Posts Tagged ‘Tobias Zielony


Exhibition: ‘Concrete – Photography and Architecture’ at Fotomuseum Winterthur, Zurich

Exhibition dates: 2nd March – 20th May 2013


When creating this blog, so much of my time is spent cleaning up clearly inadequate media images, an example of which can be seen below. I have become very adept at this process and my thoughts are this: would you want to be the artist whose work is displayed to the public in a remarkably decomposed manner, one not up to a standard of any artist who cares about their prints and reputation? I certainly would not. It is a wonder to me that museums and galleries spend thousands of dollars staging exhibitions and producing costly catalogues and yet cannot spend a tiny proportion of time, money and care on their media images to promote artist and said exhibition. I had to spend a lot of time on over half of these images to bring them up to presentable standard.

Having said that, there are some cracking photographs in this posting. The Sugimoto is sublime, Walker Evans so muscular, Lucien Hervé a masterpiece of light and texture, and Moriz Nähr a symphony of light and tone, to name but a few. I hope you enjoy all the effort it takes to bring these images to you.


Many thankx to the Fotomuseum Winterthur, Zurich for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.





Moriz Nähr

Stiegenhaus im Haus Stonborough-Wittgenstein [Staircase in the house Stonborough-Wittgenstein] (composite)


 'Hardstrasse with Hardbrücke in construction' 1972


Hardstrasse with Hardbrücke in construction
Gelatin-silver print
8,8 x 12,6 cm
Baugeschichtliches Archiv der Stadt Zürich


Michael Wesely.
 'Canadian Embassy, Leipziger Platz, Berlin (5.2.2003 – 28.4.2005)' 


Michael Wesely
Canadian Embassy, Leipziger Platz, Berlin (5.2.2003 – 28.4.2005)

125 x 175 cm
Galerie Fahnemann, Berlin
© Michael Wesely/Courtesy Galerie Fahnemann


William Henry Fox Talbot
. 'The Bridge of Sighs, St. John’s College, 
Cambridge' 1845


William Henry Fox Talbot
The Bridge of Sighs, St. John’s College, 
Salt print from calotype negative
16.4 x 20.6 cm
Museum Folkwang Essen




Charles Marville
24, Rue Bièvre, Paris
Albumin print
27.4 x 36.6 cm
Collection Thomas Walther


Lucien Hervé.
 'Le Corbusier: Façade of the Secretariat Building, Chandigarh, 1961' 1961


Lucien Hervé
Le Corbusier: Façade of the Secretariat Building, Chandigarh, 1961
Gelatin-silver print
25.5 x 25.4 cm
Canadian Centre for Architecture, Montréal
© Estate Lucien Hervé


F.C. Gundlach.
 '"Op Art" bathing suit by Sinz, Vouliagmeni/Greece' 1966


F.C. Gundlach
“Op Art” bathing suit by Sinz, Vouliagmeni/Greece
Gelatin-silver print
50 x 50 cm
F.C. Gundlach, Hamburg
© F.C. Gundlach


Laurence Bonvin.
 'Blikkiesdorp, Cape Town, South Africa' 2009


Laurence Bonvin
Blikkiesdorp, Cape Town, South Africa
40 x 50 cm
Courtesy the artist
© Laurence Bonvin



“Architectures and cities are both volumes and images alike. We experience them directly, physically and sensually, as well as through pictures. Pictures speak a language of their own. They offer a discourse that is quite unlike the physical experience of architecture. They transform volume into surface; distil matter into forms and signs – rarely, if ever, leaving it as it is. That is probably why so many architects try to get involved in determining the image of their buildings. Concrete – Photography and Architecture seeks to approach the singular and complex relationship between architecture and photography in light-hearted, narrative and dialectical ways. The exhibition explores issues of history and ideology, as well as the specifics of form and material, in the photographic image.

The visual appeal of destroyed or dilapidated buildings is also addressed, as are their powerful demonstrations of power and exclusivity, fragility and beauty. To what extent does photography influence not only the way architecture is perceived, but also the way it is designed? How does an image bring architecture to life, and at what point does it become uncanny? How do settlements develop into cities? Or, in sociological terms: how do work and life interconnect differently in, say, Zurich and Winterthur, as opposed to, say, Calcutta? And how do skyscrapers and living spaces translate into the flat, two-dimensional world of photography?

Concrete – Photography and Architecture is not, however, chronologically arranged. Instead, it is based on compelling positions, counterpositions and thematic fields that connect various concrete, fundamental and historical aspects. Alongside everyday buildings and prestigious architecture, structured by horizontal and vertical axes, alongside homes and houses, utopian fantasies, design and reality, an important aspect of the exhibition is the compelling appeal of architectural decay due to the passage of time, through both natural and deliberate destruction. It is almost as though photography were providing a moral reminder even such magnificence and presence, whether hewn in stone or cast in concrete, has its weaknesses too.

