Posts Tagged ‘Tobias Zielony

05
Sep
21

Exhibition: ‘Tobias Zielony: The Fall’ at Museum Folkwang, Essen

Exhibition dates: 25th June – 26th September, 2021

 

Tobias Zielony (German, b. 1973) 'Andrej' 2016

 

Tobias Zielony (German, b. 1973)
Andrej
2016
Courtesy KOW, Berlin
© Tobias Zielony

 

 

A German artist who pictures the intersection between youth culture, identity and (self) representation.

Unlike the work of Michael Schmidt with that artist’s intimate association with the city of Berlin, Zielony’s photographs could have been taken anywhere in the world. With their contextless backgrounds Zielony’s figures – whether strangely lit and configured automatons, eerie apartment blocks that inhabit an alien world or anonymous humanoids fixed in mundane urban spaces – seem to be more about the artist and how he perceives the world than about the subject itself.

Having said that, these memorable photographs of introspective youths seem to hover in space between the preter/natural – suspended between the mundane and the miraculous.

Dr Marcus Bunyan

PS. My friend and mentor said to me, “What I am interested in, is how Zielony came to make such interesting aesthetic decisions – his work is the most interesting in terms of appearance for a long time. It is so easy to make things messy but he manages to remain so clean. What does he do, what does he say to himself to make this happen?”

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

 

 

 

 

TOBIAS ZIELONY. The Fall – Trailer

With The Fall, the Folkwang Museum is showing the first overview exhibition of works by the photo and video artist Tobias Zielony (b. 1973 in Wuppertal). A total of eleven video works, seven photo series, two room installations and a digital slide show with around 150 photographs alone allow for the first time a comprehensive look at Zielony’s artistic work over the past twenty years.

In his work, Tobias Zielony repeatedly deals with the concept of youth culture in relation to origin, representation and fashion and the associated definition of identity in the changing media reality. The emergence of social networks and the exchange of countless photographic images have fundamentally changed the idea of ​​the self and the forms of (self) representation. Zielony shows his protagonists: inside as self-confident participants in this interplay, who act despite cultural and social differences in a global cosmos of social codes and self-portraits.

Tobias Zielony stands in a long line of tradition in artistic photography and is considered by many younger picture makers to be pioneering. Few photographers of his generation have observed social and media developments as carefully and translated them into a contemporary visual language as he has. For the first time, “The Fall” offers the opportunity to read Zielony’s imagery, which is located in the most diverse regions of the world, as global phenomena in their specific forms.

 

 

Tobias Zielony (German, b. 1973) 'Glow' 2001

 

Tobias Zielony (German, b. 1973)
Glow
2001
From Curfew, Bristol, Newport
C-print
41.4 x 42cm
Courtesy KOW, Berlin
© Tobias Zielony

 

Tobias Zielony (German, b. 1973) 'Hochhaus' 2003

 

Tobias Zielony (German, b. 1973)
Hochhaus
2003
From Ha Neu
C-print
46 x 69cm
Museum Folkwang, Essen
© Tobias Zielony

 

Tobias Zielony (German, b. 1973) 'Aral-1' 2004

 

Tobias Zielony (German, b. 1973)
Aral-1
2004
From Tankstelle
C-Print
48 x 72cm
Courtesy KOW, Berlin
© Tobias Zielony

 

Tobias Zielony (German, b. 1973) 'Park' 2006

 

Tobias Zielony (German, b. 1973)
Park
2006
From Big Sexyland
C-print
67 x 100cm
Museum Folkwang, Essen
© Tobias Zielony

 

Tobias Zielony (German, b. 1973) 'Skandalous' 2007

 

Tobias Zielony (German, b. 1973)
Skandalous
2007
From The Cast
C-print
84 x 56cm
Courtesy KOW, Berlin
© Tobias Zielony

 

Tobias Zielony (German, b. 1973) 'Jay' 2007

 

Tobias Zielony (German, b. 1973)
Jay
2007
From The Cast
C-print
56 x 84cm
Courtesy KOW, Berlin
© Tobias Zielony

 

Tobias Zielony (German, b. 1973) 'Untitled' 2008

 

Tobias Zielony (German, b. 1973)
Untitled
2008
From the series Trona Armpit of America
Courtesy KOW, Berlin
© Tobias Zielony

 

Tobias Zielony (German, b. 1973) 'Dirt Field' 2008

 

