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Kuckei + KuckeiKuckei + Kuckei
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Jörn Vanhöfen - Manmade landscapes of beauty and depredation

 Only a few individuals appear in the quiet pictures by photographer Jörn Vanhöfen, or so it seems, at first glance. For behind the aesthetic charm of his visual compositions lies the ambiguity of their aesthetic, as well as the omnipresence of people in the age of globalization.

His landscapes are places man has affected, and then carelessly abandoned, forgotten, but they also depict places of transformation, such as the wildfires in Portugal, droughts, or marble mining in Carrera. With his leftovers, man has created landscapes that ravage, pollute, and...

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Avenue Patrice Lumumba - Guy Tillim

In many African cities, there are streets, avenues and squares named after Patrice Lumumba, one of the first elected African leaders of modern times, winning the Congo election after independence from Belgium in 1960. His speech at the independence celebrations in Léopoldville, in the presence of the Belgian King, Baudouin, unequivocally signalled his opposition to the West's idea of neo-colonial order that would replace overt domination with indirect control. He was assassinated in January 1961 by Belgian agents after UN complicity in the secession of the provinces of Katanga and South Kasai, and a Western power-supported military ...

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A Look Away - South African Photography Today

»A Look Away« is the first of two exhibitions on Contemporary South African Art at Gallery Kuckei + Kuckei in Berlin. While the first show will focus on the latest developments in photography, the second part, titled »Why not?«, will present artists working in various mediums such as sculpture, installation, video and performance.

»A Look Away« introduces four emerging photographers from different origins in South Africa: Pieter Hugo, Sabelo Mlangeni, Mikhael Subotzky and Nontsikelelo Veleko. Furthermore the show will present works of documenta-participant Guy Tillim.

The ti...

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Barbara Probst - Exposure

Barbara Probst investigates the many ambiguities inherent to the photographic image. In her work the relationship of the photographic instant to reality is intensified in two distinct ways whereby the captured moment acquires an almost unsettling quality: on the one hand, Barabara Probst abandons the single-eye gaze of the camera and divides it into various points of view. On the other, she multiplies and diversifies the short moment of the shot. Thanks to a radio-controlled release system she can simultaneously trigger the shutters of several cameras pointed at the same event or subject from different angles and various distances. The depict...

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