Curatorial Projects

exhibitions

alternativ realities (facts)
May 21 - September 7, 2017
Studio Thomas Kellner, Siegen, Germany

exhibiting artists: Andres Wertheim, Bethany de Forest, Ludmila Steckelberg de Santana, Ploutarkos Haloftis, Bill Armstrong, Kathryn Dunlevie, Max de Esteban.

Atelier Friedrichstraße
Atelier Thomas Kellner

Alternative Realities (Facts)
21.05. -07.09.2017

Thomas‘ Art Memory
21.05.2017


Wie passen Kunst und Spiel zusammen? Zum 19. Siegener Kunstsommers bieten am 21. Mai, anlässlich des KunstTags, Museen, Galerien und freie Träger erneut ein vielfältiges Programm an. Der Eintritt zu allen Veranstaltungen ist frei.
Das Atelier Thomas Kellner, Friedrichstraße 42, öffnet am KunstTag um 11 Uhr seine Türen für Sie. Zu sehen gibt es im Kunstsommer 2017 die Ausstellung Alternative Realities (facts). Ab 14 Uhr wird zusätzlich ganz nach dem Motto des diesjährigen Kunsttags „KunstSpiel“ auch im Atelier Thomas Kellner tatsächlich gespielt – das Thomas‘ Art Memory. Es basiert auf der privaten Sammlung des kuratierenden Atelierbesitzers, bestehend aus Kunstwerken mehrheitlich Siegerlänger Künstler. Jedoch handelt es sich nicht um ein gewöhnliches Memory. Aus 150 Memorykarten muss nicht nur das jeweils passende Gegenstück, sondern auch der dazugehörige Künstler, gefunden werden. Gespielt wird mit acht Personen: 4 Gruppen à 2 Spielern.
Gespielt wird allerdings nicht nur mit Karten im Atelier Thomas Kellner. 7 Künstler aus 6 Ländern weltweit spielen mittels ihrer Photographien mit der Darstellung der Realität.  Max de Esteban (E), Bethany de Forest (NL), Andrés Wertheim (ARG/DE), Bill Amstrong (USA), Ploutarchos Haloftis (GR), Kathryn Dunlevie (USA) und Ludmila Steckelberg de Santana (BR/CAN) nutzen hierfür Irritation, Doppeldeutigkeit, Verwandlung und Collage.
Die Arbeiten des Spaniers Max de Esteban visualisieren sein eigenes Statement zum Verhältnis zwischen Natur und der Digitalisierung im Zeitalter der Abstraktion. Wir befinden uns an einem Scheidepunkt, an dem Lebenszusammenhänge durch digitale Formen, die wir entwickelt haben, abgebildet werden und aber auch auf digitalem Wege Materialitäten hergestellt werden. Dieses Paradoxon, verschuldet durch die Digitalisierung, führt zu Entfremdung der Menschlichkeit in unserer heutigen Gesellschaft. Max de Esteban zeigt die Verhältnisse zwischen Objekten und Digitalen, Industrie und Steuerung von Biologie; kurz: die digitale und die reale Welt.
Bethany de Forest hingegen begann während ihrer Ausbildung an der Kunstschule (Utrecht und Amsterdam, Niederlande) Dioramen zu bauen und diese dann zu fotografieren. Ihr Ziel ist es eine “realistische” und zugleich absurde Fantasiewelt, in der man scheinbar umherlaufen kann, zu schaffen. Es entsteht die Illusion der fotografierte Ort sei lebensgroß, ein realer Ort zu dem man reisen könnte.
Auch die Werke von Andrés Wertheim erkunden die verschiedenen Ebenen der sichtbaren Wirklichkeit. In seinen Dokumentationen zeichnet er das, was vor unseren Augen liegt, auf, wohlwissend aber, dass der Begriff der Wahrhaftigkeit in der Fotografie Zweifel mit sich bringt: lügt die Kamera niemals oder ist sie nur ein Gerät, das das Vorhandene erfasst, in einem einfachen Versuch es zu imitieren?


