Beate Gütschow
#Photographe
- Exposition
fALSEfAKES : central exhibition of the 4th photo-triennal 50JPG
The central exhibition in the 50JPG seeks to question the documentary character of photography. We all seem to share the assumption that anyone producing optical images is providing testimony on the tangible world. But this positivistic, pro-scientific nineteenth-century belief has been shaken by the ‘derealisation’ of our lives and the increasingly spectacle-oriented quality of news in contemporary capitalist society. Moreover, that process includes artists like Jeff Wall and Cindy Sherman who reverse the usual codes in photography.
© Paul Graham
The exhibition fALSEfAKES seeks to probe the documentary value of photography. Whether we are producers or viewers of photos, we all seem to share the assumption that anyone recording images using an optical device is, i... - Exposition
BEATE GÜTSCHOW - place(ments), 2009
At first glance, Beate Gütschow’s photographs appear to be natural reproductions of an existent reality. However, the motifs depicted are assembled on a computer. They consist of up to 100 individual images which she has photographed in various places and then archived for future use.
Whilst each individual image reflects reality, when taken as a whole her pictures are completely fictitious.
For her first series, Beate Gütschow chose 17th and 18th-century landscape painting as her point of reference. Working in the studio, artists such as Nicolas Poussin or Claude Lorrain composed idealised landscapes which did not actually exist in the real world. Beate Gütschow employs the same compositional principles that underlie these paintings, combining fragments of contemporary reality. Her photographs... - Exposition
VETO : Contemporary Positions in German Photography
Seit der Erfindung im frühen 19. Jahrhundert gilt die Fotografie als Spiegel der Wirklichkeit. Aber nicht erst mit dem Aufkommen der digitalen Bildbearbeitung und ihren Möglichkeiten der Manipulation wurde dieser Anspruch radikal infrage gestellt. Acht künstlerische Positionen jenseits der Wirklichkeitstreue der Fotografie stellt die Ausstellung „VETO – Zeitgenössische Positionen in der deutschen Fotografie“ vom 4. September bis 15. November 2009 im Haus der Photographie in den Deichtorhallen vor.
Die von Ingo Taubhorn kuratierte Schau setzt den Fokus auf Fotografie, die die vielfachen Möglichkeiten einer Reflexion über die Bedingungen des fotografischen Bildes zum Bildthema hat. Die ausgewählten Künstlerinnen und Künstler, die sich mit ihren Arbeiten im K... - Exposition
Realtà Manipolate : Come le immagini ridefiniscono il mondo
L’esposizione, nata da un progetto del CCCS, con la consulenza scientifica di Brett Rogers (direttore della Photographers' Gallery di Londra), Luminita Sabau (direttrice della collezione di fotografia contemporanea DZ Bank, Germania), Martino Marangoni (direttore della Fondazione Marangoni di Firenze) e Franziska Nori (project director del CCCS), focalizzerà la propria attenzione sul significato del termine ‘realtà’ nelle ricerche artistiche contemporanee che sviluppano diverse possibilità visive di rappresentare il mondo nell’ambiguità tra reale e verosimile, concreto e apparente, presente e passato.
Le diverse discipline scientifiche hanno già definito un cambiamento paradigmatico, affermando che il “mondo reale” non esiste come categoria autonom... - Exposition
Manipulating Reality : How images redefine de the world
The exhibition, the idea for which came from a CCCS project that availed itself of the scientific advice of Brett Rogers (director of the Photographers' Gallery, London), Luminita Sabau (director of the DZ Bank collection of contemporary photography in Germany), Martino Marangoni (director of the Fondazione Marangoni, Florence) and Franziska Nori (project director with the CCCS), will be focusing on the meaning of the term "reality" in contemporary artistic research, as it explores different ways of visually representing the world in the ambiguity that lies between the real and the verisimilar, the concrete and the apparent, the present and the past.
Several different scientific disciplines have already defined a paradigmatic change when they contend that the "real world" does not exist as an indep... - Exposition
Beate Gütschow - somewhere else
The Haus am Waldsee presents the Berlin-based photographer Beate Gütschow (1970) with more than 20 large-scale photographs and videos from her latest production. Idyll and utopia are pivotal concepts for this artist, who studied art with Bernhard Blume and Wolfgang Tilmans from 1993 to 2000 in Hamburg. Her landscapes and cityscapes are reflections on formulas as they were developed in the landscape painting of the 17th and 18th century, when nature was constructed as something highly artificial. Analogically Gütschow constructs her images from photos using digital collage techniques.
In her latest works Gütschow develops cityscapes devoid of human or natural life. She takes the uncontrolled growth of the soulless, interchangeable deserts of concrete that are our metropolises to the extent that the observe... - Exposition
Beate Gütschow somewhere else
The Haus am Waldsee presents the Berlin-based photographer Beate Gütschow (1970) with more than 20 large-scale photographs and videos from her latest production. Idyll and utopia are pivotal concepts for this artist, who studied art with Bernhard Blume and Wolfgang Tilmans from 1993 to 2000 in Hamburg. Her landscapes and cityscapes are reflections on formulas as they were developed in the landscape painting of the 17th and 18th century, when nature was constructed as something highly artificial. Analogically Gütschow constructs her images from photos using digital collage techniques.
