Morten Andersen

UNTITLED.CITIES

Morten Andersen. aus der Serie: Untitled.Cities
Morten Andersen. aus der Serie: Untitled.Cities
Morten Andersen. aus der Serie: Untitled.Cities
Morten Andersen. aus der Serie: Untitled.Cities

MORTEN ANDERSEN
UNTITLED.CITIES


Opening: 29 September, 7 pm
Exhibition run: 30 September − 19 November 2016
FOTOHOF Inge-Morath-Platz 1-3 / 5020 Salzburg / Austria


As a teenager in the early 1980s Norwegian photographer Morten Andersen (*1965) began taking photographs of friends in Oslo’s punk rock scene and publishing them in home-made fanzines. The literary term ‘dirty realism’, i.e. the unadorned, laconic, yet passionately committed portrayal of everyday occurrences ‘warts and all’, aptly describes Andersen’s photographic work, too. Without any academic grounding whatsoever, Andersen has steadily developed his powerful work, attending workshops by photographers such as Nan Goldin and others, and publishing numerous books.

At Fotohof, Andersen presents photographs from his most recent book Untitled.Cities from 2013. In it, he explores the DNA of urban settlements, without identifying any specific or recognisable locations or engaging anecdotally with the character or atmosphere of a particular town or city. His untamed and expressive photos are all about the abstraction of urban structures, inscribed into which are issues of inclusion and exclusion, power struggles, and social cohesion in public spaces. All seventeen of Morten Andersen’s books are featured at the library gallery.

Morten Andersen, *1965 in Akershus, Norway; lives and works in Oslo.
www.shadowlab.no

 

Matthias Hoch

Hotel Kobenzl. Die Geschichte eines Hauses

Matthias Hoch. aus Hotel Kobenzl, Salzburg 2014-16. Archival Pigment Print, 42 x 63 cm
© 2016 Matthias Hoch/ VG Bild-Kunst Bonn
Matthias Hoch. aus Hotel Kobenzl, Salzburg 2014-16. Archival Pigment Print, 42 x 63 cm
© 2016 Matthias Hoch/ VG Bild-Kunst Bonn
Matthias Hoch. aus Hotel Kobenzl, Salzburg 2014-16. Archival Pigment Print, 42 x 63 cm
© 2016 Matthias Hoch/ VG Bild-Kunst Bonn
Matthias Hoch. aus Hotel Kobenzl, Salzburg 2014-16. Archival Pigment Print, 33 x 50 cm
© 2016 Matthias Hoch/ VG Bild-Kunst Bonn

MATTHIAS HOCH
Hotel Kobenzl − Die Geschichte eines Hauses

Opens 28 July at 8 pm
Exhibition run: 29 July − 24 September 2016

 

The Hotel Kobenzl in Salzburg, located in the hills above the city, is a well-known former luxury hotel. When photographer Matthias Hoch first paid a visit there two years ago with author Andreas Maier, the premises had already stood vacant for eight years. The rooms were still in good condition, almost untouched and well-preserved. It was like a journey back in time. ‘The splendour of the former five-star hotel now has something one might affectionately call patina.’ The hotel comprises not just one building but rather a whole ensemble, consisting of the former Berggasthof and various annexes added in the 1970s. The result is an eclectic mix of styles. Matthias Hoch has a keen interest in the history of the hotel, the traces of its use, and the question of what was considered luxurious back then.

Through the inclusion of archival material, the examination of the hotel takes on a new dimension; the Kobenzl Saga comes to life. We see the Herzog family proprietors with prominent guests such as Richard Nixon, Margaret Thatcher and Herbert Grönemeyer. The owners’ children, who grew up in the hotel, are always present in the photos.


At some point, however, the celebrities stop appearing; the caravan moves on. Time has certainly left its mark on the hotel: ‘Other than the view, nothing here is luxurious anymore,’ writes the Salzburger Nachrichten daily. After plans to sell the hotel had failed, along with tentative attempts to reinstate the hotel as a health & spa or a literary hotel, the premises were shut down in 2006. A surprising twist came in early 2015: the state and federal governments were desperately seeking space to house asylum-seekers and so the hotel became a refugee distribution centre. Overnight, the erstwhile advertising slogan (‘The world is at home at the Kobenzl’) took on a whole new meaning.

Sampling and seeing and understanding the world is a major concern in Matthias Hoch’s photographic work. And the history of Salzburg’s Hotel Kobenzl is a prime example of the transformation our society is currently undergoing.

Concurrently, the Galerie für Zeitgenössische Kunst [Gallery for Contemporary Art] in Leipzig is showing the exhibition Matthias Hoch: Hotel Kobenzl. Projektion. A publication in the FOTOHOF edition is to be issued in September 2016.

Matthias Hoch, born in Radebeul, Germany, in 1958; visual artist and photographer; lives and works in Leipzig. For more information: www.matthiashoch.com
 

 

Christian Wachter - Europe. rêvée, revue, revisited

at the FOTOHOF archiv

Christian Wachter - Europe.Chapter Four, Place Gambetta.
Gelatine silver print on Baryte paper,embossed stamp, 50 x 60 cm

Christian Wachter - EUROPE. rêvée, revue, revisited

Opening: 28. 7., 7:30 pm
Exhibition run: 29. July − 19 November

   
In 1992, right after the signing of the Maastricht Treaty and the promulgation of the rules and regulations for the new political union, Austrian fine art photographer Christian Wachter set off in search of the ideas and ideals on which this new Europe would be built. He was influenced in his quest by central European thinkers such as Jacques Rancière, Ferdinand de Saussure and Walter Benjamin.

In the urban layouts and architecture of Parisian squares (but also in Vienna and Italy) he found 'signs' (which according to de Saussure not only re-produce reality, but also actively produce it) for that which has been and that which will come, 'as if looking at the present and the near future from the distant past'.

This series, which Christian Wachter rediscovered, as it were, in his own archive in 2013, features twelve chapters comprising large baryta-coated analogue prints. They have been expanded with historical typefaces to 'achieve a formal anachronism and a structural "dissensus" (Jacques Rancière) in the relationships between the images and the captions'.

It is 'by no means an encyclopaedic-documentary-systematic-topographical description of "Europe". Rather, an idiosyncratic, not to say "heretic", historiography, European IMAGI-NATIONS, as it were'.

Christian Wachter, born in Oberwart, Austria, in 1949, lives and works in Vienna.
www.christian-wachter.at
 

 

Ana Casas Broda - Kinderwunsch

in the Library: Sigrid Kurz - Fanzines 1997 -2015

Ana Casas Broda - Videospiel, 2009 aus: Kinderwunsch, 2006-2012. Inject print on cotton paper
Ana Casas Broda - Milk II, 2010 aus: Kinderwunsch, 2006-2012. Inject print on cotton paper
Ana Casas Broda - Ana Playroom V aus: Kinderwunsch, 2006-2012. Inject print on cotton paper
Ana Casas Broda - Bathroom III aus: Kinderwunsch, 2006-2012. Inject print on cotton paper
Sigrid Kurz MB-26/ 03/ 2014 aus Experimental Sets C-print, 80 x 80 cm
Sigrid Kurz MAM-25/ 03/ 2014 aus Experimental Sets C-Print, 80 x 80 cm

ANA CASAS BRODA
Kinderwunsch


In the Library: Sigrid Kurz Fanzines 1997-2015
FOTOHOF Inge-Morath-Platz 1-3 / 5020 Salzburg / Austria
Exhibition run: 3 June − 23 July 2016

‘The desire to have a child, to be pregnant. The delirium of the first few months: a timeless space. A body that is nourished by mine. Then suddenly shifting into a different scene, an imperceptible and radical transition. Emotions as powerful and contradictory as they are startling.’

The photographic works of Ana Casas Broda, mostly long-term projects, are intense, personal and radical. In the work entitled Kinderwunsch on show at FOTOHOF, the photographer explores the complex themes of pregnancy and motherhood, recalling memories of her own childhood closely linked with photographs of her grandmother.

Ana Casas Broda first began working on Kinderwunsch in 2006. In October 2013 the series was published as a book in three languages (Spanish, English and German) by La Fabrica, Madrid. In May 2014 it was awarded Second Prize as the best artist’s book of 2013 by the Spanish Ministry of Education, Culture and Sport.
 


Ana Casas Broda was born in Granada, Spain in 1965 to an Austrian mother and Spanish father. She spent her early years living between these two countries. In 1974, she traveled with her mother to live in Mexico City. She studied painting history, and photography, dedicating herself to the latter as of 1983.

She worked for fourteen years on the project Álbum. Since 1991, she has held individual shows in Spain, Austria, Germany, and Mexico as well as group shows in various countries. She has been the recipient of various awards and grants in Mexico and Austria. From 2008 to 2011, she received the National System of Artistic Creators grant from the FONCA in order to develop her project Kinderwunsch.

Moreover, she has been dedicated to the organization of academic activities regarding photography. In 1994, she founded the workshop division of Centro de la Imagen, which remained under her coordination until 2008. From 2002 to 2006, she acted as coordinator of FotoGuanajuato.

Since 2007, she has worked as a coordinator and tutor for the Seminar on Contemporary Photography at Centro de la Imagen in collaboration with consultants such as Gerardo Montiel Klint, Agustín Estrada, and Beatriz Novaro, among others. The seminar is currently beingtaught in collaboration with Centro de las Artes in Oaxaca.

In 2012, she founded the project Hydra with Gabriela González Reyes and Gerardo Montiel Klint, a platform to generate projects related to photography as a medium.
www.lahydra.com
www.anacasasbroda.com

 

In the Library:
Sigrid KurzFanzines 1997 − 2015

The Fanzines 1997-2015 by Sigrid Kurz are booklets created as part of her photographic works and copied as small print runs under the title ISSUES. Different photo and text sequences are correlated in a way similar to a script.

They include references to film, the exhibition space and the media, complemented with descriptions of scenes, various explorations of the ‘action space’, and interviews. Exhibited alongside the Fanzines in the display cases are three large-format works from the first and last booklet to be published.


Sigrid Kurz was born in Salzburg in 1958. She studied at the University of Arts and Industrial Design in Linz (1982–87). She lives and works in Vienna.

 

 

Contemporary Photography from Ireland

Ciarán Óg Arnold, Enda Bowe, Eamonn Doyle, Emer Gillespie, Shane Lynam, Dara McGrath, Yvette Monahan

Enda Bowe - Girl With Two Bracelets In Summer. aus der Serie: At Mirrored River
Eamonn Doyle - aus "ON", 2015,
Courtesy of Michael Hoppen Gallery
Shane Lynam. aus: "Inner Field", 2014
Ciarán Óg Arnold - Flowerdress. aus: Going out, looking to score a woman, 2013
Emer Gillespie - aus: "Fallen Women", 2015. Digital C-Print
Dara McGrath - Kimbolton Cambridgeshire. aus: "Project Cleansweep-Beyond Post-Military Landscape of the United Kingdom" 2012, C-Print
Yvette Monahan - aus: „The thousand year old boy“ 2015, Digital Projection

Press Release
Contemporary Photography from Ireland
Ciarán Óg Arnold, Enda Bowe, Eamonn Doyle, Emer Gillespie, Shane Lynam, Dara McGrath, Yvette Monahan

    

     
Opens 7 April 2016 at 7.30 pm
Address of welcome: Alan O'Brian (Embassy of Ireland, Vienna)
Introduction: Tanya Kiang & Trish Lambe (Gallery of Photography, Dublin)
Exhibition run: 8 April − 28 May 2016

FOTOHOF
Inge-Morath-Platz 1-3, 5020 Salzburg

The artists will be present at the opening.

    
      

Ireland and Austria are roughly the same size in terms of land area, but Ireland has only half the population. Nonetheless, the Emerald Isle in the Atlantic Ocean is characterised by an exceptionally vibrant output of fine art photography.

With this exhibition created in collaboration with the Gallery of Photography in Dublin, FOTOHOF is offering an insight into Ireland’s current fine art photography scene. From the many Irish works submitted for the SOLAS Photography Prize of the GOP and Source Magazine in autumn 2015, seven Irish photographers were nominated for the exhibitions in Dublin and Salzburg:

Ciarán Óg Arnold’s Going out, looking to score a woman is a no-holds-barred look at night life in Ireland. It features scenes from a provincial town’s grimy pubs, frequented for the most part by the unemployed in search of happiness, alcohol, and relationships.

Enda Bowe’s photo series is characterised by the ‘conscious’ perception of his home town. Starting from the Gaelic term Teannalach (awareness), he went in search of the ‘aesthetic of the ordinary’ and found it in the people, locations and natural setting of his immediate surroundings.

Eamonn Doyle’s photographs from his series ON stand out by virtue of the dark, contrasting black-and-white in which he depicts passers-by in the centre of Dublin. Doyle is an innovative exponent of contemporary street photography with a distinctive style that captures people in urban settings caught in a remarkable moment.

In her work entitled Fallen Women, Emer Gillespie explores the fate of single mothers who, in a country as strictly Catholic as Ireland, were forced – until a few years ago – to hand over their children for adoption the moment they were born. Through her photographs and archive material she describes the absurdity of these societal constraints and the tragic fates of so many women.

Shane Lynam is well-known for his large-format landscape photographs. For the exhibition in Salzburg he has selected a number of insightful scenic colour photographs of the city and the outskirts of Dublin from his cycle Inner Field.

In Project Cleansweep Dara McGrath explores military history. It is exactly one hundred years since the British military first began experimenting with all kinds of chemical weapons and testing them at various sites. McGrath has photographed a number of them, showcasing objects, research material and interviews, and raising the question of the impact these experiments still have today on the environment and on people.

Yvette Monahan’s meditative and filmic photographic work The thousand year old boy focuses on a young boy and coastal landscapes in the west of Ireland, where a skeleton dating from the Bronze Age was discovered in a cave in June 2011. The DNA from the bone remains was compared with that of the population now living in the sparsely populated area, and it yielded precisely one hit – the young boy.

Twenty topical photo books from Ireland add an important facet to the exhibition. They were selected by the curators of the Gallery of Photography, Tanya Kiang and Trish Lambe jointly with FOTOHOF and represent the multilayered complexity of Ireland’s contemporary photo scene.

Thanks to the kind support of Culture Ireland the seven artists and the two curators from Dublin will be present at the opening of the exhibition in Salzburg.
 

culture ireland / GOP logos

 

 

Marion Kalter "HERSTORY"

at the archive: Michaela Moscouw

Marion Kalter - aus: HERSTORY, Washington DC, 1953/ 2015 Pigment Print, 59 x 39,8 cm
Marion Kalter - HERSTORY
Chabenet 2014
Marion Kalter
aus: HERSTORY
Salzburg, 2006
Pigment Print, 40 x 26,5 cm
Michaela Moscouw - "Die Loge", 1991/ 92

Marion Kalter
HERSTORY

    
     
Opening: February 4 2016, 7:30 pm
Exhibition: February 5 − March 26 2016

FOTOHOF
Inge-Morath-Platz 1-3, 5020 Salzburg


at the FOTOHOF archiv:
Michaela Moscouw
Opening: 7 pm, Sparkassenstraße 2

The artists are present.

    
      

HERSTORY is an intimate photographic diary by photographer Marion Kalter, who was born in Salzburg but grew up in France, where she now lives. The exhibition features photographs spanning four decades of photographic output.

Her interest in fine art photography began in the 1970s when she took a job at the bookshop of one of the first photo galleries in Paris, La Photogalerie. It subsequently gave rise to a career as a professional photo journalist. Alongside her professional oeuvre she has also created an extensive and highly personal body of work over the years, comprised of self-portraits and portraits taken within and around her family. It tells of dreams and fantasies, of often unsparing revelations surrounding herself and other family members on a perpetual visual search for identity.

The secret to a ‘good’ portrait lies in the analytical visualisation of what lies within. It is the ability to transpose oneself into the mind of the other, to establish an empathetic equilibrium between the character of the portrayer and that of the portrayed; this closeness between model and image taker defines HERSTORY.

The exhibition at FOTOHOF is the first comprehensive presentation of this self-referential images – revealing the artistic approach in Kalters work.

Marion Kalter, *1951 in Salzburg, studied art history at Mount Holyoke College, Massachusetts, USA; Marion lives and works in Paris and Chabenet, France..

 
at the FOTOHOF archiv:
Michaela Moscouw
MUSTER − Photos and Videos, 1991 - 2012


The presentation currently on show at the FOTOHOF archiv offers an insight into the artistic methods of Michaela Moscouw: Hand-made small-format sample prints as templates for her large-format staged images, plus a selection of ‘short videos’ featuring her works on film from 2008 to 2012.

The ‘short videos’ are to be shown via a projector, with visitors able to select individual films from a touchscreen. The sample prints will be offset against a large-format image from the series Die Loge (1991/92).

The FOTOHOF has accompanied the work of Viennese artist Michaela Moscouw since the 1980s, and the works on show will now also be incorporated into the FOTOHOF archiv.

