an exhibition at three locations
5 October - 11 November 2012
„Every single photo is a piece of world.“ (Susan Sontag)
A photo suggests reality. We have more faith in it than in a painting.
What, however, is a photograph? Banally said it is first the reduction of three-dimensional things on a surface. In the surface the position of the viewer, his viewpoint is fixed. The photograph illustrates not only things, but sometimes it exists only of the representation of light and shadows. Still it is always valid as a reference of reality.
In the exhibition it is examined how artists use photography literally and try to detach them from the authoritative faith or with the relation play between the represented and the medium itself.
The representation of pretended reality and their alienation, taking up photographic production processes and the transference of photographs in other media, like video and installation, are subjects of the exhibition „Using Photography – Fotografie benutzen “.
Works are shown which use photography as a template in the literal sense or take up photographic production technologies, but also works which pick out as a central theme the working process as such or who raise the question in the Imdahlschen senses: "What is a photograph?"
Opneing at the Künstlerhaus , 05/10/2012
The exhibition will take place at three places:
The opening of the first part of the show will be October 5th at Kuenstlerhaus Dortmund.
The Second part will take place at Project Room of Photography on Thursday October 18th.
On 29/10 and 05/11 avant-garde films of the 20th century and current films which correspond with the subject are going to be shown at "sweet Sixteen - Kino im Depot".
Participating artists:Oliver Boberg
Angelika J. Trojnarski
Stig Marlon Weston
Frank ZitzmannBernhard Timmermann
, inspired by Peter Handke's play "The Hour We knew Nothing of Each Other", in his montages shows what happens during one hour at a certain place. Oliver Boberg
designed models. The templates are from his extensive photo archive, from which he selects details, colors and textures and combines them to create a stereotypical architecture. The works deal with the non-places of our immediate urban environment. Johannes Gramm
is taking pictures of landscapes which he is well familiar with. In the studio, at his computer he is working on intensifying these pictures. The longer you look at these images you realize that he is playing with reality and that the pictures only show certain similarities to reality.
More visible are these games with reality and perception in the works of Christine Erhard
and Elmar Mauch
. Erhard is not only collecting and composing pictures of particular objects she is also folding them and therefore transforming them into third dimension. Mauch arranges partly identical partly alike images into one picture. A certain structure is created, as well as sequences, and gradually with time the technology becomes readable. Frank Zitzmann's
work "Cottasure" is constructed from two parts; one is an object that he found, the other is a painting of a previously taken picture. Roughly put together, dissolving from the wall, both parts supplement one another.Angelika Trojnarski's
work has its beginning in a vague idea for an exhibition cycle, which grows - after an elaborate literature investigation and image research - into rough collages. At times in a few weeks, often lasting for months the paintings develop their photographic gestalt through curation and composition; blending characteristics of a collage with powerful and accomplished brush strokes.
Trojnarski's leitmotif speaks of man's technical and civilizing achievements, oscillating between dysfunction and new convenience.
works with photographs she has found, mostly leftovers from photo labs, which she assembled into collages.
Ulrich Haug has used both, founded and his own photographs which he covered by several layers of wax. The results of that work show incident of the light, the visibility and invisibility of the motives. The pigmented wax surfaces that are applied conclusively arise formally from the photo. It connects or disconnects them, covers section of the subject and puts the focus on different parts of the image.
The work situation is as follows: A darkened room, a light source, a scanner, and the artist Juliane Schmidt
, which according to a certain pattern crosses the room between the light source and the scanner. While scanning, the cover of the scanner remains open. On the glass, there is nothing. The scanner asks into the room. The answer is structure. Depending on DPI number the time of the operation and the size of the grid varies.Stig Marlon Weston
in his work "Playground / District 12" stated oversized photograms. He uses a specially made box into which he puts photosensitive filmstrip from the roll and exposes them directly. At night, he goes to childhood paths, through a particular part of Oslo. Using 120 cm wide film box, he catches shadows from objects arising between the box and the light source.
In "Kidnapping the Sky", by Claudia May
, common motives are digitally recorded and manipulated by a special processing technology. She opens images with various programs and manipulates digital codes. It causes fragmentation, repetition, creates pattern and digital structures. Even though, to some extent, they might be anticipated by the used technology, in the final analysis they remain experimental and unexpected.Monika Brandmeier's
work "Formatting Blick", shows trivial and simple materials. The subject is framed by four small corner-shaped objects. They are reminiscent of the crop mark as seen through the camera. The installation is shown from two other perspectives. The original frame moves and "decays as it were in the room." (Ludwig Seyfarth)
With an ordinary scanner Markus Wirthmann
took pictures of the Vienna chocolate cakes from two competing brands. Then, layer by layer, he put them all together creating a kind of tomography of each Marmalade cake.
In the short film "Zweisein", Yoko Dupuis
is using recording patterns, which are commonly used in photography. The setting partially seems to be like stills. The works’ theme is physical unity but also simultaneity of partially contradictory desires, needs and feelings of the individual. Each following picture, with its different colors and brightness, shows the mood of these two different parts of the film.
Small wall 11 and 12, 2007, Diptychon, each 115 x 69cm
Formatting Blick" /formatting gaze, 2004, 3-part series of b/w photographs, each 118 x 144 cm
Zweisein, 2012, experimental short film , 6 min.
Skywalk, 2011, C-Print on Alu-Dibond, 86,4 x 120 cm
The barrier in front of Erika, 2012, C-Print, 60 × 60 cm
Current events, 2011, wax, photograph, 52 x 34 cm
From the series Alluring Strange, 2001-2003, found photos, collage, approx 8 x 13 cm
Light 2 from the series Kidnapping the Sky, 2011, C-Print on Alu-Dibond, 50 x 75 cm
# 84 2006, InkJetPrint , 85 x 110,5 cm
survey, 2011, each 40 x 30 cm
Untitled, 2002, laser exposure (Lambda)
Angelika J. Trojnarski
ray path II, 2012, paper oil on canvas, 105 x 130 cm
Stig Marlon Weston
From the series Playground/District 12, 2012, contactprints 2012, rc-paper, 80 cm x 120 cm
kitchen- science 20th test, 01st version, Demel, 2009
kitchen- science 20th test, 01st version, Schnitt Demel, 2008
kitchen- science 20th test, 01st version, Sacher, 2008
kitchen- science 20th test, 01st version, Schnitt Sacher, 2008
cottasure, 2009, wood, metal, paint, 130 x 260 x 10 cm
Concept and organisation:
Denise Winter / Künstlerhaus Dortmund,
Gerhard Kurtz / Projektraum Fotografie, DortmundImages ©
the artistsInvitation card ©
Dirk PleyerImages Opening ©:
kindly supported by:
Dortmund, Cultural Department of the City of Dortmund, sweet Sixteen - Kino im Depot