| | | | | | | | AITOR ORTIZ
Muros de Luz 021, 2005
Print on Aluminum, 103 x 150 cm | | | | | RAUM / RÄUME II (space / spaces) | | | | | | | 20 February – 7 April, 2018 | | | | Opening: Saturday, 17 February, 1-6pm | | | | | | | | | | | | | Revisiting the theme of space/spaces for a second time, the exhibits brings together different concepts of space as presented by the showcased artists working in the medium of photography. Not only do they use different techniques but their distinctive approaches also feature basic differences in presentation, interpretation and execution. The exhibit presents works by Aitor Ortiz, Georges Rousse, Jens Liebchen, Anna Lehmann-Brauns and Joel Meyerowitz.
In dialog between Aitor Ortiz and the architect Josep Egea virtual spaces have been created on the basis of digital photographs. These spaces assume the idea that they can be captured through the mechanisms of perception and visual interpretation. The goal was to highlight the development of a mental space, a place of co-ordinates which does not exist (per se) but still takes shape in front of our eyes. The project seeks to create a reality that is immaterial but that the viewer nevertheless is able to reconstruct. The photographs become a place of friction between physical space and mental figuration. (Summery of a text from Francisco Javier San Martin) | | | | | | | | | JOEL MEYEROWITZ
Hartwig House, 1976, Negativ No 1, 1976
Archival pigment print, printed later, 75 x 95 cm | | | | | | Joel Meyerowitz, Hardwig House, 1976, Negative no. 1 : In 1976, Joel Meyerowitz made a drastic change: in order to improve picture quality, he decided to use his 8x10 plate camera. As a result, he no longer devoted himself to street photography, but instead ventured into new territory. In the summer of 1976, he started working on the book project, Cape Light. Spaces, buildings, beaches and portraits became the new focus of the photographer. The first shot, negative no. 1, the Hartwig House of 1979 is probably legendary by now. | | | | | | | | | JENS LIEBCHEN
Playing Fields 03, 2005
Archival Inkjet Print, 111 x 154 cm | | | | | | The politics of the Caspian basin revolve around energy. So, one of the metaphorical leitmotifs permeating Playing Fields revolves around the primary source of natural energy and the starting point of photography - light from the sun. Jens Liebchen has used sunlight and shadow to articulate the difference of light (energy) and shade (lack of energy), thus articulating the reason why the superpowers are scrabbling over the Caspian. (Summery of a text from Gerry Badger) | | | | | | | | | GEORGES ROUSSE
Palermo, 2000
c-print, mounted on aluminum, 125 x 160 cm | | | | | | Georges Rousse is unmistakably a photographer: his photographs reveal his works, and the choice of composition, cropping, lighting, and pressing the trigger become essential aspects of his creative process. At the same time, however, he is also a painter, a sculptor and an architect, who relates to his workplace the same way a painter does to his canvas or a sculptor to clay or marble. His raw material is space, mostly abandoned buildings. Inspired by the architectural quality of a place and its light, always keeping his ultimate goal in mind, he creates a photographic image by choosing a "fragment" and creating a set-up and arrangement. In these empty spaces, Georges Rousse constructs a kind of utopia that projects his vision of the world - his imaginary universe. The work Palermo from the Year 2000 reflects the full scope of his work. | | | | | | | | | ANNA LEHMANN-BRAUNS
Komödio Berlin Stuhl (Studie), 2018
C-Print, 35 x 40 cm | | | | | | "After years of fierce battle, the demolition of the two Berlin venues, the Komödie and the Theater am Kurfürstendamm is definitely scheduled to begin in May 2018. During a guided tour of the two houses I am once again reminded of all the splendour and beauty of these wonderful places. From the red velvet seating to the creamy interior, from the countless crystal chandeliers of all sizes to the atelier-like wood workshop with its meter-high ceiling - to name but a few details - this house breathes history. I have the unique opportunity to capture the gentle charm of this wonderful house in my photographic images one last time." (Summery of an interview with Anna Lehmann-Brauns) | | | | | | unsubscribe here
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