Michaela Moscouw, born in Vienna in 1961; lives and works in Vienna.
 

 

Tobias Zielony "A Colonial Landscape"

with a sound-installation by Philip Rizk

Tobias Zielony - o. T., 2013,
aus A Colonial Landscape, Pigmentdruck, 56,4 x 83 cm, Courtesy: KOW Berlin
Tobias Zielony - o. T., 2013,
aus A Colonial Landscape, Pigmentdruck, 56,4 x 83 cm, Courtesy: KOW Berlin
Tobias Zielony - o. T., 2013,
aus: A Colonial Landscape, Pigmentdruck, 56,4 x 83 cm, Courtesy: KOW Berlin
Tobias Zielony - o. T., 2013,
aus: A Colonial Landscape, Pigmentdruck, 56,4 x 83 cm, Courtesy: KOW Berlin
Tobias Zielony - o. T., 2013,
aus: A Colonial Landscape, Pigmentdruck, 56,4 x 83 cm, Courtesy: KOW Berlin

Tobias Zielony
A COLONIAL LANDSCAPE
With a sound-installation by PHILIP RIZK


Opening: 24 November 2015, 7 pm

Introduction: Maren Lübbke-Tidow (Berlin)
Exhibition run: 25 November 2015 − 23 January 2016

 

Gallery closed: 8 Dezember and 24 Dez - 6 Jan

The exhibition at FOTOHOF features a topical project developed by Berlin artist Tobias Zielony (born in Wuppertal in 1973) in Ramallah, in autumn 2013. It is a photographic study of the extremely precarious political situation in Palestine. This is the artist’s first explicit landscape work, and it is all about the West Bank as a place where conflict rages over land, water, and infrastructure, but also questions of identity.

At Tobias Zielony’s request, Cairo-based German-Egyptian video artist and political activist Philip Rizk (born in Limassol, Cyprus, in 1983) has contributed an essay to accompany the photographs which has been incorporated into the exhibition as a literary work in its own right, expressing more explicitly what is intimated more subtly in Zielony’s images: namely, seeking out the stories of individual people inseparably linked with a form of the neoliberal colonisation that individualises the region’s inhabitants through consumerism and loans, undermining any sense of political solidarity. Which is why the exhibition by Tobias Zielony with a textual work by Philip Rizk is entitled A Colonial Landscape.

Tobias Zielony has always expressed his artistic interest by staging roles and correlating his protagonists within the space in which they find themselves. In his 24 large-format wall-mounted photographs the artist is now presenting a selection of his powerful image compositions. While certainly characterised by a documentary approach, their narrative elements are always understood as an associative device aimed at creating a subjectively shaded, autonomous image.

Take, for instance, the attentive face of a Palestinian schoolgirl during a science experiment involving scorpions under fluorescent black lighting: it is transformed into an almost spectral portrait which, given the context of the cycle, can also be seen metaphorically as a psychotic state of instable politics.

Like Zielony, Philip Rizk represented Germany at this year’s Venice Biennale. With his diverse oeuvre he has made a name for himself as a political activist exploring highly politicised questions as part of various artists’ collectives as well as his own life story, addressing a number of these issues also through videos.

For his work at the FOTOHOF the artist has turned his encounters with inhabitants of the West Bank and his own personal experiences, jotted down in diary-like notes, into a work of literature. These essays are as poetic as they are explicitly enlightening, and he subsequently developed them as a sound installation for the gallery space. There they unfold in their own distinct way, additionally providing visitors to the exhibition with an opportunity to absorb Zielony’s large-format wall-mounted works in unison.
 

 

Nadja Bournonville, Kerstin Hamilton, Erik Viklund

Erik Viklund - Untitled #28 (From the series Stilla Hastighet) - 2012 - 35x 25 cm
Kerstin Hamilton - Port Viewpoint, 2012. Digital C-Print, 27x27 cm
Nadja Bournonville - Ludere. aus Blindfell, 2015. Analog C- Print, 93 x 74 cm

Nadja Bournonville
Kerstin Hamilton
Erik Viklund



Opens 24 September 2015 at 7 pm
The artists will be present at the opening.

Exhibition run: 25 September – 7 November 2015
Opening hours: Tue – Fri 3 pm to 7 pm, Sat 11 am to 3 pm


The exhibition brings together three very different world views of a young generation of Swedish fine art photographers, addressing scientific phenomena (Nadja Bournonville), specifically geopolitical issues (Kerstin Hamilton), and very private life-worlds (Erik Viklund).
The approaches are characterised by a rich spectrum of explicitly analogue strategies that offer a direct intervention into the image creation process (Bournonville), documentary photography based on extensive research (Hamilton), and a highly subjective style shaped by expressionistic force (Viklund).
As the focal point of their expression the artists feature the genesis of photographic images as document and staging, as a universal statement, as a subjective excerpt or construct of reality, inviting the viewer to ask questions about their own personal image archive.

Nadja Bournonville’s latest project is entitled Blindfell. The title is a derivation of an Old English word meaning to blind someone. In this series Bournonville focuses on the act of seeing itself and on distortions in perception as the starting point for engaging with the world around us. Her sources range from literature to ophthalmology, palpable globes in museums, the history of blindness, observatories, and the stimulation overkill of amusement parks. In her photographs her protagonists are often depicted deprived of their sense of sight; the eyes are cut out or covered up or entirely black, like those of the basilisk, a 400-year-old curiosity from Vienna’s Natural History Museum, whose fixed gaze is said to petrify human beings.
The photographs appeal to our ability to remember; often they seem almost casual or unexpected in their colour tones. They emerge like images recreated from memory, providing only a vague indication of a place and time undefined. We recognise in the images something which we feel we already know; the visual process follows an automatism and constrains our depth of field. What impressions are stored by our memory with desire, disgust or fascination? And what is it that disappears down the stream of unconcern?
Bournonville’s photographs are as much about optical distortions as they are about the early days of photography, a time when people believed it was possible to capture and portray the aura of human beings in a photographic process. Her photographs are created in an analogue process and comprise double exposures, piercing, and scorching of film stock, as well as any blurring that may have occurred during development in the laboratory. The entire series consists of some fifty hand-printed colour and black-and-white photographs taken in Japan, Norway, Sweden and Austria over the past two years.

Kerstin Hamilton presents a selection from her large-scale research project entitled The String of Pearls, created together with sociologist Karl Palmers. It is about the region around the small fishing village of Hambantota on Sri Lanka’s southern coastline, where Chinese money and labour are creating an international airport, a cricket stadium, and the largest port in South Asia.
Hambantota is located on one of the Indian Ocean’s most important maritime routes. The fact that this town is undergoing such momentous change is also down to the efforts of Mahinda Rajapaksa, who served as President of Sri Lanka until January 2015 and is himself originally from the district of Hambantota. His outwardly moderate successor Sirisena seems also to have endorsed this project.
Kerstin Hamilton acts as a political commentator, with her photo project combining past speculations and potential future developments. Her work showcases different approaches to her research. She uses photographic means to tell the story of the region, the town and the people involved there, painting a contrasting picture of a completely inconspicuous place forced to withstand strong pressures as the focal point of international economic interests in order to preserve its natural environment and its individuality.

Erik Viklund presents photographs from his 2012 work Stilla Hastighet in the form of a spatial installation. Stilla Hastighet examines the phase of becoming an adult. Young people, for whom the reality of life often oscillates between the twin poles of romanticism and unpredictability, form the central motif captured by Viklund’s expressive photographic style. Viklund’s artistic idiom often uses formal aspects for the purposes of interpretation. In this project for example he uses a broad and diverse palette of formats to explore this suggestive, delicate and elusive topic. He also sees it as a journey broken up into set sequences by the fragmented reality of photography.
Viklund’s work method is characterised by the superimposition of documentary and staged photography. In the production of his artist’s books he uses format and sequence as a conscious means of artistic expression. In terms of content he regularly explores themes such as personal memory, fragmentation and vulnerability.

Biographies:
Nadja Bournonville, born in Vimmerby, Sweden, in 1983. Lives in Berlin.
Bournonville graduated from the Glasgow School of Art in 2006 with a BA (Hons) in Fine Art Photography. She then studied under Tina Bara at her master class at the Academy of Visual Arts Leipzig (HGB), which she finished in 2012 with the work A Conversion Act. This work was published by Fotohof edition in 2012 with the eponymous title and was showcased as part of the exhibition series Gute Aussichten – junge Deutsche Fotografie [Good Prospects – Young German Photography].
In 2014 Bournonville obtained a working stipend from the Foundation Stiftung Kunstfonds for her work Blindfell. Her research work continued in 2015, this time in Vienna where Bournonville was invited on a three-month working stipend from KulturKontakt Austria.


Kerstin Hamilton, *1978 in Karlstad, Sweden, is a visual artist who works mainly in the medium of photography. She lives in Gothenburg, Sweden. Her artistic method is ethnographically inspired, and her topics of research include radical upheavals and the paths of capital and labour in a globalised world.

She holds a Bachelor’s degree (BA) in photography from the Dublin Institute of Technology and a Master’s in Fine Arts (MFA) from the School of Photography at the University of Gothenburg. She is currently working on her doctoral thesis (PhD) at the Valand Academy in Gothenburg. Her Nanosocieties research project comprises an exploration of the microscopic and architectural landscape of the science laboratory and a photographic study of people who conduct scientific research.

Erik Viklund, born in Luleå, Sweden, in 1982. Lives and works as an artist and photographer in Stockholm. He completed his studies in fine art photography at the Valand Academy in Gothenburg in 2014.
Over the past few years he has produced a number of artist’s books, including Stilla Hastighet (2012) and Sönder (2014), published by HEAVY Books.
 

 

Beni Bischof

Beni Bischof – Feng Shui, 2013, 90x110cm, Digitalprint
Beni Bischof - Romantischer Sonnenuntergang, 2011
Beni Bischof - aus der Serie "SausagePower", 2011-2014, 53x70cm, LambdaPrint
Beni Bischof - aus der Serie "Cars", 2011-2014, 50x80cm, LambdaPrint
Beni Bischof - "#wtf", 40x30, 2015
Beni Bischof - "Playful Subversion", FOTOHOF edition, 2015

BENI BISCHOF


Opening:
6 August 2015, 7:30 pm

Introduction:
Nadia Veronese (St. Gallen)

Exhibition run:
7 August−19 September 2015

 

For his first ever solo exhibition in Austria, Swiss artist Beni Bischof has revamped the FOTOHOF premises into an exuberant experience space that offers deep insights into the artist's process-driven work method. Dada, arte povera and appropriation art are the inspiration for his photographs, videos, texts, drawings, paintings and objects, which he interlaces with enigmatic irony to create wall-filling collages and space-shaping installations.

The seductive semblance of consumerism in high-gloss magazines and the shrill aesthetics of pulp fiction thus provide a blueprint for his transformations into non-conformist imagery determined by image anarchy. 'Beni Bischof's visual world is all about life bursting with vibrant energy, elation and misery, confusion and farce, all of which he depicts with great relish in his image and text-based works. As a result we find ourselves literally stumbling time and again over our own inadequacies.' (Nadia Veronese)

Beni Bischof will present a booklet created especially for the exhibition at the FOTOHOF. It showcases his artistic objectives and concerns, the way in which he toys with images and materials from everyday life, which can certainly be understood as a criticism and corrective of the art world as it currently stands. Publishing has been an important part of Bischof's oeuvre from very early on, as evidenced by 75 laser copy publications created over the past ten years.
 

Beni Bischof, born in Widnau, Switzerland, in 1976. Lives and works near St. Gallen.
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Heinz Cibulka

at the ATTERSEEHALLE

Heinz Cibulka - Attersee, 2015
Heinz Cibulka - Attersee, 2015
Heinz Cibulka - Hollersbach, 1986
Heinz Cibulka - Korcula, 2014
Magdalena Frey - Standbilder zum Film "TagTraumDeutung"

Heinz Cibulka
Fotografische Bildgedichte
and Magdalena Frey Filmportraits


Opening:
on Saturday, 18 July 2015 at 7 pm
Welcoming address by Walter Kastinger, mayor of Attersee
Kurt Kaindl in conversation with Heinz Cibulka and Magdalena Frey


Venue:
Atterseehalle
Kirchenstraße 1
Attersee am Attersee
Opening hours: Mon − Fri 5 − 8 pm, Sat / Sun + Holidays 10 − 12 am and 5 − 8 pm

Exhibition run:
19 July to 23 August 2015

Guided tours
with Heinz Cibulka: Sunday, July 19, 11 am
with Kurt Kaindl: Saturday, July 25 and Saturday, August 8, 11 am

An exhibition by FOTOHOF as part of the PERSPEKTIVEN ATTERSEE Art Festival


Heinz Cibulka’s photographic work is characterised by a shift away from individual images towards groups of images, collages and visual poems or Bildgedichte, to use his term of choice to refer to his very specific imagery. In this photographic universe he creates associative spaces and a wide diversity of relations within the individual folios, but also across the entire exhibition space. It is as much a culinary visual feast as it is a rich palette of quotations and allusions, all of which allow the informed visitor to penetrate deeply into his imagery. The many leitmotifs running through his oeuvre revolve around essential human experiences such as birth and death, eating and drinking, sensual pleasures and religiosity, tradition and modernity. For the exhibition at the Atterseehalle Heinz Cibulka has created a new work about the region itself, which will be on show for the first time at the opening.

Film portraits by Magdalena Frey are to be shown in a separate screening room. They include the film TagTraumDeutung [DayDreamInterpretation], a multifaceted portrait of Heinz Cibulka and his artistic work. The film congenially adopts his imagery and transposes it to the medium of film. The screening room will also feature an array of other film portraits for visitors to choose from, including a film on the relics of a matriarchal civilisation.

 

Iris Andraschek / Stefanie Moshammer

Stefanie Moshammer - aus: Vegas and She, Fotohof edition 2015
Iris Andraschek - aus: Wait until the night is silent, FOTOHOF edition 2015
Stefanie Moshammer - Tiania aka Toni, 2014. Pigment Print, 70x100 cm
Iris Andraschek - Best left at home with friends..., 2010. C-Print

Iris Andraschek    
Stefanie Moshammer


Opening: Thu, 25 June 2015
The artists are present.  

Exhibition run: 26 June – 1 August 2015
Opening Hours: Tue – Fri 3 – 7 pm, Sat 11 am – 3 pm



Iris Andraschek’s Wait until the night is silent is about the self-determined, alternative lifestyle of a group of people in Canada living in harmony with nature. The photographs taken in 2002 and 2010 alternate between reality and fiction. They depict an almost fairytale-like communitas as a utopian alternative to the constraints of industrial societies with their work, leisure and consumerist regimes. The series from 2002 was created during a residency in Durham, Ontario. The artist returned there in 2010 to complete this particular work and, now that a certain period of time had elapsed, once again photographed a number of the protagonists and the location itself. Iris Andraschek’s eponymous book is published by Fotohof edition to coincide with the opening of the exhibition.

‘Women and interiors, women and nature – the themes Andraschek has chosen to address in her Durham encounters are heavily laden. The archaic landscape, the forest, the water have inspired her to mythically charged artificiality. One can almost hear Satyr breathing as he emerges from the woodland, his sights set on the water nymphs.’
(Esther Kinsky)

Iris Andraschek, born in Horn (Lower  Austria) in 1963, lives and works in Vienna and Mödring (Lower Austria).



STEFANIE MOSHAMMER
„Vegas and She“


In her in-depth exploration of Las Vegas, young Austrian photographer Stefanie Moshammer created an extensive series of photographs which she has now compiled most successfully into a photo book published by FOTOHOF edition in May 2015.

Las Vegas is a ‘Disneyland for adults’, an entirely artificial city nicknamed Sin City set in the Mojave Desert and once renowned as a Mafia stronghold, its existence a sort of brightly coloured parallel universe alongside the rest of America. Las Vegas is an epicentre of oddities, bereft of evolved urban culture or traditional legacy, a settlement agglomeration doubling up as a gigantic amusement park. And it was here, in this controversial setting, that Stefanie Moshammer spent two months with her camera working on Vegas and She, a fascinating – and darkly disturbing – portrait of this art(ificial) city and its inhabitants.

People are the focal point of Stefanie Moshammer’s photographs, concentrating as they do on details, colours and compositions. They depict the glaringly garish night-shade world of adult entertainment and strippers, where sex is for sale. Fascinated by America’s (image) culture, Moshammer proceeds confidently and playfully in her series, wittily referencing William Eggleston while developing her own idiosyncratic idiom. For her, the nature of photography is engaging with the world, and she does so at the interface between art and documentary photography: seeking out the oddities to be found in life and holding a mirror up to the world.
‘Water just burns if you put some fuel inside.’

Stefanie Moshammer, born in Vienna in 1988; lives and works in Vienna.