Tobias Zielony (German, b. 1973)
Dirt Field
2008
From the series Trona Armpit of America
C-print
56 x 84cm
Courtesy KOW, Berlin
© Tobias Zielony

 

Tobias Zielony (German, b. 1973) 'Two boys' 2008

 

Tobias Zielony (German, b. 1973)
Two boys
2008
From the series Trona Armpit of America
C-print
56 x 84cm
Courtesy KOW, Berlin
© Tobias Zielony

 

Tobias Zielony (German, b. 1973) 'Ball 13' 2008

 

Tobias Zielony (German, b. 1973)
Ball 13
2008
From Trona
C-print
84 x 56cm
Courtesy KOW, Berlin
© Tobias Zielony

 

Tobias Zielony (German, b. 1973) 'BMX' 2008

 

Tobias Zielony (German, b. 1973)
BMX
2008
From Trona
C-Print
56 x 84cm
Courtesy KOW, Berlin
© Tobias Zielony

 

Tobias Zielony (German, b. 1973) 'Vela Azzurra' 2010

 

Tobias Zielony (German, b. 1973)
Vela Azzurra
2010
From the series Vele
C-print
150 x 120cm
Courtesy KOW, Berlin
© Tobias Zielony

 

 

With The Fall, Museum Folkwang is presenting the first major overview exhibition of the work of Tobias Zielony (June 25 – September 26, 2021). Zielony stands in a long lineage of artistic photography. His visual world is seen as paving the way for a younger generation. Few photographers have observed developments in society and the media as keenly and translated these into a contemporary visual language as he has. His work The Citizen, on the topic of migration, was shown in the German Pavilion at the 2015 Venice Biennial and viewed by a broad international public. The largest presentation of his photographs and video works to date offers a comprehensive insight into Zielony’s work of the last 20 years.

The people and spaces that attract Tobias Zielony are not on the margins of society, but the places in deprived areas where adolescents meet, hang out and show off: be this in Wuppertal, Trona, Naples, Osaka, Halle-Neustadt or Kiev. The youths and young adults whom Zielony accompanies with his camera as a confidant and observer belong to the Techno, LGBTQIT*​ or skater scene, amongst others. Zielony operates globally and allows himself to be guided by his curiosity, which affords him ever new encounters with young people in their respective social contexts. In all of this he explores the intersection between fictional and documentary assertions and investigates the political and aesthetic potential as well as the boundaries of authentic self-representation. His photographic works and films are characterised by a critical understanding of the genre and the quest for self-determination and emancipation of those portrayed in them.

The show The Fall combines well-known photography series and early video works ranging from Curfew (2001), Big Sexyland (2006), the well-known stop-motion videos Vele (2009-10), Maskirovka (2016-17), to the video work Hansha (2019) created in Japan. The exhibition is the first to bring together Zielony’s visual worlds from different parts of the world and show them as global phenomena with specific characteristics. A symbolic city space is created in the exhibition;s central space, which offers a space to meet and sojourn. Encounters, situations and places exist alongside and enter into relationship with each other, and in their spatial consolidation cite the ever-present flood of images on social media.

In his work, Tobias Zielony has time and again addressed youth culture with a view to background, representation and fashion and the definition of identity in a world changing in terms of the media used. Social networks and the exchange of photographic images they entail have fundamentally changed the notion of the self and the forms of (self-)representation. Everyone – and this includes his protagonists – now uses the photographic medium with their smart phone in order to send and receive images. In this interplay, Zielony shows his subjects as confident participants acting in a global cosmos of social codes and self-portraits – in spite of cultural and social differences.

Spector Books is publishing a series of essays: selected works by Tobias Zielony are paired with texts by Sophia Eisenhut, Joshua Groß, Dora Koderhold, Enis Maci, Mazlum Nergiz and Jakob Nolte.

