| | | | | | | | Anne Pöhlmann: DARKRED_2013_0186
crop 32 × 25 cm, photo transfer print on microfiber
© Anne Pöhlmann 2022 | | | | | INTERPLAY | | | | | | | August 13 - October 30, 2022 | | | Opening: Friday, August 12, 2022, 3 p.m. - 9 p.m
Artist talk: Friday, September 23, 2022 at 7 p.m | | | | | | | | | | | | | | | | Natascha Borowsky, khadi 13, 2015
60 x 50 cm, analoger C Print
© VG Bild Kunst Bonn 2022 | | | | | | | Natascha Borowsky (*1964 in Düsseldorf), former student of Bernd & Hilla Becher and Anne Pöhlmann (*1978 in Dresden), former student of Thomas Ruff and Rita McBride, represent different photographic approaches representing two generations of Düsseldorf photography. Textiles, fabrics, and materiality in general permeate the exhibits in this exhibition. Their use on the motivic level or as image carriers, or as an extension of the image, marks a common interest that needs to be described and distinguished according to the artists' individual approaches. | | | | | | | | | Natascha Borowsky, untitled 17, 2020
52 x 43 cm, analoger C Print,
© VG Bild Kunst, Bonn 2022 | | | Natascha Borowsky works predominantly with the classical means of analog photography in recording and enlargement. Her pictorial strategy is ostensibly documentary, with an emphasis on the still-life genre. Found objects of natural or civilized origin form the starting elements of her pictorial compositions: Stones, shells, dried parts of plants, objects from the Asian art of healing or found objects from cultic contexts. Likewise, she arranges deformed plastic scraps, styrofoam objects, or bars of soap in her paintings. The objects are placed on more or less colored textile pictorial backgrounds and photographed in daylight.
The works on display originated in the context of a working fellowship in Mumbai, which the artist completed in 2012 at the invitation of the Kunststiftung NRW (Arts Foundation of North Rhine-Westphalia). This is true for the photographs taken in 2013/14 as part of the series "untitled", this is even more recognizable for the works from the series "transition" from 2014 to 2017. In this series, the artist performs a change of perspective for the first time, from small-format object photography to large-format landscape sections. The selected views visualize situations in the mangrove forests on the coast near Mumbai. What at first appears to be a photographed installation is in fact a found situation, created from the interplay of tides, civilizational waste, and the biomorphic mesh of the mangroves in which the colored relics accumulate.
The third series of works shown here, "khadi," 2015/16, elevates fabrics formerly intended as backgrounds to actual motifs. The term khadi refers to hand-woven fabrics made from hand-spun natural fibers traditionally produced in India, Bangladesh, and Pakistan. | | | | | | | | | Anne Pöhlmann: 'White Clipping', detail view from 'Chongqing Series', 2019
Pigment print on silk and paper, artificially aged afterwards 110 x 84 cm.
© Anne Pöhlmann 2019 | | | Anne Pöhlmann's works reflect the constantly changing conditions of digital photography. She prints her serial works on posters, banners, plastics or textiles and develops specific spatial installations for them. After her return from an impulse-giving stay in Japan, "Japan Diary" was created in 2018, which, with its unusually diverse world of motifs, marks a turning point within her previous oeuvre.
The series shows architectural situations, urban everyday scenes, portraits, fashion photographs or flower arrangements designed in the spirit of Ikebana art. The photographs are printed on silk, bordered at the edges by textile elements. The actual image expands into a textile framing that encourages the visitor to touch it.
The "Chongqing Series" from 2018, subsequently developed in China, also emphasizes the materiality of the image carrier. The motifs, photographic excerpts from a found printed advertising banner that had in the meantime been converted into a tarpaulin at a construction site, are printed on a composite of paper and silk. Afterwards, the image carrier was artificially aged, i.e. washed. As a result, the image carrier is discarded, crumpled and plastically structured. It establishes a reference to the advertising banner captured in the motif.
The most recent group of works shown here, "Honey Traps", 2022, develops variations and movement patterns of draped synthetic netting material in a strong, dark tonality: nets of this kind used in agriculture to protect growing young plants or fruit stands.
With the means of light guidance and the use of different depths of field, the delicate white lineaments of the net structures develop intensive painterly effects on the dark background. | | | | | | |
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