 

Joachim Brohm / Valentina Seidel

NOT A HOUSE / BUT A FACE

Valentina Seidel - Kochstraße II 22
Joachim Brohm, untitled, 2015
Joachim Brohm - C-Black, 2015, Pigment-Print, 110x135cm
Valentina Seidel - Simone, 2011/ 2015, Pigment-Print, 91 x 70 cm

Joachim Brohm, Valentina Seidel:

NOT A HOUSE / BUT A FACE


Opening: 30 April 2015, 7 pm
Introduction: Maren Lübbke-Tidow (Berlin)
Exhibition run: 2 May – 13 June 2015


Portraits, interiors and architectures of the fragment characterise the genres of the new photographs by Joachim Brohm and Valentina Seidel. The exhibition jointly conceived by the artists for FOTOHOF Salzburg explores, for the first time, the interplay between photographic works whose motifs defy the descriptions of normative photographic representation.

The objects and people portrayed by Brohm and Seidel are characterised first of all by their unorthodox appearance, and a marginal quality. The works’ compositional precision and subtle colour palette are fundamental formal properties with which both artists hark back to previous works.

The interplay between the individual photographs also gives rise to a new interpretative space that opens up potential levels of reflection beyond the documentary principles of photographs. For all the objectivity of the photographic reproduction, in combining their works for this exhibition Brohm and Seidel succeed nonetheless not only in raising the question of reality and identity, but also in examining the recurring question about image and reality as perceived through photography.

Joachim Brohm, born in Dülken (Ger) in 1955; lives and works in Leipzig.
Link CV

Valentina Seidel, born in Regensburg (Ger) in 1973; lives and works in Leipzig.
Link CV

 

FOTOHOF archiv

The newly founded Fotohof archiv opens with an exhibition of works by Doug Stewart and Paul Albert Leitner

Paul Albert Leitner, Wien. Foto : Didi Sattmann
Fotohof archiv - Archivraum
Paul Albert Leitner - Karteikarte 2003
Doug Stewart - Photographic Street Theater, 1970er Jahre
Unbekannter Fotograf - Doug Stewart, 70er-Jahre
Fotohof archiv - Ausstellungsraum
Fotohof archiv - Arbeitsraum mit Blick auf den Ausstellungsraum

The newly founded Fotohof archiv opens with exhibitions of works by Doug Stewart and Paul Albert Leitner

Fotohof, Salzburg’s vibrant centre for contemporary fine art photography, opens its FOTOHOF archiv on new premises at Sparkassenstrasse 2 on 30 April 2015. The archive is to take charge of an existing inventory of photographs by artists such as Inge Morath, Otmar Thormann, Karl-Heinrich Waggerl, Gerti Deutsch and others; it will also showcase new donations and loans by photo artists such as Michaela Moscouw, Paul Albert Leitner and Doug Stewart. A small exhibition of works by the last two artists mentioned above is to go on show at the archive to coincide with its opening.

To visit the archive please send an email to make an appointment.

Newly founded: FOTOHOF archiv

Fotohof is of course dedicated to contemporary photography, but there has always been a great deal of interest from the very outset in revisiting the life work of photographers and photo artists. Indeed, the very first exhibition by Galerie FOTOHOF in 1981 featured a new discovery: the workplace photographer Fritz Macho and his photographs of farmers on mountain pastures around Salzburg. Fotohof had been given the negatives by the photographer’s heirs for safekeeping and processing. It subsequently produced enlargements from the bequeathed negatives and put on an exhibition at its own gallery, followed by a touring exhibition, edition publications, a photo book, and many other activities that continue to this very day and are now to become part of the FOTOHOF archiv remit. Following the same model we were also able to work with Inge Morath, Harald P. Lechenperg, Karl-Heinrich Waggerl, Ernst Baumann, Stefan Kruckenhauser, Gerti Deutsch and a number of other artists, some of them anonymous. It meant that FOTOHOF had actually already acquired an archive of photographs, negatives and documents even before the idea of an archive was born. But more importantly, it had established a reputation for book publications and for organising touring exhibitions that has long since gained the trust of the photo artists themselves.

The basic idea of the newly founded FOTOHOF archiv is to create a broad-based collection of works by the photo artists represented. Such a collection should of course be comprised of the photographs themselves. But it’s not just about cherry-picking seminal works for an exhibition: it’s also about first prints, smaller versions of the photographs, and an overview of the series as a whole. Preliminary drafts and additional prints are just as important for the archive as the so-called first choice among the artist’s works. The aim of the archive is to document the artistic process in its entirety. And that of course includes the negatives and contact copies, or the original digital data illustrating the full breadth of the creative process involved. Other points of interest in a collection such as this include written drafts, texts, material documenting the history of the production and presentation, documents, and printed matter. Ideally, it is then possible not only to show and understand the artistic work, but also to gain an insight into the culture of the day.

Such interest in any collection does require the appropriate ‘tools’: The FOTOHOF archiv is to cover the entire spectrum from archiving to production and presentation. At its very core is the climate-controlled room for the safekeeping of these objects. Equally important is the large working area for producing repros and scans of negatives and prints; this room is also to be suitable for training courses and lectures. There is an analogue darkroom for producing traditional enlargements from the negatives, equipped also with inkjet printers capable of printing out digital data. Also available is the entire range of resources needed for archiving negatives and prints. Particular emphasis has been placed on public accessibility. There are workplaces for curators, and a small gallery for presenting photographs. A database is to be set up not only to record all the existing archive material and make it available to researchers, but also to provide a public domain so that images of the photographs are freely accessible online. The archive’s online presence can be accessed via the FOTOHOF homepage: www.fotohof.at

Archive presentation of the photographs of Doug Stewart

In the 1970s American photographer and photography teacher Doug Stewart, together with Ina Stegen, established a highly regarded photo workshop at the Salzburg College. He was also the first teacher of photo classes at the Salzburg International Summer Academy of Fine Arts. A number of photographers from Salzburg such as Michael Mauracher and Kurt Kaindl attended these courses. It was there that they gained their expertise in fine art photography, and they later went on to establish Fotohof. Which brings us full circle, with the first exhibition by the FOTOHOF archiv. Doug Stewart left a large cross-section of his photographic oeuvre to Fotohof. These photographs were taken mainly in the period leading up to, and during, his stay in Salzburg and his travels across Europe. These images were created at the interfaces between his academic work as an American teacher of photography, his activities in Europe, and his own personal interest in photography. Unsurprisingly, the sequences of images are just as diverse. Experimental series reflect his exploration of the photographic material. A number of methods now almost forgotten such as solarisation and special forms of tinting can be found alongside analogue forms of double exposure and montage, the complexity of which is now difficult to reproduce in the Photoshop age. The series of photographs which Doug Stewart entitled Photographic Street Theater, taken mainly in European cities, is a good illustration of the street photography genre that dominated the 1970s and 1980s; it processes the many impressions the photographer experienced on his travels and then passed on to his students. And then there is the extensive Uncle Ed series, which combines the photographer’s interest in the nude and the human figure, in scurrility and identity, with his studies of psychology. A shrill, fictitious family is created as an artistic conceptual work. Finally, the work Mit einer Dames features a particular reference to Salzburg: here Doug Stewart combines billboards of cigarette advertisements into a large series-based work. In its first presentation the FOTOHOF archiv is seeking to present the work of a photographer and, at the same time, document his relationship with, and influence on, European photography. Thus a mosaic of European photography culture is created by the personal and local history depicted in the photographs of Doug Stewart, by the photographs taken by students of the Salzburg College and featured at the exhibition, and the essays from the catalogue.

Archive presentation of the conceptual work of Paul Albert Leitner

Paul Albert Leitner is the ideal choice when it comes to the embodiment of the very nature of the archival process per se in Austrian contemporary photography. Whenever he returns home, Leitner, the constant traveller, goes on ‘office duty’, as he calls it, to sort out his thoughts and his photographs in a mountainous landscape of boxes piled high with thousands and thousands of meticulously labelled photographs, objets trouvés, newspaper cuttings, and texts. As the archivist of his own life Paul Albert Leitner has always lived in apartments that were, in fact, archives themselves. Analogue small-format colour photography is and remains his working method. And that ‘office duty’ also signifies a meticulous editing process, gluing the 7x10 cm machine prints onto coloured index cards with the sequential numbering of each particular film and the corresponding number for each photograph.

Each photograph is then given a title, at the very least a precise indication of the time and place, but often complemented with more detailed information. Leitner has a preference for the term Legende: image and text together are constitutive so that the photographs can be read and Leitner’s narratives are able to unfold. The individual photo is actually concrete poetry – with narratives, personal autobiographical and entire world histories created as a series of images or as a book. Kunst und Leben. Ein Roman [Art and life. A novel] is the title of his first book fundamental to his oeuvre.

For the opening of the FOTOHOF archiv Paul Albert Leitner is showing Kurze Meditation zum Archiv [A short meditation on the archive] featuring two display cases, each with 20 or so of his index cards: one a light-footed selection on the spontaneously chosen theme of the ‘haircut’, the other photographs on Salzburg – referencing the location and pre-empting the project of establishing an Austrian photography archive at the Fotohof archiv. Several hundred Leitner motifs will represent an important contribution.

Of course the Paul Albert Leitner archive also contains text artefacts on the subject of archives – a riddle according to which system he locates and extracts them – labelled and highlighted with his own underscoring; we present a few of them as reading panels in the study room. With somewhat of an ironic twinkle we also present his new collages of stickers found in urban spaces, which allows us to ask the age-old questions: what makes art, art? Where are the limits of collectability? And are those limits merely a question of resources?

 

Véronique Bourgoin / Juli Susin "CASTLE"

Véronique Bourgoin - New Sunderland, 1989 - 2014
Juli Susin - untitled, 2010
Juli Susin - untitled, 2004
Véronique Bourgoin
Labyrinthe du temps, 2007, Paris

Véronique Bourgoin
Juli Susin

The Castle (Das Schloss)


Opens 12 March 2015 at 7 pm
Introduction: Dirk Bakker

Exhibition run: 13 March to 25 April 2015

Opening hours: Tue – Fri 3 pm to 7 pm, Sat 11 am to 3 pm


Since the turn of the millennium Véronique Bourgoin and Juli Susin from Montreuil on the outskirts of Paris have worked together and with other artists on a wide network of projects and joint ventures. The network itself is a complex web of real and fictitious labels, and both artists appear under a variety of pseudonyms: Cosa Nostra Expérimentale, Ligne de Mire, Fabrique des Illusions 1 et 2, Atelier Reflexe, Silverbridge, Royal Book Lodge, M. Suzuki, Vero Cruz, Charlet Kugel, Dr. Snowball, Matière Première, Magnet River, and others.

Looking back, one cannot help but wonder whether all these projects were not born of the wish to create some sort of overarching aphorism out of different titles which combine to form a distinctive, peculiar profile, like the rooftop landscape of a surrealist castle as featured here. The fundamental artistic assumption in their attitude to photography emphasises less the might of realism often ascribed to photography in its imaging mechanism than vague and merely implied dreamlike image realities.


In constructing her images for Les Labyrinthes du temps, Véronique Bourgoin refers back to some of the experimental techniques of the early 20th century’s avant-garde, e.g. collage, solarisation and staging, a methodology previously adopted in her earlier series (Vrai ou Faux?, WILLIE OR NOT WILLIE). Her photographs are frequently staged, thriving on anachronistic elements and featuring references to Surrealist imagery. At the FOTOHOF she has set out her works in a stunning arrangement on life-size wallpapers of real rooms, allowing the photographs to strike up a remarkable dialogue with the objects portrayed in these image spaces. This new installation, on show for the first time at the FOTOHOF exhibition, recreates a trompe-l’œil of the Paris apartments of Yola Noujam, where Véronique Bourgoin took a series of photographs for the Sweet Trouble Souls exhibition of Andy Hope 1930 and Silverbridge in 2007.

‘The question this installation asks of our time is the question of our own memory; and it does so by raising the problem of the dimension of depth disappearing from our personal history. If the ‘black hole’ phenomenon calls into question the oldest of our laws of physics, then the Labyrinths of Time show that art is still capable of unsettling the problematic certainties of our lives and of changing the course of a world that tries to make the creative forces of nature disappear, with the aid of a vast array of ersatz-creations that take the place of nature in an imitation of it.’
Excerpt from the essay by Ursula Panhans-Bühler for Vrai ou Faux? by Véronique Bourgoin, published by Fotohof & Royal Book Lodge.


At the FOTOHOF Juli Susin is showing a selection of photographs from various project series of recent years. These ambivalent photographic works taken between Moscow and Asunción in Paraguay consistently leave unanswered the question of documentation or staging.
Susin refers to a psychological test for criminals used in the US in the 1940s; it comprised several figures and backgrounds with which each individual was then able to ‘portray their own truth’ – any similarities with existing persons are coincidental, yet assured!

‘It is only afterwards that, for me, the spontaneously shot and more or less staged photos reveal themselves. It is always about real existing worlds, not imaginary ones. The space of encounter created by the photograph appears unforeseen and vague. And while the camera focuses to provide precise information, it is no guarantor of reality.
Everyone can have their own interpretation or simply regard these photos as anonymous archives that were found in the office drawers of a research centre abandoned for no known reason.’
(from: Der Wasserfall hors-champs by Juli Susin)
 

 

Austrian Documentary Photography

Matthias Aschauer, Elisabeth Czihak, Otto Hainzl, Susanne Jakszus, Christopher Mavric, Zara Pfeifer, Helmut Steinecker, Rudolf Strobl

Zara Pfeifer - "WFC Schlemmereck, A Block", aus der Serie "Du, meine konkrete Utopie", 2013
Matthias Aschauer - aus der Serie: "Nang Pu"
Christopher Mavric – Straßenportrait, Graz 2013
Helmut Steinecker - Wohnhäuser in Tichá/ Oppolz.
Otto Hainzl – aus der Serie „Corviale“, 2013
Susanne Jaksus - aus „Happy Ending“, 2013, 14_10, Pigmentdruck 24x36 cm
Rudolf Strobl. aus der Serie "Sundayland"
Elisabeth Czihak. aus der Serie: "Otto S.", 2010

Matthias Aschauer
Elisabeth Czihak
Otto Hainzl
Susanne Jakszus
Christopher Mavric
Zara Pfeifer
Helmut Steinecker
Rudolf Strobl


Opens 22 January 2015 at 7 pm
Introduction to the exhibition: Sophia Greiff (FotoDoks Munich)
The artists will be present at the opening.

Exhibition run: 23.1 – 7.3.2015
Opening hours: Tue – Fri 3 pm to 7 pm, Sat 11 am to 3 pm



Our first exhibition in January 2015 showcases contemporary exponents of Austrian documentary photography. In their works the photographers featured engage with specific locations and associated social issues as part of long-term projects, some of which have proved very extensive.
In his series entitled Wildfremd – Straßenportraits aus Graz und Wien [Street portraits from Graz and Vienna], also available in book form from February onwards, Christopher Mavric explores the genre of street photography. Everything in his portraits of Austrian people living in urban spaces is live and unstaged. They feature passers-by in the literal sense, inhabitants of the cities of Graz and Vienna, contemporaries hurrying through both the picture and the city, but also dwellers and denizens in their respective district environments, waiting, lingering, or stranded on a bench, each in their own specific habitus, wholly contemporary or somewhat of yesteryear – in any case now suspended for all eternity in the photographic image.

All the persons portrayed are strangers I photographed on the street. I asked very few of them for their permission. Everything had to go so quickly. Photographs are always more authentic when people don’t have time to think about how they look. Many of these captured situations seem absurd, and the people in it peculiar. But they’re not. It is all workaday, and the people are quite ordinary – they’re the people we encounter every day on the street.” CM

Helmut Steinecker’s Tichá is a border village in southern Bohemia, just one wooded hillside away from his home in the Austrian village of Unterwald. Along what was once the Iron Curtain and is now referred to as the Green Belt, Steinecker encounters relics from almost half a century of a divided Europe. This secluded area appears to be settling in to a new identity somewhere between ruins and kitsch. As a former restricted zone between two power blocs that has now opened up, the village finds itself in an exceptional situation historically, but also geographically. This village and its 100 or so inhabitants is the focal point of Steinecker’s photography, a photography both objectively concentrated and emotionally affecting. Tichá is now also available as a book hot off the press in the Fotohof edition.