Kathryn Dunlevies aktuelles Projekt ist eine Hommage an das reiche Durcheinander der Überlappenden Kulturen New Orleans und die noch wahrnehmbare Aura ihrer stürmischen Geschichte. Die Verflechtung von jahrhundertalter Geschichte ist in Gärten, Gebäuden und ganzen Bezirken zu finden. In ihren Arbeiten kombiniert sie Fotos mit Bildern aus dem Internet, Printalben und alten Fotoalben – Schicht für Schicht. Jede Komposition aus Elementen der Natur, Geschichte und zeitgenössischer Kunst verzaubert, zwingt, verwirrt und erschafft eine eigene Realität.
Der Amerikaner Bill Armstrong schafft durch das Integrieren von Farben in berühmten Fotografien aus der ersten Zeit der Fotografie bis hin zur Einführung von Kodachrome ebenfalls neue traumähnliche Realitäten. Der Prozess Amstrongs besteht darin bekannte Bilder durch Abfotografieren und das Hinzufügen von Farbe, ob digital oder mittels manueller Farbfilter und einem Lichttisch oder einer Kombination aus beidem, zu verwandeln.
Nicht nur für Bill Armstrong sind alte Photographien die Grundlage für seine Kunst. Auch Ludmila Steckelberg de Santana nutzt sie für ihre Arbeiten, oftmals dazugehörend Schwarz-Weiß-Fotographien. Durch die Fertigkeit des Bestickens verwandelt Sie ihre Werke mit Farbigkeit in textile Interventionen und setzt sie in eine romantische Beziehung von fremder Vergangenheit und eigener Vergangenheit, welche in Brasilien liegt.
Die Kunst aus alten Materialien etwas Neues zu schaffen ist auch bei Plotarchos Haloftis zu entdecken. Er verwendet alte Briefe, kaputte Puppen und zerrissene Poster zur Basis seiner Arbeit. Zerstört durch die Natur und an einen neuen Ort gebracht - zufällig oder durch den Künstler, so bekommen sie ein zweites Leben in Form seiner Fotografien. Für jeden außer den Künstlern sind die Gegenstände nicht mehr informativ oder brauchbar. Durch seine Kunst werden sie zu Helden der Dunkelheit, surreale, poetische Kurzgeschichten.
Der KunstTag 2017 im Atelier Thomas Kellner lohnt sich für Sie, wenn Sie der Alltagsrealität ein Stück weit entkommen und in illusionierte und digitalisierte Realitäten für einen Tag eintauchen möchten.
Einen Überblick wird es über alle Stationen des Kunsttages 2017 Ende März einen Flyer geben, der inGeschäften und öffentlichen Gebäuden ausliegt. Auch auf Facebook ist der 19. Siegener KunstTag mit seinem Programm zu finden.

Öffnungszeiten
21.05.2017 11 -18 Uhr
u.n.V.


thank you to my wife Helga for always supporting my curatorial ideas, thank you to Kunsommer for promotion and specialm thank you to my exhibiting friends in this show.

Ploutarcos Haloftis (Greece) is a writer and photographer. He lives and works in Athens. Halofti has exhibited his works since 1995 in group exhibitions and solo exhibitions. To the group exhibitions belongs the "European Face" and "Fotonoviembre Spain", as well as the ninth and eleventh "Photography gathering: Aleppo Syria", which all were shown in the "Stavlos Gallery" in Athen. His solo exhibition in 2003 was "SYNKRIA Thessaloniki Greece" and "Photographic Center of Thessaloniki".
I have been photographing for all my life as an adult. After having followed lessons in art photography for two years in Athens ( Focus school for photographic studies ), I have developed a keen interest to the more subjective forms of photography. A really big part of my photographs (maybe the 80 % ) is made in b/w 35 mm film, with low cost compact cameras of this format. My work REJECTED ITEMS IN A SECOND LIFE is the digital equivalent of my earlier works with analog film. Continuing my idea of using cheap cameras and lenses ( and taking advantage of their flaws ), in this case I used an old digital camera with an old, low quality digital lens on it. Trying to combine my two hobbies: walk and photography, I strolled and strolled for hours in order to locate the images I was looking for. Pieces of letters, broken dolls, torn posters and even a rejected mask, became the heroes of my short stories. Destroyed by the elements and relocated either accidentally or by me, they get a second life as parts of my photos. No more informative or useful - to anyone else but me - they now become heroes of the dark, surreal and poetical short stories I try to create. I want the photos of this project to make the viewers recall the tales of their childhood and to remind them of the strange creatures those tales made them imagine. If we consider a photo as a slice of reality, I want this slice to be as much surreal as I can make it to be.

Max de Esteban is an artist based in Barcelona. His work has been featured in solo and group exhibitions at art institutions worldwide including the Deutsche Technik Museum in Berlin, Palais de Tokyo in Paris and Darmstadter Tage der Fotografie and is in the museum collections of the Museum of Fine Arts, Houston; Museu de Arte Modena do Rio de Janeiro in Brazil; and Deutsche Technik Museum in Berlin, Germany, among others. Max holds a PhD from Universitat Ramon Llull and a master degree from Stanford University. Monographs of his work include Elegies of Manumission, Nazraeli Press (2012); Heads will Roll, Hatje Cantz (2014) and Propositions, La Fábrica (2015).The end of Nature as we know it. The substitution of the Fordist-industrial economy for a bio-cybernetic regime. Digitalization transforming Nature itself and our relationship to the Object. Materiality and the object in the age of abstraction; the connection between algorithms and reality, between mathematics and the real; the recreation of the object through digitalization; the paradoxal status of matter, the gesture and the hand in a post-human society.
The flows among artistic media and the engagement in a dialog, on renewed terms, between photography and painting; an experiment on XXIst century photography's aesthetics. The rejection of realist depiction, of linear erspective and, above all, of documentary referentiality. The reactivation of the vital power of images, banalized by daily use and overflow; "a conscious attempt to emancipate photography from its denotative function, aiming to emphasize the epiphanic, immersion value of it".

