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Group show: Konstruktion der Landschaft in der aktuellen Fotografie (over)

12 May 2006 until 25 July 2006
 
 
  Galerie Obrist

Galerie Obrist
Kahrstraße 59
45128 Essen
Germany (city map)

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tel +49 (0)201 72 66 203
www.galerie-obrist.de


Construction of landscape in contemporary photography

Gosbert Adler | Carsten Behler | Helge Emmaneel | Regine Bungartz | Anke Grams | Volker Heinze | Henning Maier-Jantzen | Simone Nieweg | Peter Schlör | Thomas Zika u.m.

Vernissage: May 12, 2006, 7pm

Caspar David Friedrich, who deeply set his stamp on the romantic view on landscape, is the reason for GAM to compile current positions on this theme. Whereas the Museum Folkwang presents a great exhibition on Friedrich, we show landscapes from the point of view of contemporary photographers.

The landscape was a central topos of romantic painting. In contemporary art landscape painting plays a less important role. It is the photographer who opens new views into landscapes. Some of the shown positions have a strong affinity to Friedrich, others accentuate the difference to the romantic point of view.

As an answer to the classicistic paradigma of humans as the measure of all things the romantic painting installed an almighty nature, which surpasses humans. We find humans in the romantic painting, very small in proportion to the play of the nature, but showing empathy. How does the today's photographer deal with that power of nature? Photography often suggests a real landscape in front of us, or at least a section taken from reality. But appearancies are deceptive: digital treatment and assembly allow to produce pictures which only seem to be taken from reality. Besides the positions of constructing new realities exist others, which have a direct reference to the romantic interpretation of landscape. Nature-experiencing humans are however hardly in the picture, but in front of it, - as viewers -, or behind the camera, - as photographers.

The central request of the exhibition is a sketch of the space of possibilities over landscapes. Our interest sets its focus on the objectivity, of how a landscape could be seen, and not on the representation of the real. "Construction of the landscape" refers to how photography realizes possible aspects of landscape in different constituent procedures. Thus shows up which remained hidden, the uncertainty of the detectable reality.

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