The reception of images of the world is shifting increasingly from the realm of classic photo reportages in magazines to the art world in general and the medium of books in particular. Thus, alongside the two books by Mavric and Steinecker, Matthias Aschauer’s photographs of Attnang-Puchheim are also part of a ‘book in progress’. His cycle represents a scrutinising of his own background and origins while surveying the social landscape of Upper Austria from a variety of perspectives. “The work entitled Nang-Pu documents the small town of Attnang-Puchheim in the province of Upper Austria. Most people in Austria are familiar with the town – if at all – because of its relatively large railway station. In my photographs I have tried to provide insights into the town itself, a town where all sorts of social strata, cultures and subcultures rub together. And in these images Attnang-Puchheim, the epitome of provincial Austria, reveals itself as a self-assured multilayered cosmos.” (MA)

Corviale – miles and miles of passageways, impassable stairways, coded graphics, illegally settled zones, and murals. Corviale is a block of flats on the outskirts of Rome, just under one kilometre long, with more than 8,000 residents – a whole town within a single building. It is an architectural social manifesto charged with the imprint of humanity. Otto Hainzl lived in the building in order to share in this series of photographs the world he perceived there. The work is about plans and reality, about the building, his particularities, and the individual lives actually encountered there. This work is also to be published in book form by Kehrer Verlag in April 2015.

Elisabeth Czihak’s photographs of abandoned interiors evoke an almost forensic examination of human existence. Absence is a photographic documentation and interpretation of a municipal block of council flats in Vienna’s 19th district which had stood empty for two years at the time the photographs were taken.
Besides exterior shots of the five stairways (entrances) two interior photographs are featured for each of the 36 apartments in total, taken in October 2006. Each is different in both motif and angle, depending on the situation and circumstances on site.
The particularity of this block of flats was the evidently short amount of time its former residents had lived there and the initial impression created as a result of extreme uniformity in furnishings and lifestyle. All these details, as inconspicuous as they may seem, evoke associations about the life stories of anonymous residents.


Zara Pfeifer’s analogue colour photographs provide insights into the communal areas located within the large housing estate of Alterlaa, designed and built in Vienna in the 1970s by Harry Glück.
At the residential park, which is home to around 10,000 people, photographer and architect Zara Pfeifer concentrated first and foremost on the community rooms, which are cut off from natural daylight. 32 clubs are currently located there, including a theatre club, bridge club, model-making club, and a gun club. The swimming pools are also well known. The photographer embarked on her work at the residential estate with her membership of the photo and video club and gradually became integrated into everyday life there. She got to meet friendly and proud residents who identify with the architecture. Some of the questions that arose during her work included: How much planning does it take to be able to use the community rooms? To what extent does the architecture contribute to forms of ‘communitisation’? “Zara Pfeifer uses photography as an imaging, inquiring and designing instrument to provide us with information on the significance of architectural spaces and, ultimately, nothing less than the subtle variations in human familiarity and friendship.” (Angelika Schnell)

Photographer Rudolf Strobl grew up in Salzburg and this work is an intimate exploration of his relationship with his parents and the story of their alienation. “Sunday was family day. Everyone got together and talked about the events of the past week. When I came to visit, I was welcome but I was no longer part of the family circumstances that shaped their everyday lives together. Sometimes they would sit in the living room together, without saying very much but with a profound understanding.
My parents became strangers to me. I began to photograph them so that I might better understand the change. Everyday life changed into interchangeable scenes from a general life and became a notional placeholder – just as disconcerting as the Sunday visit or a family album. Since then my father has recently moved into a care home.
” (RS)

Susanne Jakszus’s work delineates the boundary area between photo-documentary project and photo reportage. Her series Happy Ending examines the phenomena of sex tourism in Pattaya, just outside Bangkok. Pattaya, one of the world’s largest ‘entertainment districts’, has also become a prostitution hub in the wake of the Vietnam war. A genuine exit scenario, but also one that is often merely dreamed of, is marrying foreign men. Susanne Jakszus visited Pattaya many times and, with a critical yet inquisitive gaze, photographed this erotically charged location in all its many facets.

 

OTMAR THORMANN "Origins"

In the Library: Book mock-up of Otmar Thormann Low Moral / Dreaming Dogs

Otmar Thormann - Hausmeister, Stockholm 1975
Otmar Thormann - Stockholm 1983
Otmar Thormann - Vogel im Studio, Stockholm 1983

 

Otmar Thormann
Origins
 
In the Library:
Book mock-up with original photographs from:
Otmar Thormann Low Moral / Dreaming Dogs
 
Opens 7 pm on 20 November 2014
The artist will be present at the opening.
 
Exhibition run: 23 Nov. 2014  –  17 Jan. 2015
Opening hours: Tue – Fri 3 pm to 7 pm, Sat 11 am to 3 pm
 
Otmar Thormann’s exhibition entitled Origins features photographs from the early 60s to the late 90s, covering virtually the entire time span of his photographic oeuvre.
 
Also interspersed within the exhibition, but not showcased discretely, are photographs taken by his father, consisting mostly of snapshots of Otmar as a child. An unusual dimension in formal terms is thus added to the biographical retrospective of the artist Otmar Thormann, offering a new notion of the oeuvre.
The spectrum of photographs on show ranges from the street photography of his early beginnings, with gloomy images of post-war Graz and Vienna, to the surrealism-influenced still lifes taken in his Stockholm studio since the 1970s. On this (equally autobiographical) quest for the origins of his interest in photography, Otmar Thormann has delved deep into the strata of his oeuvre and his own persona, combining his classic photographs and his father’s early family photos into an associative medley of images. In an interview for the magazine Elephant (http://otmarthormann.com/thormann_elephant.pdf) Otmar Thormann had this to say about his work: “The photograph is a witness to what I have seen but could not photograph as a boy. I am only a midwife: I deliver a photograph that comes to me.”
 
Otmar Thormann’s oeuvre is not only reminiscent of the work of Josef Sudek, it also clearly references Hans Bellmer and Christer Strömholm. The eponymous book Ursprung published by Fotohof edition in 2013 comprises an introduction by Otmar Thormann; 192 pages and 85 illustrations. 
Review copies are available on request. 
 
Otmar Thormann was born in Graz in 1944. He lives and works in Stockholm.
 

Group Show

Thomas Albdorf , Tina Lechner , Christiane Peschek, Agnes Prammer / Johann Schoiswohl, Hanna Putz, Sabine Schweighofer, Katarina Šoškić

Agnes Prammer Ohne Titel (H.), Wien, 2011
Hanna Putz - Untitled (O.T. Moscouw 24), 2013
Johann Schoiswohl - Totes Gebirge-11er Kogel, 2013
Katarina Soskic - A possible layer of., Antwerp, 2014
Sabine Schwaighofer - me with my little hat, 2014
Thomas Albdorf - Untitled [#10]. aus der Serie "Former Writer- Color on Surface"
Tina Lechner - ohne Titel, 2013
Christiane Peschek - aus der Serie Muetter, 2013

 

 
The exhibition brings together current exponents of Austrian art and photography. 
 
A common trait of all the participants is their honest and authentic approach and a promising intensity in the formulation of each particular work’s foundation. The content-related interests, starting points and formal solutions are all extremely diverse. 
 
The exhibition explores questions of identity, background, role models, but also media-reflective examinations of how photographic images are now constructed. Explicitly documentary and topographic works have deliberately been left out of the exhibition; they are to feature at a separate exhibition in early 2015.
 
Autobiographically motivated research is the focal point of the work by Katarina Šoškić and Johann Schoiswohl. Katarina Šoškić, who was born in Belgrade and studied at the University of Applied Arts in Vienna, began to research members of her family who live scattered all over Europe; in fact, some of them are unknown to her. Hers is an artistic exploration of the conditions and repercussions of what is commonly referred to as a ‘migrant background’. Johann Schoiswohl, for his part, set off into the mountain landscape of the Salzkammergut region to retrace the places where his parents, who are now deceased, used to live. Landscape images thus become a metaphor for personal histories and memories.
 
Agnes Prammer adopted the old photographic method of the wet-plate collodium process, an early 19th century technique, to slow down the act of photographing itself while introducing an additional element of concentration into the act of portraiture. The fragile process combined with the tense sculptural poses creates a mysterious aura and invokes a memento mori that is inscribed in photography as a matter of principle. Memory and death are thus interlinked as a theme in the artists’ shared work on the book entitled Totes Gebirge, jointly produced by Prammer and Johann Schoiswohl, which is also to be shown as a wall-mounted work alongside the book. 
 
Christiane Peschek and Sabine Schwaighofer have addressed the topic of role models, with both artists adopting an ironically disrupted and playful approach. Peschek’s images of mothers recreate idealised stage settings performed by children with their mothers. Sabine Schwaighofer accentuates the boundaries between the genders with forced representations of role models while blurring them in others through a refined dissolution of a gender-specific habitus. “Social categorisation and the construction of being through gender has been a theme since my childhood, and reflections on social and cultural identity are an important part of my artistic work. I describe my work as an ‘extended self-portrait’, but also as a ‘documentary staging’.” (Sabine Schwaighofer)
 
Tina Lechner and Thomas Albdorf open up the medium to sculpture and reflect on the imaging mechanism of the photographic process, whether it is entirely analogue or highly artificial, i.e. involving the use of computers. Albdorf sees photography not as a singular act, as the single moment in which the shutter is actuated, but as a sequence of decisions stretching from the object or subject and its staging through to the post-processing and the final print. The analogue negative does not serve as a completed photograph, but as a space of possibilities enabled through primarily digital post-production out of which an image is then created. The digital conditions of production are addressed in the image and remain as visible traces that reveal their origins.
 
Tina Lechner’s black-and-white photographs are consistently produced by analogue means; they draw their strength from references to classical modernism and the individual materiality of the prints. In her studio she herself creates her own props ahead of the portrait sittings, geometric bodies made out of paper which she then applies to her female models. They in turn then become a type of object and bearers of an artistic conception that reminds us of the image constructs of surrealism and constructivism.
 
Hanna Putz works on individual images taken almost incidentally in public spaces in Austria and on her travels. In the works on show at the Fotohof her interest focuses on people caught in the act of pausing, lost in thought – counter-images to the state of permanent alertness that characterises online reality. This interest in slowing down the pace, in stepping out of the madness is also reflected in her deliberate choice of working technique. Hanna Putz relies on the slow process of analogue photography characterised by a larger camera, more concentrated in the act of photographing itself, not instantly verifiable in its outcome, with a more clearly defined form of editing.
 
 

Aglaia Konrad − "Das Haus (ausgestellt)"

25.7. − 13.9. 2014

Aglaia Konrad- Filmstill aus "Das Haus", 2014
Aglaia Konrad- Filmstill aus "Das Haus", 2014
Aglaia Konrad- Filmstill aus "Das Haus", 2014

Aglaia Konrad

Das Haus (ausgestellt)
 
 
Exhibition Opening: 24. Juli 2014, 19 Uhr
Introduction: Hildegund Amanshauser (Salzburg)
Exhibition Duration: 25. 7. − 13. 9. 2014

 

Das Haus is a new work that deepens the exploration of sculptural architecture that Aglaia Konrad conducted with the series of 16mm films Concrete and Samples. Shot in the house of architect Juliaan Lampens in Sint-Martens-Latem (Belgium), the film resumes the artist’s interest on the possibilities of the cinematic medium to generate –rather than capture - an architectural experience. An experience which, in this film, surpasses the visual to mobilize bodily perception and even desire.

Konrad’s editing carefully measures the doses of perceptual information it provides to our orientation drive in a process that departs from an initial willingness to orient oneself towards the pleasure of surrendering to disorientation and fragmentation. A disorientation that could be called “perverse” in the sense that Freud bestowed to the word –perverse pleasures are those which linger in the detour; in the resistance to result in a productive goal– insofar as the film replaces the production of a representation of space in favour of perceptive defamiliarization and tactile pleasure.

Architecture and film are constantly looking at each other in a piece in which "angle", "transition", "cut", "sequence", "frame", " joint", " fold " and "rhythm" are notions that are spread from one discipline to the other as if the camera and editing would be reading the space as a composition score.

There are two architectural comparisons that are often applied to filmmaking: the idea of cinema as a "window" and as “mirror". Das Haus, entangles and complicates those comparisons by treating windows as interfaces that blur the inside and outside and whose transparency acquires materiality, and by using mirrors as devices that disrupt form pushing it to a state of potentiality.

In Das Haus the screen is no longer a window but rather a skin: for it is a body interface, a tactile surface and a membrane that is neither safe nor transparent because it reveals its inner cinematic compositional strategies.

 

Das Haus (ausgestellt) is on show at the Fotohof as part of a spatial installation. The exhibition architecture was created in co-operation with Belgian architect Kris Kimpe.
 
The film was produced by Auguste Orts (Brussels) and co-produced by Courtisane (Ghent), with Aglaia Konrad (editor) and Sébastien Koeppel (director of photography). The project was supported by the Flanders Audiovisual Fund, Netwerk / Centre for Contemporary Art, UGent (Vakgroep Architectuur & Stedenbouw, Afdeling Communicatie, Afdeling Facilitair Bureau), LUCA Sint-Lukas Brussels, Stichting Juliaan Lampens, Fotohof Salzburg, and Provincie Oost-Vlaanderen.
 
Aglaia Konrad, *1960 in Salzburg; lives and works in Brussels.
 
Hildegund Amanshauser is an art historian, curator, and writer; she was appointed as the Director of the Salzburg International Summer Academy of Fine Arts in 2009.
 

Heidi Specker - "TERMINI"

Heidi Specker. TERMINI "Via Napione 2, Motiv VIII".
Heidi Specker. TERMINI "Piazza di Spagna II"

 

Heidi Specker
TERMINI
 
Opens 7 pm on 22 May 2014
Thomas Weski (Berlin) will speak at the opening
 
Exhibition run: 23. 5.  –  12. 7. 2014
Opening hours: Tue – Fri 3 pm to 7 pm, Sat 11 am to 3 pm
 
 
TERMINI, the latest and to date most extensive group of works by Heidi Specker, was created during a one-year stay in Rome in 2010. Heidi Specker uses vicarious artistic positions to formulate the concept for her photographic work as she engages with Italian culture and its history. For her art history reference space the artist opted for the painter Giorgio de Chirico, the photographer and architect Carlo Mollino, and, for the medium of film, Michelangelo Antonioni. All of which results, in TERMINI, in a commingling of motifs originating in different epochs. 
Key to Heidi Specker’s unmistakable imagery is the theme of remembrance and intellectual legacy. As objets trouvés, objects are transformed into formulated questions. Surfaces are abstracted into fragments as a result of her photographic precision. Images modify spaces, often through surface close-ups. Heidi Specker creates her coherent imagery by de-contextualising her motifs and her themes and re-formulating them in groups and series. 
 
 
PIAZZA DI SPAGNA 31 is the address of the apartment and studio of Surrealist artist Giorgio de Chirico, which is now a museum. Specker focuses on individual objects. She projects a world of objects in which texture, materials and surfaces come to the fore. The photographs of a small sculpture, the unsettled muses, depict two figures garbed in toga-like vestments. Specker links de Chirico’s surreal interest in classicism with her own exploration of history and its transformation through reproducibility.
In VIA NAPIONE 2 Heidi Specker shows photographs of the apartment of architect, designer, photographer and dandy Carlo Mollino. His understanding of photography, modernism and eclecticism was pioneering and is something of a discovery. For her photographs Specker has chosen a number of key props from Mollino’s apartment. With these set pieces she manages to find new interpretations of the extravagant artist’s staged photographic productions. 
 
ULTIMATUM ALLA TERRA is a small series about a clock; its title references a remake of a Hollywood classic, The Day the Earth Stood Still. It was taken in the EUR district. The location was one of Mussolini’s large-scale urban planning projects, whose fascist classicistic architecture also provided the backdrop for some of Michelangelo Antonioni’s films. This series of photographs, too, promotes the sense that time has been halted, that it is standing still, or that it is to be seen as a matrix. 
 
 
Heidi Specker was born in Damme, Gemany, in 1962. She lives and works in Berlin and Leipzip.
 
Thomas Weski, Professor of Cultures of the Curatorial at the Academy of Visual Arts Leipzig, will speak at the opening of the exhibition.
 
 

Laurenz Berges | Bernhard Fuchs | Jitka Hanzlová

28th March - 17th May 2014

Bernhard Fuchs - -Obstbäume, Laimbach, 2010-, C-Print, 23,5x21cm
Jitka Hanzlová - untitled. aus der Serie "HIER" . 2003 - 2010
Laurenz Berges - Altenburg, 1992

 

 
Press Information
 
 
Laurenz Berges | Bernhard Fuchs | Jitka Hanzlová
 
In the Library:
Photographs from the artists’ collections
 
Opens 7 pm on 27 March 2014
Exhibition run: 28 March – 17 May 2014
Opening hours: Tue – Fri 3 pm to 7 pm, Sat 11 am to 3 pm
 
 
Artists Laurenz Berges, Jitka Hanzlová and Bernhard Fuchs have been friends since their student days in Essen and/or Düsseldorf; since then they have continually explored matters of documentary style in their respective oeuvres. What their works have in common is a contemplative conception of the image and an unwavering focus on valid images of places and people. Their groups of works have evolved over long periods of time. They always reference images of everyday constellations in which the depicted appears as universally valid. Adopting the classic reality strategies of photography as an analogue medium, they have created image cycles that have entered the public perception both as wall-mounted photographs and in book form. 
 
