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Alcatel is honored to be the founding partner of the Mutations I exhibition which enables cutting-edge European photographers to have their work shown to a larger public audience. The Alcatel prize for the European Month of Photography will give emphasis to one of them. By its commitment to support photography as an artistic expression of openess to others, Alcatel is pursuing an approach to the arts based on recognising and promoting cultural diversity.

Exhibition presented thanks to the significant patronage of Mr Bertrand Delanoë, Mayor of Paris Mr Andrej ˇDurkovsky´, Mayor of Bratislava Mr Michael Häupl, Mayor and Governor of Vienna Mr Youri Loujkov, Mayor of Moscow Mrs Octavie Modert, Secretary of State for Culture, Superior Education, and Research of Luxembourg Mr Walter Veltroni, Mayor of Rome Mr Klaus Wowereit, Governing Mayor of the City of Berlin 14

15


Alcatel is honored to be the founding partner of the Mutations I exhibition which enables cutting-edge European photographers to have their work shown to a larger public audience. The Alcatel prize for the European Month of Photography will give emphasis to one of them. By its commitment to support photography as an artistic expression of openess to others, Alcatel is pursuing an approach to the arts based on recognising and promoting cultural diversity.

Exhibition presented thanks to the significant patronage of Mr Bertrand Delanoë, Mayor of Paris Mr Andrej ˇDurkovsky´, Mayor of Bratislava Mr Michael Häupl, Mayor and Governor of Vienna Mr Youri Loujkov, Mayor of Moscow Mrs Octavie Modert, Secretary of State for Culture, Superior Education, and Research of Luxembourg Mr Walter Veltroni, Mayor of Rome Mr Klaus Wowereit, Governing Mayor of the City of Berlin 14

15


EUROPEAN MONTH OF PHOTOGRAPHY

The European Month of Photography brings together the 7 photography festivals of Berlin, Bratislava, Luxembourg, Moscow, Paris, Rome and Vienna in a single network. Mutations I is the network’s first major common project. In each of the 7 partner countries in the project the curators have chosen 5 artists whose work is representative of the artistic and technological mutations which affect the world of photography today, and who deserve international recognition. From the 35 artists, 7 have been selected by a European jury to participate in the Mutations exhibition. This catalogue, published to coincide with the exhibition, presents a selection of works by the 7 artists chosen but also offers a glimpse of the work of the 28 other photographers. 17


EUROPEAN MONTH OF PHOTOGRAPHY

The European Month of Photography brings together the 7 photography festivals of Berlin, Bratislava, Luxembourg, Moscow, Paris, Rome and Vienna in a single network. Mutations I is the network’s first major common project. In each of the 7 partner countries in the project the curators have chosen 5 artists whose work is representative of the artistic and technological mutations which affect the world of photography today, and who deserve international recognition. From the 35 artists, 7 have been selected by a European jury to participate in the Mutations exhibition. This catalogue, published to coincide with the exhibition, presents a selection of works by the 7 artists chosen but also offers a glimpse of the work of the 28 other photographers. 17


SUMMARY PHOTOGRAPHIC POSTURES AND IMPOSTURES André Rouillé

20

BERLIN A new photographic world in the making Thomas Friedrich BEATE GÜTSCHOW / VERENA JAEKEL / SVEN JOHNE / WIEBKE LOEPER / ROBERT VOIT

26

BRATISLAVA Slovakian young photography Zuzana Lapitková MAREK KVETáN / TomáS AgÁt BLonski / MONIKA HURNANSKá / DOROTA SADOVSKá / SILVIA SAPAROVá

46

LUXEMBOURG Photographically eclectic Paul di Felice CARINE & éLISABETH KRECKÉ / SIMONE DECKER / LAURENT FRIOB / CLAUDIA PASSERI / VERA WEISGERBER

66

MOSCOW New Russian society and its photography Olga Sviblova AES+F GROUP / JULIA BOCHKOVA / ALLA ESIPOVICH / VLADIMIR MISHUKOV / OLGA TOBRELUTS

86

PARIS Dissident Gazes Jean-Luc Monterosso PHILIPPE RAMETTE / VALÉRIE BELIN / FLORENCE CHEVALLIER / Stéphane COUTURIER / PIERRE GONNORD

106

ROME “In between”. City, landscape and memory in contemporary Italian photography Emiliano Paoletti EVA FRAPICCINI / LUCA CAMPIGOTTO / MAURO D’AGATI / TANCREDI MANGANO / PAOLO VENTURA

126

VIENNA Photography: The medium as instrument Gunda Achleitner, Berthold Ecker NINA DICK / SABINE BITTER & HELMUT WEBER / DORIS KRÜGER / JULIE MONACO / KLAUS PAMMINGER

146

19


SUMMARY PHOTOGRAPHIC POSTURES AND IMPOSTURES André Rouillé

20

BERLIN A new photographic world in the making Thomas Friedrich BEATE GÜTSCHOW / VERENA JAEKEL / SVEN JOHNE / WIEBKE LOEPER / ROBERT VOIT

26

BRATISLAVA Slovakian young photography Zuzana Lapitková MAREK KVETáN / TomáS AgÁt BLonski / MONIKA HURNANSKá / DOROTA SADOVSKá / SILVIA SAPAROVá

46

LUXEMBOURG Photographically eclectic Paul di Felice CARINE & éLISABETH KRECKÉ / SIMONE DECKER / LAURENT FRIOB / CLAUDIA PASSERI / VERA WEISGERBER

66

MOSCOW New Russian society and its photography Olga Sviblova AES+F GROUP / JULIA BOCHKOVA / ALLA ESIPOVICH / VLADIMIR MISHUKOV / OLGA TOBRELUTS

86

PARIS Dissident Gazes Jean-Luc Monterosso PHILIPPE RAMETTE / VALÉRIE BELIN / FLORENCE CHEVALLIER / Stéphane COUTURIER / PIERRE GONNORD

106

ROME “In between”. City, landscape and memory in contemporary Italian photography Emiliano Paoletti EVA FRAPICCINI / LUCA CAMPIGOTTO / MAURO D’AGATI / TANCREDI MANGANO / PAOLO VENTURA

126

VIENNA Photography: The medium as instrument Gunda Achleitner, Berthold Ecker NINA DICK / SABINE BITTER & HELMUT WEBER / DORIS KRÜGER / JULIE MONACO / KLAUS PAMMINGER

146

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PHOTOGRAPHIC POSTURES AND IMPOSTURES

order, paralleling the world. They are not the result of a controlling global point of view but rather of the physically impossible juxtaposition of partial views.

Smiling faces are stretched out on a neutral background, struck by muteness. Words have also deserted shop signs and road signs which converted into coloured surfaces referring only to themselves.

The physical implication of the Frenchman Philippe Ramette in his own work seems to be diametrically opposed to the digitally treated work of Beate Gütschow. However, his continual use of prosthesis to put himself in the picture in a spectacular way also depends on an added artificial device, the prosthesis serving to restore a lack. Whether he is vertically walking up a tree trunk or seated on a windowsill, his body almost entirely parallel to the ground or balanced over a void, the poses ceaselessly defy the laws of gravity. But his efforts are in vain, and his apparently privileged position in relation to the world is illusory. The horizon line is disturbed, the artist shies away from the contemplation of landscapes that fall away beneath his feet.

None of the seven artists selected for the “Mutations” exhibition represents the world head on. Each one approaches the world as if it were now impossible to base a pertinent approach simply on recording it. How can we interpret this break with traditional photographic postures?

shadows and clouds, are all elements from photographs taken in different places and used to reconstruct fictitious landscapes. The characters inserted in the landscape S#7 are seated in the foreground and turn their backs to us in the manner of the romantic paintings of Caspar David Friedrich, thus serving as a link between our gaze and the horizon line. The fusion is not the romantic one of the subject in the landscape but an artificial one of an imperfect nature fragmented and recomposed by computer. In this sense, Gütschow acts like an architect seeking to restore an exploded unity.

What is in play through these mutations of the photographic image goes well beyond mere aesthetic and formal questions. Digital retouching or editing processes, the use of stylistic figures of parody or fiction aim to defy the limitations associated with the mere recording of reality in order to approach it in a way which is more strategic than frontal and more constructive than representational. By breaking with the representational function traditionally assigned to photography as well as with the established order of dominant imagery, the artists gathered together here invent new modes of the visible and what can be said. A response to the classic, frank posture of photography when faced with its subject comes in the form of sophisticated im-postures which radically question our relationship to the world.

The arch encompassing the composition of S#5, or the frame formed by the concrete structure of the image S#2, have the same gaze-orientating function. By employing natural and architectural elements as tools for the redefinition of space, she models random order to construct a singular and privileged point of view of the world. What connects the artist to classic painters is the placing of the eye of the spectator in the image. Considering the world as a digital building site in a state of constant revision, the guiding principle of this work is the architectural ordering of space.

The natural urban landscapes of the German Beate Gütschow are the product of digital montage from which fragments of several points of view are assembled. Trees and massifs, concrete structures and electricity poles,

These photographs are not direct images of the world but images of images that construct a closed and autonomous 20

By limiting his involvement to digital erasing, Marek Kvetán draws attention to the saturation of information in public space. The diversity of injunctions and languages disappears to show the supporting surface of inscription. The digital interventions of the artist operate in the density of cities to introduce silences and the suspension of the uninterrupted flux of signs. Does sabotaging the escalation of the visible constitute an ultimate act of resistanc? The Moscow collective AES+F present enormous photographs in response to the format of advertising posters. By approaching casting agencies, sports clubs and dance schools to recruit its models, the collective adopts the aesthetic tendancies of the fashion industry and the media which call on increasingly young models to define their brand image. But these pre-adolescents, who could easily lend their faces to Benetton or Calvin Klein, are this time solicited to become their own double. The photograph of a video shot in St Petersburg is particularly representative of this parodic game. A multitude of children pose before a mirror in a golden salon in the sumptuous palace of Catherine the Great. Frozen in their movements, the bodies double the dumbfounded expression of models looking into the lens. These children are literally put in a box; suspended in an autonomous spacetime that transforms them into icons. The petrification and enclosure device combining photography and the mirror obey an economy of image entirely resting on devious mechanisms of seduction and fascination.

This combination of the rational and the irrational is characteristic of the propositions of Philippe Ramette. Irrational situations are prepared with the attention to detail that characterises the best impostures: a pragmatic approach to the laws of balance and mass is required to bring off these absurd performances. The very attitude of Ramette (who does “everything backwards” like turning away from the most obvious and the most sublime panoramas) indicates that what is at stake in this analyse does not essentially arise from aesthetic delectation; his sober black suit also indicates a mixture of lightness and gravity. The escalating absurdity of the set-ups invented by the artist reveals the desperate quest for an authentic relationship to the world in a poetic and an amusing way. If Ramette does not turn towards the seductive spectacle of the world it is undoubtedly because, like Proust, he thinks that “the only real journey is not to head for new landscapes but to have new eyes”. Making images that are both seductive and iconoclastic, maybe that is the true "tour de force".

The images of extreme choreographies and set-ups clearly translate the parodic intention which expresses itself through an aesthetic which openly combines clichés and quotations. In the series “Action Half Life”, girls armed with bazookas are the little sisters of Lara Croft. The telescoping of heterogeneous aesthetics converts the surface of the image into an arena where different regimes of image are in conflict. This war of signs parodies the offensive communication strategies which saturate space as much as the market economy will allow.

The subtractive strategy of the Slovak Marek Kvetán brings another perspective to the additive approach of Gütschow and Ramette. The series “Vidoc” is composed of shots taken in cities in various countries. In each photograph, fences and facades of buildings systematically prevent the gaze from going further. The attention given to the composition and the harmony of colours accompanies a superficial look at this familiar environment, before it running into immense advertising posters where the absence of a slogan is not linked to a message.

The mediatizing of reality never appears as strongly as when it is encroaching on the space of subjectivity as is the case with the strange portraits produced by Carine and Élisabeth Krecké, inhabitants of Luxembourg. No shots proceed the fabrication of these images which 21


PHOTOGRAPHIC POSTURES AND IMPOSTURES

order, paralleling the world. They are not the result of a controlling global point of view but rather of the physically impossible juxtaposition of partial views.

Smiling faces are stretched out on a neutral background, struck by muteness. Words have also deserted shop signs and road signs which converted into coloured surfaces referring only to themselves.

The physical implication of the Frenchman Philippe Ramette in his own work seems to be diametrically opposed to the digitally treated work of Beate Gütschow. However, his continual use of prosthesis to put himself in the picture in a spectacular way also depends on an added artificial device, the prosthesis serving to restore a lack. Whether he is vertically walking up a tree trunk or seated on a windowsill, his body almost entirely parallel to the ground or balanced over a void, the poses ceaselessly defy the laws of gravity. But his efforts are in vain, and his apparently privileged position in relation to the world is illusory. The horizon line is disturbed, the artist shies away from the contemplation of landscapes that fall away beneath his feet.

None of the seven artists selected for the “Mutations” exhibition represents the world head on. Each one approaches the world as if it were now impossible to base a pertinent approach simply on recording it. How can we interpret this break with traditional photographic postures?

shadows and clouds, are all elements from photographs taken in different places and used to reconstruct fictitious landscapes. The characters inserted in the landscape S#7 are seated in the foreground and turn their backs to us in the manner of the romantic paintings of Caspar David Friedrich, thus serving as a link between our gaze and the horizon line. The fusion is not the romantic one of the subject in the landscape but an artificial one of an imperfect nature fragmented and recomposed by computer. In this sense, Gütschow acts like an architect seeking to restore an exploded unity.

What is in play through these mutations of the photographic image goes well beyond mere aesthetic and formal questions. Digital retouching or editing processes, the use of stylistic figures of parody or fiction aim to defy the limitations associated with the mere recording of reality in order to approach it in a way which is more strategic than frontal and more constructive than representational. By breaking with the representational function traditionally assigned to photography as well as with the established order of dominant imagery, the artists gathered together here invent new modes of the visible and what can be said. A response to the classic, frank posture of photography when faced with its subject comes in the form of sophisticated im-postures which radically question our relationship to the world.

The arch encompassing the composition of S#5, or the frame formed by the concrete structure of the image S#2, have the same gaze-orientating function. By employing natural and architectural elements as tools for the redefinition of space, she models random order to construct a singular and privileged point of view of the world. What connects the artist to classic painters is the placing of the eye of the spectator in the image. Considering the world as a digital building site in a state of constant revision, the guiding principle of this work is the architectural ordering of space.

The natural urban landscapes of the German Beate Gütschow are the product of digital montage from which fragments of several points of view are assembled. Trees and massifs, concrete structures and electricity poles,

These photographs are not direct images of the world but images of images that construct a closed and autonomous 20

By limiting his involvement to digital erasing, Marek Kvetán draws attention to the saturation of information in public space. The diversity of injunctions and languages disappears to show the supporting surface of inscription. The digital interventions of the artist operate in the density of cities to introduce silences and the suspension of the uninterrupted flux of signs. Does sabotaging the escalation of the visible constitute an ultimate act of resistanc? The Moscow collective AES+F present enormous photographs in response to the format of advertising posters. By approaching casting agencies, sports clubs and dance schools to recruit its models, the collective adopts the aesthetic tendancies of the fashion industry and the media which call on increasingly young models to define their brand image. But these pre-adolescents, who could easily lend their faces to Benetton or Calvin Klein, are this time solicited to become their own double. The photograph of a video shot in St Petersburg is particularly representative of this parodic game. A multitude of children pose before a mirror in a golden salon in the sumptuous palace of Catherine the Great. Frozen in their movements, the bodies double the dumbfounded expression of models looking into the lens. These children are literally put in a box; suspended in an autonomous spacetime that transforms them into icons. The petrification and enclosure device combining photography and the mirror obey an economy of image entirely resting on devious mechanisms of seduction and fascination.

This combination of the rational and the irrational is characteristic of the propositions of Philippe Ramette. Irrational situations are prepared with the attention to detail that characterises the best impostures: a pragmatic approach to the laws of balance and mass is required to bring off these absurd performances. The very attitude of Ramette (who does “everything backwards” like turning away from the most obvious and the most sublime panoramas) indicates that what is at stake in this analyse does not essentially arise from aesthetic delectation; his sober black suit also indicates a mixture of lightness and gravity. The escalating absurdity of the set-ups invented by the artist reveals the desperate quest for an authentic relationship to the world in a poetic and an amusing way. If Ramette does not turn towards the seductive spectacle of the world it is undoubtedly because, like Proust, he thinks that “the only real journey is not to head for new landscapes but to have new eyes”. Making images that are both seductive and iconoclastic, maybe that is the true "tour de force".

The images of extreme choreographies and set-ups clearly translate the parodic intention which expresses itself through an aesthetic which openly combines clichés and quotations. In the series “Action Half Life”, girls armed with bazookas are the little sisters of Lara Croft. The telescoping of heterogeneous aesthetics converts the surface of the image into an arena where different regimes of image are in conflict. This war of signs parodies the offensive communication strategies which saturate space as much as the market economy will allow.

The subtractive strategy of the Slovak Marek Kvetán brings another perspective to the additive approach of Gütschow and Ramette. The series “Vidoc” is composed of shots taken in cities in various countries. In each photograph, fences and facades of buildings systematically prevent the gaze from going further. The attention given to the composition and the harmony of colours accompanies a superficial look at this familiar environment, before it running into immense advertising posters where the absence of a slogan is not linked to a message.

The mediatizing of reality never appears as strongly as when it is encroaching on the space of subjectivity as is the case with the strange portraits produced by Carine and Élisabeth Krecké, inhabitants of Luxembourg. No shots proceed the fabrication of these images which 21


are extracted from Hollywood films. The initial material is already an image that the artists retouch with digital treatment and pencil. Extreme light and dark contrasts model the faces in a surreal way. These pictures have been manipulated to a point of vagueness which renders them ambivalent. The fuzziness and the fleeting looks situate the faces between presence and absence. Emerging from a carbon base, some seem on the point of fading back into it again, as if waiting to confirm themselves in the eyes of the viewer. Subjectivities dissolve in a waxy tint which neutralises the expressions and puts the principle of identity itself in jeopardy. These appearances that the artists convert into moon faces become receptacles, surfaces of fantasy projection similar to stereotypes. These portraits are close to typologies which are familiar to us, without ever totally conforming to them. It is precisely in this breach between similarity and difference, the recognisable and the strange, that each person’s imaginary projections become possible.

forming themselves into perceptible vibrations. This work is similar to the series “Compression” by Marek Kvetán taken from films. Both involve introducing a third dimension to the flatness of the support, that of time. Photographs are memory traces constituted from the stratification of a multitude of intermediary images. The passage of time is crystallised in a compact block on the surface of the support. Seeking alternatives to phenomenal recording, and always partial, Nina Dick describes the city of Vienna in terms of becoming, of zones of disturbance and intensity. Pursuing her research of plastic equivalents, she lays out the values of contrast of black and white to give form to the alternation of saturated and empty spaces which, in the cities, acts on the circulation of gazes and bodies. The inclusion of the third dimension that motivated the “Compaction” series is equally original in the vertical realignment of the viewpoint of wasteland photographed in Berlin. Nina Dick describes them less in terms of mass rather than area. The blocks of earth stand out against a white sky thus acquiring an almost sculptural quality and intensity.

In her series “Muri di Piombo” (Brick Walls), the young Italian artist Eva Frapiccini has tried to relive the bloody history of her country by returning to the crimes perpetrated by the Red Brigades in the 1980s. Rome, Turin, Genoa, Milan… wherever her reconstruction work leads her, Eva Frapiccini runs into the embarrassed silence of the inhabitants. The “brick wall” goes up as soon as communal history encounters individual fears and taboos.

its relative nature. Founding their approach on dynamics rather than aesthetics, on becoming rather than form, on assumed fictions rather than utopias of photographic truth, these are the paths taken today by mutant artists in a mutating Europe.

André Rouillé

Through the means of black and white, or the principles of plastic equivalence, Nina Dick carries out a synthetic reduction of urban space. Her strategy consists of evoking it rather than fixing it in an illusory global representation. The soundtrack accompanying the topographical report of 20 km covered in the city of Vienna contributes to extend the limits of our field of perception.

So the artist adapts to a hidden story by giving it the form of a fictional investigation. Hugging the walls, tailing and infiltration are all techniques of the approach Eva Frapiccini illustrates through photography. Stairwells, lobbies of buildings and walls covered in graffiti are truly surveyed by the apparatus which closely tracks them, trying to make them spill the beans. Sometimes suppressing all objective distance between herself and her subject, Eva Frapiccini goes in for details, in an experience which leads her from extreme visibility to progressive blindness. The misted-up windows of a car in which she finds herself and the reflection of her face telescoped in the facade of the building she is photographing confirm this slipping of the objective gaze towards subjective internalisation. Perception is transformed into affect and the description of places is reduced to a captation of invisible forces.

The seven European artists gathered together here are proof once more that artworks have the capacity to aesthetically resonate with the mutations of the world. Coming from different contexts, they are endowed with an irreducible singularity. But they are similar in their inscription in the vast network of interdependence on which Europe is founded. The acceleration of communication and the proliferation of the exchange of information serve to weaken frontiers, leading to a blurring of identity reference points, of similarity and difference, of near and far. Artistic practices and territories are adapting themselves to a changeable and heterogeneous reality and are coming out of the cloister in order to constantly redefine themselves. Abandoning their traditional posture concerning the world, artists are taking on the role of investigators (Frapiccini), saboteurs of images (Kvetan), publicity agents (AES+F) and illusionists (Ramette).