Ludmila Steckelberg is a multidisciplinary brazilian artist based in Montreal, Canada. She is a photographer and she has chosen to explore this medium mostly by means of appropriating and intervention. This past years she began to deeply explore textile as well, as a medium, still having old photographs as the base material of her work. Ludmila have participated in several solo and group exhibitions since her career began in 2005. Her work has being shown in several countries, as Brazil, Canada, Lithuania and Germany. Her pieces are part of private and public collections as the one from the Museum of Modern Art of Rio de Janeiro.

Menina (Girl), is a 2015 work from the Ex-voto series. In this series, the artist constructs magic amulets using fabric, in this case, lace; old black and white photographs and other elements, like beads and found objects. The amulet is known to bring luck and prosperity, and Ludmila recreates its use, in a sort of enchantment for the future, and a celebration of the past. Menina is an amulet specially crafted for the girl she has been. Elements in this work - snake skin, crucifix, colorful beads - suggests the passage of time, the loss of innocence, and the phases of a woman’s life. This work was specially created for her 2015 solo exhibition at Espace Projet gallery in Montreal. The series Ex-voto represents an ode to wishes and good will, crystallized in this sort of oversize amulet.


einige Werkabbildungen / mit link zum Portfolio

In New Orleans in 1857 a newly formed secret society, the Mistick Krewe of Comus, began the tradition of celebrating Mardi Gras with a torch-lit procession of extravagantly designed floats. My current project, Mistick Krewes, is an homage to the rich jumble of that city’s overlapping cultures and the still perceptible aura of its tempestuous history. Since its founding in 1718, New Orleans’ cultural, political and natural landscapes have been continually invaded and eroded, bought and sold, enriched and transformed. A visitor to New Orleans might pass through districts, buildings and gardens that exhibit the intertwining of centuries of Native American, Spanish, French, African and American influences. City streets are named for Greek muses, native tribes and 18th-century French nobility. Surrounding swamplands are swallowed by encroaching gulf waters. The atmosphere is charged with an air of mystery, a strange sense of desire, and a whiff of something hazily remembered, beckoning from just around the next corner. It is a place where history is revered, and where it can sometimes be ‘mistickally’ re-experienced. In these works I am combining my photographs with images from the internet, print media and old photo albums. Adding layer upon layer, revisiting each composition again and again, I am working toward scenarios that compel even as they may mislead. Interweaving elements from nature, history and contemporary culture conjures up landscapes populated with plants, wildlife, and otherworldly beings, evoking lost cultures and the Mardi Gras costumes that celebrate them.



Bethany de Forest Born in Stoneham (Mass) USA in 1966. Studied art in Amsterdam and Utrecht, the Netherlands. Works and lives in Amsterdam. During art school Bethany started creating these diorama’s, which she then photographed. Her objective was to show a “realistic” and slight absurdist imaginary world, in which one can supposedly wander around. Creating the illusion that what we see is life-size, an actual place we can visit. With an ordinary camera the images remained too distant. But with the pinhole camera she was able to capture this feeling.

Her inspiration stems from objects she may find or materials that appeal to her. The settings and ideas often come into being during the creation, due to and kind of action-reaction process. The final result frequently turnes out totally different then from the original beginning fase. The images often have a faraway feel to them. There always seems to be an element of suspense present. A mysterious darkness, seemingly sweet sometimes but coming so close that even butterflies can bite.


The works of Andrés Wertheim explore the different levels of visible reality. While in his documentary work he records what is situated before our eyes just as we see it, he's also aware that the notion of truthfulness in photographies always generates a doubt: does the camera never lie or is it only a device that captures a moment in a simple attempt to imitate it? As a result, he addresses this ambiguity in his conceptual series. Projecting slides onto faces and bodies he dives into the personality of his models. He clones architectural spaces and turns them into impossible constructions that question the alienation of man in our world. Through double exposures he merges lifeless characters with museum visitors and invites us to rethink our relationship with art. Andrés Wertheim uses the photographic document to create images that play with the viewer's senses, trying to open the doors of our perception.

Andrés was born 1962 in Buenos Aires. At the age of 22, he began to develop a passionate interest on photography, which he was lucky to meet Horacio Coppola, who had studied at the Bauhaus and became a mentor to him. Soon after, he moved to Germany and traveled around the globe, taking part in courses and workshops and documenting with his camera distant places and their inhabitants, striving to seek magic moments. In both assignments and personal work, through 30 years of experience he developed skills that led to publish his works on international media. Lately, some of his series got a turn depicting more conceptual imagery. Andrés Wertheim has been exhibiting his personal projects in museums, fairs and galleries in many countries and some of his works are in public and private collections.

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