From 1991 to 1995 Laurenz Berges photographed deserted (living) quarters in Brandenburg, barracks abandoned by the former Red Army after its withdrawal following Germany’s reunification. Proceeding through these empty spaces with almost forensic meticulousness, he has created not only documents of historical validity, but also images of a tremendous associative power through his emotional engagement with the topic.
 
Memories, the autobiographical, and the question of identity all play key roles in Jitka Hanzlová’s oeuvre. The Ruhr district has been her country of adoption for the past thirty years, and it is here that the group of works entitled HIER was created: chance encounters between people and nature in an urban environment moulded by industry – yet rather than meshing together like cogs and wheels, their relationship with one another remains open.
 
Returning to the places of one’s childhood is a recurring theme for Bernhard Fuchs. His Höfe [Courtyards] series features photographs of small farmsteads from his native Mühlviertel, a region of Upper Austria. His documentary style features the courtyards in a cultural landscape shaped by the changing seasons in which the footprint of human life is visible – even though not a single person is depicted.
 
 
Laurenz Berges
 
The empty bar­racks rooms in East Germany become his­to­ri­cal dwel­lings in Laurenz Berges› pic­tures, »Places of Remembering« (Virginia Heckert). But the tra­ces of history are not only pre­ser­ved by pho­to­gra­phy, by dou­bling. They have been for­med into real images. The most import­ant fac­tor in their for­ma­tion — and to a cer­tain extent also in »actual« history — is day­light . The view of the sink and, above it, the trace of a mir­ror that had once been moun­ted there have been for­med in mani­fold ways by light, which falls in through the unvi­si­ble win­dow thro­wing a weak shadow of an almost imper­cep­ti­ble cross-bar upon the small white porce­lain sink and absent mir­ror. The day­light has taken the place of the mir­ror as gate­way to a dif­fe­rent, per­haps bet­ter world. As a natu­ral, living force in the crea­tion of form, it over­co­mes, pus­hes aside and superse­des the Vanitas motif in a his­to­ri­cal pro­cess of making an image. It allows past events to become acces­si­ble again. The sto­ries of the people in the bar­racks at Karlshorst, Schönwalde, Potsdam, Wünsdorf and other pla­ces are made acces­si­ble by Laurenz Berges› pic­tures and thus tend to get a reprieve from for­get­ful­ness. In his renun­cia­tion of heigh­te­ned per­spec­tive, of hasty pla­c­ing of mea­nings, by trus­ting to the bur­geo­n­ing of an image by care­fully model­led day­light, a cycle has come about of »almost epic great­ness« (Virginia Heckert). 
(Text excerpt : Ulrich Bischoff)
 
Bernhard Fuchs
 
Time and again on walks in the area around Helfenberg I have been confronted with the continuous changes happening to the small farms there. Remotely located in the hilly landscape of the Mühlviertel, these are mainly mixed-farming operations, something that is reflected in the architecture of the buildings and the forms of the adjacent plots. The climate is bleak, the soils rather meagre. Arable fields, woodland and grassland for the grazing of livestock, mostly dairy cows, are characteristic of the area. Most of the farms are run as secondary sources of income and are passed down from generation to generation. However, structural changes have also taken their toll here: new laws require that stalls and keeping conditions be reorganised, the cost of necessary investment is rising and farmers often struggle to find successors to take over their farms. As such, many of these small farms have been abandoned in recent times.
 (Text: Bernhard Fuchs)
 
 
 
Jitka Hanzlová
 
Czech-born artist Jitka Hanzlová fled to West Germany in 1982 and has lived in Essen ever since. For her series of works entitled HIER [Here] completed in 2010 she has chosen her country of adoption as her theme. The cornerstone for the series was laid back in 1998 when Hanzlová first began to explore in-depth the re-cultivated and restored landscapes of areas in the Ruhr district previously devastated by mining and industry. It was only in 2006, after completing other extensive series, that she resumed her work on HIER and completed the cycle featuring portraits of gnarled locals as well as still-lifes and photographs of architectural details which, for the first time in her work, seemed to be inching towards abstract imagery. But perhaps the most striking element is the particular aloofness which Hanzlová manages to maintain with her environment and her models. Strange for the reason that it is not the cool distance of a researcher’s gaze that we see expressed here, but a restrained endeavour to restore something whole. Where Gursky synthesises artificial worlds, Hanzlová attempts something of a psycho-social synthesis of people and their environment.
(Text excerpt: Eric Aichinger)
 
At the Library, each of the three artists will be showing one original reference work from their collections:
Stephen Shore (Fuchs Collection)
August Sander (Hanzlová Collection)
Michael Schmidt (Berges Collection)
 
 
Laurenz Berges was born in Cloppenburg, Germany, in 1966; he lives and works in Düsseldorf.
Bernhard Fuchs was born in Haslach an der Mühl, Upper Austria, in 1971; he lives and works in Düsseldorf.
Jitka Hanzlová was born in Nachod, Czech Republic, in 1958; she lives and works in Essen.
 
 
The Berges | Fuchs | Hanzlová exhibition will be on show at Galerie Wilma Tolksdorf in Frankfurt from 24 May 2014.
 

Rob Hornstra -
The Sochi Project: An Atlas of War and Tourism in the Caucasus

Exhibition duration: 31st. January − 22nd March

Mikhail Pavelivich Karabelnikov (77), Sochi, Russia, 2009 © Rob Hornstra / Flatland Gallery. From: An Atlas of War and Tourism in the Caucasus (Aperture, 2013).

Press Information

ROB HORNSTRA

The Sochi Project:
An Atlas of War and Tourism in the Caucasus


Opening: 30th January 2014, 7:30 pm
Exhibition duration: 31st January 2014 – 22nd March 2014
Opening hours: Tue – Fri 3 – 7 pm, Sat 11 am – 3 pm

Book:
Rob Hornstra / Arnold van Bruggen
An Atlas of War and Tourism in the Caucasus
Aperture, 2013

 

Rob Hornstra and Arnold van Bruggen have been working together since 2009 to tell the story of Sochi, Russia, site of the 2014 Winter Olympic Games. They have returned repeatedly to this region as committed practitioners of “slow journalism,” establishing a solid foundation of research on and engagement with this small yet incredibly complicated region before it finds itself in the glare of international media attention. As van Bruggen writes, “Never before have the Olympic Games been held in a region that contrasts more strongly with the glamour of the Games than Sochi. Just twenty kilometers away is the conflict zone Abkhazia. To the east, the Caucasus Mountains stretch into obscure and impoverished breakaway republics such as North Ossetia and Chechnya. On the coast, old Soviet-era sanatoria stand shoulder to shoulder with the most expensive hotels and clubs of the Russian Riviera. By 2014 the area around Sochi will have been changed beyond recognition.”


Hornstra’s photographic approach combines the best of documentary storytelling with contemporary portraiture, found photographs, and other visual elements collected over the course of their travels. Van Bruggen contributes a series of engaging stories about the people, the land, and its turbulent history. Together, the images and texts unpack the complex, multivalent story of this contested region, shining a harsh light on Vladimir Putin’s claim that, “The Olympic family is going to feel at home in Sochi.” Designed by long-standing collaborators Kummer & Herrman, The Sochi Project book, website and exhibition: An Atlas of War and Tourism in the Caucasus is the culmination of this five year project, a contemporary masterpiece of photography and journalism in the collaborative tradition of James Agee and Walker Evans, Dorothea Lange and Paul Taylor.


The Sochi Project was cofounded by Rob Hornstra (born in Borne, The Netherlands, 1975) and Arnold van Bruggen (born in Texel, The Netherlands, 1979), in association with the design team Kummer & Herrman.
Hornstra is a photographer and self-publisher of slow-form documentary work. He is also the founder and former artistic director of FOTODOK―Space for Documentary Photography. Hornstra is represented by Flatland Gallery, Utrecht, The Netherlands.
Arnold van Bruggen (texts) is a writer and filmmaker, and founder of the journalistic production agency Prospektor, and a cofounder, with Hornstra, of the Sochi Project.

Various elements of the Sochi Project have garnered awards, including the Canon Prize for innovative photojournalism in 2010; the Magnum Expression Award in 2011; the Sony World Photography Award (Arts & Culture category) in 2012; and the World Press Photo award for Arts & Entertainment Stories in 2012.

Pressebilder:

Each medium can use up to two press images for free (in combination with an exhibition announcement or review).
Pleas send an email to  fotohof@fotohof.at, and we will send you the images you've chosen in proper resolution.

All images:
Rob Hornstra
© Rob Hornstra / Flatland Gallery. From: An Atlas of War and Tourism in the Caucasus (Aperture, 2013)
 
Rob Hornstra. Coastal Cluster, Adler, Sochi Region, Russia, 2012

Coastal Cluster, Adler, Sochi Region, Russia, 2012
 

Rob Hornstra. Marika Bayur, Sochi, Russia, 2011

Marika Bayur, Sochi, Russia, 2011
 

Rob Hornstra. Georgian Military Highway, Gudauri, Georgia, 2013

Georgian Military Highway, Gudauri, Georgia, 2013
 

Rob Hornstra. Holiday Resort, Pistunda, Abkhazia, 2010

Holiday Resort, Pistunda, Abkhazia, 2010
 

Rob Hornstra.Mikhail Karabelnikov (77), Sochi, Russia, 2009

Mikhail Karabelnikov (77), Sochi, Russia, 2009
 

Rob Hornstra. Hamzad Ivloev (44), Nazran, Ingushetia, Russia, 2012

Hamzad Ivloev (44), Nazran, Ingushetia, Russia, 2012
 

 

 

MARKUS KROTTENDORFER - Phantom of the Poles

in the library:
ALFRED SEILAND - East Coast West Coast

Markus Krottendorfer - Biosphere II, 2013, Inkjet print 100x100cm
Markus Krottendorfer - aus der Diashow JPL Mars Yard, 2013
Markus Krottendorfer - aus der Diashow JPL Mars Yard, 2013
Markus Krottendofer - aus der Diashow Biosphere II, 2013
Markus Krottendofer - aus der Diashow Biosphere II, 2013
Alfred Seiland, Daytona Beach Shores, Florida, 1982, Edition zum Buch "East Coast West Coast", C-print, 31,5 x 25 cm

 

MARKUS KROTTENDORFER -
Phantom of the Poles
 
in the library:
ALFRED SEILAND -
Works from East Coast West Coast
 
Opening:
14th November 2013, 7:30 pm
 
Exhibition duration:
15th November 2013 - 18th January 2014
 
The forthcoming exhibition by Viennese photographer Markus Krottendorfer is entitled Phantom of the Poles and references the eponymous book by English scientist William Reed. The book is a 1906 treatise that set out to demonstrate that the Earth was hollow on the inside and that there could be life there with its own flora and fauna. This inner world was said to have two entrances, one at each Pole. The theory, while hotly debated in its day, was disproved by the successful polar expeditions only a few years after the book’s publication.
 
The exhibition explores different conceptions of the world, and while some are no longer up-to-date, they still shape modern society. The ideology of science fiction epitomises the sense of hope derived from belief in science and technology. Indeed, few are the constraints imposed on reveries about the future of humankind. During the cold war the zeitgeist was shaped by a mix of popularised science fiction and established science. Today this fascination with the belief in technology and progress is an outdated notion of the world. The exhibition at the Fotohof, featuring three slide projections and photographic works, is a fantastical journey of discovery, describing what we perceive from our vantage point as we gaze out to unexplored regions, within and without, and across the universe.
 
The slide series projected in quick succession (JPL Mars Yard, Biosphere II, Casa Grande – all 2013) were all photographed using infrared photographic film. With their false colour effects the photographs look as if the buildings and landscapes could actually be on the surface of Mars, somehow reminiscent of the stage settings used in science fiction films. What’s more, infrared sensitive film shows up things which normally go unnoticed by the human eye. 
 
Another slide show (Gators & Rockets, 2010) consists of photographs taken at the site around the Kennedy Space Centre at Cape Canaveral in the US. It depicts rocket launch pads previously used by the now decommissioned Space Shuttle programme and the swampland surrounding the NASA space station. The monumental skeleton structures of the launch ramps are juxtaposed with photographs of alligators, which roam the area, camouflaged in the swamps. 
 
The third slide show (Fishermen & Mud Volcanos, 2007) features a mud volcano in Azerbaijan and leads down to a fishing community, consisting of metal huts and assembled containers on the Caspian Sea. 
 
Our thanks to Galerie Charim, Vienna, for the works on loan for the exhibition. 
 
Markus Krottendorfer, born in Vienna in 1976. Lives and works in Vienna.
 
The exhibition at the Library features photographs from Alfred Seiland’s book East Coast – West Coast published in 1986 by Edition Stemmle in a German and English version. What is particularly remarkable about the publication, which was reviewed along with Sally Eauclaire’s The New Color Photography, is the speed with which an early Austrian (autodidactic) position on colour actually gained momentum at the international level shortly after its first national award, namely the presentation of the Rupertinum Photo Prize in 1983. The introductory essay by David Travis, long-standing curator of photography at the Art Institute of Chicago, undoubtedly also contributed to the success of both the book and the exhibition project, which subsequently toured many American institutions.
 
Our thanks to Galerie Johannes Faber in Vienna for the works on loan for the exhibition.
 
Alfred Seiland, born in St. Michael/Styria in 1952, lives and works in Leoben and Stuttgart.
 

Koos Breukel - being dutch

in the library:
Bernhard Cella - and.learning english has no use

Seine Majestät König Willem-Alexander mit dem Königsumhang, april 2013 © RVD; Foto von Koos Breukel
Bernhard Cella - and.learning english has no use
Koos Breukel, Rineke Dijkstra 1991, baryte pigment archival print, 40 x 30cm , Courtesy Van Zoetendaal

 

Koos Breukel  - being dutch

in the library: 

Bernhard Cella– and.learning english has no use

 
Opening: 12. 9. 2013, 7:30 pm
Exhibition duration: 13. 9. – 11. 11. 2013
Opening hours: Tue – Fri 3 – 7 pm, Sat 11 am – 3 pm
 
 
Koos Breukel has been regarded as one of the main protagonists of Dutch portrait photography for more than 20 years. Breukel originally made a name for himself with his sensitive portraits of friends, for instance his early series of the actor Michael Matthews afflicted by an incurable illness (Hyde, 1996), as well as anonymous portraits of people bound by a common fate. In these portraits of (partially) blind people (Cosmetic View, 2005) or of survivors of airplane crashes he addresses the relationship between photographer and model, but also the act of seeing and being seen.
 
In his project Being Dutch Breukel succeeds in using selected images of people to fathom the actual mood and state of an entire country. In something of a retrospective the artist showcases different people, his family, fellow artists and friends, through to the official portrait of King Willem Alexander, recently enthroned. Also included in the exhibition are portraits, taken by Breukel, of Salzburg residents from the Fotohof’s immediate Lehen neighbourhood.
The curator for this special project was Willem van Zoetendaal. In 2012 his publishing company, Van Zoetendaal Publishers, published the book Koos Breukel – Being Dutch, from which the exhibition derives its name.
 
Koos Breukel, born in The Hague, Netherlands. Studied at the Royal Academy of Arts in The Hague from 1982 to 1986; lives and works in Amsterdam.
Willem van Zoetendaal, born in the Hague, Netherlands, in 1950. Curator, book designer and publisher; lives and works in Amsterdam.
 
Bernhard Cella – and.learning english has no use
What sort of role can the means at art’s disposal play in an encounter with a different culture? For his residency at China’s Nanjing Art University, Bernhard Cella set up an experiment. He took along motifs from his works and shown them to the young artists, then asked them to find their own interpretations. His artist’s book entitled and.learning english has no use, which was published in the Fotohof edition in 2012, features his own works as well as the photographs they took; a video installation shows them at work. Thus, beyond even the almost insurmountable of language barriers Cella succeeds in triggering insights into the culture of a foreign work environment.
 
Bernhard Cella, born in Salzburg in 1969; lives and works in Vienna.
 

 

 

Hohe Dosis.

Recherchen zum Fotografischen heute

Michael Huey- on the ice, 2012
Timotheus Tomicek - look and see
Mattthias-Hermann_Untitled Film still 1.IX.2012
Peter Dressler. aus der Serie "Wiener Gold", 2011

 

Liste der ausgestellten KünstlerInnen:
 
Hohe Dosis. Recherchen zum Fotografischen heute 
[High Dosage. Looking at the Status of Photography Today]
 
A Fotohof exhibition at two venues:
 
FOTOHOF Salzburg 19 July – 7 September 2013
Opens: Thursday, 18 July 2013, 7.30 pm
 
ATTERSEEHALLE Attersee 20 July – 30 August 2013
Opens: Friday, 19 July 2013, 7 pm
 
 
Even in the 21st century photography is a powerful medium for perceiving the world and reflecting on it. Our aim with the exhibition is to explore what characterises the medium of photography in its essence today, i.e. what is “high-dosage” photography, as the title suggests? At a time of dramatic technological changes in image production and the use and presentation of the medium, we are interested in examining both the constants and the variables of the photographic apparatus, or dispositif.
 
