Transformidable!
Transitions between photography, installation and painting
Transitions between photography, installation and painting
Current tendencies in the transformation and transfer of artistic
techniques and visual meanings, especially in the field
of montage and collage, form the focus of this exhibition.
The neologism “transformidable” refers to the viewer’s conflicting experience,
marked by astonishment and admiration at these unusual new visual
worlds and by the shock and uncertainty caused by the breaks and
eradications they contain.
In the late nineteenth and early twentieth centuries, the development of
photography led to a redefinition of art, with the mimetic/reproductive
functions of the fine arts, and thus the conventional materials
and techniques, losing their unassailability and being made the
subject of artists’ work. The early collages and photo montages
of artists like Kurt Schwitters, John Heartfield and Hannah Höch
stand at the beginning of this intense reflection on artistic means
that runs through the art history of the twentieth century as a
major shaping influence.
The relationship between the existence of new technologies
(photography, film, digital media) on the one hand and, on the other,
their use and the artistic application of their principles (or the deliberate
refusal to do so) proves to be an extremely complex one.
photography led to a redefinition of art, with the mimetic/reproductive
functions of the fine arts, and thus the conventional materials
and techniques, losing their unassailability and being made the
subject of artists’ work. The early collages and photo montages
of artists like Kurt Schwitters, John Heartfield and Hannah Höch
stand at the beginning of this intense reflection on artistic means
that runs through the art history of the twentieth century as a
major shaping influence.
The relationship between the existence of new technologies
(photography, film, digital media) on the one hand and, on the other,
their use and the artistic application of their principles (or the deliberate
refusal to do so) proves to be an extremely complex one.
In recent times, the rapidly multiplying possibilities of photography,
film, collage and montage, in their analogue and digital forms,
have lead to a wide range of compound forms and combinations
of content.
This exhibition deliberately concentrates on four artists and their
different ways of dealing with the techniques and semantic fields of
transformation between the artistic media of painting, photography
and installation, using this broad-based presentation and an in-depth
exploration of these particularly innovative and varied approaches as a
way of approaching the basis for contemporary interpretations of
transformation processes in general.
film, collage and montage, in their analogue and digital forms,
have lead to a wide range of compound forms and combinations
of content.
This exhibition deliberately concentrates on four artists and their
different ways of dealing with the techniques and semantic fields of
transformation between the artistic media of painting, photography
and installation, using this broad-based presentation and an in-depth
exploration of these particularly innovative and varied approaches as a
way of approaching the basis for contemporary interpretations of
transformation processes in general.
The exhibition features work by Sabine Dehnel (born in 1971 in
Ludwigshafen, lives in Wiesbaden and Berlin), Barbara Flatten
(born 1970 in Cologne, lives in Cologne), Ruth Habermehl (born
in 1969 in Landau, lives in Leipzig) and Verena Landau (born in
1965 in Düsseldorf, lives in Leipzig).
In terms of their training and artistic approach, all four have ties
with figurative painting. But all of them use photography, staging,
installation, and montage to critically question and undermine
the supposed faithfulness of reproduction in their works.
In this way, they explore the medium of photography using the
means of staging and painting, and the medium of painting
using the means of photography and the involvement of
threedimensional settings.
All four have developed approaches to painting and photography
that overlap, but which are also quite different and distinct.
The results are always many-layered pictures about pictures,
which is what constitutes the particular attraction of these four positions.
This is due not to the appeal of combining incongruous elements,
but to the focus on methods of image production and image reception.
Ludwigshafen, lives in Wiesbaden and Berlin), Barbara Flatten
(born 1970 in Cologne, lives in Cologne), Ruth Habermehl (born
in 1969 in Landau, lives in Leipzig) and Verena Landau (born in
1965 in Düsseldorf, lives in Leipzig).
In terms of their training and artistic approach, all four have ties
with figurative painting. But all of them use photography, staging,
installation, and montage to critically question and undermine
the supposed faithfulness of reproduction in their works.
In this way, they explore the medium of photography using the
means of staging and painting, and the medium of painting
using the means of photography and the involvement of
threedimensional settings.
All four have developed approaches to painting and photography
that overlap, but which are also quite different and distinct.