Press release from the Museum Folkwang

 

Tobias Zielony (German, b. 1973) 'Al-Akrab' (filmstill) 2014

 

Tobias Zielony (German, b. 1973)
Al-Akrab (filmstill)
2014
HD Video & Stop Motion, 4:52 min
Courtesy KOW, Berlin
© Tobias Zielony

 

Tobias Zielony (German, b. 1973) 'The Citizen' 2015

 

Tobias Zielony (German, b. 1973)
The Citizen
2015
Courtesy KOW, Berlin
© Tobias Zielony

 

Tobias Zielony (German, b. 1973) 'The Citizen' 2015

 

Tobias Zielony (German, b. 1973)
The Citizen
2015
Courtesy KOW, Berlin
© Tobias Zielony

 

Tobias Zielony (German, b. 1973) 'Cover' 2017

 

Tobias Zielony (German, b. 1973)
Cover
2017
From Maskirovka
Inkjet print
84 x 56cm
Courtesy KOW, Berlin
© Tobias Zielony

 

Tobias Zielony (German, b. 1973) 'Secret' 2017

 

Tobias Zielony (German, b. 1973)
Secret
2017
From Maskirovka
Inkjet print
56 x 84cm
Courtesy KOW, Berlin
© Tobias Zielony

 

Tobias Zielony (German, b. 1973) 'Make Up' 2017

 

Tobias Zielony (German, b. 1973)
Make Up
2017
From Maskirovka
Inkjet print
70 x 105cm
Courtesy KOW, Berlin
© Tobias Zielony

 

Tobias Zielony (German, b. 1973) 'Maskirovka' (installation view) 2017

 

Tobias Zielony (German, b. 1973)
Maskirovka (installation view)
2017
HD Video, Stop Motion, 8:46 min
Courtesy KOW, Berlin
© Tobias Zielony

 

Tobias Zielony (German, b. 1973) 'Red Mask' 2019

 

Tobias Zielony (German, b. 1973)
Red Mask
2019
Inkjet print
100 x 75cm
Courtesy KOW, Berlin
© Tobias Zielony

 

Tobias Zielony (German, b. 1973) 'Hansha' (installation view) 2019

 

Tobias Zielony (German, b. 1973)
Hansha (installation view)
2019
HD Video, 6:01 min
Courtesy KOW, Berlin
© Tobias Zielony

 

Tobias Zielony (German, b. 1973) 'Snakepool' 2020

 

Tobias Zielony (German, b. 1973)
Snakepool
2020
Inkjet print
120 x 80cm
Courtesy KOW, Berlin
© Tobias Zielony

 

Tobias Zielony (German, b. 1973) 'Yusuke' 2020

 

Tobias Zielony (German, b. 1973)
Yusuke
2020
Inkjet print
120 x 80cm
Courtesy KOW, Berlin
© Tobias Zielony

 

Halina Kliem. 'Portrait of Tobias Zielony' 2021

 

Halina Kliem
Portrait of Tobias Zielony
2021

 

 

Museum Folkwang
Museumsplatz 1, 45128 Essen

Opening hours:
Tuesday – Sunday 10am – 6pm
Thursday – Friday 10am – 8pm

Museum Folkwang website

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17
May
13

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

Exhibition dates: 2nd March – 20th May 2013

 

Anonymous photographer.
 'Hardstrasse with Hardbrücke in construction' 1972


 

Anonymous photographer
Hardstrasse with Hardbrücke in construction
1972
Gelatin silver print
8.8 x 12.6cm
Baugeschichtliches Archiv der Stadt Zürich

 

 

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.

Marcus

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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 (Austrian, 1859-1945) 
'Stiegenhaus im Haus Stonborough-Wittgenstein' 1928 (composite)

 

Moriz Nähr (Austrian, 1859-1945)

Stiegenhaus im Haus Stonborough-Wittgenstein [Staircase in the house Stonborough-Wittgenstein] (composite)
1928

 

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

 

Michael Wesely (German, b. 1963)
Canadian Embassy, Leipziger Platz, Berlin (5.2.2003 – 28.4.2005)

C-print
125 x 175cm
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 (English, 1800-1877)
The Bridge of Sighs, St. John’s College, 
Cambridge
1845
Salt print from calotype negative
16.4 x 20.6cm
Museum Folkwang Essen

 

Charles Marville (French, 1813-1879) '24, Rue Bièvre, Paris' 1865-1869

 

Charles Marville (French, 1813-1879)
24, Rue Bièvre, Paris
1865-1869
Albumin print
27.4 x 36.6cm
Collection Thomas Walther

 

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


 

Lucien Hervé (Hungarian, 1910-2007)
Le Corbusier: Façade of the Secretariat Building, Chandigarh, 1961
1961
Gelatin silver print
25.5 x 25.4cm
Canadian Centre for Architecture, Montréal
© Estate Lucien Hervé

 

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

 