The motif on the invitation card shows a still life by Matthias Herrmann featuring various professional photography equipment – various colour filters – showcased using alluring studio lighting. Here photography as an analogue imaging process is itself making one of its last appearances in a historical phase: the advent of digital photography has long rendered colour filters obsolete, relegating them as relics of a bygone age.
 
Even if the technological foundations for the photographic process are now being re-cast, the questions asked of photography and the thinking behind photography have essentially remained the same across all generations of users. The exhibition features a cross-section of key Austrian positions with widely differing approaches and methods. 
The main aim of the exhibition is to show the very latest works by artists who use the medium of photography in its autonomous form, rather than as a conduit for other visual and aesthetic strategies, a trend often seen in contemporary art. The concept adopted by the curators has been to structure the exhibition into chapters, even if the way in which individual works are allocated in each case is not always clear-cut; one might very well imagine some of the works in different contexts, too, rather like overlapping Venn diagrams. 
Integrated into the exhibition at the Atterseehalle is a number of key historical works which we consider to be “anchoring works” – works by Heinz Cibulka, VALIE EXPORT, Horáková + Maurer, Leo Kandl, Friedl Kubelka, Michaela Moscouw, Margherita Spiluttini, Christian Wachter and Manfred Willmann. These works may well be regarded as exemplary in their innovative and influential impact on the recent history of photography in Austria; they act as the prologue, so to speak, to the individual chapters.
 
Image work (reflecting on the medium – invoking the material)
In our research we noted that Matthias Herrmann is one of many contemporary artists who are responding to the fast pace of change in the technological prerequisites that underpin photography. While Herrmann adopts a reflective approach, tinged with irony and a splash of sentimentality, to those objects that have long defined the medium in its everyday use, many more recent positions run counter to the zeitgeist by exploring the archaic force often attributed to the analogue process. Thus the works of artists such as Andreas Duscha, Robert Gruber, Michael Part and Elisabeth Schmirl invoke a multifarious materiality that enables image effects ranging from reductionist abstractions to more painterly representations.
Exploring the prerequisites and conditions of the medium – the reflection on the medium – has always been the focal point of the artistic approach. Besides the aforementioned "material evocations" the exhibition will feature works on the subject by Franz Bergmüller, Inge Dick, Gertrud Fischbacher, Thomas Freiler, Maria Hahnenkamp, Ilse Haider, Horakova + Maurer, Herwig Kempinger, Hans Kuppelwieser, Lois Renner, Gabriele Rothemann, Nikolaus Schletterer, Günther Selichar, Katharina Struber, Otmar Thormann and Anita Witek. In the case of the two images from the paparazzi series by the group of artists G.R.A.M. the reflection on the medium is a playful interaction with mechanisms of the voyeuristic use of images in the mass media.
 
The magical moment – here and now
Every photograph is indissolubly linked with the time and place in which it was taken. Paul Albert Leitner’s contributions to the exhibition – a compilation of self-portraits and a series of single images – emphasise the medium’s reality-bound character through their precise captions, even if the staging of that reality (for example in the self-portraits) occasionally plays a crucial role. Leitner’s contributions also provide insights into the way in which photographic archives are structured: in Leitner’s case, analogue index cards, written by hand.
Other positions in this chapter given over to street photography (a genre now relatively rare) include Philippe Gerlach, Christopher Mavric, Annelies Oberdanner, Ingeborg Strobl, Timotheus Tomicek and Michael Ziegler. 
 
Combinatorics – image sequences
This chapter looks at the way in which content is visually formulated into series. The single image, from snapshots to elaborate tableaux, is expanded into an often filmic series, with images communicating with one another and, jointly, vis-à-vis the viewer. Heinz Cibulka’s Hochgebirgsquartette are both an artistic contribution to alpine rural life in the federal province of Salzburg and a prototypical example of an artist working with image compositions. In the seven photographs of his Wiener Gold series (2011) Peter Dressler is seen panning, prospector-like, for gold nuggets in a trench on a street in Vienna. The series again illustrates Dressler’s ability to highlight in only a few photographs pivotal issues such as the financial crisis using subtle humour (Dressler himself is the recipient of the 2013 Austrian State Prize for Artistic Photography). Other positions include Anja Manfredi, who works with the methodology of the tableau, and Michael Aschauer, who uses a high-tech photographing method to depict a large section of the Westautobahn motorway (approx. 50 km long) in a single photograph.
 
Social documents 
In a recent radio broadcast marking his 90th birthday Erich Lessing spoke of the loss of an entire culture of photography which once stored the world as prints in photo albums. In his view, the masses of digital images now stored on hard drives would not be preserved for the future, for technical reasons, and it will no longer be possible to see how people once dressed and what people, buildings and cars on the streets used to look like.
Even if this collective visual memory seems to be in jeopardy due to the new uses of photography as a mass medium, interest in perpetuating the artistic tradition of the social landscape – the view of the individual that allows a view of society – remains unbroken.
So across the generations it would seem that there is a commitment to maintaining a photographic approach which we might refer to as an empathetic and critical participation in the everyday lives of the image protagonists. Leo Kandl’s Weinhaus series from the late 1970s is a case in point, a series which Klaus Pichler for instance explicitly references in his new photographs.
The reception of images of the world is shifting increasingly from the realm of classic photo reportages in magazines to the art world in general and the medium of books in particular. Matthias Aschauer’s photographs of Attnang-Puchheim for instance are part of a “book in progress”, a sort of scrutiny of his origins, while Paul Kranzler’s third photo book surveys the social landscape of Upper Austria from a variety of perspectives. The farmyards of the Mühlviertel region photographed by Bernhard Fuchs are immersed in atmospheric light and appear to be deserted; and yet, somehow, its inhabitants are present, a phenomenon that has characterised photography since its earliest days. By contrast, with Angelika Kampfer and Rudi Strobl, human beings are a direct counterpart. Kampfer’s photographs are as touching as they are objective in their depiction of the very elderly in the face of death, opening up an existential dimension; with Strobl, the family with all its potential for conflict is an occasion for autobiographical analysis. In his reportage Marko Mestrovics embarks on a journey to the world of the “garbage baron”, a subversively alternative world in Bosnia with its own economy and its own rules.
 
Constructions of space as an image – investigations into landscape 
As a painterly genre, landscape representations entered art history only at a very late stage and were intended, from the outset, as something of a construct. By contrast, 19th century photographers included landscape depictions in their repertoire early on. In the contemporary application of the genre the photographic apparatus with its central perspective continues to condition space as a construct immanent in the medium.
The spectrum of the artist’s engagement with the theme of outside spaces ranges from the grand designs of a landscape shaped by the impact of civilisation (Markus Krottendorfer, Margherita Spiluttini, and Andrea Witzmann) to the directly scanned, camera-less landscape pieces by Günter Stöger. The dissolution of the (architectural) space and its rearrangement and reorganisation has also been of interest to artists such as Krüger & Pardeller and Anita Witek as a means of scrutinising the “natural” laws of photography and building a bridge from image to symbol. Anna Barfuss, Aglaia Konrad, Matthias Kessler and Gregor Sailer also offer different approaches to this theme. 
 
Self-assurances - identity
The question of identity is undoubtedly one of the questions most often raised today in the visual arts debate. The starting point is often the staging of one’s (own) body, a device which serves to enumerate questions of gender, origin and social class. With the emergence of body art in the 1960s, photography freed itself from the taboo of depicting the body in explicit poses. Friedl Kubelka deliberately presents herself as an erotic object, thereby undermining conventional feminist positions. In his self-portraits Matthias Herrmann unsparingly formulates a homosexual identity caught in the field of tension of lust and HIV. In her series Elisabeth Wörndl works with her mother’s dress, showcasing it as an original prop for her staged self-portraits. Michael Huey’s entire oeuvre is a concentrated process of retracing an extensive American middle-class family. Heidi Harsieber uses the device of the classic psychological portrait to engage artist personalities and their partners in an interplay of representation and self-presentation. Other positions in this chapter include Sissi Farassat, Anja Manfredi, Michaela Moscouw and Judith Rohrmoser.
 
Discourse - history
In recent years photography has become increasingly important as a means of flagging up descriptions of the world and as a marker of historically relevant events, but also of private experiences in places in which social and political realities have become inscribed. It is not appellative, documentary-style reporting that is required here, rather the subtle conflation of personally researched concerns which are represented in an artistically visual process. These inquiring reflections characterise the works of Caroline Heider, Werner Kaligofsky, Ulrike Lienbacher, Tatiana Lecomte, Markus Oberndorfer, Isa Rosenberger, Wolfgang Thaler and Christian Wachter.
 
Film programme
In the foyer of the Atterseehalle the exhibition will run concurrently with a film programme curated by Siegfried A. Fruhauf in co-operation with sixpackfilm, with a one-off screening scheduled at the Fotohof on 28 August 2013.
Films by: Michael Aschauer (aka m.ash), Miklos Boros, Carola Dertnig, Nikolaus Eckhard, Siegfried A. Fruhauf, KarØ Goldt, Dariusz Kowalski, Claudia Larcher, and Nana Swiczinsky
 
List of exhibited artists:
 
Matthias Aschauer - Michael Aschauer - Anna Barfuss - Franz Bergmüller - Miklos Boros - Heinz Cibulka - Inge Dick - Peter Dressler - Andreas Duscha - VALIE EXPORT - Sissi Farassat - Gertrud Fischbacher - Thomas Freiler - Bernhard Fuchs - Philippe Gerlach - G.R.A.M - Robert Gruber - Maria Hahnenkamp - Heidi Harsieber - Ilse Haider - Caroline Heider - Matthias Herrmann - Horáková + Maurer - Michael Huey - Werner Kaligofsky - Angelika Kampfer - Leo Kandl - Herwig Kempinger - Matthias Kessler - Aglaia Konrad - Paul Kranzler - Markus Krottendorfer - Krüger & Pardeller - Friedl Kubelka - Hans Kuppelwieser - Tatiana Lecomte - Paul Albert Leitner - Ulrike Lienbacher - Anja Manfredi - Christopher Mavric - Marko Mestrovic - Michaela Moscouw - Annelies Oberdanner - Markus Oberndorfer - Michael Part - Klaus Pichler - Hans Pollhammer - Lois Renner - Judith Rohrmoser - Isa Rosenberger - Gabriele Rothemann - Gregor Sailer - Nikolaus Schletterer - Elisabeth Schmirl - Günther Selichar - Margherita Spiluttini - Günter Stöger - Ingeborg Strobl - Rudi Strobl - Katharina Struber - Wolfgang Thaler - Otmar Thormann - Timotheus Tomicek - Martin Vesely - Christian Wachter - Manfred Willmann - Anita Witek - Andrea Witzmann - Elisabeth Wörndl - Michael Ziegler
 
Fotohof curator team: 
Brigitte Blüml-Kaindl, Rainer Iglar, Kurt Kaindl, Michael Mauracher
 
 

Annelies Oberdanner / Ingeborg Strobl

in the library: Elfriede Mejchar - Wienerberger Ziegelöfen 1978 -1981

Annelies Oberdanner - Petersil
Ingeborg Strobl - Ochse Georgien, 2010 analoge Fotos, Dimension variabel
Annelies Oberdanner. o.T. 2002
Ingeborg Strobl - Höllenotter (Königreich) 1980
Elfriede Mejchar - aus der Serie: Wienerberger Ziegelöfen, 1978 - 1981. C-Print, 19,5 x 19,5 cm.

Annelies Oberdanner / Ingeborg Strobl

 
In the Library: 
Elfriede Mejchar – Wienerberger Ziegelöfen [Wienerberg Brick Kilns]
 1978 - 1981
 
Opens on 23 May 2013, 7.30 pm
Exhibition run: 24 May to 13 July 2013
Opening hours: Tue – Fri 3 pm to 7 pm, Sat 11 am to 3 pm
 
 
Annelies Oberdanner and Ingeborg Strobl do not regard themselves as photographers in the traditional sense; rather, they are both visual artists with an oeuvre spanning multiple genres. Photography is used time and again in conjunction with other artistic mediums; rarely is the single image conceived without its setting. The auratic singular photograph plays a subordinate role. Both artists have a preference for series: some combined with texts in artist’s books (Oberdanner, Strobl), others associated with sculptures in exhibition installations (Oberdanner).
 
In terms of content the exhibition at the Fotohof Salzburg is designed as a dialogue on our perception of the unspectacular, the incidental and the ephemeral. It is an approach founded on both artists’ extensive archives of photographs. Both seem to share a particular attitude towards the world, one which results in contemplative, but also alert and empathetic observation, in common for instance with the “collector” Agnès Varda. In fact, it is no coincidence that Les Glaneurs et la Glaneuse is a film both women artists like very much.
 
Another area of consensus the two artists share in their fundamental approach is a mistrust of strategies of overwhelming, overabundance and breathtaking perfection. Both their idioms are far softer, their visual presence more restrained and unobtrusive – and unfussy. The small format predominates. At no point does the viewer feel harried by the exhibits on show on the gallery’s bright and open premises. 
 
Annelies Oberdanner’s contribution to the exhibition consists of a long series of photographs and a group of sculptural objets trouvés. For instance the fragment of cast iron waste pipe with black enamelled inner wall sourced from the grounds of Vienna’s Nordbahnhof railway station, or a green plank of wood found on the Danube Island. For the artist the sculptural quality of these sculptures trouvées stems from their materiality, fully realised by each particular shape. They have come about without concept or, in the case of the large round lichen-speckled stone from a forest in Tyrol, without human contact. The other pieces are coarsely processed (sawn off, broken, discarded, …) and then finely polished by the effect of weathering. 
Oberdanner’s photographic work also references the sculptural. Some of the photographs feature the artist’s own objects. Other “random” photographs came out of nowhere, as it were, and have been coupled to this area of personal interest; one might even say they were something of a fetish. 
 
At the exhibition the large 20 x 30 cm prints float unframed in front of the walls, mounted on thin wooden battens. The display window wall for instance shows the following series: a hand twiddling a pair of cherries. The cherries appear almost black as they dangle in the shadow, and their outline (and shape) changes from one photograph to the next. In the fourth photograph the hand has placed them in the sunlight, which suddenly illuminates the crimson colour of the fruit and entirely sidelines its shape.
 
Inside the exhibition space a series comprised of 60 photographs subdivided by motif groups runs along two walls. It begins with five photographs of little piles of snow left over from the winter, sitting like small animals in a field already green. Their crumpled irregularity of surface and shape is picked up by the second motif group (crashed cars and discarded clothes), conveying an entirely different atmosphere leaden with violence. It is followed by several photographs of hands delicately holding vulnerable objects, suggesting pleasantly tactile sensations. This creates a chain of photographs that incrementally shifts the content and meaning of each motif. The longest series in the sequence consists of photographs taken in the artist’s studio over the years, in passing and without purpose. Scratches and specks of dust have impacted the surface of the rolls of film (slides) to a greater or lesser degree (the passage of time thus visible on the prints). Taken as analogue photographs at different times of the day in different light conditions and with different films and cameras, they combine into a photographic studio journal that blends photographs of the artist’s own objects and sculptures with items of everyday life.
 
Ingeborg Strobl’s selection of works for the exhibition is determined primarily on the basis of diverging materiality, with content-related aspects seemingly of secondary importance. One particular focal point is the nature of the presentation, the display, the presence in the Fotohof’s gallery space. Self-exposed photographic paper corresponds with offset printing; miscellaneously framed photographic works, with video clips shown without sound on an old-fashioned monitor placed on the floor. The short videos feature observations made during her travels – everyday occurrences, random by nature. Unframed photographic works are placed on tables and inside display cases, including the oldest print found in her archives, a photo collage as a self-portrait, thought to date from 1970. Also test strips as relicts of time spent working in the darkroom, now associated with different contexts with the benefit of today’s point of view. 
Decision and interpretation as two of the mainstays of photography are also reflected as defining characteristics in the use of the photographic material. From the Here and Now her gaze alights on the There and Then. It recalls the latter, recalibrates its perspective and, in doing so, determines memory in principle as an act of interpretation. (Rainer Fuchs)
In the exhibition Strobl combines individual photographs from different periods based not just on their different appearance and presentation forms (all the more enticing for being juxtaposed), but also on narrative criteria. Time and again her oeuvre features animals, mainly farm animals, pets and local fauna, an aspect reflected in the selection of press photographs.
 