The results are always many-layered pictures about pictures,
which is what constitutes the particular attraction of these four positions.
This is due not to the appeal of combining incongruous elements,
but to the focus on methods of image production and image reception.
There is always a deliberate and finely-dosed mixing of degrees of reality.
Unlike in early twentieth-century collage, the aim here is not to establish
montage as an aesthetic structuring principle and new model for
mimesis, but to focus attention on the formal issue of art’s immanent
relation with reality as a theme in its own right.
The pictures are clearly identifiable as artifacts that question the possibility of
communicating reality through art.
Unlike in early twentieth-century collage, the aim here is not to establish
montage as an aesthetic structuring principle and new model for
mimesis, but to focus attention on the formal issue of art’s immanent
relation with reality as a theme in its own right.
The pictures are clearly identifiable as artifacts that question the possibility of
communicating reality through art.
By Jörg Katerndahl, curator of the exhi
Transformidable!
Transitions between photography, installation and painting
Transitions between photography, installation and painting
Current tendencies in the transformation and transfer of artistic
techniques and visual meanings, especially in the field
of montage and collage, form the focus of this exhibition.
The neologism “transformidable” refers to the viewer’s conflicting experience,
marked by astonishment and admiration at these unusual new visual
worlds and by the shock and uncertainty caused by the breaks and
eradications they contain.
In the late nineteenth and early twentieth centuries, the development of
photography led to a redefinition of art, with the mimetic/reproductive
functions of the fine arts, and thus the conventional materials
and techniques, losing their unassailability and being made the
subject of artists’ work. The early collages and photo montages
of artists like Kurt Schwitters, John Heartfield and Hannah Höch
stand at the beginning of this intense reflection on artistic means
that runs through the art history of the twentieth century as a
major shaping influence.
The relationship between the existence of new technologies
(photography, film, digital media) on the one hand and, on the other,
their use and the artistic application of their principles (or the deliberate
refusal to do so) proves to be an extremely complex one.
photography led to a redefinition of art, with the mimetic/reproductive
functions of the fine arts, and thus the conventional materials
and techniques, losing their unassailability and being made the
subject of artists’ work. The early collages and photo montages
of artists like Kurt Schwitters, John Heartfield and Hannah Höch
stand at the beginning of this intense reflection on artistic means
that runs through the art history of the twentieth century as a
major shaping influence.
The relationship between the existence of new technologies
(photography, film, digital media) on the one hand and, on the other,
their use and the artistic application of their principles (or the deliberate
refusal to do so) proves to be an extremely complex one.
In recent times, the rapidly multiplying possibilities of photography,
film, collage and montage, in their analogue and digital forms,
have lead to a wide range of compound forms and combinations
of content.
This exhibition deliberately concentrates on four artists and their
different ways of dealing with the techniques and semantic fields of
transformation between the artistic media of painting, photography
and installation, using this broad-based presentation and an in-depth
exploration of these particularly innovative and varied approaches as a
way of approaching the basis for contemporary interpretations of
transformation processes in general.
film, collage and montage, in their analogue and digital forms,
have lead to a wide range of compound forms and combinations
of content.
This exhibition deliberately concentrates on four artists and their
different ways of dealing with the techniques and semantic fields of
transformation between the artistic media of painting, photography
and installation, using this broad-based presentation and an in-depth
exploration of these particularly innovative and varied approaches as a
way of approaching the basis for contemporary interpretations of
transformation processes in general.
The exhibition features work by Sabine Dehnel (born in 1971 in
Ludwigshafen, lives in Wiesbaden and Berlin), Barbara Flatten
(born 1970 in Cologne, lives in Cologne), Ruth Habermehl (born
in 1969 in Landau, lives in Leipzig) and Verena Landau (born in
1965 in Düsseldorf, lives in Leipzig).
In terms of their training and artistic approach, all four have ties
with figurative painting. But all of them use photography, staging,
installation, and montage to critically question and undermine
the supposed faithfulness of reproduction in their works.
In this way, they explore the medium of photography using the
means of staging and painting, and the medium of painting
using the means of photography and the involvement of
threedimensional settings.
All four have developed approaches to painting and photography
that overlap, but which are also quite different and distinct.
