Curatorial Projects

exhibitions

on our way.....

photographers:network

selection 2004

Studio Thomas Kellner, Siegen, Germany June 25th till July 4th

"on our way...."

we met somewhere.

 

The exhibition shows work by 26 photographers from 8 countries.

Each photographer is represented by one selected picture. In this project, Thomas Kellner invited one hundred photographers world wide for this competition. Out of more than a hundred submissions,  the jury (comprised of Thomas Gerwers, Profifoto, Germany; Burkhard Arnold, in focus Galerie am Dom, Cologne/Germany and Gerard Goodrow, director of the ArtCologne, Germany and Thomas Kellner, project coordinator) selected  26 photos  for the exhibition in Siegen. The exhibition shows work by artists that are at the same time on a similar path like Thomas Kellner. He gives us the opportunity to see images of his colleagues, whom he meets at festivals and other events somewhere in the world. The photographs are as different as the individuals who make them. There is figurative work, architectural, abstract and experimental photography. The end result is a collection of contemporary work and a network, where photographers can connect and help each other in building their careers. The exhibition will be acompanied by a printed portfolio in Profifoto,Germany, showing all the selected images.

Opening Friday, June 25th, 2004 at 7p.m.

 

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Participants:

 

Lili Almog, New York, USA

Steven Benson, Lake Orion, Michigan, USA

Herbert Boettcher, Bielefeld, Germany

Richard Bram, London, Great Britain

Suzette Bross, Chicago, USA

Thomas Brummett, Philadelphia, USA

Francoise et Daniel Cartier, Bienne, Switzerland

Evelyne Coutas, Paris, France

Abe Frajndlich, New York, USA

Jane Fulton Alt, Evanston, USA

Michael Hallett, Worcester, Great Britain

Anna Halm Schudel, Zuerich, Switzerland

Jolana Havelková, Kolin, Czeck Republik

Manuela Hoefer, London, Great Britain

Tamara Lischka, Portland, USA

David Maisel, Sausalito, USA

Katharina Mouratidi, Berlin, Germany

Marcella Mueller, Stuttgart, Germany

Kevin O’Connell, Denver, USA

Pavel Odvody, Darmstadt, Germany

Christopher Rauschenberg, Portland, USA

P. Elaine Sharpe, Toronto, Canada

Joachim Storch, Duesseldorf, Germany

Nelly Thomas, Langenselbold, Germany

Txomin Txueka, Getaria – Gipuzkoa, Basque Country, Spain

Frank Yamrus, San Francisco, USA

 

Studio Thomas Kellner, Friedrichstrasse 42, D-57072 Siegen, Germany

Opening Friday June 25th, 2004 at 7p.m.

Opening hours:

Sa/Su: 3-7 p.pm.

and by appointment

  

Lili Almog, Making Josephine Baker, 2002, 24x33cm

Lili Alomg

Depicted mostly by men in the past, portraits of women in their private chambers have been one of the grand subjects in the history of art and literature. How does one update or translate such images, of painting, of the portrait as testimony, even of photojournalism? How do images of private settings read in modern times, and when composed by a woman artist? ....

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Steven Benson, One Love Jamaica, silver gelatine print, 29x19cm, 2004, open edition

Steven Benson

I think of my involvement in photography is that of a cultural anthropologist. The photograph, "One Love"; Jamaica 2004 is an example of this concept. I frequently use an aesthetic strategy that involves various contradictions within ...

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Herbert Boettcher, Guggenheim Museum Bilbao, Fotografie 1, der 4 –teiligen Serie, C-print, 20,00 x 52,40 cm, 1997/98, edition 30

Herbert Böttcher

In my opinion the use of a pinhole camera at times, where digital media are available, is not a fallback into ancient history of photography, but rather a conscious decision. ...

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Richard Bram: “Portrait Bangkok”, silver gelatin print, 33x22cm, 2000, 15+5

Richard Bram

The main body of my photography originates in the Street, in everyday life. These images are not staged, but vision snatched from reality. This reality is filled with odd juxtapositions, ambient weirdness, and unexpected humour....

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Suzette Bross: “Commute #4 (Rosemont, cars)”, digital archival ink jet print, 18"x24" inches, 2002, edition 10

Suzette Bross

Everyday we make journeys. During these journeys to our intended destinations, it is easy to become detached from the surroundings, lost in thought. It becomes hard to see....

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Thomas Brummett: „Desert#5“, Iris-print, 50x50cm, 2002, edition 25

Thomas Brummett

“…In all his works the artist depicts various stages of organic life forms and plants using different highly specialized printing techniques in order to create images in which he transcends the "realistic" observation of nature into dreamlike images of high aesthetic quality.

The so called "Desert Series" has been realised in a journey by the artist to a desert in Arizona. While photographing in the natural landscape, Brummett puts single objects like cactuses, flowers and tress, into view. Hethus creates a surreal atmosphere ...."