In her latest works Gütschow develops cityscapes devoid of human or natural life. She takes the uncontrolled growth of the soulless, interchangeable deserts of concrete that are our metropolises to the extent that the observer is unabl...
Modifier l'image
The central exhibition in the 50JPG seeks to question the documentary character of photography. We all seem to share the assumption that anyone producing optical images is providing testimony on the tangible world. But this positivistic, pro-scientific nineteenth-century belief has been shaken by the ‘derealisation’ of our lives and the increasingly spectacle-oriented quality of news in contemporary capitalist society. Moreover, that process includes artists like Jeff Wall and Cindy Sherman who reverse the usual codes in photography.
© Paul Graham
The exhibition fALSEfAKES seeks to probe the documentary value of photography. Whether we are producers or viewers of photos, we all seem to share the assumption that anyone recording images using an optical device is, i...
At first glance, Beate Gütschow’s photographs appear to be natural reproductions of an existent reality. However, the motifs depicted are assembled on a computer. They consist of up to 100 individual images which she has photographed in various places and then archived for future use.
Whilst each individual image reflects reality, when taken as a whole her pictures are completely fictitious.
For her first series, Beate Gütschow chose 17th and 18th-century landscape painting as her point of reference. Working in the studio, artists such as Nicolas Poussin or Claude Lorrain composed idealised landscapes which did not actually exist in the real world. Beate Gütschow employs the same compositional principles that underlie these paintings, combining fragments of contemporary reality. Her photographs...
Seit der Erfindung im frühen 19. Jahrhundert gilt die Fotografie als Spiegel der Wirklichkeit. Aber nicht erst mit dem Aufkommen der digitalen Bildbearbeitung und ihren Möglichkeiten der Manipulation wurde dieser Anspruch radikal infrage gestellt. Acht künstlerische Positionen jenseits der Wirklichkeitstreue der Fotografie stellt die Ausstellung „VETO – Zeitgenössische Positionen in der deutschen Fotografie“ vom 4. September bis 15. November 2009 im Haus der Photographie in den Deichtorhallen vor.
Die von Ingo Taubhorn kuratierte Schau setzt den Fokus auf Fotografie, die die vielfachen Möglichkeiten einer Reflexion über die Bedingungen des fotografischen Bildes zum Bildthema hat. Die ausgewählten Künstlerinnen und Künstler, die sich mit ihren Arbeiten im K...
L’esposizione, nata da un progetto del CCCS, con la consulenza scientifica di Brett Rogers (direttore della Photographers' Gallery di Londra), Luminita Sabau (direttrice della collezione di fotografia contemporanea DZ Bank, Germania), Martino Marangoni (direttore della Fondazione Marangoni di Firenze) e Franziska Nori (project director del CCCS), focalizzerà la propria attenzione sul significato del termine ‘realtà’ nelle ricerche artistiche contemporanee che sviluppano diverse possibilità visive di rappresentare il mondo nell’ambiguità tra reale e verosimile, concreto e apparente, presente e passato.
Le diverse discipline scientifiche hanno già definito un cambiamento paradigmatico, affermando che il “mondo reale” non esiste come categoria autonom...
The exhibition, the idea for which came from a CCCS project that availed itself of the scientific advice of Brett Rogers (director of the Photographers' Gallery, London), Luminita Sabau (director of the DZ Bank collection of contemporary photography in Germany), Martino Marangoni (director of the Fondazione Marangoni, Florence) and Franziska Nori (project director with the CCCS), will be focusing on the meaning of the term "reality" in contemporary artistic research, as it explores different ways of visually representing the world in the ambiguity that lies between the real and the verisimilar, the concrete and the apparent, the present and the past.
Several different scientific disciplines have already defined a paradigmatic change when they contend that the "real world" does not exist as an indep...
The Haus am Waldsee presents the Berlin-based photographer Beate Gütschow (1970) with more than 20 large-scale photographs and videos from her latest production. Idyll and utopia are pivotal concepts for this artist, who studied art with Bernhard Blume and Wolfgang Tilmans from 1993 to 2000 in Hamburg. Her landscapes and cityscapes are reflections on formulas as they were developed in the landscape painting of the 17th and 18th century, when nature was constructed as something highly artificial. Analogically Gütschow constructs her images from photos using digital collage techniques.
In her latest works Gütschow develops cityscapes devoid of human or natural life. She takes the uncontrolled growth of the soulless, interchangeable deserts of concrete that are our metropolises to the extent that the observe...
The Haus am Waldsee presents the Berlin-based photographer Beate Gütschow (1970) with more than 20 large-scale photographs and videos from her latest production. Idyll and utopia are pivotal concepts for this artist, who studied art with Bernhard Blume and Wolfgang Tilmans from 1993 to 2000 in Hamburg. Her landscapes and cityscapes are reflections on formulas as they were developed in the landscape painting of the 17th and 18th century, when nature was constructed as something highly artificial. Analogically Gütschow constructs her images from photos using digital collage techniques.
In her latest works Gütschow develops cityscapes devoid of human or natural life. She takes the uncontrolled growth of the soulless, interchangeable deserts of concrete that are our metropolises to the extent that the observer is unabl...