Martin Fengel - Journal of Science
Catalogue at schaden.com
...there's that one maxim by Ludwig Wittgenstein, who wanted to bring all science back to the basics of philosophy; there are even quite a few maxims by Wittgenstein which are very appropriate to what Martin Fengel is doing. It is almost as if Fengel wanted to demonstrate what Wittgenstein meant. In Tractatus Logico-Philosophicus, for example, Wittgenstein writes, "What can be shown cannot be said", referring primarily to language in its elementary form. He also says, "A sentence shows a logical form of reality. It emphasizes it."
Wittgenstein was referring to language (he was thinking about the grammar of the world in an age when images had not yet begun to play the key role in determining this grammar), and yet Martin Fengel's pictures work with the same model and the same rigour that Wittgenstein advocated. They show the logical form of reality and emphasize it; they are formulae, they are the keys to our understanding of what we see; they contain what could be termed the optical DNA of our world.
This clearly distinguishes them from almost all other photos and images in our age replete with images. Fengel's photos neither explain nor comment on what they show; they do not adopt a stance, show affection or criticism; they do not adhere to reality but float above it; nothing sticks to them, they are free from the past, they elude narration and refuse to pay homage to the story; yet they are setting a sign, just as they themselves are looking for signs. These pictures store optical codes which in turn can be combined to form something resembling reality.
DIEHL starts its “Flaneur” selection with 42 works of the Soviet photo journalist Dmitry Baltermants. Best known for his pictures of the Soviet battlefield during World War II.
During World War II, Baltermants covered major battles for Izvestia and for the Red Army newspaper Na Razgrom Vraga. He fought and photographe...
Le 24 mars 1976, le peuple argentin subit un coup d’état militaire. C’est le début d’une ère de répression sanglante, où quelque 30 000 personnes disparaissent et près de 500 bébés sont volés. Mais s’ouvre également une période d’ultralibéralisme d&ea...
Blindspot Gallery is pleased to present Coastline featuring emerging Chinese photographer Zhang Xiao’s award-winning series Coastline that focuses on the continuous 18,000 kilometres of China’s coastline. The series does not merely capture the seaside landscape of these coastal areas, but also witnesses the changes o...
Du dépouillement des clichés de Catherine Lambermont se dégage une poésie narrative. Ses images composent une suite d’instants d’observation libre. Son travail réhabilite le continuum qui caractérise chaque frontière. La frontière est le lieu du lien. Entre le corps et l’es...
Eric Rondepierre a choisi de montrer au sein d'un travail multiforme, certaines des oeuvres qui ont partie liée au cinéma, depuis ses débuts en 1992. Sur un parcours de vingt ans, 56 pièces ont été prélevées dans dix séries : Excédents, Annonces, Précis...
Simone Nieweg is a photographer of gardens and landscapes. Her work, as it has manifested itself over the past thirty years, knows no other interest. At the same time, a certain serenity hovers over her pictures. In them, nature seems entirely focused on itself. One immediately notices that human beings are absent. The allure of colors and shapes...
« Je ne peux m’empêcher, atteste Gérard Uféras, d’associer la pratique de l’Art à la notion d’amour et de partage ». (extrait de son livre Etats de grâce, éditions du Fantom)
«Egyptian pack» evokes many associations - here are both Petersburgers favorite topic of werewolves (see the movie of E. Yufit «Corpsmen werewolves») and references to the Perm animal style.
Also we can recall British film «The Wicker Man» (1973) with its ritual procession of the man-beasts, ho...