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f&d cartier: „Puzzle J, no 2 25-26.01.2003, from series "Puzzle”/(Panties)”, Daylight photogram, baryt silver gelatin print, "16x20"/40x50cm, 2001/2004, Unique print -one-off image- numbered & signed, edition 10

Francoise & Daniel Cartier

“Roses,” a major body of work that this closely-knit husband-and-wife artist team has been building up since 1998. Their efforts have yielded several series of photograms — images cast by the sunlight alone as it touches the light-sensitive paper surrounding the carefully chosen objets trouvés placed upon it by the artists. Here, photography is reduced to its simplest but most immediate expression. Omitting the camera, the Cartiers achieve a quasi “material” likeness of reality ....

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Evelyne Coutas: "Post mortem - Oubliez-moi, souvent." ("Post mortem - Forget me once again"), silver gelatin print, 10" x 10", 2001, edition 25

Evelyne Coutas

One may ask why so many artists today are interested in old photographic techniques. Is it simply curiosity, a penchant for the paradoxical , historical interest?

Even if Evelyne Coutas does not escape this current trend she uses old processes with such skill that one does not question the reasons for her choice of technique.

Photography stemmed from painting and was as much the result of a new technical discovery as a revolutionary way of observing. Even before the invention of photography, painters in the privacy of their studios were beginning to see with the photographic eye. The technical advances developed simultaneously with this new aesthetic vision. It is not in an attempt to return to a ‘golden age’ that artists like Evelyne Coutas have turned to the origins of photography, but rather to displace the boundaries ....

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Abe Frajndlich: “Cindy Sherman”, copyright Abe Frajndlich 1987, silver gelatin print, 30x30 cm, 1987, open edition

Abe Frajndlich

My photographs are the fortuitous intersections of time, space, grace, light and luck that it has been my great fortune to be open to, and to have captured through my eyes and optics. If in a really productive working lifetime one has the chance to have made ....

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Jane Fulton Alt: “Matters of the Heart #11”, silver gelatin print, 25x27cm, 2001, edition 25

Jane Fulton Alt

My work reflects my interest in the mystery of the life force - the search for what is true. I’m trying to understand the essence of ....

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Michael Hallett: “eng.blackpool.03.06.19.pan (laughing donkey)”, C-print, 42x30cm, 2003, edition 32

Michael Hallett

A photographer observes a subject and freezes it in a moment of time, in what Henri Cartier-Bresson called the ‘decisive moment’. The camera frames the picture and allows the viewer to see the image normally within a 50 to 55 degree angle of view. A panoramic construction consisting of between 5 and 62 or more individual images gives ....

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Anna Halm Schudel: „Paris 2000a”, from the series nver ending journey Pigment Inkjet Prints on archival paper, ca.30x40cm, 2000, edition 21

Anna Halm Schudel

Anna Halm Schudels Werkfolge "Die unendliche Reise" unterscheidet sich markant von herkömmlicher Reisefotografie: Nicht zu exotischen Sehenswürdigkeiten oder an spektakuläre Wallfahrtsstätten zieht es die Fotografin, weder Sightseeing noch der Anspruch auf umfassende Dokumentation eines unbekannten Landstrichs setzen das Projekt unter Druck. Die Routen der Künstlerin durch Frankreich, Deutschland und die Schweiz werden bestimmt von der Geografie ihres Alltags. Den "genius loci" lässt sie erst durch ihre Arbeit entstehen, indem sie unscheinbaren....

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Jolana Havelková: Temporary meetings1, silver gelatin print, 30x40 cm, 2001–2002

Jolana Havelková

Photographic cycle entitled Temporary meetings (2001–2002) presents human faces. However, these photographs are not portraits in the traditional meaning. Jolana Havelkova creates enigmatically misty ....

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Manuela Hoefer: Old Factory East Germany 1993 75x50cm Ilfocrome, printed 2004

Manuela Höfer

In 1993 while visiting friends and family in her hometown, Hofer was made aware of an old textile mill, which had been built in the early twentieth century and shut down in 1991. 

Developers had moved in to change the derelict building into modern western style lofts, shops, and restaurants with a ....

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Tamara Lischka: “Eric & Davida #1”, silver gelatin print, Selenium toned, 34x27cm, 2000, edition 20

Tamara Lischka

I have always noticed people’s hands. As a young child, I remember watching my mother gesticulate with her hands while talking with her friends. I remember being confused about these movements, for clearly she was verbally speaking; yet her hands were obviously participating in the conversation. What was the meaning, exactly, of this little dance? ....

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David Maisel: "The Lake Project, #9271–8", C-print, 38x38cm , 2001, edition 40

David Maisel

The Black Maps Project "Black Maps comprises aerial photographs of environmentally impacted landscapes. The depiction of these damaged wastelands, where human efforts have eradicated the natural order, are both spectacular and horrifying.  ....

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Katharina Mouratidi: „#1 aus: "Brustkrebs", 22-teilige Serie, C-print, 46 cm x 58 cm, 2000, edition 20+2

Katharina Mouratidi

The work "Breast Cancer" consists of 22 semi-nude portraits of women affected by breast cancer.

For the project I portrayed 22 women, all of whom I found through the placement of short advertisements in Berlin newspapers. I did not select them, but accepted them in the sequence of their phone calls so as to give all women interested the possibility of participation, independent of their physical state or health. Thus emerged photographs of women between the ages of 25 and 63. They had had surgery, had had a mastectomy ....