The intriguing series “3min compaction” by the Austrian Nina Dick was obtained by the superimposition of layers of information that she packs on the surface of the photograph. Characters and architecture overlap inside this very dense coating to the point of disappearing or trans-

These infiltration and displacement strategies are ways of multiplying viewpoints of the world and to underline 22

23


are extracted from Hollywood films. The initial material is already an image that the artists retouch with digital treatment and pencil. Extreme light and dark contrasts model the faces in a surreal way. These pictures have been manipulated to a point of vagueness which renders them ambivalent. The fuzziness and the fleeting looks situate the faces between presence and absence. Emerging from a carbon base, some seem on the point of fading back into it again, as if waiting to confirm themselves in the eyes of the viewer. Subjectivities dissolve in a waxy tint which neutralises the expressions and puts the principle of identity itself in jeopardy. These appearances that the artists convert into moon faces become receptacles, surfaces of fantasy projection similar to stereotypes. These portraits are close to typologies which are familiar to us, without ever totally conforming to them. It is precisely in this breach between similarity and difference, the recognisable and the strange, that each person’s imaginary projections become possible.

forming themselves into perceptible vibrations. This work is similar to the series “Compression” by Marek Kvetán taken from films. Both involve introducing a third dimension to the flatness of the support, that of time. Photographs are memory traces constituted from the stratification of a multitude of intermediary images. The passage of time is crystallised in a compact block on the surface of the support. Seeking alternatives to phenomenal recording, and always partial, Nina Dick describes the city of Vienna in terms of becoming, of zones of disturbance and intensity. Pursuing her research of plastic equivalents, she lays out the values of contrast of black and white to give form to the alternation of saturated and empty spaces which, in the cities, acts on the circulation of gazes and bodies. The inclusion of the third dimension that motivated the “Compaction” series is equally original in the vertical realignment of the viewpoint of wasteland photographed in Berlin. Nina Dick describes them less in terms of mass rather than area. The blocks of earth stand out against a white sky thus acquiring an almost sculptural quality and intensity.

In her series “Muri di Piombo” (Brick Walls), the young Italian artist Eva Frapiccini has tried to relive the bloody history of her country by returning to the crimes perpetrated by the Red Brigades in the 1980s. Rome, Turin, Genoa, Milan… wherever her reconstruction work leads her, Eva Frapiccini runs into the embarrassed silence of the inhabitants. The “brick wall” goes up as soon as communal history encounters individual fears and taboos.

its relative nature. Founding their approach on dynamics rather than aesthetics, on becoming rather than form, on assumed fictions rather than utopias of photographic truth, these are the paths taken today by mutant artists in a mutating Europe.

André Rouillé

Through the means of black and white, or the principles of plastic equivalence, Nina Dick carries out a synthetic reduction of urban space. Her strategy consists of evoking it rather than fixing it in an illusory global representation. The soundtrack accompanying the topographical report of 20 km covered in the city of Vienna contributes to extend the limits of our field of perception.

So the artist adapts to a hidden story by giving it the form of a fictional investigation. Hugging the walls, tailing and infiltration are all techniques of the approach Eva Frapiccini illustrates through photography. Stairwells, lobbies of buildings and walls covered in graffiti are truly surveyed by the apparatus which closely tracks them, trying to make them spill the beans. Sometimes suppressing all objective distance between herself and her subject, Eva Frapiccini goes in for details, in an experience which leads her from extreme visibility to progressive blindness. The misted-up windows of a car in which she finds herself and the reflection of her face telescoped in the facade of the building she is photographing confirm this slipping of the objective gaze towards subjective internalisation. Perception is transformed into affect and the description of places is reduced to a captation of invisible forces.

The seven European artists gathered together here are proof once more that artworks have the capacity to aesthetically resonate with the mutations of the world. Coming from different contexts, they are endowed with an irreducible singularity. But they are similar in their inscription in the vast network of interdependence on which Europe is founded. The acceleration of communication and the proliferation of the exchange of information serve to weaken frontiers, leading to a blurring of identity reference points, of similarity and difference, of near and far. Artistic practices and territories are adapting themselves to a changeable and heterogeneous reality and are coming out of the cloister in order to constantly redefine themselves. Abandoning their traditional posture concerning the world, artists are taking on the role of investigators (Frapiccini), saboteurs of images (Kvetan), publicity agents (AES+F) and illusionists (Ramette).

The intriguing series “3min compaction” by the Austrian Nina Dick was obtained by the superimposition of layers of information that she packs on the surface of the photograph. Characters and architecture overlap inside this very dense coating to the point of disappearing or trans-

These infiltration and displacement strategies are ways of multiplying viewpoints of the world and to underline 22

23


24


24


BERLIN A NEW PHOTOGRAPHIC WORLD IN THE MAKING

tary photography, but rather to question our perceptual habits. Many of his works seem “unreal”, as if computermanipulated. In fact, though, they make special use of composition to illustrate the oddness of what we call “reality”. Verena Jaekel uses the traditional techniques of portrait and fashion photography. The oddness in her works comes from her choice of subjects, however, and the result is another subtle rupture with our perceptual habits. Wiebke Loeper’s autobiographical and family photographs are a contribution to the study of recent history. She combines her own pictures with photographs from other sources to create historical fragments, which pose irritating questions to our common present. Sven Johne considers photography a narrative medium. He uses pictures to compose surreal fictions, which are all the more distressing because they feature all the attributes of scrupulous research.

“MUTATIONS ARE CONSIDERED THE DRIVING FORCE OF EVOLUTION.” (Wikipedia, The Free Encyclopaedia)

As a consequence, photography acquired a fundamentally new status among image-production media in the late 20th century. The long-running debate on the link between photography and reality — that is, on the medium’s truthfulness — took on a new dimension: the central issue was no longer our changing conception of an image, nor the advantages of certain technical developments, nor the place of photography among graphic media. The emergence of digital technology caused a metamorphosis and drastically altered the essence of photography. An era came to an end, a new age was born. Some people did not share this opinion, however, and saw not a revolution, but merely evolution-not a radical shift in the artists’ scope of action, but just an extension of their creative freedom.

The history of photography is not a river that flows quietly across a peaceful landscape, but is rather characterised by continuous innovations, radical U-turns, and surprising discoveries. This is true of the 19th and 20th centuries, when photographers redefined their relationships to reality and the fine arts, and changed our perception of the world through a “new vision.” Photography finally conquered and altered the world in the late 1930s upon invention of colour photographs. In the mid-1960s, however, the development of colour television and the ensuing expansion of our universe of images brought on a crisis for various creative domains, including photojournalism. Questions such as, “Is photography one of the fine arts?”, “Is it an independent medium?”, and “What are its potentials and limits?” laid the foundations of a new theory of photography, and books on the subject now fill entire libraries. The debate took on a new dimension in the 1970s as photography entered museums. The subsequent developments were a shift in the relationship between photography and the fine arts, increasing numbers of art works that integrate photography, and vanishing of the traditional distinction between fine arts on the one hand and photography, cinema, and video on the other.

Beate Gütschow, finally, resolves the opposition between fiction and reality by heightening it. She pastes a variety of “real” details from scanned traditional photographs to create works that are especially original since they are not immediately identifiable as collages. The more her creations resemble the world around us, the more authentic they seem. Beate Gütschow’s works thus offer a surprising new look at the relationship between photography and reality: aren’t we in fact witnessing a revolution and a metamorphosis of photography which is developing new forms of perception, and thus leading towards a new definition of reality?

Thomas Friedrich

This means that the debate on photography’s intrinsic properties is not yet finished. Moreover, works by contemporary German artists demonstrate that a new creative potential arises from the competition between traditional and digital photography. Today’s artists are fundamentally redefining the link between photography and reality. This is particularly evident in the works by the five photographers selected by a Berlin commission to exemplify the versatility of contemporary German photography. Although Robert Voit was trained by Thomas Ruff, his aim is not to develop another kind of classical documen26

27


BERLIN A NEW PHOTOGRAPHIC WORLD IN THE MAKING

tary photography, but rather to question our perceptual habits. Many of his works seem “unreal”, as if computermanipulated. In fact, though, they make special use of composition to illustrate the oddness of what we call “reality”. Verena Jaekel uses the traditional techniques of portrait and fashion photography. The oddness in her works comes from her choice of subjects, however, and the result is another subtle rupture with our perceptual habits. Wiebke Loeper’s autobiographical and family photographs are a contribution to the study of recent history. She combines her own pictures with photographs from other sources to create historical fragments, which pose irritating questions to our common present. Sven Johne considers photography a narrative medium. He uses pictures to compose surreal fictions, which are all the more distressing because they feature all the attributes of scrupulous research.

“MUTATIONS ARE CONSIDERED THE DRIVING FORCE OF EVOLUTION.” (Wikipedia, The Free Encyclopaedia)

As a consequence, photography acquired a fundamentally new status among image-production media in the late 20th century. The long-running debate on the link between photography and reality — that is, on the medium’s truthfulness — took on a new dimension: the central issue was no longer our changing conception of an image, nor the advantages of certain technical developments, nor the place of photography among graphic media. The emergence of digital technology caused a metamorphosis and drastically altered the essence of photography. An era came to an end, a new age was born. Some people did not share this opinion, however, and saw not a revolution, but merely evolution-not a radical shift in the artists’ scope of action, but just an extension of their creative freedom.

The history of photography is not a river that flows quietly across a peaceful landscape, but is rather characterised by continuous innovations, radical U-turns, and surprising discoveries. This is true of the 19th and 20th centuries, when photographers redefined their relationships to reality and the fine arts, and changed our perception of the world through a “new vision.” Photography finally conquered and altered the world in the late 1930s upon invention of colour photographs. In the mid-1960s, however, the development of colour television and the ensuing expansion of our universe of images brought on a crisis for various creative domains, including photojournalism. Questions such as, “Is photography one of the fine arts?”, “Is it an independent medium?”, and “What are its potentials and limits?” laid the foundations of a new theory of photography, and books on the subject now fill entire libraries. The debate took on a new dimension in the 1970s as photography entered museums. The subsequent developments were a shift in the relationship between photography and the fine arts, increasing numbers of art works that integrate photography, and vanishing of the traditional distinction between fine arts on the one hand and photography, cinema, and video on the other.

Beate Gütschow, finally, resolves the opposition between fiction and reality by heightening it. She pastes a variety of “real” details from scanned traditional photographs to create works that are especially original since they are not immediately identifiable as collages. The more her creations resemble the world around us, the more authentic they seem. Beate Gütschow’s works thus offer a surprising new look at the relationship between photography and reality: aren’t we in fact witnessing a revolution and a metamorphosis of photography which is developing new forms of perception, and thus leading towards a new definition of reality?

Thomas Friedrich

This means that the debate on photography’s intrinsic properties is not yet finished. Moreover, works by contemporary German artists demonstrate that a new creative potential arises from the competition between traditional and digital photography. Today’s artists are fundamentally redefining the link between photography and reality. This is particularly evident in the works by the five photographers selected by a Berlin commission to exemplify the versatility of contemporary German photography. Although Robert Voit was trained by Thomas Ruff, his aim is not to develop another kind of classical documen26

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LS # 7, 1999

BEATE GÜTSCHOW

C-Print 164 x 116 cm Courtesy the artist

Beate Gütschow was born 1970 in Mainz. She studied at Hamburg’s Hochschule für bildende Künste from 1990 to 1997. She has participated in numerous art events since 2000, including group exhibitions (last of all Chicago, 2004, Munich and Tokyo, 2005) and solo exhibitions (Danziger Projects, New York, 2004). Her S Series was first presented in Hamburg, 2005 (Produzentengalerie). “My pictures are montages: photographic compositions made up of a large number of different parts. One work can be composed of 20 to 80 different elements. I use Photoshop to construct the final images. I shoot the source images myself. To find the motifs I visit suburban locations all over the world. I use analogous cameras… Our expectations of reporting photography is to receive accurate information about an event. My works are the total opposite: In my pictures you don’t have an occasion or an event, they are completely disconnected from reality, even though they appear to be real.” (Beate Gütschow)

INBETWEEN REALITY AND PICTURE, 2006 National Museum of Modern Art, Kyoto

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LS # 7, 1999

BEATE GÜTSCHOW

C-Print 164 x 116 cm Courtesy the artist

Beate Gütschow was born 1970 in Mainz. She studied at Hamburg’s Hochschule für bildende Künste from 1990 to 1997. She has participated in numerous art events since 2000, including group exhibitions (last of all Chicago, 2004, Munich and Tokyo, 2005) and solo exhibitions (Danziger Projects, New York, 2004). Her S Series was first presented in Hamburg, 2005 (Produzentengalerie). “My pictures are montages: photographic compositions made up of a large number of different parts. One work can be composed of 20 to 80 different elements. I use Photoshop to construct the final images. I shoot the source images myself. To find the motifs I visit suburban locations all over the world. I use analogous cameras… Our expectations of reporting photography is to receive accurate information about an event. My works are the total opposite: In my pictures you don’t have an occasion or an event, they are completely disconnected from reality, even though they appear to be real.” (Beate Gütschow)

INBETWEEN REALITY AND PICTURE, 2006 National Museum of Modern Art, Kyoto

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LS # 11, 2001

LS # 13, 2001

C-Print 146 x 116 cm Courtesy the artist

C-Print 108 x 85 cm Courtesy the artist

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LS # 11, 2001

LS # 13, 2001

C-Print 146 x 116 cm Courtesy the artist

C-Print 108 x 85 cm Courtesy the artist

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S # 2, 2005

S # 5, 2004

Ink-jet Print 177 x 212 cm Courtesy collection Eric Franck, London

Ink-jet Print 133 x 181 cm Courtesy collection Eric Franck, London

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S # 2, 2005

S # 5, 2004

Ink-jet Print 177 x 212 cm Courtesy collection Eric Franck, London

Ink-jet Print 133 x 181 cm Courtesy collection Eric Franck, London

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S # 16, 2006 Ink-jet Print 142 X 122 cm Courtesy collection Eric Franck, London

TRANSATLANTISCHE IMPULSE, 2005 Martin Gropius Bau, Berlin

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S # 16, 2006 Ink-jet Print 142 X 122 cm Courtesy collection Eric Franck, London

TRANSATLANTISCHE IMPULSE, 2005 Martin Gropius Bau, Berlin

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VERENA JAEKEL Verena Jaekel was born 1980 in Bergisch Gladbach. She studied photo design at Berlin’s Lette Verein from 2001 to 2004. She exhibited her works for the first time in 2004, and participated in several group exhibitions, including "After the Fact" (Berlin, Martin-Gropius-Bau, 2005). Verena Jaekel stepped forth with two series of photographs – "Schwestern im Westen" (Sisters in the West), "_geduldet" (_respited) – that reflect the current debate on integration of immigrants and their living conditions in Germany and where Jaekel employed classical methods of portrait and fashion photography. She is currently working on a series titled New Family Portraits. It consists of a series of portraits that is to investigate the issue of new and currently existing family constellations through the medium of photography. Verena Jaekel lives and works in Berlin.

From the series SISTERS IN THE WEST, 2003 Fahreta

From the series _RESPITED, 2004

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VERENA JAEKEL Verena Jaekel was born 1980 in Bergisch Gladbach. She studied photo design at Berlin’s Lette Verein from 2001 to 2004. She exhibited her works for the first time in 2004, and participated in several group exhibitions, including "After the Fact" (Berlin, Martin-Gropius-Bau, 2005). Verena Jaekel stepped forth with two series of photographs – "Schwestern im Westen" (Sisters in the West), "_geduldet" (_respited) – that reflect the current debate on integration of immigrants and their living conditions in Germany and where Jaekel employed classical methods of portrait and fashion photography. She is currently working on a series titled New Family Portraits. It consists of a series of portraits that is to investigate the issue of new and currently existing family constellations through the medium of photography. Verena Jaekel lives and works in Berlin.

From the series SISTERS IN THE WEST, 2003 Fahreta

From the series _RESPITED, 2004

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SVEN JOHNE Sven Johne was born 1976 in Bergen on Rügen Island. He studied photography at Leipzig’s Hochschule für Grafik und Buchkunst from 1998 to 2004, finishing as a master student of Timm Rautert in 2006. Sven Johne received an award by the Institut für Buchkunst for his first art book, Vinta, which he had published in 2005. He has been granted scholarships by various institutions, above all by the Alfried Krupp von Bohlen und Halbach Stiftung für Zeitgenöss. Dt. Fotografie and last in 2006 by the Kulturstiftung des Freistaats Sachsen (Germany). He favours photo series, videos and photo installations for his photographic way of storytelling. In his research work, reflection of East German identity and history plays an increasing role. In 2004/2005 he created the series Ostdeutsche Landschaften (East German Landscapes) and Tropical Island (in cooperation with Falk Haberkorn), also making use of newspaper clippings and other journalists’ and writers’ working methods. Sven Johne lives in Leipzig. KLEISTNER’S ARCHIVE 240 pictures from the archive of the German Democratic Republic fugitive Alfred Kleistner from Rostock. Committed suicide. Text on wall Lightboxes 28 x13 cm each Galerie Christian Nagel, Cologne

From Kleistner’s archive: on 25 July 1976, shortly after 6pm, Alfred Kleistner, a medic from Rostock, put on his diving suit and strode into the Baltic Sea near Kühlungsborn. The only things he had with him were a compass, his ID, five bars of chocolate and some Obesin tablets. In 24 hours of non-stop swimming, he covered almost 50 kilometres and reached the West German island of Fehmarn. In the West, this spectacular flight caused a sensation. Kleistner had prepared his escape well. He trained for years, swimming up to 25 kilometres a day along the Baltic coast in the summer months. Even in winter, he trained in the Warnow estuary. In Warnemünde, the loner was known as “the seal”. Among Kleistner’s peculiarities is the fact that in the years before his escape, he would photograph the Baltic Sea at irregular intervals — sometimes every day, sometimes every few months. On the reverse, he annotated these amateur images — mostly details of the location or the weather, sometimes also a short sentence. Two days before his escape, he wrote: “To exchange a life for time, 23 July 76”. After his escape, Kleistner went to Lübeck and, ironically, found work with a major manufacturer of navigation technology, becoming a partner and eventually buying the business in 1987. After the fall of the Berlin Wall, he relocated part of the business to his old home town of Rostock. In June 1999, Kleistner’s body was found on a sandbank in the Baltic Sea, not far from the place where he set off on his original escape. Kleistner had prepared his suicide well, tying a noose with stones attached around his neck. In his farewell letter, he gave a number of reasons for his suicide, but the most important was that after years of dwindling turnover, he had been forced to sell his company. From the mid-nineties, Kleistner had begun to photograph the Baltic Sea again. And as before, each picture was annotated — often with just the location, but sometimes with a short journal-like observation. Kleistner left an archive of 358 amateur photographs of the Baltic Sea, 240 of which are shown here.

ELMENHORST A Walk with Shooting-Training Video 6:30 minutes Still

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SVEN JOHNE Sven Johne was born 1976 in Bergen on Rügen Island. He studied photography at Leipzig’s Hochschule für Grafik und Buchkunst from 1998 to 2004, finishing as a master student of Timm Rautert in 2006. Sven Johne received an award by the Institut für Buchkunst for his first art book, Vinta, which he had published in 2005. He has been granted scholarships by various institutions, above all by the Alfried Krupp von Bohlen und Halbach Stiftung für Zeitgenöss. Dt. Fotografie and last in 2006 by the Kulturstiftung des Freistaats Sachsen (Germany). He favours photo series, videos and photo installations for his photographic way of storytelling. In his research work, reflection of East German identity and history plays an increasing role. In 2004/2005 he created the series Ostdeutsche Landschaften (East German Landscapes) and Tropical Island (in cooperation with Falk Haberkorn), also making use of newspaper clippings and other journalists’ and writers’ working methods. Sven Johne lives in Leipzig. KLEISTNER’S ARCHIVE 240 pictures from the archive of the German Democratic Republic fugitive Alfred Kleistner from Rostock. Committed suicide. Text on wall Lightboxes 28 x13 cm each Galerie Christian Nagel, Cologne

From Kleistner’s archive: on 25 July 1976, shortly after 6pm, Alfred Kleistner, a medic from Rostock, put on his diving suit and strode into the Baltic Sea near Kühlungsborn. The only things he had with him were a compass, his ID, five bars of chocolate and some Obesin tablets. In 24 hours of non-stop swimming, he covered almost 50 kilometres and reached the West German island of Fehmarn. In the West, this spectacular flight caused a sensation. Kleistner had prepared his escape well. He trained for years, swimming up to 25 kilometres a day along the Baltic coast in the summer months. Even in winter, he trained in the Warnow estuary. In Warnemünde, the loner was known as “the seal”. Among Kleistner’s peculiarities is the fact that in the years before his escape, he would photograph the Baltic Sea at irregular intervals — sometimes every day, sometimes every few months. On the reverse, he annotated these amateur images — mostly details of the location or the weather, sometimes also a short sentence. Two days before his escape, he wrote: “To exchange a life for time, 23 July 76”. After his escape, Kleistner went to Lübeck and, ironically, found work with a major manufacturer of navigation technology, becoming a partner and eventually buying the business in 1987. After the fall of the Berlin Wall, he relocated part of the business to his old home town of Rostock. In June 1999, Kleistner’s body was found on a sandbank in the Baltic Sea, not far from the place where he set off on his original escape. Kleistner had prepared his suicide well, tying a noose with stones attached around his neck. In his farewell letter, he gave a number of reasons for his suicide, but the most important was that after years of dwindling turnover, he had been forced to sell his company. From the mid-nineties, Kleistner had begun to photograph the Baltic Sea again. And as before, each picture was annotated — often with just the location, but sometimes with a short journal-like observation. Kleistner left an archive of 358 amateur photographs of the Baltic Sea, 240 of which are shown here.

ELMENHORST A Walk with Shooting-Training Video 6:30 minutes Still

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WIEBKE LOEPER

From the series MOLL 31 Berlin 1995

Wiebke Loeper was born 1972 in Berlin. She studied at Leipzig’s Hochschule für Grafik und Buchkunst from 1990 to 1997 under Arno Fischer and Joachim Brohm, finishing as Prof. Brohm’s master student. Wiebke Loeper has participated in numerous group and solo exhibitions. She has published three books (MOLL 31, Berlin 1995; Lad, Berlin 1996/97; Hello from Bloomer. Viele Grüße aus Wismar, Tübingen/Berlin 2000), all offering examples for her statement: “My photographic work is structured around biographical issues. One central issue is how personal life is involved in historical transformations.” Her new work Welcome home was created during her scholarship at the Villa Aurora, Los Angeles (USA) in 2006. It “represents personal dreams of being home somewhere, which meet the reality and visions of other people” (Wiebke Loeper), confronting poorly printed property advertisements she found in the Los Angeles Times with photographs she took while visiting the houses that were for sale. Wiebke Loeper lives in Berlin.