The results are always many-layered pictures about pictures,
which is what constitutes the particular attraction of these four positions.
This is due not to the appeal of combining incongruous elements,
but to the focus on methods of image production and image reception.
Ludwigshafen, lives in Wiesbaden and Berlin), Barbara Flatten
(born 1970 in Cologne, lives in Cologne), Ruth Habermehl (born
in 1969 in Landau, lives in Leipzig) and Verena Landau (born in
1965 in Düsseldorf, lives in Leipzig).
In terms of their training and artistic approach, all four have ties
with figurative painting. But all of them use photography, staging,
installation, and montage to critically question and undermine
the supposed faithfulness of reproduction in their works.
In this way, they explore the medium of photography using the
means of staging and painting, and the medium of painting
using the means of photography and the involvement of
threedimensional settings.
All four have developed approaches to painting and photography
that overlap, but which are also quite different and distinct.
The results are always many-layered pictures about pictures,
which is what constitutes the particular attraction of these four positions.
This is due not to the appeal of combining incongruous elements,
but to the focus on methods of image production and image reception.
There is always a deliberate and finely-dosed mixing of degrees of reality.
Unlike in early twentieth-century collage, the aim here is not to establish
montage as an aesthetic structuring principle and new model for
mimesis, but to focus attention on the formal issue of art’s immanent
relation with reality as a theme in its own right.
The pictures are clearly identifiable as artifacts that question the possibility of
communicating reality through art.
Unlike in early twentieth-century collage, the aim here is not to establish
montage as an aesthetic structuring principle and new model for
mimesis, but to focus attention on the formal issue of art’s immanent
relation with reality as a theme in its own right.
The pictures are clearly identifiable as artifacts that question the possibility of
communicating reality through art.
By Jörg Katerndahl, curator of the exhibition.
Transformidable in Romania!
Last station of the moving exhibition "Transformidable", a project of the four artists Sabine Dehnel, Barbara Flatten, Ruth Habermehl and Verena Landau took place in Romania, Timisoara.
Opening Reception at The Art Museum Timisoara (Romania)
Solo Exhibition in in Japan/Tokyo, Roppongi, May 2008
Thank you for visiting my solo exhibition in the Genkan Gallery of Tokyo American Club! The exhibition ends 1st of March.
Naked Tokyo 2008
Our last group exhibition Naked Tokyo in Le Deco was a great event with more than 200 people showing up! Pictures of the party you will find on the official website of “Naked Tokyo 08”: http://fotogrotto.wordpress.com/naked-tokyo-party/
Soloexhibition at Gallery Strenger, Jan 17th - 31st 2009
We had a great Opening. Thank you all for coming the the gallery!
Please visit http://www.gallery-strenger.jp/
PIctures of the Opening Reception on the right side:
German Ambassadors Mrs. and Mr. Daerr (right side) and guests, artist.
Wir laden Sie herzlich ein zur Vernissage der Ausstellung:
"Jetzt und Damals: Ida Gerhardi Förderpreis 2009 und 20 Jahre Ida Gerhardi Förderpreis"
31. 10. 2009 - 31.01. 2010.
Vernissage: 30. 10. 2009 um 20 Uhr
In dieser Gruppenausstellung werden einige meiner neuen Arbeiten aus Japan gezeigt.
Städtische Galerie Lüdenscheid
Sauerfelder Str. 14 - 20
D 58511 Lüdenscheid
Tel.: 02351 / 17-24 05
D 58511 Lüdenscheid
Tel.: 02351 / 17-24 05
Tank you all for coming to the exhibition Naked Tokyo 09, in Roppongi's Club Superdeluxe!!
Please find some more details under www.nakedtokyo.com
It was a great party as every year (unfortunately without me, as I had moved to Germany already)! A very special "thank you" to Alexis!
Liebe Freunde,
auf dieser Seite werden sie über weitere Aktivitäten informiert. Meine Arbeiten können Sie jederzeit nach Vereinbarung in meinem Atelier in der Guddenstraße 78, 80807 München ansehen.
auf dieser Seite werden sie über weitere Aktivitäten informiert. Meine Arbeiten können Sie jederzeit nach Vereinbarung in meinem Atelier in der Guddenstraße 78, 80807 München ansehen.