Architecture has always been an important platform for the frequently heated discussion of ideas and views, zeitgeist and weltanschauung, everyday life and aesthetics. Architecture is the bold materialisation of private and public visions, functionality and avant-garde art alike. It is, as Slavoj Žižek puts it, ideology in stone. Photography and architecture both play an undisputed role in our everyday lives. They confront us on a daily basis, often without our even noticing, and they influence how we think, act and live in subliminal and lasting ways. Concrete – Photography and Architecture provides visual answers to the question of what it is that makes up the intimate yet complex relationship between architecture and photography, architect and photographer.

The exhibition presents more than 400 photographs and groups of works from the 19th, 20th and 21st centuries, including William Henry Fox Talbot, Domenico Bresolin and Charles Marville as well as Germaine Krull, Lucia Moholy and Julius Shulman, and spanning an arc to contemporary works by Georg Aerni, Iwan Baan, Luisa Lambri and Hiroshi Sugimoto. Projects such as the long-term observations of Schlieren photography or Wolfgang Scheppe’s Migropolis show how the art of photography is playing an increasingly important role as an instrument of research and knowledge. The exhibition is accompanied by a lavishly illustrated book published by Scheidegger & Spiess, with some 300 colour and black-and-white pictures, essays by Jochen Becker, Johannes Binotto, Verena Huber Nievergelt, Michael Jakob, Nicoletta Leonardi, Lorenzo Rocha, Caspar Schärer, Aveek Sen and Urs Stahel as well as a conversation with Annette Gigon, Meret Ernst and Armin Linke.”

Press release from the Fotomuseum Winterthur website.


Guido Guidi. '#1176 01 29 1997 3:30PM Looking Southeast' From 'Carlo Scarpa's Tomba Brion' 


Guido Guidi
#1176 01 29 1997 3:30PM Looking Southeast
From Carlo Scarpa’s Tomba Brion
19,5 x 24,6 cm
Courtesy the artist
© Guido Guidi


Tobias Zielony.
 'Le Vele di Scampia' 2009


Tobias Zielony
Le Vele di Scampia
Blu Ray photoanimation
8.57 min
Courtesy Koch Oberhuber Wolff, Berlin
© Tobias Zielony/ KOW


Hiroshi Sugimoto.
 'Seagram Building, New York City' 1997


Hiroshi Sugimoto
Seagram Building, New York City
Gelatin-silver print
58,4 x 47 cm
Canadian Centre for Architecture, Montreal
© Hiroshi Sugimoto/Courtesy of Gallery Koyanagi Tokyo


Aage Strüwing.
 'Arne Jacobsen: Rødovre Town Hall' 1955


Aage Strüwing
Arne Jacobsen: Rødovre Town Hall
Gelatin-silver print
23,7 x 17 cm
EPFL Archives de la construction moderne, Lausanne
© Estate Strüwing


Moriz Nähr. '
Stiegenhaus im Haus Stonborough-Wittgenstein' 1928


Moriz Nähr

Stiegenhaus im Haus Stonborough-Wittgenstein [Staircase in the house Stonborough-Wittgenstein]
13.8 x 8.9 cm
Albertina, Wien
© Estate Moriz Nähr



Haus Wittgenstein, also known as the Stonborough House and the Wittgenstein House) is a house in the modernist style designed and built on the Kundmanngasse, Vienna, by the Austrian architect Paul Engelmannand the Austrian philosopher Ludwig Wittgenstein.

In November 1925, Wittgenstein’s sister Margaret Stonborough-Wittgenstein commissioned Engelmann to design and build a large townhouse. Margaret also invited her brother to help with the design in part to distract him from an incident that had happened while he had been a primary school teacher: he had hit a boy for getting an answer wrong and the boy had collapsed. The architect was Paul Engelmann, someone Wittgenstein had come to know while training to be an Artillery Officer in Olmutz. Engelmann designed a spare modernist house after the style of Adolf Loos: three rectangular blocks. Wittgenstein showed a great interest in the project and in Engelmann’s plans and poured himself into the project for over two years. He focused on the windows, doors, door knobs, and radiators, demanding that every detail be exactly as he specified, to the point where everyone involved in the project was exhausted. One of the architects, Jacques Groag, wrote in a letter: “I come home very depressed with a headache after a day of the worst quarrels, disputes, vexations, and this happens often. Mostly between me and Wittgenstein.” When the house was nearly finished he had a ceiling raised 30mm so the room had the exact proportions he wanted.