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WIEBKE LOEPER

From the series MOLL 31 Berlin 1995

Wiebke Loeper was born 1972 in Berlin. She studied at Leipzig’s Hochschule für Grafik und Buchkunst from 1990 to 1997 under Arno Fischer and Joachim Brohm, finishing as Prof. Brohm’s master student. Wiebke Loeper has participated in numerous group and solo exhibitions. She has published three books (MOLL 31, Berlin 1995; Lad, Berlin 1996/97; Hello from Bloomer. Viele Grüße aus Wismar, Tübingen/Berlin 2000), all offering examples for her statement: “My photographic work is structured around biographical issues. One central issue is how personal life is involved in historical transformations.” Her new work Welcome home was created during her scholarship at the Villa Aurora, Los Angeles (USA) in 2006. It “represents personal dreams of being home somewhere, which meet the reality and visions of other people” (Wiebke Loeper), confronting poorly printed property advertisements she found in the Los Angeles Times with photographs she took while visiting the houses that were for sale. Wiebke Loeper lives in Berlin.

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ROBERT VOIT

“WHAT GOES UP MUST COME DOWN” SAPPORO, JAPAN 2006 C-Print 159 x 385 cm

Robert Voit was born 1969 in Erlangen. He studied at Munich’s Fachakademie für Fotodesign from 1993 to 1996, at Munich’s Akademie der Bildenden Künste under Gerd Winner from 1998 to 2001, and then at Düsseldorf’s Kunstakademie. He was a master student of Thomas Ruff in 2005. Robert Voit has participated in numerous solo and group exhibitions since 1999. He lives and works in Munich and Düsseldorf. “In principle, I attempt to lay down a sort of discourse in the images by working with foreground and background very consciously… There is a well-fixed frame with a scenery building itself up in the background, and in the foreground a number of persons who react to something, make something going on, set a game on stage. This method of composing an image runs through my photographs without human beings as well. The discourse of foreground and background enables me to create photographic images on two levels.” (Robert Voit)

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ROBERT VOIT

“WHAT GOES UP MUST COME DOWN” SAPPORO, JAPAN 2006 C-Print 159 x 385 cm

Robert Voit was born 1969 in Erlangen. He studied at Munich’s Fachakademie für Fotodesign from 1993 to 1996, at Munich’s Akademie der Bildenden Künste under Gerd Winner from 1998 to 2001, and then at Düsseldorf’s Kunstakademie. He was a master student of Thomas Ruff in 2005. Robert Voit has participated in numerous solo and group exhibitions since 1999. He lives and works in Munich and Düsseldorf. “In principle, I attempt to lay down a sort of discourse in the images by working with foreground and background very consciously… There is a well-fixed frame with a scenery building itself up in the background, and in the foreground a number of persons who react to something, make something going on, set a game on stage. This method of composing an image runs through my photographs without human beings as well. The discourse of foreground and background enables me to create photographic images on two levels.” (Robert Voit)

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BRATISLAVA SLOVAKIAN YOUNG PHOTOGRAPHY

The exhibition project Mutations topically takes into account the well-known fact that art and its context reach far beyond state boundaries.

aesthetic position. Pictures of parts of the female body (Corporealities, 2000, Genetypes, 2001 — torsos of bodies), made of transparent organic material, containing some animal organs evoke questions concerning relations between bodies of living organisms, but also questions about specific aspects of the human body as currently seen by people. The series “Woman World” (2003) includes photographs of silicon torsos that are not so much biological objects as monuments to the female world.

Even the selection itself of photographers for Mutations I has provided an interesting picture of modern photography in Europe. Seven countries boasting a different cultural-historical background while simultaneously sharing a contemporary approach to reality have each presented five candidates. State boundaries evidently still mark out the leading circuit of influences and inspirations for the artist, nevertheless, a network of parallels and points of contact has suddenly sprung up precisely on the level of the individual artistic solutions adopted by the thirty-five proposed photographers.

TomáS AgÁt BLonski entered the scene of Slovak photography with a series of portraits of hens and cocks, presenting each one as a unique individual. However, this analysis of the very essence of portraiture is not merely a recognition of personality traits in hens. “We are” is the title of a series that creates a parallel with ourselves. As for the series “Entries” (2006), we may also look upon it as a series of portraits. This time they are portraits of facades of abandoned buildings. In Blonski’s view, their boarded-up doors and windows turn into blind eyes and dumb mouths. A building has a soul, a life and a past of its own. A good portrait captures the fleeting nature of time, but does not depict events.

The Slovak selection comprises three photographers, Silvia Saparová, Monika Hurnanská and Tomás Agát Blonski, and two artists who make use of various media for their expression — Dorota Sadovská and Marek Kvetán. The topic of Silvia Saparová’s work is exclusively the human body — female body. She shows us its fragments (using her own body) as biological objects. However, through lighting and colour tuning of the final photograph, she shifts the photographed object into a symbolic-

The body is a subject also addressed by Dorota Sadovská. 46

In her photographs the body appears as an ornament. It can be molded, deformed and combined until it provides a totally new vision, often losing its primary essence and turning into a parasite, for instance. Sadovská does not manipulate the image with a computer, but through the traditional creative procedures of collage and composition. The primary artistic vision is of major importance. “Parasites” (1998) are cut-out photographs of hands and feet reflected in a mirror. “Corporalits” (1998) present a photographic deformation and sculpting the body. The abstract body, in fact a torso, appears to be merely a nonliving object of creative hands. “Slough” (2003-4) is an aesthetic composition of thoughtfully and hermetically intertwined anonymous extremities with their own lives. The series “Skinning” (2005-6) again attributes an active role to the hands when they playfully model the shape of a crescent of dark skin.

into account the relevant fact that traditional standard length film sequences are today considered slow. Videoclips, virtual animation and animated films work with halfsecond sequences and the contemporary viewer, even a child, is able to capture them. “IDOC” (2003) are original photographs, digitally generated in horizontal or vertical compositions. From the artist’s point of view, they offer a visual analysis of the structure of the picture. “New City” (2001) is a series of billboards, posters and picture postcards with colour views of world-famous cities like Prague, Berlin, Paris or London. But their major characteristic elements have been deleted. They thus overwhelm the viewer with standard means of publicity, offering him a view of some sort of standardized modern city. Similarly, “VIDOC” (2001) is a project for getting even with frenetic modern public spaces that visually attack us with advertising information of all kinds. Largeformat photographs portray pictures of what appear to be common city districts. All the spaces usually taken up with advertising texts are vacant and billboards with photographs of smiling faces without accompanying texts appear downright sarcastic.

“The Eternal Truth” (2004) constitutes Monika HurNanská’s graduate work. Two digital photographs of places and still lives of her permanent and temporary residence always mutually overlap. The final picture has a single sharp source of light. We thus see a uniform dreamy picture, a creative form of the feeling of home. The series “The Decorated Joint” again plays with our vision, although this time without our inner image of an old acquaintance. A photograph always provides us with just a narrow view of the extremities of an invisible body. The central ankle of a human foot on the pedestal is like a painter’s model. The remaining three extremities of varying measure, depending on the perspective of the distortion, may also be seen from different points in space which, because of the parameters of a two-dimensional photograph, cannot be estimated. We thus have to look at the illustrated composition, a study of the extremities and believe that it has no perspective. The cycle “Don’t Touch”, on the contrary, adds an extra dimension. The view, mostly an external one, is supplemented with the hands that might eventually form part of the picture, but are rather too big in size. Being dominant, they lead our eye through the composition and even into the conceptualized depth of the picture.

The list of Slovak candidates was proposed by Prof. Václav Macek, a theorist of Slovak photography. In my view, all five truly make up a representative group in terms of artistic quality and the conceptual richness of their work. Zuzana Lapitková

In the exhibition Mutations I, Slovakia is represented by the conceptual artist Marek Kvetán. Digital photogaphy interests him because of its technical possibilities. Under the caption “Compressions” (2000) he has created a series of large-format photographs in which he has compressed an entire film into a single picture (Trainspotting, Alien, Jonny Mnemonic). He simply took 47


BRATISLAVA SLOVAKIAN YOUNG PHOTOGRAPHY

The exhibition project Mutations topically takes into account the well-known fact that art and its context reach far beyond state boundaries.

aesthetic position. Pictures of parts of the female body (Corporealities, 2000, Genetypes, 2001 — torsos of bodies), made of transparent organic material, containing some animal organs evoke questions concerning relations between bodies of living organisms, but also questions about specific aspects of the human body as currently seen by people. The series “Woman World” (2003) includes photographs of silicon torsos that are not so much biological objects as monuments to the female world.

Even the selection itself of photographers for Mutations I has provided an interesting picture of modern photography in Europe. Seven countries boasting a different cultural-historical background while simultaneously sharing a contemporary approach to reality have each presented five candidates. State boundaries evidently still mark out the leading circuit of influences and inspirations for the artist, nevertheless, a network of parallels and points of contact has suddenly sprung up precisely on the level of the individual artistic solutions adopted by the thirty-five proposed photographers.

TomáS AgÁt BLonski entered the scene of Slovak photography with a series of portraits of hens and cocks, presenting each one as a unique individual. However, this analysis of the very essence of portraiture is not merely a recognition of personality traits in hens. “We are” is the title of a series that creates a parallel with ourselves. As for the series “Entries” (2006), we may also look upon it as a series of portraits. This time they are portraits of facades of abandoned buildings. In Blonski’s view, their boarded-up doors and windows turn into blind eyes and dumb mouths. A building has a soul, a life and a past of its own. A good portrait captures the fleeting nature of time, but does not depict events.

The Slovak selection comprises three photographers, Silvia Saparová, Monika Hurnanská and Tomás Agát Blonski, and two artists who make use of various media for their expression — Dorota Sadovská and Marek Kvetán. The topic of Silvia Saparová’s work is exclusively the human body — female body. She shows us its fragments (using her own body) as biological objects. However, through lighting and colour tuning of the final photograph, she shifts the photographed object into a symbolic-

The body is a subject also addressed by Dorota Sadovská. 46

In her photographs the body appears as an ornament. It can be molded, deformed and combined until it provides a totally new vision, often losing its primary essence and turning into a parasite, for instance. Sadovská does not manipulate the image with a computer, but through the traditional creative procedures of collage and composition. The primary artistic vision is of major importance. “Parasites” (1998) are cut-out photographs of hands and feet reflected in a mirror. “Corporalits” (1998) present a photographic deformation and sculpting the body. The abstract body, in fact a torso, appears to be merely a nonliving object of creative hands. “Slough” (2003-4) is an aesthetic composition of thoughtfully and hermetically intertwined anonymous extremities with their own lives. The series “Skinning” (2005-6) again attributes an active role to the hands when they playfully model the shape of a crescent of dark skin.

into account the relevant fact that traditional standard length film sequences are today considered slow. Videoclips, virtual animation and animated films work with halfsecond sequences and the contemporary viewer, even a child, is able to capture them. “IDOC” (2003) are original photographs, digitally generated in horizontal or vertical compositions. From the artist’s point of view, they offer a visual analysis of the structure of the picture. “New City” (2001) is a series of billboards, posters and picture postcards with colour views of world-famous cities like Prague, Berlin, Paris or London. But their major characteristic elements have been deleted. They thus overwhelm the viewer with standard means of publicity, offering him a view of some sort of standardized modern city. Similarly, “VIDOC” (2001) is a project for getting even with frenetic modern public spaces that visually attack us with advertising information of all kinds. Largeformat photographs portray pictures of what appear to be common city districts. All the spaces usually taken up with advertising texts are vacant and billboards with photographs of smiling faces without accompanying texts appear downright sarcastic.

“The Eternal Truth” (2004) constitutes Monika HurNanská’s graduate work. Two digital photographs of places and still lives of her permanent and temporary residence always mutually overlap. The final picture has a single sharp source of light. We thus see a uniform dreamy picture, a creative form of the feeling of home. The series “The Decorated Joint” again plays with our vision, although this time without our inner image of an old acquaintance. A photograph always provides us with just a narrow view of the extremities of an invisible body. The central ankle of a human foot on the pedestal is like a painter’s model. The remaining three extremities of varying measure, depending on the perspective of the distortion, may also be seen from different points in space which, because of the parameters of a two-dimensional photograph, cannot be estimated. We thus have to look at the illustrated composition, a study of the extremities and believe that it has no perspective. The cycle “Don’t Touch”, on the contrary, adds an extra dimension. The view, mostly an external one, is supplemented with the hands that might eventually form part of the picture, but are rather too big in size. Being dominant, they lead our eye through the composition and even into the conceptualized depth of the picture.

The list of Slovak candidates was proposed by Prof. Václav Macek, a theorist of Slovak photography. In my view, all five truly make up a representative group in terms of artistic quality and the conceptual richness of their work. Zuzana Lapitková

In the exhibition Mutations I, Slovakia is represented by the conceptual artist Marek Kvetán. Digital photogaphy interests him because of its technical possibilities. Under the caption “Compressions” (2000) he has created a series of large-format photographs in which he has compressed an entire film into a single picture (Trainspotting, Alien, Jonny Mnemonic). He simply took 47


MAREK KVETÁN Marek Kvetán (born in 1976, Bratislava) studied at the Department of Sculpture, Intermedia Studio of Free Creativity by Prof. J. Bartusz and the Department of Painting, Prof. D. Fisher, Academy of Fine Arts and Design, Bratislava. For one year he was also visiting the Department Multimedia-Performance-Video by Prof. Keiko Sei, Technical University Brno — Faculty of Fine Arts, Czech Republic. In 2000 he was given an art residence at the Headlends Center for the Arts in Sausalito in California, USA. In 2003 he won the Grand prix award at the Contemporary Slovak graphic Triennial, State Gallery, Banská Bystrica.

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IDOC DEATH 19, 2005

IDOC DEATH 19H, 2005

C-Print 74 x 52 cm

C-Print 74 x 52 cm

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IDOC DEATH 25, 2005

IDOC DEATH 25, 2005

C-Print 74 x 52 cm

C-Print 74 x 52 cm


MAREK KVETÁN Marek Kvetán (born in 1976, Bratislava) studied at the Department of Sculpture, Intermedia Studio of Free Creativity by Prof. J. Bartusz and the Department of Painting, Prof. D. Fisher, Academy of Fine Arts and Design, Bratislava. For one year he was also visiting the Department Multimedia-Performance-Video by Prof. Keiko Sei, Technical University Brno — Faculty of Fine Arts, Czech Republic. In 2000 he was given an art residence at the Headlends Center for the Arts in Sausalito in California, USA. In 2003 he won the Grand prix award at the Contemporary Slovak graphic Triennial, State Gallery, Banská Bystrica.

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IDOC DEATH 19, 2005

IDOC DEATH 19H, 2005

C-Print 74 x 52 cm

C-Print 74 x 52 cm

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IDOC DEATH 25, 2005

IDOC DEATH 25, 2005

C-Print 74 x 52 cm

C-Print 74 x 52 cm


COMPRESSION STAR WARS, 2000 C-Print Diasec on Aluminium 83 x 118 cm

COMPRESSION ALIENS I, 2000 C-Print Diasec on Aluminium 83 x 118 cm

COMPRESSION MATRIX, 2000 C-Print Diasec on Aluminium 83 x 118 cm

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COMPRESSION STAR WARS, 2000 C-Print Diasec on Aluminium 83 x 118 cm

COMPRESSION ALIENS I, 2000 C-Print Diasec on Aluminium 83 x 118 cm

COMPRESSION MATRIX, 2000 C-Print Diasec on Aluminium 83 x 118 cm

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VIDOC 05, 2001 C-Print Diasec on Aluminium 78 x 120 cm

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VIDOC 05, 2001 C-Print Diasec on Aluminium 78 x 120 cm

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NEW CITY PARIS, 2003 (Poster) C-Print Diasec on Aluminium 65 x 100 cm

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NEW CITY PARIS, 2003 (Poster) C-Print Diasec on Aluminium 65 x 100 cm

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TOMÁS AGÁT BLONSKI Tomás Agát Blonski (born in 1975, Kosice) studied at the School of Applied Arts in Kosice, Department Printmaking and Graphic Design and the Academy of Fine Arts and Design, Bratislava, Department of Visual Medias. During his university studies he was given scholarships at the Academy of Fine Arts, Poznan, Poland and the Slippery Rock University, Pennsylvania, USA. His works have been exhibited in Slovakia, Poland, the Czech Republic, Austria, Norway, Germany, USA. Since 2002 he has been teaching multimedia and staged photography at the Fine Arts Faculty of Polytechnic University in Kosice where he also lives.

From the series ENTRIES, 2006 video projection

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TOMÁS AGÁT BLONSKI Tomás Agát Blonski (born in 1975, Kosice) studied at the School of Applied Arts in Kosice, Department Printmaking and Graphic Design and the Academy of Fine Arts and Design, Bratislava, Department of Visual Medias. During his university studies he was given scholarships at the Academy of Fine Arts, Poznan, Poland and the Slippery Rock University, Pennsylvania, USA. His works have been exhibited in Slovakia, Poland, the Czech Republic, Austria, Norway, Germany, USA. Since 2002 he has been teaching multimedia and staged photography at the Fine Arts Faculty of Polytechnic University in Kosice where he also lives.

From the series ENTRIES, 2006 video projection

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UNTITLED, 2005

MONIKA HURNANSKÁ

from the cycle “Don’t touch, please”

Monika Hurˇnanská (born in 1977, Spiˇsská Nová Ves) studed painting and photography. She received bachelor degree at the Academy of Fine Arts in Banská Bystrica, studio of painting by Prof. F. Hodonsk´y and graduate degree at the Academy of Fine Arts and Design in Bratislava, photography studio of Doc. Lubo Stacho. Monika also followed a workshop of traditional icon painting in Russia. And at the time of her studies, she created the board paintings for the Dominican chapel in Dunajská Luˇzná. In 2004 she received the rector’s award for her graduation project "The Eternal Truth". She works in Bratislava.

LONDON BUS IN MOUVEMENT, 2006 from the cycle “Don’t touch, please”

UNTITLED, 2005 from the cycle “Don’t touch, please”

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UNTITLED, 2005

MONIKA HURNANSKÁ

from the cycle “Don’t touch, please”

Monika Hurˇnanská (born in 1977, Spiˇsská Nová Ves) studed painting and photography. She received bachelor degree at the Academy of Fine Arts in Banská Bystrica, studio of painting by Prof. F. Hodonsk´y and graduate degree at the Academy of Fine Arts and Design in Bratislava, photography studio of Doc. Lubo Stacho. Monika also followed a workshop of traditional icon painting in Russia. And at the time of her studies, she created the board paintings for the Dominican chapel in Dunajská Luˇzná. In 2004 she received the rector’s award for her graduation project "The Eternal Truth". She works in Bratislava.

LONDON BUS IN MOUVEMENT, 2006 from the cycle “Don’t touch, please”

UNTITLED, 2005 from the cycle “Don’t touch, please”

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CORPORALITS N1-20, 2003

CORPORALITS N4, 2003

DOROTA SADOVSKÁ

photo on aluminium 100 x100 cm

photos on aluminium 100 x100 cm (each photo)

Dorota Sadovská (born in 1973, Bratislava) pursues painting, photography, installation. She studied painting at the Academy of Fine Arts and Design in Bratislava and at the École National des Beaux Arts, Dijon, France. She won the Prix Noriac, France, Slovak Visual Price, Bratislava and Oskar ˇCepan Prize, Bratislava. Her works have been exhibited in Slovakia, Poland, Hungary, France, the Czech Republic, Croatia, Germany, USA. From among them all we can mention the SADO, magazine action in Slovak, Czech, Austrian and French kiosks and bookshops from last year. She lives and works in Bratislava.

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CORPORALITS N1-20, 2003

CORPORALITS N4, 2003

DOROTA SADOVSKÁ

photo on aluminium 100 x100 cm

photos on aluminium 100 x100 cm (each photo)

Dorota Sadovská (born in 1973, Bratislava) pursues painting, photography, installation. She studied painting at the Academy of Fine Arts and Design in Bratislava and at the École National des Beaux Arts, Dijon, France. She won the Prix Noriac, France, Slovak Visual Price, Bratislava and Oskar ˇCepan Prize, Bratislava. Her works have been exhibited in Slovakia, Poland, Hungary, France, the Czech Republic, Croatia, Germany, USA. From among them all we can mention the SADO, magazine action in Slovak, Czech, Austrian and French kiosks and bookshops from last year. She lives and works in Bratislava.

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SILVIA SAPAROVÁ

CORPOREALITIES 8, 2000

Silvia Sapapová (born in 1975, Bratislava) is a freelance artist and lecturer living and working in Bratislava. Silvia studied at the School of Applied Arts in Bratislava, Department Photography and then continued at the Academy of Fine Arts and Design, Bratislava by Doc. Milota Havránková. From among various solo and group exhibitions, she participated at the group exhibition "Privat woman", 2Month of Photography 2003" in Bratislava and at the "6th International Days of Photography — Young Slovak Photography" in Herten, Germany (2001).

CORPOREALITIES 9, 2000

GENETYPES 2, 2001

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SILVIA SAPAROVÁ

CORPOREALITIES 8, 2000

Silvia Sapapová (born in 1975, Bratislava) is a freelance artist and lecturer living and working in Bratislava. Silvia studied at the School of Applied Arts in Bratislava, Department Photography and then continued at the Academy of Fine Arts and Design, Bratislava by Doc. Milota Havránková. From among various solo and group exhibitions, she participated at the group exhibition "Privat woman", 2Month of Photography 2003" in Bratislava and at the "6th International Days of Photography — Young Slovak Photography" in Herten, Germany (2001).

CORPOREALITIES 9, 2000

GENETYPES 2, 2001

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LUXEMBOURG PHOTOGRAPHICALLY ECLECTIC

in our work, the image becomes “photographic” through various operations unrelated to photography; improvising the impression of another reality, in memory or imagination, in which, so to speak, it has the exclusivity of the reflection. Hence the documentary — and therefore photographic — nature of these images”.

Thus, this intentionally eclectic Luxembourg selection shows several examples of how the coming together of different singular approaches always occurs through the reflection of contemporary realities in its “photographic” interpretation, in mutation.

On another level, VERA WEISGERBER’s work (which also subscribes to a post-photographic and post-documentary logic rather then seeking a lived linearity) deconstructs itself through the relationship created between the photos. She presents series in which each photo corresponds in terms of form or content to notions of generation, transmission, change and transformation,. Her images are falsely narrative, telling nothing in themselves, while their arrangement, which is conceptualised by the artist, speaks of “mutations” in our physical and mental relationship to tangible reality.

