Geometric gold-silver forms capture the blue and blackness of reproduced landscape from a bygone age resulting in the mystical attraction of woven tapestry. Fantastical characters float before a traditional setting, open up fictional spheres, captivate all senses.
Photo of a woven tapestry: Achim Kukulies, Düsseldorf
© Claudia Wieser, Untitled, 2013, Woven tapestry, 3 +1 AP, 280 x 188 cm
Courtesy: The artist; Sies + Höke, Düsseldorf
Claudia Wieser is a Berlin-based artist who creates drawings, sculptures, wall installations and tapestries based on the principle of geometric abstraction.
A performative manifesto for a potential youth movement
Anna Witt accompanied a group of young people in Leipzig as they developed and implemented a performative manifesto for a potential youth movement. In their conversations, the group expressed their feelings towards prevailing systems, contemplated the type of society they would like to live in and openly revealed their personal utopias. Based on their own ideas and sentiments, they then translated their manifesto into physical expressions and performative interventions in the public space.
Anna Witt creates playful situations and facilitates communal interaction. Using both verbal and non-verbal articulation, she prompt us to refelect on new definitions of collaborative coexistence.
“To rediscover the curiosity that shows you what you want, that brings out your own individual initiative” – Statement extract.
© Anna Witt, Das Radikale Empathiachat, video still 2018, 2-channel HD video, colour, sound, 20:10 min
Courtesy Galerie Tanja Wagner, Berlin
The video was created in collaboration with Maria Bujanov, Phillip Borchert, Anja Engelhardt, Belve Langniss, Blandia Langniss, Chiara Rauhut, Lena Schubel and the support of the GFZK Galerie für Zeitgenössische Kunst Leipzig.
Anna Witt, born in 1981 In Wasserburg/Inn, studied at The Academy of Fine Arts Vienna, attending the classes of Monica Bonvicini, Magdalena Jetelova and Asta Gröting. She currently lives in Wien. Her work is exhibited nationally and internationally and she is represented by Galerie Tanja Wagner, Berlin.
“The major part of my work is the combinations that I put together between the photographs, which question each other, enrich each other; they can be very similar to each other or very different.”
Artist Shirana Shahbazi during an interview with Eva Respini, associate curator of the MoMA exhibition New Photography 2012.
“These pictures insist on a necessary openness that is demanded unconditionally and seeks out and withstands the pluralist, equal juxtaposition.”
Andreas Fiedler, curator of the Shirana Shahbazi exposition First Things First, artistic director of the KINDL – Centre for Contemporary Art.
“…, while the gaze continually navigates across disparate juxtapositions.”
From the First Things First catalogue text “Photographic Difference” by Jens Asthoff.
© Shirana Shahbazi, [Haare], 2014, Two-colored lithography on Zerkall Bütten paper, 67 x 87 cm / 26 3/8 x 34 1/4 inch
© Shirana Shahbazi, [Komposition-68-2013], C-print on aluminium, 150 x 120 cm / 59 x 47 1/4 inch
Shirana Shahbazi, born in 1974 in Tehran, presents her photographic artworks in dynamic arrangements that keenly challenge our perception and question our way of thinking.
“Art and architecture are interfused, sight and space are explored, as art proposes a new kind of perception.”
Sinta Werner, Master of Fine Arts, 2007, Goldsmiths College, London, works with installations and collages. Boundaries between artwork and exhibition space, between image and sculpture, are broken down in her works.
© Photos: Sorin Morar and Sinta Werner
© Sinta Werner, CMYK colour space, 1st prize, public art competition, Munich, realised in 2015 at the Meindl School, Munich
“Today, so much seems self-evident even when it clearly isn’t. Not too long ago, this place, this city, this land – the whole of Europe – lay in ruins. History is still palpable. For this reason, it is important to make statements that emanate a positive and affirmative message in support of Europe, like this light installation. Resembling a lighthouse, it serves as a figurative aid to navigation, guiding us through the darkness and symbolising hope.”
Lukas Feireiss, author, curator
Foto © Ruben Dario Kleimeer
LICHTINSTALLATION EUROPA architects and project initiators Caro Baumann und Johannes Schele
In the banking sector, senior positions are predominantly held by men. Loredana Nemes decided to photograph some of them. Doing so, the artist sculpturally arranges the suit and accessories in an avant-garde manner. Commonly considered as the uniform and insignia of the world of business and finance, Nemes stylistically experiments with the fabric of the suit, bestowing it a new materiality and form. With this, the essence and the inward gaze of the wearer become apparent.