 
Elfriede Mejchar – Wienerberger Ziegelöfen. Rote Serie [Wienerberg Brick Kilns. Red Series]. 1978 – 1981
 
With her series of black-and-white photographs entitled Simmeringer Heide und Erdberger Mais, created between 1967 and 1976, Elfriede Mejchar occupies a position that is unique also internationally in her approach to the genre of the urban landscape. Her very first and, at the time, modest eponymous publication, initially featured in 1976 by Otto Breicha in the literary magazine Protokolle, served as a small but select eight-page exhibition catalogue for two exhibitions that same year at the Kunsthaus Graz and the Museum des 20. Jahrhunderts in Vienna. In reverence to the grande dame of Austrian photography the Fotohof’s library wall is presenting an exquisite series from a private Salzburg collection. The 18-part Rote Serie [Red Series], taken between 1978 and 1981, features the Wienerberg brick kilns, leading seamlessly into her legendary photographs taken on the same site.
 
 

WILHELM SCHÜRMANN
Road Map to Happiness. Pictures of a Street, Dortmund 1979-1981
At Home – Here. Herzogenrath – Berlin 2007-2013

in the library: Bodo Hell - Stadtschrift

Bushaltestelle (Frau Höppe und Tochter), 1979–1981
Copyright: Die Photographische Sammlung/ SK Stiftung Kultur, Köln
Wilhelm Schürmann: Schräges Fenster, 15. April 1980
Copyright: Die Photographische Sammlung/ SK Stiftung Kultur, Köln
Bodo Hell, aus der Serie „Stadtschrift“, s/ w Fotografien o. J, Fotosammlung des Bundes/ Österreichische Fotogalerie/ Museum der Moderne Salzburg
WILHELM SCHÜRMANN
Road Map to Happiness. Pictures of a Street, Dortmund 1979-1981
At Home – Here. Herzogenrath – Berlin 2007-2013
 
Introduction: Gabriele Conrath-Scholl (Cologne)
 
In co-operation with Die Photographische Sammlung / 
SK Stiftung Kultur, Köln
 
In the library: 
BODO HELL - Stadtschrift 
 
Opening: 26.3. 2013, 7:30 pm 
Exhibition run: 27.03. – 18.5. 2013
Opening hours: Tue – Fri 15 – 19 Uhr, Sat 11 – 15 Uhr
 
 
WILHELM SCHÜRMANN
 
At the heart of the exhibition by German photographer Wilhelm Schürmann is a selection of 40 black-and-white photographs from the now legendary series featuring “his” Dortmund street. It is part of the presentation entitled Wegweiser zum Glück. Bilder einer Straße 1979-1981 [Road Map to Happiness. Pictures of a Street 1979-1981] which was on show from March to August 2012 at Die Photographische Sammlung /SK Stiftung Kultur in Cologne.
For the current exhibition in Salzburg Wilhelm Schürmann is showing two other series that offer an insight into his lifelong photographic involvement with the theme of “neighbourhoods”. 
Herzogenrath and, more recently, Berlin are the artist’s places of residence; they are also the starting points for his forays into familiar territories of quotidian life in Germany. These images, now captured digitally, complement the classic wall pictures with rapidly changing images projections on the monitor, illustrating Schürmann’s method of serial work. With unwavering precision the photographer’s eye remains trained on the often humorous constellations of the urban setting. 
 
 
 
Now recognised internationally as a collector and curator of contemporary art, the photographer Wilhelm Schürmann (*1946) spent his childhood and youth growing up on Steinhammerstrasse in Dortmund, an area of the city typical of the region. In 1966 Schürmann left home and moved to Herzogenrath near Aachen, but between 1979 and 1981 he would return many times to his old stomping grounds. With complete objectivity, but also great enthusiasm, he renewed the ties with the everyday life of his childhood and youth, a life which in the intervening years had barely changed. He produced more than 2,000 black-and-white negatives. The motifs featured different views of the street, the façades of typical apartment buildings, neighbourhoods, parades of shops from dry cleaner’s to hairdresser’s – inside and out, apartments, furniture, details of furnishings such as decorative still lifes; but also portraits of residents he encountered and, further afield, gardens, flower beds and rear courtyards, railway station premises and adjoining wastelands.
Even today Dortmund is still the largest city in the Ruhr district. It had once been a hub of the coal and steel industry before the structural changes of the late 1950s almost brought this economic sector to a standstill. It marked the start of a trend with lasting repercussions for the people who lived there, people whose community and identity had been closely connected with the mining industry. In this picture series Schürmann not only introduces us to the environment of his own early life, but he also provides remarkable images of a time when the consequences of the post-war period were felt far more acutely in Germany and the illusions of the economic miracle became overlaid by a phase of disenchantment. 
Wilhelm Schürmann’s eye highlights photography’s role as a highly effective means of analysing reality, but also of tellingly relating a narrative of personal and collective views and memories. The photographer showcases real living conditions as well as an unforgotten attitude towards life with utter concentration combined with humour and self-irony. The Wegweiser zum Glück is a “road map to happiness” brochure issued by a lottery receiving office that is seen peeking out of someone’s back-pocket, and it is just one of the many wonderfully observed moments. 
The exhibition at the Fotohof is also something of a tribute to a photographer who has a shared history with Salzburg. Indeed, back in the late 1970s, Schürmann enjoyed close ties with Salzburg through his workshops and exhibitions at the Salzburg College and his lectures at the Summer Academy in early 1980. 
Now, after 30 years, with this representative exhibition of works, the artist continues much in the same vein, a driving force behind the movement of auteur photography, which also began in Salzburg at the time.
In co-operation with Die Photographische Sammlung / SK Stiftung Kultur, Köln
Published concurrently by Hatje Cantz Verlag is the comprehensive catalogue entitled Wilhelm Schürmann. Wegweiser zum Glück. Bilder einer Straße 1979–1981, with an essay by Gabriele Conrath-Scholl, which has just been awarded the Silver German Photography Prize 2013.
 
BODO HELL
 
In his book Stadtschrift, published in 1983 in the Linz edition neue texte, author and photographer Bodo Hell composed a photographic piece using text fragments that have inscribed themselves in Vienna’s fragile architecture. The term Stadtschrift translates literally as “urban writing”, which nowadays we usually associate with the visual sensory overload of large cities, evoking images of Times Square or Piccadilly Circus. By contrast the letterings in shop windows and on the walls of buildings in Vienna which Bodo Hell has chosen to showcase appear quite restrained. Often they consist merely of individual words, but always in close detail and with so little in the way of context that it is almost impossible to draw any conclusions about the nature of the building or even the precise location. There is another expectation thwarted in these images: instead of the multitude of brand names and advertising messages we are accustomed to seeing in urban settings, the words featured are nearly all words that also have a meaning beyond the world of brands and consumerism. The text of each photograph also has a general symbolism or meaning. Even company names such as Lang or Lose go beyond their immediate function. This creates an almost magical world of words; contemplating these images at length one is almost tempted to read a secret message or code into these texts.
Here the text takes centre stage, as befits an author. And it’s the wit and witticism of Alpha and Omega, of Manna Konserven and Wolle Wolle Wolle, Felle Felle Felle that immediately catches the viewer’s eye. Bodo Hell allows a certain amount of doubt to linger about the broader picture; but that is also precisely why these Stadtschriften have such an impact as images. These are reduced black-and-white photographs, their written form revealing their time and their history. But even at the time they were shot in the 1980s these writings were already nostalgic, featuring forgotten and therefore enduring signs of a changed world. One is almost reminded of Roman inscriptions, the understanding of which requires a knowledge of history.
Bodo Hell’s true expertise and skill is revealed in these constant shifts between text and image. Urban lettering is a widely used motif in photography. Mostly, it symbolises the density of information that confronts any viewer in a city context; in its proliferation it shows how urban architecture and the cityscape are overlaid and destroyed; and it also shows the abundance of advertising messages to which city dwellers are exposed. These photographers do not usually bother about the content of the texts. And yet, that is precisely Bodo Hell’s starting point as an author, showcasing the texts in the images like precious inscriptions uncovered after a long search. And the words do indeed speak to us, opening up a literary or at least linguistic associative space, slotting almost randomly into the literary oeuvre of Bodo Hell, who time and time again incorporates “found” words and texts into the broad associative space of his texts. It is therefore a literary work with photographic means, a photo series about mining the texts of quotidian life.
 
 
 

Looting Forays. Self-Interest Systems – Plundering Mechanisms

Lara Baladi, Taysir Batniji, Zanny Begg, G.R.A.M., Maryam Jafri, Lina Khatib, Vassiliea Stylianidou, Moira Zoitl Curator: Sabine Winkler

G.R.A.M.
Hohes Haus (Kiew)
C-Print, Alu Dibond, 183 x 263, 2010/ 11
Foto: Gert Heide
Lina Khatib
Fallin' Dictators
Video, 2011
Moira Zoitl, "Exchange Square", 2002
Vassiliea Stylianidou
WarRooms
Digitaldruck auf Baryt Archivpapier, 34 x 20 cm, 2010

Looting Forays. Self-Interest Systems – Plundering Mechanisms

Lara Baladi, Taysir Batniji, Zanny Begg, G.R.A.M., Maryam Jafri, Lina Khatib, Vassiliea Stylianidou, Moira Zoitl

Curator: Sabine Winkler

 
Opening: Thursday, 22 November 2012, 7.30 pm
Opening of the exhibition by Mag. Gerhard Schmidt (Director of the Salzburg Chamber of Labour)
Introduction: Sabine Winkler
 
Exhibition run: 23.11. – 12.1.2013
Opening hours: Tue – Fri 3 pm to 7 pm, Sat 11 am to 3 pm
 
Exhibition in co-operation with the Salzburg Chamber of Labour.
 
 
The exhibition looks at different methods and ways in which spoils are generated, illustrated by the example of the financial crisis and the toppled Arab dictators. Eight international artists explore exploitation mechanisms and their impact.
In the dramatic events of recent years one motif in particular has emerged ever more prominently, one that underlies both the general financial crisis and events in the Arab world. Exploitation and systems of self-interest are plundering mechanisms that present themselves either cloaked in democratic garb, as neo-liberalism, or naked, as authoritarian regimes. The opportunities for exploitation are boundless. What characterises the players in both systems is their loss of reality. The plundering mechanisms at work within the financial system are so abstract they are difficult to reconstruct. Banks and major corporations have been rescued at the expense of the population, which is now set to pay off the banks’ gambling debts for decades to come, with one austerity package chasing the next. This form of redistribution serves to eliminate the welfare state. Funding earmarked for the general public is being re-allocated to banks and corporations.
In the Arab Revolution countries, dictators adopted the exploitation techniques of former colonial powers and were supported by the West for as long as business relations were right. The dictators perfected existing networks of corruption that ran through all sections of society. With authoritarian and hierarchical regimes that operated out of self-interest in clans, feudal groups or mafia-like gangs, they created disastrous scenarios of everyday life and a lack of prospects, particularly for the young population. This direct confrontation with exploitation was a crucial factor behind the wave of uprisings that swept across the countries of the Arab Spring. Against the backdrop of these current developments the exhibition addresses the issue of historical, colonial and ideological reference systems of exploitation. What sort of illusions are being pulled out of the hat? Where do the different forms of looting coincide? And how are they interlinked? Who is getting rich – and at whose expense?
 
In her work entitled Hope Lara Baladi examines unofficial housing construction in Cairo, which can be seen as a consequence of informal or non-existent labour, and reflects corruption and its many connections.
Taysir Batniji photographs bombed-out houses in Gaza and then showcases them as estate agent’s particulars to highlight traditional and current looting through land appropriation and property acquisition. 
In Treat or Trick Zanny Begg uses the metaphor of magic to feature the market’s invisible hand, which is built on illusion and clearly does not regulate the market as if by magic. Zanny Begg explores the significance of irrational belief mechanisms within the financial market. 
In the photo series Hohes Haus, the group of artists G.R.A.M. has recreated punch-up scenes in various parliaments. They restaged the photographs of brawling MPs that were published in newspapers, highlighting the conflicts of interest that are played out physically within ideological systems and hinting at the links between political and economic looting. The photograph on show at the exhibition of a recreated fight scene between Ukrainian politicians at the Kiev parliament could be viewed in the context of the extended stationing of Russia’s Black Sea fleet in the Crimea and the reduction in the price of gas for the Ukraine. 
In her collages Maryam Jafri combines image and text material from newspapers of different eras and establishes connections between colonial and current mechanisms of exploitation by analysing reporting methods. 
In her video Lina Khatib shows photographs of advertising posters featuring toppled or toppling long-term dictators in the Arab Spring countries and showcases patriarchal gestures and poses. 
Vassiliea Stylianidou uses plasticine to manipulate photographs of the boards of directors taken from different magazines and uses irony to break their poses of representative self-projection. 
Moira Zoitl examines the working conditions and exploitation of foreign domestic workers in Hong Kong. Trapped in a legal vacuum, dependent on and at the mercy of their employers, a number of the women came up with models of resistance to combat this form of contemporary enslavement.

 

 

Jerzy Lewczyński - INFORMÉMENT

Krzysztof Pijarski JL-KP

Jerzy Lewczyński - Antyfoto, 1970, silver print, b&w, 18,1 × 12 cm. Courtesy of Museum Gliwice.
Jerzy Lewczynski - Lubin near Legnica, 80s. Courtesy of Museum Gliwice.
Krzysztof Pijarski - "JL". 50x40 cm, pigment print on Hahnemühle Photo Rag. 2011
Krzysztof Pijarski - "KP". 50x40 cm, pigment print on Hahnemühle Photo Rag. 2011

Jerzy Lewczyński - INFORMÉMENT
Krzysztof Pijarski   JL-KP

curated by Karolina Lewandowska (Warsaw)

in the library:
New works from the Fotohof Artotheque:
Wout Berger, Nadja Bournonville, Vera Brandner, Harald Gsaller, Ulrike Lienbacher, Klaus Pichler, Markus Oberndorfer, Christian Wachter

In cooperation with the  Fundacja Archeologia Fotografii Warszawa

 

Exhibition opening: 24.01. 2013, 7:30 pm
Introduction: Karolina Lewandowska 
 
Exhibition run: 25.01. – 16.3.2013
Opening hours: Tue – Fri 3 pm to 7 pm, Sat 11 am to 3 pm

 

 

The exhibition at Fotohof, Salzburg, highlights the heterogeneity of Lewczyński’s work – his mix of icons such as Crucifixion or Wawel Heads together with colour snapshots and black-and-white unpublished photographic notes showcase his highly contemporary way of depicting reality. As we tour the exhibition, we encounter the irony, the found, the unexpected, the accidental, and the anti-photographic. These aspects of Lewczyński’s photography make him fascinating and accessible to the contemporary viewer, even though he has been involved in photography since the 1950s. 

Jerzy Lewczyński (b. 1924) is a photographer, historian, photography activist and archivist by passion, and an engineer by profession. His approach to photography is characterized by an ironic eye on the reality that surrounds us and by a strong focus on the photographs handed down to us by history. He played an important role in structuring the photographic movement in Silesia; and he took part in the Subjective Photography (Kraków, 1968) and Photographers Explorers (Warsaw, 1971) exhibitions, both of which embodied modernist values in Polish photography. In the late 1960s, aspects of history and memory began to emerge in Lewczyński’s work. He started collecting old damaged negatives, which he then developed, thereby reviving and often discovering the memories of people, events and places. Lewczyński’s collecting activity resulted in the creation of a private archive in his flat, where his own artistic photographs blend with found pictures, souvenir snapshots, documentation of artistic events, recordings, letters, historical documents and books. Ultimately, he came to formulate the theoretical concept of the ‘Archeology of Photography’. Through his research into forgotten photography, Lewczyński offers a commentary on present-day reality. 

The presentation of this classic of Polish photography is juxtaposed with a recent project realised by photographer and art historian Krzysztof Pijarski (b. 1980). Fascinated by Lewczyński himself and his work, he created an artistic project around the master’s archive. Pijarski selected a number of motifs which occur in Lewczyński’s photography and built ‘warburgian’ plates around them, which examine the relations between the images. Most of the twelve plates also give us an insight into how Lewczyński himself becomes involved in his photographic games, highlighting the rarely mentioned performative aspect of his work. 