Presenting the example of five series by Luxembourg photographers: Simone Decker, Laurent Friob, Carine & élisabeth Krecké, Claudia Passeri, Vera Weisgerber.

finds the language used by these painters for whom the work responded to an interior necessity. These large “all over” photographic works thus become the surface for a double play between inside and outside where appropriations of the real in the most abstract spheres erase all contextual parameters by sublimating the traces of lived experience.

Today’s young artists react to the appearance of new technology by using photography quite naturally and without enclosing themselves in technical and stylistic standards, being open to the most sophisticated practices as well as the most basic. This hybrid approach to photography, that can also be found amongst the young generation of Luxembourg photographers, may often be explained by an interdisciplinary basic training which goes beyond the purely photographic domain. These current practices often display a line of questioning which retains the attitude, the approach and even the process of photography without worrying about traditional or digital procedures nor factual or fictional subjects. As Christian Gattinoni has pointed out: “Photography intervenes as a marking of the temporal flux but has rid itself of the burden of representation.” In the series “Abstract realism”, by the young Laurent Friob, the idea of mutation is presented in the form of a quest for “abstract” representations as we know them through American Abstract Expressionism in the context of urban reality. Thus, in the surface of walls of the different towns covered (Brussels, Amsterdam, Luxembourg, Paris), he

An original way of appropriating the cliches of Hollywood photos and films is presented to us by the twin sisters CARINE & élisabeth KRECKé who make images of a photographic nature without using photographic means. Their approach, combining pencil drawing and digital treatment is not “photographic” in the strictest sense the term as there is no shooting, no use of photographic procedure and not even the photographic model as a departure point. Stereotypical and glamorous characters inspired by film scenarios referring to the Hollywood myth are pure inventions. Produced from several different stages of mutation, their hybrid images tear up our usual diagrams of representation and perception and touch on our visual memories. However, these two artists claim the status of photography: “If our photographs are fictional, they are nonetheless a reference to the real, admittedly more mental than concrete, connected to fragments of collective memory in which the cultural and media references of our time are anchored. Thus, 66

Paul di Felice

In “Weiss, weisser geht’s nicht” (It can’t get any whiter) the artist SIMONE DECKER presents a series which scorns our system of perception and our way of looking at a daily life floundering in its own banality. The artist explores the analytical characteristics of photography by photographing the facades of houses (in a conurbation of a village in Germany) illuminated by cinema projectors. Through overexposure and slow exposure time, the blanched surfaces of the houses dig a hole in the urban structure. Two moments are imposed and oppose each other: during the shot, the facades are enhanced by the lighting of the projectors while in the final image the contrary reveals itself...the photographs seem to stage a scene of absence rather than of presence. For Simone Decker, these surfaces, which seem to be cut off from the rest of the image, become the viewer’s space in which he may project the “film” of his own history. Snatches of personal history revealed to the public and intimate moments filmed by a surveillance camera are elements that the artist CLAUDIA PASSERI uses in the photographic series “Kesst iech” (An invitation to kiss). Displayed in the form of a poster, the action invites people to kiss each other under mistletoe suspended in the public lift linking the upper and lower areas of the city of Luxembourg. The images relating to this experiment (that the artist imposed on some couples ready to play along on New Year’s Eve) were taken from the surveillance cabin. These stolen images, that the artist prints out in the form of stills, express the diversion of the medium in its daily relationships and representations under the orchestration of the artist. “High and low” face each other in a constantly reinterpreted “hic et nunc”. 67


LUXEMBOURG PHOTOGRAPHICALLY ECLECTIC

in our work, the image becomes “photographic” through various operations unrelated to photography; improvising the impression of another reality, in memory or imagination, in which, so to speak, it has the exclusivity of the reflection. Hence the documentary — and therefore photographic — nature of these images”.

Thus, this intentionally eclectic Luxembourg selection shows several examples of how the coming together of different singular approaches always occurs through the reflection of contemporary realities in its “photographic” interpretation, in mutation.

On another level, VERA WEISGERBER’s work (which also subscribes to a post-photographic and post-documentary logic rather then seeking a lived linearity) deconstructs itself through the relationship created between the photos. She presents series in which each photo corresponds in terms of form or content to notions of generation, transmission, change and transformation,. Her images are falsely narrative, telling nothing in themselves, while their arrangement, which is conceptualised by the artist, speaks of “mutations” in our physical and mental relationship to tangible reality.

Presenting the example of five series by Luxembourg photographers: Simone Decker, Laurent Friob, Carine & élisabeth Krecké, Claudia Passeri, Vera Weisgerber.

finds the language used by these painters for whom the work responded to an interior necessity. These large “all over” photographic works thus become the surface for a double play between inside and outside where appropriations of the real in the most abstract spheres erase all contextual parameters by sublimating the traces of lived experience.

Today’s young artists react to the appearance of new technology by using photography quite naturally and without enclosing themselves in technical and stylistic standards, being open to the most sophisticated practices as well as the most basic. This hybrid approach to photography, that can also be found amongst the young generation of Luxembourg photographers, may often be explained by an interdisciplinary basic training which goes beyond the purely photographic domain. These current practices often display a line of questioning which retains the attitude, the approach and even the process of photography without worrying about traditional or digital procedures nor factual or fictional subjects. As Christian Gattinoni has pointed out: “Photography intervenes as a marking of the temporal flux but has rid itself of the burden of representation.” In the series “Abstract realism”, by the young Laurent Friob, the idea of mutation is presented in the form of a quest for “abstract” representations as we know them through American Abstract Expressionism in the context of urban reality. Thus, in the surface of walls of the different towns covered (Brussels, Amsterdam, Luxembourg, Paris), he

An original way of appropriating the cliches of Hollywood photos and films is presented to us by the twin sisters CARINE & élisabeth KRECKé who make images of a photographic nature without using photographic means. Their approach, combining pencil drawing and digital treatment is not “photographic” in the strictest sense the term as there is no shooting, no use of photographic procedure and not even the photographic model as a departure point. Stereotypical and glamorous characters inspired by film scenarios referring to the Hollywood myth are pure inventions. Produced from several different stages of mutation, their hybrid images tear up our usual diagrams of representation and perception and touch on our visual memories. However, these two artists claim the status of photography: “If our photographs are fictional, they are nonetheless a reference to the real, admittedly more mental than concrete, connected to fragments of collective memory in which the cultural and media references of our time are anchored. Thus, 66

Paul di Felice

In “Weiss, weisser geht’s nicht” (It can’t get any whiter) the artist SIMONE DECKER presents a series which scorns our system of perception and our way of looking at a daily life floundering in its own banality. The artist explores the analytical characteristics of photography by photographing the facades of houses (in a conurbation of a village in Germany) illuminated by cinema projectors. Through overexposure and slow exposure time, the blanched surfaces of the houses dig a hole in the urban structure. Two moments are imposed and oppose each other: during the shot, the facades are enhanced by the lighting of the projectors while in the final image the contrary reveals itself...the photographs seem to stage a scene of absence rather than of presence. For Simone Decker, these surfaces, which seem to be cut off from the rest of the image, become the viewer’s space in which he may project the “film” of his own history. Snatches of personal history revealed to the public and intimate moments filmed by a surveillance camera are elements that the artist CLAUDIA PASSERI uses in the photographic series “Kesst iech” (An invitation to kiss). Displayed in the form of a poster, the action invites people to kiss each other under mistletoe suspended in the public lift linking the upper and lower areas of the city of Luxembourg. The images relating to this experiment (that the artist imposed on some couples ready to play along on New Year’s Eve) were taken from the surveillance cabin. These stolen images, that the artist prints out in the form of stills, express the diversion of the medium in its daily relationships and representations under the orchestration of the artist. “High and low” face each other in a constantly reinterpreted “hic et nunc”. 67


CARINE & ÉLISABETH KRECKÉ Carine and élisabeth Krecké are twin sisters born in Luxembourg (1965). They both have a PhD in economic science (1993 University Aix-Marseille III). Carine has also a PhD in art and literature (2006 University Aix-Marseille I). She currently works as an independent artist and researcher. élisabeth is a professor of economics at the University of Science and Technology in Lille and publishes in the field of the philosophy of social sciences. Carine and élisabeth realize many of their artistic and scientific projects together, focusing on their interdisciplinary complementarities. Their artistic work questions the relation between drawing and photography. Their actual series of “fictitious photographs” and “filmstills from non-existing movies” consist in simulating photography in a hybrid and multi-faceted process combining pencil drawing and digital technology of image manipulation. Part of this work, thematically related to the iconography of the film noir, has been shown among others in the Casino Luxembourg – Forum d'art contemporain in 2003.

UNTITLED # 28 EVOKING FASSBINDER, 2003 Digital drawing Silverprint mounted on aluminium 80 x 120 cm

UNTITLED # 33 EVOKING FELLINI, 2006 Silverprint mounted on aluminium 80 x 120 cm

UNTITLED # 3, 2000 Digital drawing digital print on canvas stretched on wooden frame 90 x 70 cm

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CARINE & ÉLISABETH KRECKÉ Carine and élisabeth Krecké are twin sisters born in Luxembourg (1965). They both have a PhD in economic science (1993 University Aix-Marseille III). Carine has also a PhD in art and literature (2006 University Aix-Marseille I). She currently works as an independent artist and researcher. élisabeth is a professor of economics at the University of Science and Technology in Lille and publishes in the field of the philosophy of social sciences. Carine and élisabeth realize many of their artistic and scientific projects together, focusing on their interdisciplinary complementarities. Their artistic work questions the relation between drawing and photography. Their actual series of “fictitious photographs” and “filmstills from non-existing movies” consist in simulating photography in a hybrid and multi-faceted process combining pencil drawing and digital technology of image manipulation. Part of this work, thematically related to the iconography of the film noir, has been shown among others in the Casino Luxembourg – Forum d'art contemporain in 2003.

UNTITLED # 28 EVOKING FASSBINDER, 2003 Digital drawing Silverprint mounted on aluminium 80 x 120 cm

UNTITLED # 33 EVOKING FELLINI, 2006 Silverprint mounted on aluminium 80 x 120 cm

UNTITLED # 3, 2000 Digital drawing digital print on canvas stretched on wooden frame 90 x 70 cm

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UNTITLED # 4, 2000 / 2003 Digital drawing Silverprint mounted on aluminium 80 x 120 cm

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UNTITLED # 4, 2000 / 2003 Digital drawing Silverprint mounted on aluminium 80 x 120 cm

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UNTITLED # 26, 2003

LUDWIG, 2003

Digital drawing Silverprint mounted on aluminium 80 x 120 cm

Digital drawing Silverprint mounted on aluminium 80 x 120 cm

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UNTITLED # 26, 2003

LUDWIG, 2003

Digital drawing Silverprint mounted on aluminium 80 x 120 cm

Digital drawing Silverprint mounted on aluminium 80 x 120 cm

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UNTITLED # 83, 2006 NON-EXISTING MOVIE STARRING TERENCE STAMP Digital drawing Silverprint mounted on aluminium 80 x 120 cm

UNTITLED # 49, 2006 FICTITIOUS FILMSTILL STARRING MAURICE RONET Digital drawing Silverprint mounted on aluminium 56 x 120 cm

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UNTITLED # 83, 2006 NON-EXISTING MOVIE STARRING TERENCE STAMP Digital drawing Silverprint mounted on aluminium 80 x 120 cm

UNTITLED # 49, 2006 FICTITIOUS FILMSTILL STARRING MAURICE RONET Digital drawing Silverprint mounted on aluminium 56 x 120 cm

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SIMONE DECKER Simone Decker was born in 1968 in Luxembourg. She lives and works in Frankfurt. Following art studies in Germany she returned to Luxembourg to show in the 1994 exhibition “Rendez-vous provoqué”, co-organised by Enrico Lunghi, which took place at the Luxembourg National Museum of History and Art and at the Stadelijkmuseum in Lakenhal. She then presented “Untermieter” in 1996 at the Galerie Beaumont and the Casino-Luxembourg – Forum d'art contemporain. She represented Luxembourg in the Venice Biennale in 1999 with “Chewing and folding in Venice”. In 2002 she was invited to the “printemps de septembre” in Toulouse and participated in the “subréel”exhibition as well as the “Polyphonix” video festival at Beaubourg. The same year she occupied the space at the Centre National de la Photographie in the framework of “the studio”. In 2003 her presence was noticed in “mouvement de fonds” (mac) in Marseille and in “compilations” at the Maison populaire in Montreuil. She was given a large-scale exhibition titled “point of view” in 2004 at the Casino Luxembourg — Forum d’art contemporain, Luxembourg. In 2005 she created the action exhibition “Whitening”at SMAK in Ghent and participated in the exhibition “Le génie du lieu” at the Musée des Arts in Dijon. In 2006 the project “20 pieces” (billboard project) took place in Vienna.

IT CAN’T GET ANY WHITER 3, 2001

IT CAN’T GET ANY WHITER 4, 2001

Borken, artline 5 Series of 7 photographs Lambda print, Diasec / Dibond each 60 x 80 cm

Borken, artline 5 Series of 7 photographs Lambda print, Diasec / Dibond each 60 x 80 cm

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IT CAN’T GET ANY WHITER 1, 2001 Borken, artline 5 Series of 7 photographs Lambda print, Diasec / Dibond each 60 x 80 cm

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SIMONE DECKER Simone Decker was born in 1968 in Luxembourg. She lives and works in Frankfurt. Following art studies in Germany she returned to Luxembourg to show in the 1994 exhibition “Rendez-vous provoqué”, co-organised by Enrico Lunghi, which took place at the Luxembourg National Museum of History and Art and at the Stadelijkmuseum in Lakenhal. She then presented “Untermieter” in 1996 at the Galerie Beaumont and the Casino-Luxembourg – Forum d'art contemporain. She represented Luxembourg in the Venice Biennale in 1999 with “Chewing and folding in Venice”. In 2002 she was invited to the “printemps de septembre” in Toulouse and participated in the “subréel”exhibition as well as the “Polyphonix” video festival at Beaubourg. The same year she occupied the space at the Centre National de la Photographie in the framework of “the studio”. In 2003 her presence was noticed in “mouvement de fonds” (mac) in Marseille and in “compilations” at the Maison populaire in Montreuil. She was given a large-scale exhibition titled “point of view” in 2004 at the Casino Luxembourg — Forum d’art contemporain, Luxembourg. In 2005 she created the action exhibition “Whitening”at SMAK in Ghent and participated in the exhibition “Le génie du lieu” at the Musée des Arts in Dijon. In 2006 the project “20 pieces” (billboard project) took place in Vienna.

IT CAN’T GET ANY WHITER 3, 2001

IT CAN’T GET ANY WHITER 4, 2001

Borken, artline 5 Series of 7 photographs Lambda print, Diasec / Dibond each 60 x 80 cm

Borken, artline 5 Series of 7 photographs Lambda print, Diasec / Dibond each 60 x 80 cm

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IT CAN’T GET ANY WHITER 1, 2001 Borken, artline 5 Series of 7 photographs Lambda print, Diasec / Dibond each 60 x 80 cm

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LAURENT FRIOB Laurent Friob was born in 1971 in Luxembourg. He lives and works in Luxembourg and Brussels. In 1995 he graduated from the Brussels Free University in physical science where he went on to obtain a pre-doctoral diploma in theoretical optics (1996). However, he is a self-taught artist, having never undergone academic art training. In Luxembourg he came to notice through his installation of a large photograph in the urban space at the exit of the city of Luxembourg. He was chosen for the DÊcouvertes Jeunes Talents 2006 by the CNA. His first solo exhibition, at the gallery Nei Liicht (Dudelange) is inscribed within the framework of Luxembourg 2007, European capital of culture. Laurent Friob’s Internet site can be found at www.singularwork.com. ABSTRACT REALISM 2, 2005-06

ABSTRACT REALISM 1, 2005-06 Chromogenic color print 100 X 125 cm

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Chromogenic color print 100 X 125 cm

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LAURENT FRIOB Laurent Friob was born in 1971 in Luxembourg. He lives and works in Luxembourg and Brussels. In 1995 he graduated from the Brussels Free University in physical science where he went on to obtain a pre-doctoral diploma in theoretical optics (1996). However, he is a self-taught artist, having never undergone academic art training. In Luxembourg he came to notice through his installation of a large photograph in the urban space at the exit of the city of Luxembourg. He was chosen for the DÊcouvertes Jeunes Talents 2006 by the CNA. His first solo exhibition, at the gallery Nei Liicht (Dudelange) is inscribed within the framework of Luxembourg 2007, European capital of culture. Laurent Friob’s Internet site can be found at www.singularwork.com. ABSTRACT REALISM 2, 2005-06

ABSTRACT REALISM 1, 2005-06 Chromogenic color print 100 X 125 cm

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Chromogenic color print 100 X 125 cm

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CLAUDIA PASSERI Of Italian origin, Claudia Passeri was born in Luxembourg in 1977. Until the age of 21, she lived in Luxembourg where she obtained a diploma in graphic design. In 1998, she studied set design at the Fine Art Academy in Bologna. She left Bologna in 1999 to start photography studies at the “Ecole Supérieure de l’Image le 75”. She graduated with honours. Then from 2002 to 2004 she studied design at the Instituto Europeo di Design” in Rome. The diversity of her approach is reflected in her work which has become increasingly eclectic. It was in Italy that she created her first urban interventions, including “OTIUM” for the all-night art trail in Rome before creating “Kësst iech” 2005 and 2006 in Luxembourg. At the moment she is working essentially Luxembourg on the cross-border project “borderline” with the artist Michèle Walerich, a project which is part of the programming of “Luxembourg et Grande Région, European capital 2007”.

AN INVITATION TO KISS, 2005-2006 Photography mounted on dibond 30 x 40 cm

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CLAUDIA PASSERI Of Italian origin, Claudia Passeri was born in Luxembourg in 1977. Until the age of 21, she lived in Luxembourg where she obtained a diploma in graphic design. In 1998, she studied set design at the Fine Art Academy in Bologna. She left Bologna in 1999 to start photography studies at the “Ecole Supérieure de l’Image le 75”. She graduated with honours. Then from 2002 to 2004 she studied design at the Instituto Europeo di Design” in Rome. The diversity of her approach is reflected in her work which has become increasingly eclectic. It was in Italy that she created her first urban interventions, including “OTIUM” for the all-night art trail in Rome before creating “Kësst iech” 2005 and 2006 in Luxembourg. At the moment she is working essentially Luxembourg on the cross-border project “borderline” with the artist Michèle Walerich, a project which is part of the programming of “Luxembourg et Grande Région, European capital 2007”.

AN INVITATION TO KISS, 2005-2006 Photography mounted on dibond 30 x 40 cm

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VERA WEISGERBER Vera Weisgerber was born in Luxembourg in 1971. After secondary school in Luxembourg she studied arts at the Ecole de Recherche Graphique in Brussels and worked at the Rijksakademie van Beeldende Kunsten in Amsterdam during 1997-1998. Since 1996 “Un bel été” and “Re-Location 4” at the Casino Luxembourg – Forum d'art contemporain and at the Tranzit Foundation in Cluj, “Photographie luxembourgeoise 2001” at the BCEE in Luxembourg, “Les trahisons du modèle” in Le Havre, “+/-103 days” at the Etablissement d’en face in Brussels, “Backlight” in Tampere, “It happens everyday” at W139 in Amsterdam are a selection amongst numerous exhibitions where her photographs and videos could be seen. She’s currently working on upcoming solo exhibitions at Galerie Erna Hécey, Bruxelles and Galerie Dominique Lang, Dudelange as well as on a collaboration project for the MUDAM in Luxembourg.

MUTATION 2, 2006 MUTATION 1, 2005-2006 set of 6 color print mounted on aluminium 30 x 40 cm (each image)

color print unframed: 40 x 30 cm

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VERA WEISGERBER Vera Weisgerber was born in Luxembourg in 1971. After secondary school in Luxembourg she studied arts at the Ecole de Recherche Graphique in Brussels and worked at the Rijksakademie van Beeldende Kunsten in Amsterdam during 1997-1998. Since 1996 “Un bel été” and “Re-Location 4” at the Casino Luxembourg – Forum d'art contemporain and at the Tranzit Foundation in Cluj, “Photographie luxembourgeoise 2001” at the BCEE in Luxembourg, “Les trahisons du modèle” in Le Havre, “+/-103 days” at the Etablissement d’en face in Brussels, “Backlight” in Tampere, “It happens everyday” at W139 in Amsterdam are a selection amongst numerous exhibitions where her photographs and videos could be seen. She’s currently working on upcoming solo exhibitions at Galerie Erna Hécey, Bruxelles and Galerie Dominique Lang, Dudelange as well as on a collaboration project for the MUDAM in Luxembourg.

MUTATION 2, 2006 MUTATION 1, 2005-2006 set of 6 color print mounted on aluminium 30 x 40 cm (each image)

color print unframed: 40 x 30 cm

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MOSCOW NEW RUSSIAN SOCIETY AND ITS PHOTOGRAPHY

ness” her subjects are married couples with an age difference of more than 40 years. The phenomenon of a young woman married to a much older man — many of whom have become rich in recent years - is increasingly common in today’s Russia.

cies in Russia, America and Egypt. Children of different skin colour and religion (shot in the Catherine Palace near St. Petersburg, in front of the Muhammad Ali mosque in Cairo and running through the streets of Manhattan) appear clone-like in their movements, facial expressions and clothing, demonstrating the omnipotence of modern mass-media.

“Happiness”, shot in family homes in St. Petersburg, does not pose problems of critical analysis of fixed situations. Both the subjects and their interiors appear as important evidence of a time where tragedy and comedy — as well as the ability to be oneself or play another person’s role — are inextricably mixed up. “The Star of an Episode” develops the themes found in “Happiness”.

The end of the 20th century and the beginning of the 21st has been a time of rapid change for photography. New technologies — both in shooting and processing — and the emergence of digital technology that enables images to be manipulated by computer are transforming the world of photography.