Loredana Nemes is a highly-esteemed artist who devises photographic series in black and white, creating unique portraits that examine the notion of identity.
© Loredana Nemes, Jan/Joachim/Jürgen, 2016, silver gelatin print, 60 x 50 cm, edition of 5 (+ 2 a.p.), 100 x 83.4 cm, edition of 5 (+ 1 a.p.), Courtesy Podbielski Contemporary
“Good to look at, good to think about.”
John Szarkowski, director of photography at the Museum of Modern Art, New York, from 1962 to 1991, in Jan Groover: Photographs, New York 1993.
Jan Groover’s photographic works are relevant and groundbreaking artworks that helped facilitate the acceptance of photography as an art form.
Jan Groover, 1943-2012, born in Plainfield, New Jersey, turned away from abstract painting in the early 1970s and began experimenting with the medium of photography. – Groover eliminated the documentary elements from her works, still lifes and people, and challenged the limits of the medium, investigating the relationship between the elements of her works, creating, in a sense, abstraction.
© Jan Groover, Untitled (0647), 1980, platinum-palladium contact print, 20,3 x 25,5 cm, edition of 15
© Jan Groover, Untitled (KSL 63.1), 1978, chromogenic print, 50,8 x 61 cm, edition of 3
copyright Jan Groover, courtesy Janet Bordon, Inc., New York
„The combination of documentary and fiction draws out the inner state of mind of each character, revealing the psychological tensions between the protagonists.”
In Ihrer Arbeit setzt sich Sorochinski mit familiären Dynamiken auseinander und redefiniert in diesem Prozess konstant Ihre eigene Identität. Der multidisziplinäre Hintergrund der Künstlerin – einschließlich Malerei, Skulptur, Installation – ist in ihrer Photographie- und Videoarbeit offensichtlich. Viktoria Sorochinski was born 1979 in Mariupol/Ukraine. She has lived in Magadan/Russia, Jerusalem, Montreal and New York, and currently lives in Berlin.
I the video Daddy’s Confession, 2012, part of the photographic/video project Daddy, 2008-2015, Viktoria Sorochinski portrays a father’s internal monologue; his unfulfilled wish to have a son turns into an unexpected reality in which he has to bring up a daughter.
Viktoria Sorochinski, stills from Daddy’s Confession, 2012, 4’58” HD
“I always wanted a son, not a daughter, really, but you know…
I guess I was very lonely, I was a lonely child, …
But one day I thought: “I’m going to give birth, to a son who is going to guide me out of this cesspool…
He is going to be the strong one, and he is going to carry me out!…
And then, one day… She just uuh…she attempted to escape, like a wolf! And I was just amazed at the strength, the courage! It seemed like she just defied death….“
“To create a work in which the lack of a single element will cause the entire structure – the invisible existences of things and their relationships – to collapse like a cosmos.”
Keiji Uematsu, born in 1947 in Kobe, Japan, works with drawing, sculpture and photography.
© Keiji Uematsu, “Wave Motion I” (1) and (2), 1976, 2 Silbergelatineprints, jeder 40.6 x 51.3 cm, Edition of 4, Courtesy Gallery Löhrl, Mönchengladbach
“In his most recent project, the series ‘Four Birds’, Carsten Höller presents depictions of finches that have been born infertile as a result of their breeding. Rendered in monochrome, these representations draw attention to each specific corpus and each individual feather. The stylised studio setting suggests selective breeding and transcience, but simultaneously highlights the uniqueness and beauty of these animals.”
Carsten Höller, born in 1961 in Brussels, works as an installation artist. His experiences in the biological sciences are a recurrent influence on his artistic concepts.
© Carsten Höller & Niels Boch Jensen Editions, Four Birds, 2015, Series of 9, Photogravure, Somerset 300 gr., Size /cm: Image 36,5 x 49,5; Paper 54,5 x 67; Frame 55 x 72, Edition of 18 + 4 AP
Photogravure is a halftone copper print based on a photographic template. The photogravures Four Birds are published by Niels Borch Jensen Editions, Copenhagen.