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Solo show: Andreas Schulze - U.S.Trilogy / The Complete Cycle (over)

21 September 2013 until 2 November 2013
  Andreas Schulze - U.S.Trilogy / The Complete Cycle
Andreas Schulze U.S.TRILOGY, II / A LOS ANGELES STORY, U.S.T. II # 1, 45 x 31cm, Inkjet-Print
  Jochen Hempel Leipzig

Jochen Hempel Leipzig
Spinnereistr. 7 (Halle 4)
D-04179 Leipzig
Germany (city map)

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tel +49-(0)341 - 960 00 54

Galerie Jochen Hempel is pleased to announce Andreas Schulze's second solo exhibition U.S. TRILOGY / THE COMPLETE CYCLE. The purpose of images which are technically generated and circulated can be defined in the following terms: they serve both information and disinformation, they provide a position or a profile, stimulation or appropriation, remembrance or its manipulation, identification, documentation.
Andreas Schulze's work not only reflects on the fundamental visual features of our media society swamped by an excess of information and images, but it also fathoms its depths and contradictions. Significantly, he explores the relationship of collective pictorial reference points and subjective narration, of societal connections and autonomous accounts, in order to produce complex artistic statements. Photography becomes a central tool in this endeavor.

The United States produce an exceptional amount of media events in the field of information, and the entertainment industry in particular, and are an important purveyor of collective images. This image production on an industrial scale creates forms of cultural, social, political, economic, utopian, or dystopian potential, likewise circulated worldwide on an industrial scale. In a system such as this, all sides seem to become either passive or active producers of visual codes, which develop and provide a critical, affirmative, or manipulative vocabulary in an array of changing contexts - articulating or satisfying needs and desires in manifold ways.

Los Angeles is a place where Hollywood's picture producers follow their own visions, or those of others, and in an exemplary manner they create both myths and notions of leisure, perpetually arousing and satisfying desires, fostering fears or soothing them. The city, its architecture so provisional and like a stage setting, is home to all those social structures that in real life integrate the products of the film industry, interpret or transform them: as in Las Vegas, for instance, another studio city where its architecture conjures up beauty and splendor, generating all sorts of themes. There, both time and desires can be immediately redeemed or gambled away. In a place where people rely solely on luck, each person's loss or gain confirms a cliché and, at the same time, renders a respective deviation - an updated file for a further image. In its visual intensity and its contradictory architectural, sociocultural, or economic specificity, as well as its presence in the media, New York ultimately represents a kind of starting point which, in this context, is simultaneously a vanishing point. A construction of twisting, turning, and reflecting impressions as one approaches it.

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