Vladimir Mishukov - one of the brightest Russian photographers of the last decade — employs “street photography” as his genre. He is a three-time winner of Russia’s top photography award, “The Silver Camera”, given for the best photo essay about Moscow. Mishukov’s projects “The Cult of Family” and “Neon Dreams” examine the role youth has and is playing in the rapidly shifting values of the new Russia. Both projects are specially posed. For “The Cult of Family”, Mishukov asks families from different social classes with differing income levels to pose. The project, carried out over four years, is the first serious social and cultural research that records an aspect of Russian reality in this transitional period. The subjects of “Neon Dreams” are contemporary Russian youths; they pose for the photographer at night clubs, cafes and in the streets of Moscow where each of the characters forms his or her credo and expresses what he or she dreams of. It is a group portrait of those who hold the future of Russian in their hands.

As the distinction between myth and reality becomes more and more flexible, contemporary artists are increasingly turning to photography as a key media in the creation of new works of art. Russian photography, after more than 50 years of isolation from the international artistic mainstream, is in the midst of a creative boom that began in the mid 1990s. Russian artists and public now have an opportunity to reassess the history of world photography for themselves and experience the use to which artists are putting photography. The works of Group AES+F, Alya Esipovich, Vladimir Mishukov, Olga Tobreluts, Yulia Bochkova are among those selected for the “Mutation” project. The artists have been chosen because they all use photography as an important tool for researching the social, cultural and economic transformations experienced in Russia since the collapse of the USSR in 1991. 86

The project “Action Half-life” develops this theme, investigating the phenomenon of computer games, offered to our children irrespective of countries and continents or their personal desires, by a world submerged in a process of globalisation. “Action Half-life” is the name of one of the world’s most popular computer games, with sales of more than six million. Children from leading modeling agencies, shot in the Sinai desert, hold fantastic weapons of mass destruction in their hands; holding but not yet using. They look romantically in one direction — the weapons point in the other. It’s a scene reminiscent of the garden of Eden before Adam and Eve tasted the apple offered by the serpent.

Olga Tobreluts also lives and works in St. Petersburg. Her artistic activity is connected with the legendary St Petersburg movement of neo-academism that originated with Timur Novikov, a cult artist of the late 1980s and early 1990s. Her projects over the last ten years are also staged. She works with Photoshop to transform subjects from real life situations into various mythological creations. In “Legionaries” internationally famous football stars, such as David Beckham and Zinedine Zidane are portrayed as Roman legionaries It is an ironic reflection of the truism that football is the key myth of the modern world and its heroes the protagonists of the present day. The project is devoted to the problem of celebrity and to research into how this phenomenon comes about and why modern society is so much in need of it.

The “The Last Riot” 2005-2006 is an original dialogue between the artists and Caravaggio. The heroes of the project are now seen posing with virtual weapons. This is a revolt of children who know nothing yet of real blood and pain; a revolt of a generation formed under the influence of commercials, blockbusters and deadly virtual games where the borders between reality and fantasy dissolve.

Yulia Bochkova, 24, is one of the youngest and brightest of Russia’s new photographers. She works with “mobilography” — manipulating and editing photos and self-portraits using her mobile phone. Printed in super large format, the photos resemble American pop art of the 1950s and 60s, demonstrating with surprising freshness and energy the new opportunities presented by mobile phone photography. This kind of photography allows for close, almost intimate, contact with a subject and at the same time an ease and informality that, in many respects, reflects the reality of new forms of communication.

Alya Esipovich is represented by the works specifically created for the 6th International Month of photography during Moscow’s Photo Biennale 2006 - the projects “Happiness” and “The Star of an Episode”.

AES+F (Tatiana Arzamasova, Lev Evzovitch, Evgeny Svyatsky and Vladimir Fridkes) represents one of the clear leaders of contemporary Russian art of recent years. Projects by group members over the last ten years have presented consistently paradoxical and provocative research into the problems of childhood in the modern world.

Alya usually works with subjects that allow her to explore the boundaries of psychological situations. In “Happi-

In 2001 they launched their project “King of the Forest”, which portrayed children selected from modeling agen-

AES+F’s projects are clear evidence of the mutations experienced both by the art of photography and the reality of the modern world. This process is most brilliantly seen in the new generation of children living within virtual worlds, subject to the influence of global media tendencies.

Olga Sviblova

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MOSCOW NEW RUSSIAN SOCIETY AND ITS PHOTOGRAPHY

ness” her subjects are married couples with an age difference of more than 40 years. The phenomenon of a young woman married to a much older man — many of whom have become rich in recent years - is increasingly common in today’s Russia.

cies in Russia, America and Egypt. Children of different skin colour and religion (shot in the Catherine Palace near St. Petersburg, in front of the Muhammad Ali mosque in Cairo and running through the streets of Manhattan) appear clone-like in their movements, facial expressions and clothing, demonstrating the omnipotence of modern mass-media.

“Happiness”, shot in family homes in St. Petersburg, does not pose problems of critical analysis of fixed situations. Both the subjects and their interiors appear as important evidence of a time where tragedy and comedy — as well as the ability to be oneself or play another person’s role — are inextricably mixed up. “The Star of an Episode” develops the themes found in “Happiness”.

The end of the 20th century and the beginning of the 21st has been a time of rapid change for photography. New technologies — both in shooting and processing — and the emergence of digital technology that enables images to be manipulated by computer are transforming the world of photography.

Vladimir Mishukov - one of the brightest Russian photographers of the last decade — employs “street photography” as his genre. He is a three-time winner of Russia’s top photography award, “The Silver Camera”, given for the best photo essay about Moscow. Mishukov’s projects “The Cult of Family” and “Neon Dreams” examine the role youth has and is playing in the rapidly shifting values of the new Russia. Both projects are specially posed. For “The Cult of Family”, Mishukov asks families from different social classes with differing income levels to pose. The project, carried out over four years, is the first serious social and cultural research that records an aspect of Russian reality in this transitional period. The subjects of “Neon Dreams” are contemporary Russian youths; they pose for the photographer at night clubs, cafes and in the streets of Moscow where each of the characters forms his or her credo and expresses what he or she dreams of. It is a group portrait of those who hold the future of Russian in their hands.

As the distinction between myth and reality becomes more and more flexible, contemporary artists are increasingly turning to photography as a key media in the creation of new works of art. Russian photography, after more than 50 years of isolation from the international artistic mainstream, is in the midst of a creative boom that began in the mid 1990s. Russian artists and public now have an opportunity to reassess the history of world photography for themselves and experience the use to which artists are putting photography. The works of Group AES+F, Alya Esipovich, Vladimir Mishukov, Olga Tobreluts, Yulia Bochkova are among those selected for the “Mutation” project. The artists have been chosen because they all use photography as an important tool for researching the social, cultural and economic transformations experienced in Russia since the collapse of the USSR in 1991. 86

The project “Action Half-life” develops this theme, investigating the phenomenon of computer games, offered to our children irrespective of countries and continents or their personal desires, by a world submerged in a process of globalisation. “Action Half-life” is the name of one of the world’s most popular computer games, with sales of more than six million. Children from leading modeling agencies, shot in the Sinai desert, hold fantastic weapons of mass destruction in their hands; holding but not yet using. They look romantically in one direction — the weapons point in the other. It’s a scene reminiscent of the garden of Eden before Adam and Eve tasted the apple offered by the serpent.

Olga Tobreluts also lives and works in St. Petersburg. Her artistic activity is connected with the legendary St Petersburg movement of neo-academism that originated with Timur Novikov, a cult artist of the late 1980s and early 1990s. Her projects over the last ten years are also staged. She works with Photoshop to transform subjects from real life situations into various mythological creations. In “Legionaries” internationally famous football stars, such as David Beckham and Zinedine Zidane are portrayed as Roman legionaries It is an ironic reflection of the truism that football is the key myth of the modern world and its heroes the protagonists of the present day. The project is devoted to the problem of celebrity and to research into how this phenomenon comes about and why modern society is so much in need of it.

The “The Last Riot” 2005-2006 is an original dialogue between the artists and Caravaggio. The heroes of the project are now seen posing with virtual weapons. This is a revolt of children who know nothing yet of real blood and pain; a revolt of a generation formed under the influence of commercials, blockbusters and deadly virtual games where the borders between reality and fantasy dissolve.

Yulia Bochkova, 24, is one of the youngest and brightest of Russia’s new photographers. She works with “mobilography” — manipulating and editing photos and self-portraits using her mobile phone. Printed in super large format, the photos resemble American pop art of the 1950s and 60s, demonstrating with surprising freshness and energy the new opportunities presented by mobile phone photography. This kind of photography allows for close, almost intimate, contact with a subject and at the same time an ease and informality that, in many respects, reflects the reality of new forms of communication.

Alya Esipovich is represented by the works specifically created for the 6th International Month of photography during Moscow’s Photo Biennale 2006 - the projects “Happiness” and “The Star of an Episode”.

AES+F (Tatiana Arzamasova, Lev Evzovitch, Evgeny Svyatsky and Vladimir Fridkes) represents one of the clear leaders of contemporary Russian art of recent years. Projects by group members over the last ten years have presented consistently paradoxical and provocative research into the problems of childhood in the modern world.

Alya usually works with subjects that allow her to explore the boundaries of psychological situations. In “Happi-

In 2001 they launched their project “King of the Forest”, which portrayed children selected from modeling agen-

AES+F’s projects are clear evidence of the mutations experienced both by the art of photography and the reality of the modern world. This process is most brilliantly seen in the new generation of children living within virtual worlds, subject to the influence of global media tendencies.

Olga Sviblova

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AES+F (ARZAMASOVA, EVZOVICH, SVYATSKY + FRIDKES) Arzamasova Tatiana (born in 1955, Moscow). Graduated from Moscow Architectural Institute (1978). Evzovich Lev (born in 1958, Moscow). Graduated from Moscow Architectural Institute (1982). Svyatsky Evgeny (born in 1957, Moscow). Graduated from Moscow Polygraphic Institute (1980). Artists united as AES group in 1987. Since 1995 AES group collaborates with photographer Vladimir Fridkes and became AES+F group. Fridkes Vladimir (born in 1956, Moscow). Works as fashion-photographer. Published in Russian magazines VOGUE, Harper’s Bazaar, ELLE, Marie Claire, Cosmopolitan. AES+F group works with photography, video and multimedia technologies. Exhibited in Russia and abroad since 1987. Participated with the solo projects in Moscow Biennale of Contemporary Art (2005), Moscow International Festival “Fashion and Style in Photography” (2003) and International Month of Photography “Photobiennale” (1998-2006). Solo projects in Venezuela, USA, Austria, France, among the group exhibitions “ARS 06’, "Sense of the Real”, Kiasma Nykytaiteen Musee in Helsinki, 4th Tirana Biennale of Contemporary Art, Albania (2005), Biennale of Sydney, Australia (2004). AES+F group lives and works in Moscow.

LAST RIOT, 2005

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AES+F (ARZAMASOVA, EVZOVICH, SVYATSKY + FRIDKES) Arzamasova Tatiana (born in 1955, Moscow). Graduated from Moscow Architectural Institute (1978). Evzovich Lev (born in 1958, Moscow). Graduated from Moscow Architectural Institute (1982). Svyatsky Evgeny (born in 1957, Moscow). Graduated from Moscow Polygraphic Institute (1980). Artists united as AES group in 1987. Since 1995 AES group collaborates with photographer Vladimir Fridkes and became AES+F group. Fridkes Vladimir (born in 1956, Moscow). Works as fashion-photographer. Published in Russian magazines VOGUE, Harper’s Bazaar, ELLE, Marie Claire, Cosmopolitan. AES+F group works with photography, video and multimedia technologies. Exhibited in Russia and abroad since 1987. Participated with the solo projects in Moscow Biennale of Contemporary Art (2005), Moscow International Festival “Fashion and Style in Photography” (2003) and International Month of Photography “Photobiennale” (1998-2006). Solo projects in Venezuela, USA, Austria, France, among the group exhibitions “ARS 06’, "Sense of the Real”, Kiasma Nykytaiteen Musee in Helsinki, 4th Tirana Biennale of Contemporary Art, Albania (2005), Biennale of Sydney, Australia (2004). AES+F group lives and works in Moscow.

LAST RIOT, 2005

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KING OF THE FOREST, 2001-2004 Saint-Petersburg

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KING OF THE FOREST, 2001-2004 Saint-Petersburg

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KING OF THE FOREST, 2001-2004 Cairo

KING OF THE FOREST, 2001-2004 New York

KING OF THE FOREST, 2001-2004 New York

KING OF THE FOREST, 2001-2004 Cairo

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KING OF THE FOREST, 2001-2004 Cairo

KING OF THE FOREST, 2001-2004 New York

KING OF THE FOREST, 2001-2004 New York

KING OF THE FOREST, 2001-2004 Cairo

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ACTION HALF LIFE, 2003

ACTION HALF LIFE, 2003

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ACTION HALF LIFE, 2003

ACTION HALF LIFE, 2003

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JULIA BOCHKOVA Julia Bochkova (born in 1981, Novosibirsk) worked as a model in Paris, New York, Tokyo. In 2003 she returned to Moscow and started to do paintings and photography. Named as a best young photographer and awarded as “Breakthrough of the year” within the frame of the Moscow International Festival “Fashion & Style in Photography” in 2005. Works with the mobilography genre (photographs with the mobile phone cameras). Participated with the solo project in International Month of Photography in Moscow “Photobiennale-2006”. She lives and works in Moscow.

MOBILOGRAPHY, 2005 Self-portraits

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JULIA BOCHKOVA Julia Bochkova (born in 1981, Novosibirsk) worked as a model in Paris, New York, Tokyo. In 2003 she returned to Moscow and started to do paintings and photography. Named as a best young photographer and awarded as “Breakthrough of the year” within the frame of the Moscow International Festival “Fashion & Style in Photography” in 2005. Works with the mobilography genre (photographs with the mobile phone cameras). Participated with the solo project in International Month of Photography in Moscow “Photobiennale-2006”. She lives and works in Moscow.

MOBILOGRAPHY, 2005 Self-portraits

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ALLA ESIPOVICH Alla Esipovich (born in 1963, Leningrad) graduated from the State University of Arts and Culture majoring in Cultural Studies and Art-expertise (2000). Attended the photographic authors course of American photographer Deborah Turbeville and participated in the joint exhibition in the State Museum of History of Saint-Petersburg in 2002. Headed the Photography department in “St-PSobaka.ru” Russian magazine from 2000 to 2004. Solo exhibition “No comment” in State Russian Museum (2004). Participated in Portfolio “Russian Contemporary photography” for the exhibition “Russia!” in the Guggenheim Museum, New York (2005). Participated with the solo projects in Moscow International Festival “Fashion & Style in Photography” (2005) and International Month of Photography in Moscow “Photobiennale2006”. She lives and works in Saint-Petersburg.

STAR OF THE SCENE, 2005-2006

STAR OF THE SCENE, 2005-2006

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HAPPINESS, 2005-2006

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ALLA ESIPOVICH Alla Esipovich (born in 1963, Leningrad) graduated from the State University of Arts and Culture majoring in Cultural Studies and Art-expertise (2000). Attended the photographic authors course of American photographer Deborah Turbeville and participated in the joint exhibition in the State Museum of History of Saint-Petersburg in 2002. Headed the Photography department in “St-PSobaka.ru” Russian magazine from 2000 to 2004. Solo exhibition “No comment” in State Russian Museum (2004). Participated in Portfolio “Russian Contemporary photography” for the exhibition “Russia!” in the Guggenheim Museum, New York (2005). Participated with the solo projects in Moscow International Festival “Fashion & Style in Photography” (2005) and International Month of Photography in Moscow “Photobiennale2006”. She lives and works in Saint-Petersburg.

STAR OF THE SCENE, 2005-2006

STAR OF THE SCENE, 2005-2006

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HAPPINESS, 2005-2006

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VLADIMIR MISHUKOV Vladimir Mishukov (born in 1969, Moscow) graduated from the Theatre and Cinema Actor Department in Russian Academy of Theatre Art (1995). Worked as an actor in Moscow Drama theatres. Had worked with photography since 1998. Grand Prix award of an annual competition for the best photo-report about Moscow “Silver Camera” for three time (2002-2005). Worked as a photographer in the “Return” film by Andrei Zviagintsev (Golden Lion for the Best Film in 60 International Film Festival in Venice, 2003). Among various solo exhibitions in Moscow, Roma and Brussels, he participated in the group projects of contemporary russian photography in Europalia International Festival in Belgium (2005) and exhibitions in Germany, Italy and Greece. He lives and works in Moscow.

NEONDREAMS, 2003-2005

NEONDREAMS, 2003-2005

NEONDREAMS, 2003-2005

Dima, 23 years old, a guard, dreaming of a clever and beautiful wife and of buying a car.

Nika, 15 years old, a pupil, dreaming to be a photographer and do not waste what she has got from her parents.

Nastya, 17 years old, a pupil, dreaming of a little house in village near the forest

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VLADIMIR MISHUKOV Vladimir Mishukov (born in 1969, Moscow) graduated from the Theatre and Cinema Actor Department in Russian Academy of Theatre Art (1995). Worked as an actor in Moscow Drama theatres. Had worked with photography since 1998. Grand Prix award of an annual competition for the best photo-report about Moscow “Silver Camera” for three time (2002-2005). Worked as a photographer in the “Return” film by Andrei Zviagintsev (Golden Lion for the Best Film in 60 International Film Festival in Venice, 2003). Among various solo exhibitions in Moscow, Roma and Brussels, he participated in the group projects of contemporary russian photography in Europalia International Festival in Belgium (2005) and exhibitions in Germany, Italy and Greece. He lives and works in Moscow.

NEONDREAMS, 2003-2005

NEONDREAMS, 2003-2005

NEONDREAMS, 2003-2005

Dima, 23 years old, a guard, dreaming of a clever and beautiful wife and of buying a car.

Nika, 15 years old, a pupil, dreaming to be a photographer and do not waste what she has got from her parents.

Nastya, 17 years old, a pupil, dreaming of a little house in village near the forest

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OLGA TOBRELUTS Olga Tobreluts (born in 1970, Leningrad) graduated from the State Architecture College (1989). Completed a course in computer graphics at the Institute ART+COM in Berlin (1990). Prize in competition GRIFFELKUNST “Best European Computer graphics” in Hamburg (1998). Works with the multimedia technologies. Solo exhibitions Emperor and Galilean (2003), Mixt Media (1999) in State Russian Museum. Participated with the solo projects in Moscow International Festival “Fashion & Style in Photography” (2003) and International Month of Photography in Moscow “Photobiennale” (1996-2006). Among various solo exhibitions in Russia, Norway, Italy, France, Germany, Denmark, she participated in the group projects of contemporary russian photography in International Month of Photography in Paris (2002) and exhibitions in European countries. She lives and works in Saint-Petersburg.

LEGIONERS, 2006 Samuel Etoo BARCELONA

LEGIONERS, 2006 Krishtianu Ronaldu MANCHESTER UNITED

LEGIONERS, 2006 Andrey Shevchenko MILAN

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OLGA TOBRELUTS Olga Tobreluts (born in 1970, Leningrad) graduated from the State Architecture College (1989). Completed a course in computer graphics at the Institute ART+COM in Berlin (1990). Prize in competition GRIFFELKUNST “Best European Computer graphics” in Hamburg (1998). Works with the multimedia technologies. Solo exhibitions Emperor and Galilean (2003), Mixt Media (1999) in State Russian Museum. Participated with the solo projects in Moscow International Festival “Fashion & Style in Photography” (2003) and International Month of Photography in Moscow “Photobiennale” (1996-2006). Among various solo exhibitions in Russia, Norway, Italy, France, Germany, Denmark, she participated in the group projects of contemporary russian photography in International Month of Photography in Paris (2002) and exhibitions in European countries. She lives and works in Saint-Petersburg.

LEGIONERS, 2006 Samuel Etoo BARCELONA

LEGIONERS, 2006 Krishtianu Ronaldu MANCHESTER UNITED

LEGIONERS, 2006 Andrey Shevchenko MILAN

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artistic and highly physical. They impose a new order — his own — onto the chaos that surrounds him. The works of all these artists are worthy of museum walls: Large-format pictures that ‘flirt’ lightheartedly with contemporary art. But these image-makers should no longer be defined simply as photographers. Rather, each in his or her own way illustrates some of the most important trends in contemporary creation in France.

DISSIDENT GAZES

Jean-Luc Monterosso

In the early 21st century, photography underwent an unprecedented technological mutation. The shift to digital photography not only put our relationship to reality in question, but led to new techniques that ultimately turned photographers’ very status upside down.

illustration and use of stereotypes about love, Chevallier’s images also suggest the incommunicability of all postures, all fictions. Sensitive to metamorphoses in both people and objects, Valérie Belin offers up a parade of contemporary visual mutations. Powerful bodily transformations include her series of “bodybuilders”, as well as depictions of Michael Jackson look-alikes, whom she hunted down the world over, and who look more real than reality itself; her subjects even resort to plastic surgery in their quest to resemble their idol, himself a “work in progress”.

Confronted with this revolution, artists began to exploit their new medium to the fullest, introducing into their works systems of resistance and diversion that were liable to provoke innovative formal transformations. In so doing, some artists, such as Pierre Gonnord, appropriate art historical references. Photographing the fringes of a society increasingly homogenized by globalization, Pierre Gonnord erects a pantheon of anonymous outsiders. Rigorously capturing the images of outcasts and rebels in the studio as if they were glamorous movie stars, he touches the very essence of portraiture. Heir of the great master painters and, in particular, the Spanish tradition, he thus restores grandeur and dignity to these nameless beings.

But today, if faces have become façades subject to all manner of restoration, Stéphane Couturier’s photographs witness an utterly different work site. Photographing architecture, he questions the stratified urban space in which forms, lines and colors compose veritable tableaux. Rigorous and lyrical, this archivist uses his camera to immobilize the passage from the constructible to the constructed.

A parallel approach can be observed in Florence Chevallier’s work. She started her career by creating "mises en scene" with bodies — her own, those of couples and of lovers, portrayed in sumptuous black and white tones. Little by little, she shifted toward color, creating works in a fictional vein that evoke ‘infra-literature’, the literature of train stations and picture novels. Through her

Faced with a world in perpetual transformation, Philippe Ramette presents a dramatic counterpoint to all this movement. With his sculptures and “prostheses”, he seems to establish a new center of gravity. Dressed in a dark suit, impertinent, as if portraying a figure straight out of Magritte, he stages performances that are at once 106

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artistic and highly physical. They impose a new order — his own — onto the chaos that surrounds him. The works of all these artists are worthy of museum walls: Large-format pictures that ‘flirt’ lightheartedly with contemporary art. But these image-makers should no longer be defined simply as photographers. Rather, each in his or her own way illustrates some of the most important trends in contemporary creation in France.