 
 

Jo Racliffe - "As Terras do Fim do Mundo"

in der Bibliothek: Roger Palmer - "Meridian"

Jo Ractliffe - On the road to Cuito Cuanavale III
Jo Ractliffe - On the road to Cuito Cuanavale IV
Jo Ractliffe - The battlefield at Cuito Cuanavale (Diptych)
Roger Palmer - Hammerfest, Finnmark, Norway, 2010
Roger Palmer - Dundee, KwaZulu-Natal, South Africa, 2010

P R E S S   R E L E A S E

EXHIBITION OPENING

 
Tuesday, 31 July 2012, 8 pm
Exhibition:
Jo Ractliffe – As Terras do Fim do Mundo
Introduction: Christine Frisinghelli (Graz)
 
In the library:
Roger Palmer – Meridian 2010/11
 
Exhibition run: 1.8. – 22.9.2012
Opening hours: Tue – Fri 3 pm to 7 pm, Sat 11 am to 3 pm
In co-operation with the Salzburg International Summer Academy of Visual Arts, Salzburg
 
Jo Ractliffe - "As Terras do Fim do Mundo"
South African photographer Jo Ractliffe spent two years, accompanied by veteran soldiers, retracing the border war which her country waged against Angola in the 1970s and 1980s and has depicted this former Cold War trouble spot in strikingly objective black-and-white photographs. The artist’s aesthetic approach is very much in the tradition of the New Topographics, examining in photographs the landscape genre as a political phenomenon and pathological subject matter. These images in the minimalist tradition of “these lands at the end of the world” (As Terras do Fim do Mundo, the title of both the exhibition and the multiple award-winning book) illustrate how to this day the violence of the past has forensically and symbolically etched itself into the otherwise unblemished expanses of the African landscape.
This work follows on seamlessly from the Terreno Ocopado series (2007), in which the artist examined through her photographs the social and spatial demographics of Angola’s capital, Luanda, five years after the end of the civil war. 
Jo Ractliffe lives and works as a photographer in Johannesburg, South Africa. She teaches at Witwatersrand University and at the Market Photo Workshop. 
 
Christine Frisinghelli is a curator and columnist; in 1980 together with Manfred Willmann she founded the magazine Camera Austria International and as editor oversaw the publication of 112 issues until 2012. She is the custodian of the Pierre Bourdieu Photo Archive and, in that capacity, attends to its international publication and exhibition activities.
 
In the Library
Roger Palmer – Meridian 2010/2011
Meridian is part of the new book entitled Circulation by Roger Palmer recently published in the Fotohof edition. It features eleven pairs of images taken on travels of equal duration and distance in uninhabited regions along a meridian (or line of longitude): in South Africa, between towns with Scottish place names; in the northern regions of Finland, in Norway and Sweden, Palmer photographed between tundra and coastline, crossing the Caledonian mountains in the process (in each case during the local summer time in 2010).
Roger Palmer,* 1946 in Portsmouth. Lives and works in Glasgow and Leeds, UK.
 
 
Published in 2012 in the FOTOHOF edition:
 
 
 
Roger Palmer
CIRCULATION
Text von / text by Penelope Curtis
Interview mit / with Lisa le Feuvre (English)
2012, Hardcover mit Schutzumschlag / with dust jacket
24,5 x 29,5 cm, 176 Seiten /pages
100 SW-Abbildungen / bw plates
ISBN 978-3-902675-65-1, € 39

 

 

Maya Rochat_Philippe Gerlach - a_nervous_system

in der Bibliothek: Seiichi Furuya "Mémoires 1978-1988"

Maya Rochat, A nervous system (bikers), 2011-2012
Philippe Gerlach, ohne Titel, Silvergelatin-Print, 60x40 cm, 2008
"Sublime is now", aus der Serie "Siren", 2010
Philippe Gerlach - ohne Titel
Seiichi Furuya - Izu, 1978. Color Print

 

P R E S S   R E L E A S E

EXHIBITION OPENING

 
Thursday, 27 September 2012, 7 pm
 
Exhibition:
Maya Rochat_Philippe Gerlach - a_nervous_system
 
In the library:
Seiichi Furuya - Mémoires 1978-1988
 
Exhibition run: 28.9. – 18.11.2012
Opening hours: Tue – Fri 3 pm to 7 pm, Sat 11 am to 3 pm
 

 

Maya Rochat_Philippe Gerlach – a_nervous_system
 
Both Maya Rochat and Philippe Gerlach are interested in photography as a medium of expression for the life feelings of a young generation. But rather than restrict themselves to the role of outside observers, they choose to interact with people and their locations.
 
Philippe Gerlach sees the photographic act as a process of interaction. “I want to remain as close to reality as possible, like when you keep a diary; but of course photography also involves a certain element of staging. I use cameras that are as discreet as possible in order not to disrupt the relationship between those involved.”
 
Gerlach's imagery spans the spectrum from intimate portrait studies as the expression of a special relationship (as in the Gosia series) to entire series such as the photographs of the punk scene in small German towns. 
 
Maya Rochat takes an associative approach, working in larger contexts with contents charged with high symbolism. Her image treatments are always predicated on an uncompromising existential perspective. In her series entitled Es stinkt der Mensch solang er lebt, after a Brecht quote, Rochat is working for instance on a counter-draft to the conventional media image clichés of a standardised conception of human beings and beauty. 
 
Both Rochat and Gerlach autobiographically reflect their own lives using the means of photography. Under the common title a_nervous_system, both works blend to form a dialogue, yet can still be read as individual presentations. In permanent consultation Rochat and Gerlach have created a special joint installation for the Fotohof, which they see as a nervous system: 
 
“a_nervous_system – we gave the title of our work a double meaning because our common ground lies in a nervous sensitivity towards the environment. While we do not spend too much time exploring our rationale (snapshot), we do subsequently amplify it with our own feelings and sentiments. And both of us are interested in imbalances, faults, scratches, scurfs...
The nervous system we are showing at the Fotohof is just about in balance, even if it is a precarious one. The screen flickers and the horizon tilts.”
 
Maya Rochat was born in Morges (CH) in 1985 and graduated from the Haute école d’art et de design (HEAD) in Geneva and the École cantonale d’art de Lausanne (ECAL). She lives and works in Geneva and Lausanne. 
Philippe Gerlach was born in Grenoble (F) in 1982 and grew up in Deep River (CAN), Kiel (D) and Burghausen (D). He is a graduate of the University of Art and Design Linz and was assistant to Nick Waplington in London. He lives and works in Linz and Berlin.

 

In the Library 
Seiichi Furuya – Mémoires 1978-1988 
 
Seiichi Furuya’s photographic work is acknowledged worldwide, dealing as it does with the act of remembrance in images with such tenacity. Time and time again he returns to the vast archive of images he accrued between 1978 and 1988, the years spent with his wife Christine, whose life was cut short. Five books by the photographer have been published since 1989, all under the same title Mémoires, created in memory of his wife. 
The exhibition at the Fotohof Library looks at the first artist's book entitled Mémoires 1978-1988, which was published by Camera Austria in Graz in 1989 and doubled as the catalogue for the eponymous exhibition at the Neue Galerie Graz by the then 40-year-old photographer.
Four years after Christine Furuya-Gössler committed suicide, a work of remembrance on public display unfolds here in the form of diary-like photo scenarios whose spectrum ranges from general photographs of brief domestic happiness with their son Komyo Klaus to the unsparingly recorded existential moments of a distinctive individual.
Both the book and the exhibition installation are seen as a separate format and open process, one which over the past twenty years has yielded many surprising variations. For the Library wall Seiichi Furuya has recreated a replica of the legendary first book, which as a result is once again subjected to the artist's review.
 
 
Seiichi Furuya born in Izu, Japan in 1950. 1966 – 1969 studied architecture in Numazu; 1970 – 1972 studied photography at the Tokyo Polytechnic University. Lives and works in Graz.
 
Seiichi Furuya: Mémoires 1978 – 1988. With essays by Monika Faber, Werner Fenz, Christine Frisinghelli and Wilfried Skreiner. Graz: Edition Camera Austria / Neue Galerie am Landesmuseum Joanneum 1989.

 

 

EXHIBITION OPENING: Thomas Freiler - Versuchsanordnungen/Tests

Thursday, 14 June 2012, 7 pm

Thomas Freiler- Case Studies, Tulpen, 2011. Kodak Professional Paper 30 x24 cm
Thomas Freiler - Case Studies: Ranunkel/ Buttercups 2011. Kodak Professional Paper, 30x24 cm
Thomas Freiler - Graukeil/ Grayscale, 3D Rendering, 2009
Horáková + Maurer - Černa Pole (Installationsansicht), 1992, Polaroid, 4x5 inch
Horáková + Maurer - Haus Tugendhat (Installationsansicht), 1992, Polaroid, 4x5 inch

EXHIBITION OPENING

Thursday, 14 June 2012, 7 pm
 
Exhibition:
Thomas Freiler - Versuchsanordnungen/Tests
 
In the Library:
Horáková + Maurer – BUFET (1991/92)
 
Exhibition run: 15.06. – 28.07.2012
Opening hours: Tue – Fri 3 to 7 pm, Sat 11 am to 3 pm
 
Thomas Freiler – Versuchsanordnungen / Tests
An exhibition as an experimental setup in which photography provides information about itself and, reflecting upon itself, also questions itself as a collection and argumentation. Thomas Freiler approaches the medium from the vantage point of its scientific preconditions and its apparatus-based structures on the one hand, and its uses and contexts on the other.
 
Arrangements and contrasting comparisons of photographs explore the basic parameters of photography and photographic representation in both the analogue and the digital field, but also the conditions and impact of developments and standardisations of photographic technologies on concrete picture worlds. As always, the medium is a key part in the formulation of the message, and Freiler examines these alphabets of photography, the traditional and the new, in contemporary images.
Thomas Freiler, *1962 in Krumbach, (A). Lives and works in Vienna.
 
In the Library
Horáková + Maurer „BUFET“ (1991/92)
Based on the Bufet catalogue (Edition Camera Austria 1993), test Polaroids and a photographic work from the Černá Pole installation are on show at the Villa Tugenhat (Ludwig Mies van der Rohe) in Brno. BUFET, with essays by Monika Faber, Werner Fenz and Petr Nedoma, documents several groups of works by the artist couple, much in the same way as a classic catalogue; but in its layout and design it also emerges as an art book referencing the avant-garde of the modernist era. Using the progressive analysis of a building structure the artists arrived at consolidating chains of association between their own work and that of others, between present and past. (...) The spatial concept by Mies van der Rohe, suggestive in its translucent beauty, also serves as the starting point, object, backdrop and framework for the work of Horáková + Maurer. (...) (Thus) (...) the medium of the catalogue now serves as a context in which old and new photographs of the Villa are contrasted, as are motifs by Mies van der Rohe with various works by Tamara Horáková and Ewald Maurer. (Monika Faber)
Tamara Horáková *1947 (CZ), Ewald Maurer *1947 (A). Studied at the Academy of Fine Arts in Vienna. Live and work in Vienna. www.horakova-maurer.com

released in 2012 by Fotohof edition:

Freiler Cover Cameras Work


Thomas Freiler
CAMERAS WORK
texts by Ruth Horak, Thomas Freiler (german / english)
2012, softcover with dust jacket
format: 26,7 cm x 21,6 cm, 160 pages
edition: 800
ISBN: 978-3-902675-51-4
 

INTRODUCING THE FOTOHOF AND ITS NEW PREMISES

Friday, 24 February 2012, 7.30 pm

“N.P.-I.K.-04” © Dirk Braeckman
Courtesy of Zeno X Gallery Antwerpen
“N.P.-M.V.-05” © Dirk Braeckman
Courtesy of Zeno X Gallery Antwerpen
“T.N.-I.O.-01” © Dirk Braeckman
Courtesy of Zeno X Gallery Antwerpen
Cover von “Zwischenspiel”
Wien: Karolinger Verlag 1989 © Peter Dressler
Die Fotohof-Crew mit Bürgermeister der Stadt Salzburg Heinz Schaden ( Foto: Kurt Kaindl)
INTRODUCING THE FOTOHOF AND ITS NEW PREMISES

Inge-Morath-Platz 1-3
5020 Salzburg

Friday, 24 February 2012, 7.30 pm

Official opening in the presence of Heinz Schaden (Mayor)
City Councillor Johann Padutsch
Mag.a Gudrun Schreiber
(Federal Ministry for Education, Arts and Culture in Vienna)
Host: Hannes Eichmann

Opening of the exhibitions, 8.30 pm

In the main hall: Dirk Braeckman
Martin Germann, Berlin, will speak about the exhibition

In the library:
Peter Dressler: Zwischenspiel, Vienna: 1989

Projection: On Screen – Contemporary Photography from Austria



Saturday, 25 February 2012, 11 am

Meet the artist / book presentation: Dirk Braeckman in conversation with Jeffrey Ladd

 
FOTOHOF at Stadtwerk Lehen

The spatial concept for the new gallery was developed together with the transparadiso firm of architects, building on the positive experiences at our previous gallery in Nonntal. The new premises reflect the architects’ ideas with regard to the new district while enabling all the services previously on offer at the Gallery (exhibition space, library, Artothek, publishing, mediation) but in a considerably improved form. The open transparent architecture offers through-views of the interior as well as glimpses of all the work areas from the outside.
A relaxing lounge in the lobby area invites visitors to linger a little longer or meet up there with friends. A shop has also been incorporated for the first time, providing a showcase for the books and photo art of the Fotohof edition. In the foyer a member of staff of the Gallery is on hand to help visitors find their way around on their first visit.
The adjoining exhibition room appears considerably more spacious. A corridor separated from the gallery space by a glass balustrade leads down to a slightly lower level and the specialist library with desks and free internet access. Also on this level are rooms for presentations of “Edition Fotohof” photographs, the Artothek, classrooms and the office.
Thanks to the crucial support and backing of the City of Salzburg a new cultural hub is emerging in Lehen. Indeed, with the new Galerie der Stadt Salzburg scheduled to open on Inge-Morath-Platz, the immediate vicinity also boasts the Literaturhaus Salzburg, the Galerie Eboran, and the City of Salzburg Library.


About the exhibition: Dirk Braeckman

Dirk Braeckman’s photographs depict inner worlds. Mostly they are interiors, inner vistas; sometimes human figures, often nudes, time and again as fragments. The images are immersed in a mysterious darkness, creating an intimate cosmos whose laws perhaps are also rooted in the tradition of Belgian Surrealism. In his images Braeckman condenses the rooms, which are often deserted yet furnished with armchairs, sofas and beds, into a gloomy atmosphere of vulnerable existential exposure. His world is charged with a latent erotic tension, also in images in which the human figure is absent. Braeckman is not interested in portraying specific locations or people; rather, he generates a concentrated detached image reality whose time and place references are merely alluded to as ciphers in his titles. He also makes images of images, revealing the syntax behind the technology of photographic processes: flashlight, over- and under-exposure, and interventions in the development process itself lead towards the unmistakable materiality of his images. “On the surface my images appear peaceful, when you look at them. (...) If you reduce everything, it comes up and hits you between the eyes. Sex, death, everything. I know, it sounds like a stultifying cliché, but you have to dare to admit that that’s what it’s about. (...)” D. B. 1998


Dirk Braeckman, born in Eeklo, Belgium, in 1958; lives and works in Ghent, Belgium. www.dirkbraeckman.be
Dirk Braeckman is represented by Zeno-X Gallery in Antwerp. www.zeno-x.com
Martin Germann, *1974, freelance curator, Berlin
Jeffrey Ladd, *1968, photo book expert and publisher; runs the photo book blog 4b5


On Screen – Contemporary Photography from Austria

The invitation to select a number of contemporary photographs for an exhibition on screen and as a projection went out to all Austrian artists who have either exhibited at the Fotohof or been published by the Edition since 1981 (the year of its founding) and the present day. The presentation comprises works by more than 100 artists, providing an exceptional overview of Austria’s contemporary output. The photographs are to be projected as a show in the public space on the evening of the official opening. With an event already scheduled to mark the official opening of the new premises on Inge-Morath-Platz we did not publicly celebrate the 30th anniversary of the Fotohof last spring. On Screen – Contemporary Photography from Austria is therefore also a symbolic get-together of friends and companions who have shared our journey.



In the library: exhibitions relating to landmark photo books

Books have shaped the institutional work of the Fotohof for more than two decades, both through its publishing ethos and the library, which currently provides more than 10,000 titles for research purposes. An exhibition series on the subject of the photo book is also to be launched to coincide with the opening of the new premises. The library – the showpiece, so to speak, for current exhibitions – is to feature selected works from the history of photo books in Austria. It comprises not just the artists’ books, but also the original photographs relating to each publication. Of interest here is how images work together in a book compared with a formally different presentation mode on an exhibition wall; also, the general question of the significance of the photo book as such within the oeuvre of each particular photographer.



Peter Dressler: Zwischenspiel, Vienna, Karolinger Verlag, 1989

The premiere of the new exhibition format is dedicated, in vintage works, to Peter Dressler’s art book Zwischenspiel. It combines photographs of the urban explorations he carried out in Vienna in the early 1970s. While a draft of the book with original prints was completed as early as 1973, it was only actually published in 1989. The picture story Dressler creates does not follow a strict narrative. Zwischenspiel draws its particular appeal from the many different references and allusions within the individual photographs. The book takes us on a real yet fantasy journey through Dressler’s Vienna, which thrives on the power of the associative image combination - without falling into the trap of sugary Viennese clichés. Dressler finds the subject matter for his narrative “wherever the substance, quality and sheer magic of the quotidian is present to a high degree”. (P. D. 1989) – in Vienna.

Peter Dressler, born in Kronstadt/ Brașov in 1942; lives and works in Vienna and Paris.
 
 

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