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Marcella Mueller: „Busstop II. Tynemouth. England”, C-Print, 27,5 x 39 cm, 1999, edition 20+2

Marcella Müller

My photographs are taken on numerous travels to Italy, England, Scotland, Belgium and Malaysia. Once found a right area I keep returning back to it. Landscape can be interpreted in many ways and the individual photographer must deal with it in their own way. For me, my landscape images go beyond documentation. I try to capture the essence of the place rather than the place itself. I do not intentially highlight certain aspects of landscape, ....

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Kevin O'Connell: “Untitled 53”, silver gelatin print, 20x14cm, 2000, edition 15

Kevin O'Connell

My approach to photographing on the plains can be summed up in two words: I drive. While I occasionally leave my house with a destination in mind, I usually wander. Driving on the plains affords great contemplation and I often find myself in a sort of zen-like trance. ....

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Pavel Odvody: „Study of a sitting Nude IV”, silver gelatine print, 13x18cm, ca. 2002, edition 15+3

Pavel Odvody

Durch meine Arbeit versuche ich, bestimmte mentale Zustände zu ergründen, je nach Bedarf mit Hilfe von Gegenständen oder Menschen aber immer mit Hilfe des Lichts. Es interessiert mich nicht die Beschreibung eines Augenblickes, sondern eine Untersuchung der Abläufe, inklusive der im Kopf oder sonst wo. Also, das was gleichzeitig, kurz vorher und kurz danach im Kopf und Bauch ....

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Christopher Rauschenberg: “Arezzo”, C-Print, 47x32cm, 2003, open edition

Christopher Rauschenberg

Ever since its inception, the medium of photography has taught its practitioners that the ordinary world around them was filled with a quiet poetry and haunting magic that was unremarked but far from unremarkable. The camera looks at the world with a childlike innocence ....

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P. Elaine Sharpe: “Pathology Laboratory 2, Sachsenhausen, October 2002”, C-Print, 26x26cm, edition 25

P. Elaine Sharpe

The photographs in this work are large-scale documents of death and of absence, markers of sites where random horrific events were either instigated or have taken place. In travelling to these places I have discovered that most topographies are unremarkable to unsuspecting passersby; there is not always signage pointing the way. In some cases, such as Hitler's Bunker ....

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Joachim Storch: „Luxembourg Verwaltungsgebäude Arbed Stahl“, C-Print, 40x50cm, 6/2001, edition 10

Joachim Storch

Der in Düsseldorf lebende Fotograf Joachim Storch (Jahrgang 1943, Studium der Fotografie bei Gottfried Jäger, Bielefeld und Arno Jansen, Köln) bewegt sich bewusst auf der schmalen Grenze zwischen ....

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Nelly Thomas: “Windy Palm”, Cibachrome-print, 49 x 32 cm, 2003

Nelly Thomas

This body of work is influenced by a painting from the Dutch artist DeBruyn. The painting on the one hand is a cluttered room using several techniques but does not guide the viewer’s eye. Each viewer’s eye is captured by a different aspect of the painting – some see ....

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Txomin Txueka: „Zapatista prisoners (Chiapas)“, BW-Print, 30x45 cm, 2001, open edition

Txomin Txueka

To speak about colour in the case of black-and-white pictures may seem a little strange. This is nevertheless what the Basque photographer wanted to do in his reportage "El COLOR de la TIERRA" from the Chiapas region of Mexico. He dedicated his pictures to the fugitives and freedom fighters. In fact, these people lend a certain ....

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Frank Yamrus: from the series: Dehon Ice Fields, silver gelatine print, 35x35cm, 2002, edition 7

Frank Yamrus

Photography’s ability to provide accurate visual information of its subject matter provided the perfect mate for the landscape. As Naomi Rosenblum states in A World History of Photography, “The desire for accurate transcription of scenery of all kinds – natural and constructed- had led to the perfection of the camera obscura in the first place.“ However, landscape’s meaning seems over-simplified

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Profifoto

"our way.....";
oder:
auf meinem Weg, lerne ich seit  vielen Jahren Fotografen und ihre Bilder kennen. Oft sind es jüngere Fotografen, oder zumindest solche, die sich auf einem ähnlichen Weg befinden und ihre Portfolios zeigen, quasi "Klinke putzen". Oder aber man lernt sich auch bei Festivals, in Gruppenausstellungen, bei Eröffnungen in Galerien, oder Museen kennen.  Aus diesen Begegnungen entstehen Freundschaften und Netzwerke, in denen wir uns als Kollegen gerne treffen und helfen. Man begegnet sich in der Regel immer wieder, bleibt in Kontakt per Telefon, E-Mail, per Post, oder gar wechselseitigen Besuchen. Manche Kontakte bestehen schon seit meiner frühen Studienzeit. Immer wieder schaue ich mir Portfolios oder Ausstellungen an. ...

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Alfons Alt, Txomin Txueka, Pavel Odvody, Marcella Müller, Thomas Kellner und Herbert Böttcher