DISSIDENT GAZES

Jean-Luc Monterosso

In the early 21st century, photography underwent an unprecedented technological mutation. The shift to digital photography not only put our relationship to reality in question, but led to new techniques that ultimately turned photographers’ very status upside down.

illustration and use of stereotypes about love, Chevallier’s images also suggest the incommunicability of all postures, all fictions. Sensitive to metamorphoses in both people and objects, Valérie Belin offers up a parade of contemporary visual mutations. Powerful bodily transformations include her series of “bodybuilders”, as well as depictions of Michael Jackson look-alikes, whom she hunted down the world over, and who look more real than reality itself; her subjects even resort to plastic surgery in their quest to resemble their idol, himself a “work in progress”.

Confronted with this revolution, artists began to exploit their new medium to the fullest, introducing into their works systems of resistance and diversion that were liable to provoke innovative formal transformations. In so doing, some artists, such as Pierre Gonnord, appropriate art historical references. Photographing the fringes of a society increasingly homogenized by globalization, Pierre Gonnord erects a pantheon of anonymous outsiders. Rigorously capturing the images of outcasts and rebels in the studio as if they were glamorous movie stars, he touches the very essence of portraiture. Heir of the great master painters and, in particular, the Spanish tradition, he thus restores grandeur and dignity to these nameless beings.

But today, if faces have become façades subject to all manner of restoration, Stéphane Couturier’s photographs witness an utterly different work site. Photographing architecture, he questions the stratified urban space in which forms, lines and colors compose veritable tableaux. Rigorous and lyrical, this archivist uses his camera to immobilize the passage from the constructible to the constructed.

A parallel approach can be observed in Florence Chevallier’s work. She started her career by creating "mises en scene" with bodies — her own, those of couples and of lovers, portrayed in sumptuous black and white tones. Little by little, she shifted toward color, creating works in a fictional vein that evoke ‘infra-literature’, the literature of train stations and picture novels. Through her

Faced with a world in perpetual transformation, Philippe Ramette presents a dramatic counterpoint to all this movement. With his sculptures and “prostheses”, he seems to establish a new center of gravity. Dressed in a dark suit, impertinent, as if portraying a figure straight out of Magritte, he stages performances that are at once 106

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PHILIPPE RAMETTE Philippe Ramette was born in Auxerre, France, in 1961. For the past twelve years, the body of work he has developed presents mises en scenes — situations staged using himself and ‘prototypes’ — objects destined for individual or group use, and specially conceived by the artist. These sculptures or ‘prostheses’ might be seen as a materialization of the artist’s inquiry about the world. Philippe Ramette himself is always present in his work. With a sense of derision and the absurd, clothed in a dark, severe-looking suit, he portrays an impassive character. His works exist, successively, in the form of drawings, sculptures and photographs. They also result from actual bodily and artistic ‘performances’. For his most recent photographs, he created a series of ‘prosthesis-sculptures’ that allow his character to utterly defy the laws of gravity. The artist uses a traditional artisanal process that resists the potential of the digital technology, which he seems to know nothing about, and from which his work is completely detached. Philippe Ramette works and lives in Paris. Numerous solo exhibitions of his work have been held in France and Belgium.

IRRATIONAL CONTEMPLATION, 2003 color photograph 150 x 120 cm © Marc Domage

BALCONY 2, 2001 color photograph 150 x 120 cm © Marc Domage

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PHILIPPE RAMETTE Philippe Ramette was born in Auxerre, France, in 1961. For the past twelve years, the body of work he has developed presents mises en scenes — situations staged using himself and ‘prototypes’ — objects destined for individual or group use, and specially conceived by the artist. These sculptures or ‘prostheses’ might be seen as a materialization of the artist’s inquiry about the world. Philippe Ramette himself is always present in his work. With a sense of derision and the absurd, clothed in a dark, severe-looking suit, he portrays an impassive character. His works exist, successively, in the form of drawings, sculptures and photographs. They also result from actual bodily and artistic ‘performances’. For his most recent photographs, he created a series of ‘prosthesis-sculptures’ that allow his character to utterly defy the laws of gravity. The artist uses a traditional artisanal process that resists the potential of the digital technology, which he seems to know nothing about, and from which his work is completely detached. Philippe Ramette works and lives in Paris. Numerous solo exhibitions of his work have been held in France and Belgium.

IRRATIONAL CONTEMPLATION, 2003 color photograph 150 x 120 cm © Marc Domage

BALCONY 2, 2001 color photograph 150 x 120 cm © Marc Domage

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PEDESTALS FOR REFLECTION (USAGE), 1989-2002 color photograph 150 x 120 cm © Alain Ramette

PHOTOGRAPHIC METAPHOR, 2003 color photograph 150 x 120 cm © Marc Domage

IRRATIONAL LAZINESS, 2003 color photograph 150 x 120 cm © Marc Domage

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PEDESTALS FOR REFLECTION (USAGE), 1989-2002 color photograph 150 x 120 cm © Alain Ramette

PHOTOGRAPHIC METAPHOR, 2003 color photograph 150 x 120 cm © Marc Domage

IRRATIONAL LAZINESS, 2003 color photograph 150 x 120 cm © Marc Domage

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IRRATIONAL CONTEMPLATION, 2003

RATIONAL PEDESTAL (“HOMAGE TO THE MAFIA”), 2002

color photograph 150 x 120 cm © Marc Domage

color photograph 150 x 120 cm © Marc Domage


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IRRATIONAL CONTEMPLATION, 2003

RATIONAL PEDESTAL (“HOMAGE TO THE MAFIA”), 2002

color photograph 150 x 120 cm © Marc Domage

color photograph 150 x 120 cm © Marc Domage


IRRATIONAL WALK, 2003 color photograph 150 x 120 cm © Marc Domage

REVERSAL GRAVITY, 2003 color photograph 150 x 120 cm © Marc Domage

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IRRATIONAL WALK, 2003 color photograph 150 x 120 cm © Marc Domage

REVERSAL GRAVITY, 2003 color photograph 150 x 120 cm © Marc Domage

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VALÉRIE BELIN Valérie Belin was born in Boulogne-Billancourt, France, in 1964. Since 1993, she has been involved in using a highly rigorous photographic approach, almost exclusively in black and white. Reinterpreting the traditional still life and portrait genres, she has progressively built up an oeuvre of singular modernity. Throughout her series, often made up of five to ten images, Valérie Belin provide special treatment for the body and for certain objects. Her series offer up subjects as diverse as mirrors, raw meat, smashed cars, bodies, faces, potato-chip bags or even carnival masks. While Valérie Belin seems to give great importance to the surface of things, e matter and her subjects are interwoven, and most often metamorphose into a kind of monumental sculpture. Valérie Belin lives and works in Paris. Numerous solo exhibitions of her works have been held, especially in France and Germany.

UNTITLED, 2000

UNTITLED, 2000

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UNTITLED, 2000

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VALÉRIE BELIN Valérie Belin was born in Boulogne-Billancourt, France, in 1964. Since 1993, she has been involved in using a highly rigorous photographic approach, almost exclusively in black and white. Reinterpreting the traditional still life and portrait genres, she has progressively built up an oeuvre of singular modernity. Throughout her series, often made up of five to ten images, Valérie Belin provide special treatment for the body and for certain objects. Her series offer up subjects as diverse as mirrors, raw meat, smashed cars, bodies, faces, potato-chip bags or even carnival masks. While Valérie Belin seems to give great importance to the surface of things, e matter and her subjects are interwoven, and most often metamorphose into a kind of monumental sculpture. Valérie Belin lives and works in Paris. Numerous solo exhibitions of her works have been held, especially in France and Germany.

UNTITLED, 2000

UNTITLED, 2000

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UNTITLED, 2000

117


FLORENCE CHEVALLIER Florence Chevallier was born in Casablanca, Morocco, in 1955. Since the early 1980s, she has staged situations with bodies: her own, those of couples and others. With her personal approach to light, she composes, breaks up, assembles and juxtaposes her images in series. She interrogates the postures of bodies confronted with banality, studies the tugging between the consuming presence of the flesh and the emptiness of destiny. The female member of the Noir Limite group, a project she shares with Yves Trémorin and Jean-Claude Bélégou, she has developed a singular voice in their exploration of intimacy, the flesh, death and the sacred. While her work’s autobiographical dimension is undeniable, its reach surpasses this aspect and incarnates realities that are less personal: the woman, the couple, the child and human nature in general. Florence Chevallier lives and works in Paris. Her work has been featured in numerous solo and group exhibitions.

From the series HAPPINESS, 1993 each photo 70 x 70 cm

118

119


FLORENCE CHEVALLIER Florence Chevallier was born in Casablanca, Morocco, in 1955. Since the early 1980s, she has staged situations with bodies: her own, those of couples and others. With her personal approach to light, she composes, breaks up, assembles and juxtaposes her images in series. She interrogates the postures of bodies confronted with banality, studies the tugging between the consuming presence of the flesh and the emptiness of destiny. The female member of the Noir Limite group, a project she shares with Yves Trémorin and Jean-Claude Bélégou, she has developed a singular voice in their exploration of intimacy, the flesh, death and the sacred. While her work’s autobiographical dimension is undeniable, its reach surpasses this aspect and incarnates realities that are less personal: the woman, the couple, the child and human nature in general. Florence Chevallier lives and works in Paris. Her work has been featured in numerous solo and group exhibitions.

From the series HAPPINESS, 1993 each photo 70 x 70 cm

118

119


Stéphane COUTURIER

BOULEVARD BARBÈS, 2002 Paris 18e

Stéphane Couturier was born in Paris in 1957. Early in his career, he photographed architecture, then freed himself from the genre in the early 1990s with his series Urban Archaeology, in which he questioned man’s perception of the city. His photographs of worksites or ‘monuments’ reveal a layered urban space in which forms, lines and colors make up veritable tableaux. The notion of perspective occupies a central place in his work; the eye of the spectator is confronted with a continual de-composition and re-composition of spaces flattened by the photographic medium. At once a fine artist and documentary photographer; Stéphane Couturier freezes the instability of an urban body in perpetual transformation. Stéphane Couturier lives and works in Paris. Awarded the Prix Niepce in 2003, he has had various solo exhibitions, notably in France and in the United States.

CALLE AMISTAD, 2005 La Havane

From the series MELTING POINT, 2006 La Havane

120

121


Stéphane COUTURIER

BOULEVARD BARBÈS, 2002 Paris 18e

Stéphane Couturier was born in Paris in 1957. Early in his career, he photographed architecture, then freed himself from the genre in the early 1990s with his series Urban Archaeology, in which he questioned man’s perception of the city. His photographs of worksites or ‘monuments’ reveal a layered urban space in which forms, lines and colors make up veritable tableaux. The notion of perspective occupies a central place in his work; the eye of the spectator is confronted with a continual de-composition and re-composition of spaces flattened by the photographic medium. At once a fine artist and documentary photographer; Stéphane Couturier freezes the instability of an urban body in perpetual transformation. Stéphane Couturier lives and works in Paris. Awarded the Prix Niepce in 2003, he has had various solo exhibitions, notably in France and in the United States.

CALLE AMISTAD, 2005 La Havane

From the series MELTING POINT, 2006 La Havane

120

121


PIERRE GONNORD Pierre Gonnord was born in Cholet, France, in 1963. An observer of contemporary human society, he photographs the fringes of society: the forgotten, the homeless, the ‘down-and-outs,’ those with neither social roots nor cultural attachments. For him, provoking an encounter is a pretext, an attempt to use photography to unveil something universal in humanity. Heir of the great master painters, Pierre Gonnord uses a rigorous photographic device reminiscent of the early practice of making studio portraits in ateliers. His large color series (Regards, Utopicos, Fashion …) take shape like magnificent tableaux. They ennoble his subjects, with their ‘particular destinies’, and reflect a fascinating and sublime quest for identity. Pierre Gonnord has lived and worked in Madrid since 1988. He has had solo exhibitions in Madrid, Seville, Lisbon, Barcelona and Paris.

SONIA II, 2000

KAT, 2001

LEONE, 2005

100 x100 cm

100 x 100 cm

108 x 100 cm

122

123


PIERRE GONNORD Pierre Gonnord was born in Cholet, France, in 1963. An observer of contemporary human society, he photographs the fringes of society: the forgotten, the homeless, the ‘down-and-outs,’ those with neither social roots nor cultural attachments. For him, provoking an encounter is a pretext, an attempt to use photography to unveil something universal in humanity. Heir of the great master painters, Pierre Gonnord uses a rigorous photographic device reminiscent of the early practice of making studio portraits in ateliers. His large color series (Regards, Utopicos, Fashion …) take shape like magnificent tableaux. They ennoble his subjects, with their ‘particular destinies’, and reflect a fascinating and sublime quest for identity. Pierre Gonnord has lived and worked in Madrid since 1988. He has had solo exhibitions in Madrid, Seville, Lisbon, Barcelona and Paris.

SONIA II, 2000

KAT, 2001

LEONE, 2005

100 x100 cm

100 x 100 cm

108 x 100 cm

122

123


ROME

no future prospects if not that of the biological ending of those who live there”.

“IN BETWEEN” CITY, LANDSCAPE AND MEMORY IN CONTEMPORARY ITALIAN PHOTOGRAPHY

In the spring of 2002, FotoGrafia was the event that inaugurated Rome’s great season of art and culture. Sponsored by the Municipality of Rome and produced by Zoneattive, in 2006 the Festival achieved the gaol of presenting 125 exhibitions spread all over the territory in museums, art galleries, cultural institutes and academies, schools, bookshops and clubs, the mark of an extraordinary richness and a growing desire for participation.

unable not to perceive in the silence the echoes of neverending battles and conflicts. These echoes of suspended time, immutable in our memories to the extent that they generate the urgency of a fiction/reconstruction, is found in work by Paolo Ventura, a protagonist in 2004 at FotoGrafia in Circa 35, a collective exhibition on modern Italian photography organised by Giovanna Calvenzi. Francine Prose wrote the following words about In wartime: “these photographs generate a suspension of time, a melancholy silence during which we seem to almost hear in whispers the mysteries of life and death, of time and age, infancy, the innocence and the awareness of being adults, art, war and history”.

The Festival validated a form of art and direct and immediate communication that obliges us to confront the world and time, thanks to the rigorous research carried out by Marco Delogu, the artistic director, and the curators who have cooperated with him during these years. The selection made by Delogu with Roberto Koch and Filippo Maggia, presented for the first European Month of Photogrpahy, bears witness to this.

The feeling of suspension, of unfinished mutation, of a present that does not move towards the future is also perceived in Vucciria by Mauro D’Agati, where the images allow themselves to be shocked and almost violated by reality, by the colour and the noise, by the screaming and the shrieking. Large frescoes of a district that the author Giosuè Calaciura describes as follows: “La Vucciria is a small but actually immense multi-ethnic district continuously undergoing transformation, with its rules, its amazing characters, and its grandiose decadent charm suspended between the past and the present with

Presented at the 2006 Festival, War theatres by Luca Campigotto (Venice, 1963) is a research on the landscapes of war that was started at the beginning of the Nineties, inspired by Emilio Lusso’s “Un anno sull’altopiano” and Ernst Jumger’s “The Strom of Steel” and by the guidebooks on war itineraries by Walter Schaumann. The mountains are a sort of epic backdrop reflecting war’s drama and immense sadness, a landscape of our memories that time changes and transforms through our eyes, 126

Hence the theme of urban mutation as the mark of humankind’s living and experiencing its own era also emerges from research done by Tancredi Mangano (Lisieux, 1969): “I was interested in the relationship between homes and vegetation, between the totally ephemeral huts and the nature surrounding them, nature that becomes a refuge for them, protecting them from external observers. The vegetation acts as a hostile barrier (visual, but not only) for those attempting to enter and also a protective one for those who have settled there”. The feelings aroused by the images by Eva Frapiccini (Recanati, 1979), Muri di Piombo (Walls of Lead), presented at FotoGrafia in 2006, are once again those of one single moment that remains unchanged in our memory and is portrayed in a landscape that appears not to possess or concede any marks. “This project speaks of the deaths that occurred from the mid Seventies to the beginning of the Eighties in the cities of Turin, Rome, Milan and Genoa. The photographs were taken at the same time of day, trying to use the same light, and in the places where the both the victims and the perpetrators of terrorism died. I searched for traces of these events also among those living in the districts and streets in which these events took place, over 20 years ago, but I found only reticence and left the walls to speak for themselves”. The fact that the jury of the European month of Photography chose this work is an acknowledgment of the work undertaken by Zoneattive in investing in new talents, accompanying them over the years, producing and distributing their work, providing them with an opportunity to confront their own aspirations. It is this choice that in 2008 will see the creation of the Zoneattive — Centre of cultural productions: 4.000 square metres in the Mattatoio di Testaccio in Rome for the production and promotion of contemporary art and culture.

Emiliano Paoletti

127


ROME

no future prospects if not that of the biological ending of those who live there”.

“IN BETWEEN” CITY, LANDSCAPE AND MEMORY IN CONTEMPORARY ITALIAN PHOTOGRAPHY

In the spring of 2002, FotoGrafia was the event that inaugurated Rome’s great season of art and culture. Sponsored by the Municipality of Rome and produced by Zoneattive, in 2006 the Festival achieved the gaol of presenting 125 exhibitions spread all over the territory in museums, art galleries, cultural institutes and academies, schools, bookshops and clubs, the mark of an extraordinary richness and a growing desire for participation.

unable not to perceive in the silence the echoes of neverending battles and conflicts. These echoes of suspended time, immutable in our memories to the extent that they generate the urgency of a fiction/reconstruction, is found in work by Paolo Ventura, a protagonist in 2004 at FotoGrafia in Circa 35, a collective exhibition on modern Italian photography organised by Giovanna Calvenzi. Francine Prose wrote the following words about In wartime: “these photographs generate a suspension of time, a melancholy silence during which we seem to almost hear in whispers the mysteries of life and death, of time and age, infancy, the innocence and the awareness of being adults, art, war and history”.

The Festival validated a form of art and direct and immediate communication that obliges us to confront the world and time, thanks to the rigorous research carried out by Marco Delogu, the artistic director, and the curators who have cooperated with him during these years. The selection made by Delogu with Roberto Koch and Filippo Maggia, presented for the first European Month of Photogrpahy, bears witness to this.

The feeling of suspension, of unfinished mutation, of a present that does not move towards the future is also perceived in Vucciria by Mauro D’Agati, where the images allow themselves to be shocked and almost violated by reality, by the colour and the noise, by the screaming and the shrieking. Large frescoes of a district that the author Giosuè Calaciura describes as follows: “La Vucciria is a small but actually immense multi-ethnic district continuously undergoing transformation, with its rules, its amazing characters, and its grandiose decadent charm suspended between the past and the present with

Presented at the 2006 Festival, War theatres by Luca Campigotto (Venice, 1963) is a research on the landscapes of war that was started at the beginning of the Nineties, inspired by Emilio Lusso’s “Un anno sull’altopiano” and Ernst Jumger’s “The Strom of Steel” and by the guidebooks on war itineraries by Walter Schaumann. The mountains are a sort of epic backdrop reflecting war’s drama and immense sadness, a landscape of our memories that time changes and transforms through our eyes, 126

Hence the theme of urban mutation as the mark of humankind’s living and experiencing its own era also emerges from research done by Tancredi Mangano (Lisieux, 1969): “I was interested in the relationship between homes and vegetation, between the totally ephemeral huts and the nature surrounding them, nature that becomes a refuge for them, protecting them from external observers. The vegetation acts as a hostile barrier (visual, but not only) for those attempting to enter and also a protective one for those who have settled there”. The feelings aroused by the images by Eva Frapiccini (Recanati, 1979), Muri di Piombo (Walls of Lead), presented at FotoGrafia in 2006, are once again those of one single moment that remains unchanged in our memory and is portrayed in a landscape that appears not to possess or concede any marks. “This project speaks of the deaths that occurred from the mid Seventies to the beginning of the Eighties in the cities of Turin, Rome, Milan and Genoa. The photographs were taken at the same time of day, trying to use the same light, and in the places where the both the victims and the perpetrators of terrorism died. I searched for traces of these events also among those living in the districts and streets in which these events took place, over 20 years ago, but I found only reticence and left the walls to speak for themselves”. The fact that the jury of the European month of Photography chose this work is an acknowledgment of the work undertaken by Zoneattive in investing in new talents, accompanying them over the years, producing and distributing their work, providing them with an opportunity to confront their own aspirations. It is this choice that in 2008 will see the creation of the Zoneattive — Centre of cultural productions: 4.000 square metres in the Mattatoio di Testaccio in Rome for the production and promotion of contemporary art and culture.

Emiliano Paoletti

127


EVA FRAPICCINI Eva Frapiccini is 27 years old and was born in Recanati (Mc). Between 1997 and 2002 she attended the DAMS and the Fine Arts Academy in Bologna. In 2000 she won an Erasmus scholarship to the University of Barcelona, where she also enrolled in photography courses at the Fine Arts Academy and exhibited her first photographs. In 2001 she filmed a series of interviews on the clashes that took place at the Genoa G8, making the film entitled Long Waves, shown in 2004 at the State Media Library at the international conference of Iowa on oral memory. After graduating from the DAMS she attended a photography course at the European Institute of Design in Turin. In February 2005 she won the Canon Award for the Best Digital Portfolio, with a study of a self-portrait in a mirror entitled “Alice racconta lo specchio”. In December 2005 she won the Passaporto Award with an artist residence in London, by the UniCredit’s scientific committee for the Progetto UniCredit & l’Arte, and chosen among the seven young artists selected for the exhibition entitled Nuovi arrivi 2005.