F. C. Gundlach (German, b. 1926)
“Op Art” bathing suit by Sinz, Vouliagmeni/Greece
1966
Gelatin silver print
50 x 50cm
F.C. Gundlach, Hamburg
© F.C. Gundlach

 

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

 

Laurence Bonvin (Swiss, b. 1967)
Blikkiesdorp, Cape Town, South Africa
2009
Inkjet print
40 x 50cm
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' 
1997

 

Guido Guidi (Italian, b. 1941)
#1176 01 29 1997 3:30PM Looking Southeast
From Carlo Scarpa’s Tomba Brion
1997
C print
19.5 x 24.6cm
Courtesy the artist
© Guido Guidi

 

Tobias Zielony.
 'Le Vele di Scampia' 2009

 

Tobias Zielony (German, b. 1973)
Le Vele di Scampia
2009
Blu Ray photoanimation
8.57 min
Courtesy Koch Oberhuber Wolff, Berlin
© Tobias Zielony/ KOW

 

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

 

Hiroshi Sugimoto (Japanese, b. 1948)
Seagram Building, New York City
1997
Gelatin silver print
58.4 x 47cm
Canadian Centre for Architecture, Montreal
© Hiroshi Sugimoto/Courtesy of Gallery Koyanagi Tokyo

 

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


 

Aage Strüwing (Danish, 1913-1989)
Arne Jacobsen: Rødovre Town Hall
1955
Gelatin silver print
23.7 x 17cm
EPFL Archives de la construction moderne, Lausanne
© Estate Strüwing

 

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


 

Moriz Nähr (Austrian, 1859-1945)

Stiegenhaus im Haus Stonborough-Wittgenstein [Staircase in the house Stonborough-Wittgenstein]
1928
Silbergelatine Abzug
13.8 x 8.9cm
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 (German, 1907-1976)
Cathedral of Light
c. 1937
Gelatin silver print
24 x 18cm
Town Archive Nuremberg
© Photo Marburg

 

 

Lala Aufsberg (actually, Ida Louise Aufsberg, born 26 February 1907 in Sonthofen, May 18, 1976) 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 (American, 1903-1975)

Chrysler Building under construction, New York
1929
Gelatin silver print
16.8 x 8.3cm
Canadian Centre for Architecture, Montréal
© Walker Evans Archive, The Metropolitan Museum of Art

 

 

Fotomuseum Winterthur
Grüzenstrasse 44 + 45
CH-8400
Winterthur (Zürich)

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

Fotomuseum Winterthur website

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18
Sep
12

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

Exhibition dates: 8th June – 23rd September 2012

 

Tobias Zielony. 'Dirt Field' 2008

 

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

 

 

“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 artefacts of hyperreality, of unallocated (un/all/located) space in which a unitary self/world has always been “lost.”

Dr Marcus Bunyan

.
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.

 

Beate Gütschow. 'S#11' 2005

 

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

 

Alexandra Ranner. 'Schlafzimmer II' 2008

 

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

 

Sarah Schönfeld. 'Wende-Gelände 01' 2006

 

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

 

Guy Tillim. 'Apartment Building, Avenue Bagamoyo, Beira, Mozambique' 2008

 

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

 

Jeff Wall. 'Insomnia' 1994

 

Jeff Wall (Canadian, b. 1946)
Insomnia
1994
Cibachrome in Leuchtkasten (Plexiglas, 
Aluminium, Leuchtröhren)
174 x 214cm
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 (German, b. 1954) 'Times Square, New York' 2000

 

Thomas Struth (German, b. 1954)
Times Square, New York
2000
C-Print
140.2 x 176.2cm
Courtesy Thomas Struth, Berlin
© Thomas Struth

 

Thomas Struth. 'Times Square, New York' 2000

 

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

 

Thomas Demand. 'Haltestelle' 2009

 

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

 

Thomas Demand. 'Parlament' 2009

 

Thomas Demand (German, b. 1964)
Parlament
2009
C-Print / Diasec
180 x 223cm
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. 'Vela Azzurra' 2010

 

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

 

Andreas Gursky. 'Sáo Paulo Sé' 2002

 

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

 

Andreas Gursky. 'Ohne Titel XIII (Mexico)' 2002

 

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

 

 

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

Opening hours:
Tuesdays to Sundays 10am – 6pm
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.

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Marcus Bunyan black and white archive: ‘Orphans and small groups’ 1994-96 Part 2

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