Waugh writes that Margaret eventually refused to pay for the changes Wittgenstein kept demanding, so he bought himself a lottery ticket in the hope of paying for things that way. It took him a year to design the door handles, and another to design the radiators. Each window was covered by a metal screen that weighed 150 kg, moved by a pulley Wittgenstein designed. Bernhard Leitner, author of The Architecture of Ludwig Wittgenstein, said of it that there is barely anything comparable in the history of interior design: “It is as ingenious as it is expensive. A metal curtain that could be lowered into the floor.”

The house was finished by December 1928, and the family gathered there that Christmas to celebrate its completion. Describing the work, Ludwig’s eldest sister, Hermine, wrote: “Even though I admired the house very much, I always knew that I neither wanted to, nor could, live in it myself. It seemed indeed to be much more a dwelling for the gods than for a small mortal like me”. Paul Wittgenstein, Ludwig’s brother, disliked it, and when Margaret’s nephew came to sell it, he reportedly did so on the grounds that she had never liked it either. Wittgenstein himself found the house too austere, saying it had good manners, but no primordial life or health. He nevertheless seemed committed to the idea of becoming an architect: the Vienna City Directory listed him as “Dr Ludwig Wittgenstein, occupation: architect” between 1933 and 1938. 

After World War II, the house became a barracks and stables for Russian soldiers. It was owned by Thomas Stonborough, son of Margaret until 1968 when it was sold to a developer for demolition. For two years after this the house was under threat of demolition. The Vienna Landmark Commission saved it – after a campaign by Bernhard Leitner – and made it a national monument in 1971, and since 1975 it has housed the cultural department of the Bulgarian Embassy.

(Text from Wikipedia)


Lala Aufsberg.
 'Cathedral of Light' c. 1937


Lala Aufsberg
Cathedral of Light
c. 1937
Gelatin-silver print
24 x 18 cm
Town Archive Nuremberg
© Photo Marburg



Lala Aufsberg (actually, Ida Louise Aufsberg, born 26 February 1907 in Sonthofen, May 18, 1976 ibid) was a well-known art photographer. After attending primary school and six years of school for Higher daughters in Immenstadt she began training for the 1932 photo dealer in Oberstdorf. After completion of the training Lala Aufsberg moved to Nuremberg, where she worked in the photographers’ studios of Seitz and Rosemary. In 1931 she joined the photo club of friends of photography in Nuremberg.

From April 1938 Lala Aufsberg attended the State School of Applied Arts and Crafts in Weimar, Department Lichtbildnerei at Walter Hege. In July 1938, she passed the exam for the master photographer’s craft, and in the same year returned to Sonthofen and opened a photographic studio. In the years 1937 and 1938 she documented the Nazi Party rallies in Nuremberg (see above photograph). She received her first artistic job in the years 1941-1942, in which she photographed the murals in churches and monasteries in Carinthia and Styria. Owned by the University of Marburg “German documentation center for art history” – Bildarchiv Foto Marburg (listed in UNESCO Archives Portal) acquired 1976/1977 and 1996, the Lala-Aufsberg archive with about 46,000 art history, black and white negatives in sizes 6×6 and 9×12 and 103,000 photos.


Walker Evans. 
'Chrysler Building under construction, New York' 1929


Walker Evans

Chrysler Building under construction, New York
Gelatin-silver print
16.8 x 8.3 cm
Canadian Centre for Architecture, Montréal
© Walker Evans Archive, The Metropolitan Museum of Art



Fotomuseum Winterthur
Grüzenstrasse 44 + 45
Winterthur (Zürich)

Opening hours:
Tuesday to Sunday 11 am – 6 pm
Wednesday 11 am – 8 pm
Closed on Mondays

Fotomuseum Winterthur website


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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
(aus der Serie Trona – Armpit of America)
56 x 84 cm
Sammlung Halke / Courtesy KOW, Berlin
© Tobias Zielony



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



Alexandra Ranner (*1967)
Schlafzimmer II (Bedroom II)
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
122 x 150 cm
Privatsammlung / Courtesy Galerie 
Feldbuschwiesner, Berlin
© Sarah Schönfeld



Guy Tillim (*1962)
Apartment Building, Avenue Bagamoyo, Beira, Mozambique
(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)
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
140,2 x 176,2 cm
Courtesy Thomas Struth, Berlin
© Thomas Struth



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



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



Thomas Demand (*1964)
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
(aus der Serie Vele)
150 x 120 cm
Tobias Zielony / Courtesy und KOW, Berlin und Lia Rumma, Neapel
© Tobias Zielony



Andreas Gursky (*1955)
Sáo Paulo Sé
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)
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
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


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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Mask’ 1994

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