TORINO VIA PERRONE

GENOVA BAR NINO COSTA

ROMA VIA TICINO

128

129


EVA FRAPICCINI Eva Frapiccini is 27 years old and was born in Recanati (Mc). Between 1997 and 2002 she attended the DAMS and the Fine Arts Academy in Bologna. In 2000 she won an Erasmus scholarship to the University of Barcelona, where she also enrolled in photography courses at the Fine Arts Academy and exhibited her first photographs. In 2001 she filmed a series of interviews on the clashes that took place at the Genoa G8, making the film entitled Long Waves, shown in 2004 at the State Media Library at the international conference of Iowa on oral memory. After graduating from the DAMS she attended a photography course at the European Institute of Design in Turin. In February 2005 she won the Canon Award for the Best Digital Portfolio, with a study of a self-portrait in a mirror entitled “Alice racconta lo specchio”. In December 2005 she won the Passaporto Award with an artist residence in London, by the UniCredit’s scientific committee for the Progetto UniCredit & l’Arte, and chosen among the seven young artists selected for the exhibition entitled Nuovi arrivi 2005.

TORINO VIA PERRONE

GENOVA BAR NINO COSTA

ROMA VIA TICINO

128

129


TORINO CORSO TOSCANA

TORINO VIA GORIZIA

130

131


TORINO CORSO TOSCANA

TORINO VIA GORIZIA

130

131


ROMA VIA CAETANI

ROMA LA SAPIENZA

132

ROMA VIA DONATI

133


ROMA VIA CAETANI

ROMA LA SAPIENZA

132

ROMA VIA DONATI

133


TORINO LARGO BELGIO

TORINO VIA PETRARCA

134

135


TORINO LARGO BELGIO

TORINO VIA PETRARCA

134

135


LUCA CAMPIGOTTO Luca Campigotto (1962). With a degree in Modern History he began to take photographs at the beginning of the Eighties, concentrating on landscapes, architecture and industry. His work has been exhibited at the Mois de la Photo in Paris; the 47th Venice Biennale; MAXXI in Rome; MEP in Paris; IVAM in Valencia and the CCA in Montreal. His photographs are part of important private and public collections, among them the Maison Européenne de la Photographie in Paris; the Sandretto Re Rebaudengo Foundation in Turin; the Museum of Photography in Cinisello Balsamo. Among his publications: “Venezia, immaginario notturno”, 2006; “Sguardi gardesani”, 2004; “L’Arsenale di Venezia”, 2000; “Fuori di casa”, 1998; “Molino Stucky”, 1998; “Venetia Obscura”, 1995. He has always had a great interest in writing. In 2005 the magazine Nuovi Argomenti published a selection of his images and poems. FORTE CIMA VEZZENA

DOSSO DEL SOMMODI

DALLA CALDIERA

136

137


LUCA CAMPIGOTTO Luca Campigotto (1962). With a degree in Modern History he began to take photographs at the beginning of the Eighties, concentrating on landscapes, architecture and industry. His work has been exhibited at the Mois de la Photo in Paris; the 47th Venice Biennale; MAXXI in Rome; MEP in Paris; IVAM in Valencia and the CCA in Montreal. His photographs are part of important private and public collections, among them the Maison Européenne de la Photographie in Paris; the Sandretto Re Rebaudengo Foundation in Turin; the Museum of Photography in Cinisello Balsamo. Among his publications: “Venezia, immaginario notturno”, 2006; “Sguardi gardesani”, 2004; “L’Arsenale di Venezia”, 2000; “Fuori di casa”, 1998; “Molino Stucky”, 1998; “Venetia Obscura”, 1995. He has always had a great interest in writing. In 2005 the magazine Nuovi Argomenti published a selection of his images and poems. FORTE CIMA VEZZENA

DOSSO DEL SOMMODI

DALLA CALDIERA

136

137


MAURO D’AGATI Mauro D’Agati was born in 1968 in Palermo. Graduates in law at the University of Palermo in 1994. Started taking photographs at the age of 18. Begins working as a professional photographer in 1995 covering many sicilian Jazz Festivals, Art manifestations and Theaters. In 2001 has been invited at the BFF-KONGRESS in Berlin to talk about his sicilian photographies. Vucciria is an in-depth photographic work concerning the absurd life of particular individulas in the abandoned and degraded market of Palermo. At the moment D’Agati is working on a project, soon to become a book, about L’Havana’s outskirts.

FRIENDS IN FRONT OF “TAVERNAS PIRTUSIDDO” PLAY DRINKING GAMES

TWO BOYS IN THE BILLIARD HALL

THE GOOD FRIDAY PROCESSION

138

139


MAURO D’AGATI Mauro D’Agati was born in 1968 in Palermo. Graduates in law at the University of Palermo in 1994. Started taking photographs at the age of 18. Begins working as a professional photographer in 1995 covering many sicilian Jazz Festivals, Art manifestations and Theaters. In 2001 has been invited at the BFF-KONGRESS in Berlin to talk about his sicilian photographies. Vucciria is an in-depth photographic work concerning the absurd life of particular individulas in the abandoned and degraded market of Palermo. At the moment D’Agati is working on a project, soon to become a book, about L’Havana’s outskirts.

FRIENDS IN FRONT OF “TAVERNAS PIRTUSIDDO” PLAY DRINKING GAMES

TWO BOYS IN THE BILLIARD HALL

THE GOOD FRIDAY PROCESSION

138

139


TANCREDI MANGANO Tancredi Mangano was born in Lisieux in 1969. He attended a course of Pictorial techniques at Scuola Superiore d’Arte del Castello Sforzesco of Milan, with a specialization in engreavings. In 1992 he gets a diploma in photography at the CFP Riccardo Bauer ex Umanitaria. In 1992 he is assistant to Antonia Mulas. In 1994 he takes part to the project for Beni Architettonici e Ambientali della Provincia di Milano along with the group Scema la luce. He has been cooperating since 1994 with the Communication & Imagines Archive for Ethnology and Social History of Regione Lombardia. Since 2004 he is artistic director of Galleria Bel Vedere Fotografia. He lives and works in Milan.

INABITANTI 010

INABITANTI 012

140

INABITANTI 025

141


TANCREDI MANGANO Tancredi Mangano was born in Lisieux in 1969. He attended a course of Pictorial techniques at Scuola Superiore d’Arte del Castello Sforzesco of Milan, with a specialization in engreavings. In 1992 he gets a diploma in photography at the CFP Riccardo Bauer ex Umanitaria. In 1992 he is assistant to Antonia Mulas. In 1994 he takes part to the project for Beni Architettonici e Ambientali della Provincia di Milano along with the group Scema la luce. He has been cooperating since 1994 with the Communication & Imagines Archive for Ethnology and Social History of Regione Lombardia. Since 2004 he is artistic director of Galleria Bel Vedere Fotografia. He lives and works in Milan.

INABITANTI 010

INABITANTI 012

140

INABITANTI 025

141


PAOLO VENTURA Paolo Ventura (1968) was born and educated in Milan. He started exhibiting his works in 2005 in Paris and then in Milan, at Forma International Center of Photography and in another international venues, such as "Rencontres internationales de la photographie" in Arles where" War Souvenir" has been presented in July 2006. In "War Souvenir" Ventura represents war as a game in a grotesque dollhouse, but he does so without abandoning either war’s emotion or its pain. His photographs constitute a profound and surprising reflection on the power of documentation and memory.

MILAN, NOVEMBER 1944

F.L.

142

PUBLIC DANCEHALL IN MILAN

CHRISTMAS 1944 SHORTLY BEFORE CURFEW

143

A:B:, NEW YEAR’S EVE


PAOLO VENTURA Paolo Ventura (1968) was born and educated in Milan. He started exhibiting his works in 2005 in Paris and then in Milan, at Forma International Center of Photography and in another international venues, such as "Rencontres internationales de la photographie" in Arles where" War Souvenir" has been presented in July 2006. In "War Souvenir" Ventura represents war as a game in a grotesque dollhouse, but he does so without abandoning either war’s emotion or its pain. His photographs constitute a profound and surprising reflection on the power of documentation and memory.

MILAN, NOVEMBER 1944

F.L.

142

PUBLIC DANCEHALL IN MILAN

CHRISTMAS 1944 SHORTLY BEFORE CURFEW

143

A:B:, NEW YEAR’S EVE


VIENNA PHOTOGRAPHY: THE MEDIUM AS INSTRUMENT

1997 “gardening” in which she examines the garden of the Geological Survey of Austria in Vienna by superimposing graphical representations of space and time on each other and overlaying photographs of the garden on them. In this way she tries to determine the degree to which it can be objectified and, in consequence, its scientific factuality. Mutated to a layer model, the garden now ends up in an artistic/scientific box. Creating an abstraction of an observable reality gives certainty about the objective reality of what has been visually perceived.

In more recent series he uses images from TV and the internet and compresses them to create new content. The selection, repetition and transformation of individual media play the central role. The “patterns” created from the optical interweaving of the parts appear as just that, pretty surface patterns, which can seem abstract or concrete, depending on their combination. But the apparently idyllic ornament is made up of the horrors and catastrophes of daily world news, such as wars and natural disasters, or simple talk shows. Pamminger isolates these fragments as 40 by 40 cm modules on PVC and reinserts them into the world of images, but at the same time he extends his medial transformation of perception to the entire interior.

Similarly old photographs from travels in Africa over the years blend together to montages of construed oases (“Panorama”, “Oase”, 2000). Later Krüger repeats this process, reusing her material by combining details (twigs, leaves, bushes) to form something new, a scenery set against an abstract blue background, in which the original features can hardly be distinguished anymore (“selected scenery”, 2001).

Over the last years photography has undergone some fundamental changes. With the introduction of digital imaging one might even speak of a whole new era, considering the nearly unlimited possibilities for manipulation that this new technology offers.

The works of NINA DICK show this approach in particular. Her work revolves around the urban space, which she explores with different media, such as photography, video, drawing and object. Since 2003 her work has been characterised by two aspects: compaction and mapping. Making concentrated perception her tool, she places bits of information about people and architecture in layers on top of each other, thus compacting information to the maximum, or reducing information to the absolute minimum. She explores the urban landscape, measuring and analysing the space in the mathematical and cartographical sense on the one hand, but also measuring and understanding it by physically moving through it and experiencing it. So her Berlin “Waste Lands” series emerge as projection screens full of silence and emptiness. This seamless montage of different places that share the same empty horizon, above which no background is shown, amplifies the poetry of the undefined urban space until it blends together in a magical unreality. In her project for a “Musical Score for Vienna” she arrived at a graphical notation for a cross-section of the city, which could also be experienced as an architecture of sound.

The image as such undergoes a mutation of its constituent realities. Now it is always seen first of all as that what it really is even in the public perception — an image, an artificial thing, a configuration of patterns and colour values which can be assigned meaning by both the producer and the beholder. The matter-of-course way in which a picture used to be considered a faithful depiction of reality has given way to a general scepticism which near forces the beholder to examine closely and to uncover layer after layer of the phenomenon. Mimesis can no longer be considered mere mimicry, but needs to be perceived as the materialisation of entire thought constructions. If there has been a shift in the reality content of images in general, then this naturally holds even more true for photography. This paradigm shift can be seen in the works of all artists we have selected. In their works, photography in itself functions as a tool that is used to realise complex artistic concepts, while the conventional implications fade into the background.

DORIS KRÜGER has a scientific-aesthetic approach towards her principal theme, nature, and has for several years been cooperating closely with the sciences, in particular botany. A paradigm of this approach is her 146

SABINE BITTER and HELMUT WEBER are pioneers of computer aided photography in Austria. Since 1993 they have been working on projects on urban geographies, architectural representations and visual politics, which all fall under the heading “urbanism”. From the area where architecture and urbanism meet, the artists extract their contributions to the wide field of globalisation and its implicit cultural ideologies. In the series “Globus” the transformation of mountain panoramas in a 360° view creates a pulling effect that distorts the fixed position of the viewer. This “world view” pretends to be closed in itself, but Sabine Bitter leaves the most obvious point, the centre, empty, turning the world inside out and increasing the pull inwards.

Since 2005 Doris Krüger has been working with Walter Pardeller in developing this system further, starting out from documentary photography and moving towards the realms of architecture, sculpture and functional design, with multiple overlapping of these different areas (“permeable system”, 2004/05). JULIE MONACO’s landscapes, and more often seascapes, appear classic and put us in mind of the old masters, in particular the Dutch masters, but also the German romantics. The endless sea stretches out before us, leaden and grey, or as a mass of wildly churning waters, the tones of grey and sepia giving it a quality akin to a painting. Natural photography, one might assume. But no, they may be based on the ideal model, but they are no images of nature, but rather digital constructions. Fractals as the smallest common denominator of the image and that which is depicted, nature itself, form the basis of this artistic process. Waves, clouds and mountains are all created from numerical codes, the results of a computing process. Retrospective aesthetics meet advanced technology, which allows the transporting of dramatic constructions of landscapes and seascapes of the past to our present times.

In the series “image.source” (2000-01) Bitter and Weber digitise aerial photographs of housing projects (Alt-Erlaa in Vienna, Bijlmermeer in Amsterdam) and transform them into ASCII text code. The images created in this way represent places but are at the same time formed of symbols, letters, displaying cultural and sociological texts referring to different locales; texts written by Max Weber, Saskia Sassen, Rem Koolhaas, Mike Davis, and Walter Gropius. In their multi-part series “Super Citizens” (2003-05), the artists digitally process photographs of pro Chávez demonstrations in Caracas. The city architecture is reduced to its outlines, appearing only as futuristic architectural drawings as a backdrop for the demonstrating masses.

KLAUS PAMMINGER’s series combine multiple areas of perception. By questioning conventional habits of seeing and perceiving, as described by Jean Baudrillard in “The System of Objects”, Pamminger creates completely new combinations of space. Projections of interior and exterior views of rooms, inverted and placed inside the room, consciously provoke a certain irritation in the viewer.

Gunda Achleitner, Berthold Ecker

147


VIENNA PHOTOGRAPHY: THE MEDIUM AS INSTRUMENT

1997 “gardening” in which she examines the garden of the Geological Survey of Austria in Vienna by superimposing graphical representations of space and time on each other and overlaying photographs of the garden on them. In this way she tries to determine the degree to which it can be objectified and, in consequence, its scientific factuality. Mutated to a layer model, the garden now ends up in an artistic/scientific box. Creating an abstraction of an observable reality gives certainty about the objective reality of what has been visually perceived.

In more recent series he uses images from TV and the internet and compresses them to create new content. The selection, repetition and transformation of individual media play the central role. The “patterns” created from the optical interweaving of the parts appear as just that, pretty surface patterns, which can seem abstract or concrete, depending on their combination. But the apparently idyllic ornament is made up of the horrors and catastrophes of daily world news, such as wars and natural disasters, or simple talk shows. Pamminger isolates these fragments as 40 by 40 cm modules on PVC and reinserts them into the world of images, but at the same time he extends his medial transformation of perception to the entire interior.

Similarly old photographs from travels in Africa over the years blend together to montages of construed oases (“Panorama”, “Oase”, 2000). Later Krüger repeats this process, reusing her material by combining details (twigs, leaves, bushes) to form something new, a scenery set against an abstract blue background, in which the original features can hardly be distinguished anymore (“selected scenery”, 2001).

Over the last years photography has undergone some fundamental changes. With the introduction of digital imaging one might even speak of a whole new era, considering the nearly unlimited possibilities for manipulation that this new technology offers.

The works of NINA DICK show this approach in particular. Her work revolves around the urban space, which she explores with different media, such as photography, video, drawing and object. Since 2003 her work has been characterised by two aspects: compaction and mapping. Making concentrated perception her tool, she places bits of information about people and architecture in layers on top of each other, thus compacting information to the maximum, or reducing information to the absolute minimum. She explores the urban landscape, measuring and analysing the space in the mathematical and cartographical sense on the one hand, but also measuring and understanding it by physically moving through it and experiencing it. So her Berlin “Waste Lands” series emerge as projection screens full of silence and emptiness. This seamless montage of different places that share the same empty horizon, above which no background is shown, amplifies the poetry of the undefined urban space until it blends together in a magical unreality. In her project for a “Musical Score for Vienna” she arrived at a graphical notation for a cross-section of the city, which could also be experienced as an architecture of sound.

The image as such undergoes a mutation of its constituent realities. Now it is always seen first of all as that what it really is even in the public perception — an image, an artificial thing, a configuration of patterns and colour values which can be assigned meaning by both the producer and the beholder. The matter-of-course way in which a picture used to be considered a faithful depiction of reality has given way to a general scepticism which near forces the beholder to examine closely and to uncover layer after layer of the phenomenon. Mimesis can no longer be considered mere mimicry, but needs to be perceived as the materialisation of entire thought constructions. If there has been a shift in the reality content of images in general, then this naturally holds even more true for photography. This paradigm shift can be seen in the works of all artists we have selected. In their works, photography in itself functions as a tool that is used to realise complex artistic concepts, while the conventional implications fade into the background.

DORIS KRÜGER has a scientific-aesthetic approach towards her principal theme, nature, and has for several years been cooperating closely with the sciences, in particular botany. A paradigm of this approach is her 146

SABINE BITTER and HELMUT WEBER are pioneers of computer aided photography in Austria. Since 1993 they have been working on projects on urban geographies, architectural representations and visual politics, which all fall under the heading “urbanism”. From the area where architecture and urbanism meet, the artists extract their contributions to the wide field of globalisation and its implicit cultural ideologies. In the series “Globus” the transformation of mountain panoramas in a 360° view creates a pulling effect that distorts the fixed position of the viewer. This “world view” pretends to be closed in itself, but Sabine Bitter leaves the most obvious point, the centre, empty, turning the world inside out and increasing the pull inwards.

Since 2005 Doris Krüger has been working with Walter Pardeller in developing this system further, starting out from documentary photography and moving towards the realms of architecture, sculpture and functional design, with multiple overlapping of these different areas (“permeable system”, 2004/05). JULIE MONACO’s landscapes, and more often seascapes, appear classic and put us in mind of the old masters, in particular the Dutch masters, but also the German romantics. The endless sea stretches out before us, leaden and grey, or as a mass of wildly churning waters, the tones of grey and sepia giving it a quality akin to a painting. Natural photography, one might assume. But no, they may be based on the ideal model, but they are no images of nature, but rather digital constructions. Fractals as the smallest common denominator of the image and that which is depicted, nature itself, form the basis of this artistic process. Waves, clouds and mountains are all created from numerical codes, the results of a computing process. Retrospective aesthetics meet advanced technology, which allows the transporting of dramatic constructions of landscapes and seascapes of the past to our present times.

In the series “image.source” (2000-01) Bitter and Weber digitise aerial photographs of housing projects (Alt-Erlaa in Vienna, Bijlmermeer in Amsterdam) and transform them into ASCII text code. The images created in this way represent places but are at the same time formed of symbols, letters, displaying cultural and sociological texts referring to different locales; texts written by Max Weber, Saskia Sassen, Rem Koolhaas, Mike Davis, and Walter Gropius. In their multi-part series “Super Citizens” (2003-05), the artists digitally process photographs of pro Chávez demonstrations in Caracas. The city architecture is reduced to its outlines, appearing only as futuristic architectural drawings as a backdrop for the demonstrating masses.

KLAUS PAMMINGER’s series combine multiple areas of perception. By questioning conventional habits of seeing and perceiving, as described by Jean Baudrillard in “The System of Objects”, Pamminger creates completely new combinations of space. Projections of interior and exterior views of rooms, inverted and placed inside the room, consciously provoke a certain irritation in the viewer.

Gunda Achleitner, Berthold Ecker

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NINA DICK Viennese artist Nina Dick was born in 1980. In her art she combines the media of photography, video, drawing and installation to make her artistic concepts come true. They focus primarily on urban space and are characterised by two basic aspects: compaction and mapping. After her studies in architecture (1998 — 2001 at the Vienna University of Technology) she studied Photography with Gabriele Rothemann at the University of Applied Arts Vienna from 2001 to 2006. In 2003 she received a scholarship for the Högskolan för fotografi och film HFF Göteborg (School for Photography and Film, Gothenburg). In 2005 she was awarded the Emanuel Fohn Scholarship. Her works have been exhibited in Vienna (Soho in Ottakring, 2001; Künstlerhaus, 2002; Galerie Christine König, 20er Haus, 2003; Galerie Westlicht, Heiligenkreuzerhof, 2004; Artothek-Galerie, Palais Epstein, 2005), Berlin (Galerie Fleisch, 2005) and Brussels (European Committee, 2006).

3 MIN COMPACTION, 2003 (people, architecture, information) two gelatin silverprints each 125 x 158 cm

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NINA DICK Viennese artist Nina Dick was born in 1980. In her art she combines the media of photography, video, drawing and installation to make her artistic concepts come true. They focus primarily on urban space and are characterised by two basic aspects: compaction and mapping. After her studies in architecture (1998 — 2001 at the Vienna University of Technology) she studied Photography with Gabriele Rothemann at the University of Applied Arts Vienna from 2001 to 2006. In 2003 she received a scholarship for the Högskolan för fotografi och film HFF Göteborg (School for Photography and Film, Gothenburg). In 2005 she was awarded the Emanuel Fohn Scholarship. Her works have been exhibited in Vienna (Soho in Ottakring, 2001; Künstlerhaus, 2002; Galerie Christine König, 20er Haus, 2003; Galerie Westlicht, Heiligenkreuzerhof, 2004; Artothek-Galerie, Palais Epstein, 2005), Berlin (Galerie Fleisch, 2005) and Brussels (European Committee, 2006).

