age of the Internet. New York: Simon and Schuster, 1995, p.49.

2. Blanchot, Maurice. The Gaze of Orpheus. New York: Barrytown, 1981, p.85.

3. Gergen, Kenneth. The Saturated Self: Dilemmas of Identity in Contemporary Life. New York: Harper Collins, 1991, pp.121-122.

.

.

Hamburger Kunsthalle
Glockengießerwall 20095
Hamburg
T: +49 (0) 40 – 428 131 200

Opening Hours:
Tuesdays to Sundays 10 am – 6 pm
Thursdays 10 am – 9 pm
Closed Mondays

Hamburger Kunsthalle website

LIKE ART BLART ON FACEBOOK

Back to top



Marcus Bunyan black and white archive: ‘Études’ 1994

Join 2,238 other followers

Follow Art_Blart on Twitter
Art Blart on Pinterest

Lastest tweets

Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His work explores the boundaries of identity and place. He writes the Art Blart blog which reviews exhibitions in Melbourne, Australia and posts exhibitions from around the world. He has a Dr of Philosophy from RMIT University, Melbourne and is currently studying a Master of Art Curatorship at The University of Melbourne.

September 2012
M T W T F S S
« Aug   Oct »
 12
3456789
10111213141516
17181920212223
24252627282930

Archives

Categories


%d bloggers like this: