Refusal of Reality Subjective Positions In Contemporary Photography
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Le 2008-09-10 23:51:12
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Within this exhibition series and the corresponding catalogue nine photographers develop a contemporary discourse about their media. Since 2005 several group exhibitions and linked solo shows throughout germany and abroad refer to a dynamic and vivid photography art scene.
The project creates a bridge from the beginnings of radical positions in the context of european contemporary art in the 1920s, via the attitudes of the issue of "subjective photography" in the 1950s, to today.
This ensuing discussion is part of the current european discourse surrounding the photographic medium - it opposes the documentary and realistic representation with a more metaphorical, visionary, poetic and subjective approach to contemporary photography.
Located in close relation to the basic idea of "subjective photography", the work itself both enriches and extends this original concept by technical innovations, such as colour and digital technology, and thus broadens the fusion of different concepts of both painting and photography.
The programmatic point of view - represented by a multiplicity of individual artists - was always present. As their significance increasingly comes to light their work is destined to affect a paradigm change within the discourse of contemporary photography.
Contrary to the conceptional approach of involving every artist to the curatorship this time the exhibition is curated solely by Tim Kellner who will be accompany the show as Artist in Residence at the Sydney College of the Arts.
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...
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photography, contemporary, discourse, as, subjective, their, exhibition, work, art, both, artist, european, within, approach, concepts, painting, programmatic, represented, artists, different, 
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