3 MIN COMPACTION, 2003 (people, architecture, information) two gelatin silverprints each 125 x 158 cm

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WASTE LAND_1, 2004 (12 waste lands in Berlin) four gelatin silverprints (3 photos each) 94 x 171 cm

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WASTE LAND_1, 2004 (12 waste lands in Berlin) four gelatin silverprints (3 photos each) 94 x 171 cm

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WASTE LAND_3, 2004 (12 waste lands in Berlin)

WASTE LAND_4, 2004 (12 waste lands in Berlin)

four gelatin silverprints (3 photos each) 94 x 171 cm

four gelatin silverprints (3 photos each) 94 x 171 cm

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WASTE LAND_3, 2004 (12 waste lands in Berlin)

WASTE LAND_4, 2004 (12 waste lands in Berlin)

four gelatin silverprints (3 photos each) 94 x 171 cm

four gelatin silverprints (3 photos each) 94 x 171 cm

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26 KM VIENNA, 2003 / 04 Conception: Nina Dick Sound: Christof Cargnelli silver gelatine print 180 x 125 cm 1 Sound-Cd

SHORT DISTANCE BORDER, 2002 (Ungargasse) DVD, 5 min 16 sec

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26 KM VIENNA, 2003 / 04 Conception: Nina Dick Sound: Christof Cargnelli silver gelatine print 180 x 125 cm 1 Sound-Cd

SHORT DISTANCE BORDER, 2002 (Ungargasse) DVD, 5 min 16 sec

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SABINE BITTER & HELMUT WEBER

MAGE SOURCE V E 2001 C P n on pho og aph pape am na ed on PVC 192 106 m

S nce 1993 Sab ne B tter (born n 1960 n A gen/Upper Austr a) and He mut Weber (born n 1957 n Dorf an der Pram/Upper Austr a) who ve both n V enna and n Vancouver have addressed the conste at on of pub c urban space Both art sts stud ed v sua des gn w th Laur ds Ortner at the Hochschu e für künst er sche und ndustr e e Gesta tung L nz (B tter from 1981 to 87 Weber from 1982 to 87) Sab ne B tter was awarded the “Förderungspre s für künst er sche Fotografie” by the Austr an Federa M n stry for Educat on Sc ence and Cu ture n 1992 and n 2005 both art sts rece ved the “Würd gungspre s für künst er sche Fotografie” They have part c pated at exh b t ons n Austr a (Museum auf Abruf V enna 2002 Künst erhaus V enna 2002 Museum der Moderne Sa zburg 2003 Camera Austr a Kunsthaus Graz 2005) and abroad (Austr an Cu tura Forum Warsaw 2003 Ga er a Noua Bucarest 2004 Char es H Scott Ga ery Vancouver 2005 p attform Ber n 2006 Museum De Pav oens A mere 2006 C rcu o de Be as Artes Madr d 2006) Latest pub cat ons are “CARACAS HECHO EN VENEZUELA” und “L VE L KE TH S ” both 2005

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THE AND BE ONGS TO THE PEOP E om he 10pa se es Supe C 2003 2005 d g a p n on pho g aph pape 65 50 m

156

ens

157


SABINE BITTER & HELMUT WEBER

MAGE SOURCE V E 2001 C P n on pho og aph pape am na ed on PVC 192 106 m

S nce 1993 Sab ne B tter (born n 1960 n A gen/Upper Austr a) and He mut Weber (born n 1957 n Dorf an der Pram/Upper Austr a) who ve both n V enna and n Vancouver have addressed the conste at on of pub c urban space Both art sts stud ed v sua des gn w th Laur ds Ortner at the Hochschu e für künst er sche und ndustr e e Gesta tung L nz (B tter from 1981 to 87 Weber from 1982 to 87) Sab ne B tter was awarded the “Förderungspre s für künst er sche Fotografie” by the Austr an Federa M n stry for Educat on Sc ence and Cu ture n 1992 and n 2005 both art sts rece ved the “Würd gungspre s für künst er sche Fotografie” They have part c pated at exh b t ons n Austr a (Museum auf Abruf V enna 2002 Künst erhaus V enna 2002 Museum der Moderne Sa zburg 2003 Camera Austr a Kunsthaus Graz 2005) and abroad (Austr an Cu tura Forum Warsaw 2003 Ga er a Noua Bucarest 2004 Char es H Scott Ga ery Vancouver 2005 p attform Ber n 2006 Museum De Pav oens A mere 2006 C rcu o de Be as Artes Madr d 2006) Latest pub cat ons are “CARACAS HECHO EN VENEZUELA” und “L VE L KE TH S ” both 2005

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THE AND BE ONGS TO THE PEOP E om he 10pa se es Supe C 2003 2005 d g a p n on pho g aph pape 65 50 m

156

ens

157


DORIS KRÜGER

SELECTED SCENERY, 2001 3 iris-pigment prints each 50 x 65 cm

Doris Krüger was born in 1974 in Vienna and studied free graphics and landscape design with Mario Terzic (19961998) at the University of Applied Arts Vienna as well as cross-media image and spatial design with Brigitte Kowanz (1998-2002). Since 2006 she has been working at the Faculty of Fine Arts at the Academy of Fine Arts Vienna as an artistic-scientific assistant. In 2002 she was awarded the “Förderungspreis für künstlerische Fotografie”. Since 2005 she has been working with South Tyrolean artist Walter Pardeller. Both her individual art and her projects with Pardeller illustrate the transformation of photography into the object, the translation of natural forms and concepts into other disciplines and thus the variability of the objects and installations themselves. Since their cooperation they have exhibited in several solo (Galerie Andreas Engler, Berlin; bétonsalon, Paris, both 2005) and group exhibitions (Turku City Art Museum, Turku; Nagoya City Arts Museum, Aichi, Expo 2005; Künstlerhaus, Vienna, all 2005). Selected literature: “Under construction. Doris Krüger”, 2001; “continuous moment. Doris Krüger”, 2004.

GARDENING, 1997 glass, transparencies, lacquered wood, neonlights 34 x 44 x 13 cm

VERTICAL / PERMEABLE SYSTEM (III), 2005 variable object: aluminium, artificial grass, lacquered iron pigment prints each 78 x 102 cm

158

159


DORIS KRÜGER

SELECTED SCENERY, 2001 3 iris-pigment prints each 50 x 65 cm

Doris Krüger was born in 1974 in Vienna and studied free graphics and landscape design with Mario Terzic (19961998) at the University of Applied Arts Vienna as well as cross-media image and spatial design with Brigitte Kowanz (1998-2002). Since 2006 she has been working at the Faculty of Fine Arts at the Academy of Fine Arts Vienna as an artistic-scientific assistant. In 2002 she was awarded the “Förderungspreis für künstlerische Fotografie”. Since 2005 she has been working with South Tyrolean artist Walter Pardeller. Both her individual art and her projects with Pardeller illustrate the transformation of photography into the object, the translation of natural forms and concepts into other disciplines and thus the variability of the objects and installations themselves. Since their cooperation they have exhibited in several solo (Galerie Andreas Engler, Berlin; bétonsalon, Paris, both 2005) and group exhibitions (Turku City Art Museum, Turku; Nagoya City Arts Museum, Aichi, Expo 2005; Künstlerhaus, Vienna, all 2005). Selected literature: “Under construction. Doris Krüger”, 2001; “continuous moment. Doris Krüger”, 2004.

GARDENING, 1997 glass, transparencies, lacquered wood, neonlights 34 x 44 x 13 cm

VERTICAL / PERMEABLE SYSTEM (III), 2005 variable object: aluminium, artificial grass, lacquered iron pigment prints each 78 x 102 cm

158

159


JULIE MONACO

CS_0/2, 2002

CS_02/0, 2004

C-Print diasec on aluminium 84 x 150 cm

C-Print diasec on aluminium 84 x 150 cm

Julie Monaco was born in 1973 in Vienna, where she is still living and working. She creates emotional landscapes using digital data and mathematic fractals. From 1991 to 1997 she studied graphics with Ernst Caramelle, new media with Peter Kogler and sculpture with Michelangelo Pistoletto at the Academy of Fine Arts Vienna. In 1998 she began her studies of cross-media image and spatial design with Brigitte Kowanz at the University of Applied Arts Vienna, which she concluded with distinction in 2002. In 2000 Julie Monaco worked in the field of 3D soft image and animation in Hollywood; in 2002 the artist received the “Würdigungspreis” of the Austrian Federal Ministry for Education, Science and Culture and in 2003 the “Förderungsstipendium Premiere” by the University of Applied Arts Vienna. Julie Monaco has taken part at projects in Vienna (KlausEngelhorn20, 2000 and 2002; Galerie Ernst Hilger, Vienna 2005/06) and other European cities (Fotografisk Center, Copenhagen, 2002; Kunst Zürich, Moscow, 2003; Galerie Engler + Piper, Berlin, 2003; Art and the Cinematic Vision, Venice Lido 2003; Old National Gallery, Berlin, 2004). Latest bibliography: “Julie Monaco _21”, 2005.

160

161


JULIE MONACO

CS_0/2, 2002

CS_02/0, 2004

C-Print diasec on aluminium 84 x 150 cm

C-Print diasec on aluminium 84 x 150 cm

Julie Monaco was born in 1973 in Vienna, where she is still living and working. She creates emotional landscapes using digital data and mathematic fractals. From 1991 to 1997 she studied graphics with Ernst Caramelle, new media with Peter Kogler and sculpture with Michelangelo Pistoletto at the Academy of Fine Arts Vienna. In 1998 she began her studies of cross-media image and spatial design with Brigitte Kowanz at the University of Applied Arts Vienna, which she concluded with distinction in 2002. In 2000 Julie Monaco worked in the field of 3D soft image and animation in Hollywood; in 2002 the artist received the “Würdigungspreis” of the Austrian Federal Ministry for Education, Science and Culture and in 2003 the “Förderungsstipendium Premiere” by the University of Applied Arts Vienna. Julie Monaco has taken part at projects in Vienna (KlausEngelhorn20, 2000 and 2002; Galerie Ernst Hilger, Vienna 2005/06) and other European cities (Fotografisk Center, Copenhagen, 2002; Kunst Zürich, Moscow, 2003; Galerie Engler + Piper, Berlin, 2003; Art and the Cinematic Vision, Venice Lido 2003; Old National Gallery, Berlin, 2004). Latest bibliography: “Julie Monaco _21”, 2005.

160

161


KLAUS PAMMINGER Klaus Pamminger was born in 1967 in Ebensee (Upper Austria). He studied biology, nutrition science and psychology at the Universities of Salzburg and Vienna, painting at the University of Music and Dramatic Arts “Mozarteum” in Salzburg and the University of Applied Arts Vienna. From 1997 to 2005 Klaus Pamminger was co-director and cocurator of the Fotogalerie Wien. Since 2006 he works on a freelance basis as a colour grader and colourist for “mischief films”. In his more recent work project “daily patterns”, the artist, who lives in Vienna, extracts patterns from TV and internet pictures and applies them to objects of daily use. Klaus Pamminger has exhibited, among others, in Tokyo (Austrian Cultural Forum, 2006), Vienna (pogmahon.art.club, 2002; Fotogalerie Wien, 2004 and 2006), New York (Van Brunt Gallery, 2004), Tampa/Florida (Covivant Gallery, 2001 and 2003; USF Museum of Contemporary Art, 2003), Hong Kong (Para/Site Art Space, 2002), Budapest (Knoll Galéria, 2000) and Salzburg (The Austrian Gallery of Photography in the Rupertinum 1998; Galerie Fotohof 2001). Selected Publications: “EIKON Heft 26/27, Private Felder”, Vienna 1999; “Bilder Nr. 194, Everyday patterns”, Vienna 2004.

INSTALLATION NO. 3, 2006

TV TALK-SHOW, 2004

from “daily patterns”: floor covering pattern-cards, pillows video “TV talk-show, A 2004” (exhibited in Austrian Cultural Forum Tokyo)

basis: TV-talk show, A 2004; (DV, 32 min.; audience / appearance of David Hasselhoff) video still & picture “audience, 2004” lambdaprint 50 x 60 cm

162

FLOOR COVERING, 2004 basis: oil epidemic, 2003 (TV-world news, Jan 2003; ‘Prestige’ at Spain’s Atlantic coast) tread-save foliated lambdaprint on PVC 36 modules each 40 x 40 cm

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KLAUS PAMMINGER Klaus Pamminger was born in 1967 in Ebensee (Upper Austria). He studied biology, nutrition science and psychology at the Universities of Salzburg and Vienna, painting at the University of Music and Dramatic Arts “Mozarteum” in Salzburg and the University of Applied Arts Vienna. From 1997 to 2005 Klaus Pamminger was co-director and cocurator of the Fotogalerie Wien. Since 2006 he works on a freelance basis as a colour grader and colourist for “mischief films”. In his more recent work project “daily patterns”, the artist, who lives in Vienna, extracts patterns from TV and internet pictures and applies them to objects of daily use. Klaus Pamminger has exhibited, among others, in Tokyo (Austrian Cultural Forum, 2006), Vienna (pogmahon.art.club, 2002; Fotogalerie Wien, 2004 and 2006), New York (Van Brunt Gallery, 2004), Tampa/Florida (Covivant Gallery, 2001 and 2003; USF Museum of Contemporary Art, 2003), Hong Kong (Para/Site Art Space, 2002), Budapest (Knoll Galéria, 2000) and Salzburg (The Austrian Gallery of Photography in the Rupertinum 1998; Galerie Fotohof 2001). Selected Publications: “EIKON Heft 26/27, Private Felder”, Vienna 1999; “Bilder Nr. 194, Everyday patterns”, Vienna 2004.

INSTALLATION NO. 3, 2006

TV TALK-SHOW, 2004

from “daily patterns”: floor covering pattern-cards, pillows video “TV talk-show, A 2004” (exhibited in Austrian Cultural Forum Tokyo)

basis: TV-talk show, A 2004; (DV, 32 min.; audience / appearance of David Hasselhoff) video still & picture “audience, 2004” lambdaprint 50 x 60 cm

162

FLOOR COVERING, 2004 basis: oil epidemic, 2003 (TV-world news, Jan 2003; ‘Prestige’ at Spain’s Atlantic coast) tread-save foliated lambdaprint on PVC 36 modules each 40 x 40 cm

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EUROPEAN MONTH OF PHOTOGRAPHY

ACKNOWLEDGMENTS

BERLIN Kulturprojekte Berlin (Bereich Museumspädagogischer Dienst) Thomas Friedrich Curator Oliver Bätz Project Manager Kathrin Kohle Assistant Project Manager

ALCATEL Véronique de Fournoux Corporate Image Director

Pour Philippe Ramette La Galerie Xippas, Paris

VOCATIF Consultant for Alcatel Dominique Goutard President Jacques Dasnoy Director of Programs

BRATISLAVA Vaclav Macek Chairman of FOTOFO, Director of Month of Photography Zuzana Lapitková Curator SEDF (Central European House of Photography)

Château de Oiron La Maison Européenne de la Photographie, Paris Le Domaine Départemental de Chamarandes Le Fonds National d’Art Contemporain, Paris Le groupe Lhoist, Bruxelles Le Musée Municipal de La Roche-sur-Yon

CULTURESFRANCE Olivier Poivre d’Arvor Director Alain Reinaudo Director of the Visual Arts Department Sophie Robnard Carine Guibert

LUXEMBOURG Café-Crème asbl: Paul di Felice & Pierre Stiwer Curators, Directors of European Month of Photography in association with Marguy Conzemius Representative of the Department of Photography CNA (Centre National de l’audiovisuel) Danielle Igniti Director of Cultural Services of the City of Dudelange, Director of Galerie Nei Liicht

LUXEMBOURG Guy Dockendorf Director of Cultural Affairs, Ministery of Culture Casino Luxembourg - Forum d’art contemporain Enrico Lunghi Artistic Director Jo Kox Managing Director CITY OF BERLIN Dr. B. Rainer Seider Senatskanzlei (stellv. Leiter des Referats Auslandsangelegenheiten) Dr. Ingrid Wagner Senatsverwaltung für Wissenschaft, Forschung und Kultur (Koordinatorin für Stipendien und Projekte)

MOSCOW Moscow House of Photography: Olga Sviblova Curator Oleg Guriev, Mikhail Krasnov, Ekaterina Kondranina

CITY OF MOSCOW Liudmila Shvetsova Vice-Mayor of Moscow in charge of culture Serguei Khudiakov President of the Committee of Culture of Moscow

PARIS Maison Européenne de la Photographie: Jean-Luc Monterosso Director Barbara Wolffer Project Manager Joël Brard Head of the Communications Department Jean-Charles Le Saux Sophie Kulczewski Paris City Hall Carole Prat Head of the Mission for International Relations

CITY OF PARIS The exhibition Mutations would never have been possible in Paris without the enthusiastic support of Monsieur Christophe Girard, Vice-Mayor of Paris in charge of Culture, and of Monsieur Pierre Schapira, Vice-Mayor of Paris in charge of International Relations and Francophony, Member of the European Parliament. Division of Cultural Affairs Hélène Font Director Catherine Hubault Assistant Director of the Patrimony and History General Delegation for International Relations Stéphane Visconti General Delegate Anne-Sophie de Gasquet Head of Cultural Affairs Juliette Salzmann Head of Cultural Affairs

ROME Zone Attive: Emiliano Paoletti Director Marco Delogu Artistic Director Anna Gianesini Project Manager Cristiana Pepe Press Officer Floriana Pischedda Project Assistant

CITY OF VIENNA Andreas Mailath-Pokorny Executive City Councillor for Cultural Affairs and Science Bernhard Denscher Head of the Municipal Department for Cultural Affairs

VIENNA Municipal Department for Cultural Affairs of the City of Vienna: Berthold Ecker, Gunda Achleitner Curators Johannes Karel & Roland Fink Assistant Project Managers Vladimir und Estragon: Thomas Licek Project Manager Marie Gouriano Assistant Project Manager

CONTRIBUTIONS Catherine Philippot Press officer Forum Culturel Autrichien à Paris Ambassade de France en Autriche Lenders Pour AESF Galerie Knoll, Vienna House of photography, Moscow

WWW.EUROPEANMONTHOFPHOTOGRAPHY.EU

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165


EUROPEAN MONTH OF PHOTOGRAPHY

ACKNOWLEDGMENTS

BERLIN Kulturprojekte Berlin (Bereich Museumspädagogischer Dienst) Thomas Friedrich Curator Oliver Bätz Project Manager Kathrin Kohle Assistant Project Manager

ALCATEL Véronique de Fournoux Corporate Image Director

Pour Philippe Ramette La Galerie Xippas, Paris

VOCATIF Consultant for Alcatel Dominique Goutard President Jacques Dasnoy Director of Programs

BRATISLAVA Vaclav Macek Chairman of FOTOFO, Director of Month of Photography Zuzana Lapitková Curator SEDF (Central European House of Photography)

Château de Oiron La Maison Européenne de la Photographie, Paris Le Domaine Départemental de Chamarandes Le Fonds National d’Art Contemporain, Paris Le groupe Lhoist, Bruxelles Le Musée Municipal de La Roche-sur-Yon

CULTURESFRANCE Olivier Poivre d’Arvor Director Alain Reinaudo Director of the Visual Arts Department Sophie Robnard Carine Guibert

LUXEMBOURG Café-Crème asbl: Paul di Felice & Pierre Stiwer Curators, Directors of European Month of Photography in association with Marguy Conzemius Representative of the Department of Photography CNA (Centre National de l’audiovisuel) Danielle Igniti Director of Cultural Services of the City of Dudelange, Director of Galerie Nei Liicht

LUXEMBOURG Guy Dockendorf Director of Cultural Affairs, Ministery of Culture Casino Luxembourg - Forum d’art contemporain Enrico Lunghi Artistic Director Jo Kox Managing Director CITY OF BERLIN Dr. B. Rainer Seider Senatskanzlei (stellv. Leiter des Referats Auslandsangelegenheiten) Dr. Ingrid Wagner Senatsverwaltung für Wissenschaft, Forschung und Kultur (Koordinatorin für Stipendien und Projekte)

MOSCOW Moscow House of Photography: Olga Sviblova Curator Oleg Guriev, Mikhail Krasnov, Ekaterina Kondranina

CITY OF MOSCOW Liudmila Shvetsova Vice-Mayor of Moscow in charge of culture Serguei Khudiakov President of the Committee of Culture of Moscow

PARIS Maison Européenne de la Photographie: Jean-Luc Monterosso Director Barbara Wolffer Project Manager Joël Brard Head of the Communications Department Jean-Charles Le Saux Sophie Kulczewski Paris City Hall Carole Prat Head of the Mission for International Relations

CITY OF PARIS The exhibition Mutations would never have been possible in Paris without the enthusiastic support of Monsieur Christophe Girard, Vice-Mayor of Paris in charge of Culture, and of Monsieur Pierre Schapira, Vice-Mayor of Paris in charge of International Relations and Francophony, Member of the European Parliament. Division of Cultural Affairs Hélène Font Director Catherine Hubault Assistant Director of the Patrimony and History General Delegation for International Relations Stéphane Visconti General Delegate Anne-Sophie de Gasquet Head of Cultural Affairs Juliette Salzmann Head of Cultural Affairs

ROME Zone Attive: Emiliano Paoletti Director Marco Delogu Artistic Director Anna Gianesini Project Manager Cristiana Pepe Press Officer Floriana Pischedda Project Assistant

CITY OF VIENNA Andreas Mailath-Pokorny Executive City Councillor for Cultural Affairs and Science Bernhard Denscher Head of the Municipal Department for Cultural Affairs

VIENNA Municipal Department for Cultural Affairs of the City of Vienna: Berthold Ecker, Gunda Achleitner Curators Johannes Karel & Roland Fink Assistant Project Managers Vladimir und Estragon: Thomas Licek Project Manager Marie Gouriano Assistant Project Manager

CONTRIBUTIONS Catherine Philippot Press officer Forum Culturel Autrichien à Paris Ambassade de France en Autriche Lenders Pour AESF Galerie Knoll, Vienna House of photography, Moscow

WWW.EUROPEANMONTHOFPHOTOGRAPHY.EU

164

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Catalogue project manager, Pierre Stiwer Catalogue design, a I part © Copyright 2006 Contrasto, Roma www.contrastobooks.com All right reserved Photographs © Copyright 2006 The authors Texts © Copyright 2006 The authors All Rights Reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior permission in writing from the publisher. First edition 2006 ISBN 10 digit 88-6965-024-3

167


Catalogue project manager, Pierre Stiwer Catalogue design, a I part © Copyright 2006 Contrasto, Roma www.contrastobooks.com All right reserved Photographs © Copyright 2006 The authors Texts © Copyright 2006 The authors All Rights Reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior permission in writing from the publisher. First edition 2006 ISBN 10 digit 88-6965-024-3

167


Catalogue project manager, Pierre Stiwer Catalogue design, a I part © Copyright 2006 Contrasto, Roma www.contrastobooks.com All right reserved Photographs © Copyright 2006 The authors Texts © Copyright 2006 The authors All Rights Reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior permission in writing from the publisher. First edition 2006 ISBN 10 digit 88-6965-024-3

167

Mutations 1 catalogue  

European Month of Photography 2006 Catalogue Mutations 1

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