Next exhibition: Iris Andraschek / Stefanie Moshammer

Opening: June 25, 2015, 7 pm
Exhibition duration June 26- August 1, 2015

Iris Andraschek: Wait until the night is silent
 

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.
 

Stefanie Moshammer: Vegas and She
 

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