»Don’t forget me not«
Tina Bauer, Tilman Brembs, Kattrin Faber, Judith Horn, Diana Juneck, Ania Kaszot, Alexander Klang, Irina Kholodna, Gunnar Krüger, Carola Lampe, Patricia Morosan, Melina Papageorgiou, Linn Schröder, Jessica Wolfelsperger, Martina Zaninelli
Only on show in Athens, Greece (details see below):
Stefanie Reichelt, Kerstin Hehmann, Marie Zbikowska
Opening: Friday, May 5, 2017, 19h
Exhibition: May 6 – June 4, 2017
Finissage: Saturday, June 3, 2017, 17h
Opening hours: Tue-Thu 11-17h, Fri-Sun 12-20h
You cannot delay time, let alone stop it – really? The old longing to freeze time, to restore golden moments lost and to celebrate the here and now were the spiritual godfathers of this project in photography. A great challenge indeed – yet more than welcome. Photography freezes the moment in time, transforming it into lasting remembrances. But what do we really remember? What do pictures show us after all? The gap between golden moments lost and the here and now – which is the theme of this exhibition – cannot be bridged, however much we long for this to happen. The idea of this exhibition is to focus on the precarious position of photography in its balancing act between remembrances and reality, between oblivion and events in the past. Besides, this exhibition endeavours to point out the transformation of the old longing for immortalizing time into a longing for a modern and lasting imprint.
Besides the exhibition venue in Berlin (alte feuerwache), the works will also be exhibited in Athens (Greece) and Bolzano (Italy):
ATHENS, Gallery metamatic:taf
5 Normanou Str. / 105 55 Athens (District: Monastiraki) www.theartfoundation.metamatic.gr
Opening: June 27, 2017, 20:30h
Exhibition: June 28 – July 1, 2017
Opening hours: Mon-Sat 12-21h, Sun 12-19h
Via Weggensteinstraße 3F / 39100 Bolzano Bozen
Opening: September 16, 2017, 11h
Exhibition: September 17 – October 14, 2017
Opening hours: Tue-Fri 15-19h, Sat 10-12h
Insight – Outside (2014 – 2016)
The window as the connection from the outside to the inside: on the one side it gives insight to otherwise secluded spaces, into the privacy of people. On the other side, you have an open view of the world, on passersby, on the life, outside of the walls. In his new series „Insight – Outside“, the Berlin photographer Tilman Brembs takes up this physical and symbolic interplay. Over the course of several years such insights and prospects have come up, its ambiguity is already implied by Brembs in the title of his work. What all images have in common is: they are cut-outs of cut-outs of a world. They become an intersection and meeting place, they stage the contact from the outside to the inside and initiate at the same time a communication between the photography and its counterpart. The viewer becomes a part of the image without his doing – he becomes the back figure. He himself becomes a double viewer – of the image as well as of the image within the image.
Lost in Change
We leave traces. Noticeable traces – visible and invisible. Sarah lives alone in an old house in the centre of Stuttgart. Her neighbours have moved out or have died. Some individual pieces of furniture, pictures and books are left. The apartments have not been rented. Sarah has taken over some and uses them for band rehearsals and parties with friends. What is it to live in an abandoned house? Present and past merge. The atmosphere is fascinating and strange at the same time. The items that were left behind tell stories. Memories of the past. Among them, young woman. A snapshot.
It’s summer. I sit behind her to the right. She talks about the past, about how she thought she would never step off that train again and when she eventually did she smelled the sea, about how she picked seaberries in a forest. I close my eyes and hear her voice accompanied by classical music playing on the radio while she is humming along. Eighty years ago the island became her new home. She settled in, fell in love. The little girl became my grandmother. Without her I wouldn’t be here.
Walking on the moon
Once upon a time she made a decision that made her feel and think differently. Many times a day, everywhere in the world and I don‘t know how often exactly per day, people have to take decisions. You know what I mean – you know how it feels! Thoughts and feelings swirl and roam about. You lie down, but it is different – it is uneven and rough. You feel the pressure in your head, eyes, in your heart and stomach. You can not sleep anymore, you are torn from one side to the other. You know you have to decide what to do, you are directly in this world of weighing up. You are starting the ride through your inner landscape. You follow inwards, into the deep; drifting away – followed by the tender and soft, delicate death as well as the wild, stirring and exciting life. Thoughts and feelings coming and going, swimming, gliding weightless in space and time, pushing and squeezing from behind. The borders are open. The emotional and rational sensations are setting in, you dont know which step to take next and which direction you go. Headless and lost in mind – take care, dont loose yourself. Along this way she felt like… walking on the moon.
Pictures for Alice
Alice was beginning to get very tired of sitting by her sister on the bank, and of having nothing to do: once or twice she had peeped into the book her sister was reading, but it had no pictures or conversations in it, “and what is the use of a book”, thought Alice, “without pictures or conversation?”
Godchild. We rarely see one another but you are always there. Each time I visit you, I wish you could grow up some place else. Then I watch you and your friends immersing yourselves in your own childlike world. Relieved, and at the same time concerned, I return home.
There seems to be a change in our society. Self-evidence is no longer self-evident. Parallel worlds exist, oscillating between facts and felt truths. It seems like aggression, violence and uncertainties are on the increase and boiling beneath the surface. In the project “Beyond Control“ I move between states of control and loss of control, try to explore the feeling of power and impotence.
SOUND OF SILENCE
My grandfather never told and nobody asked. With my project Sound of silence I try to break, unsuccessfully, the family taboo on World War II as a personal experience and I try to establish a dialogue between past and present.
…when you were a child, we were happy when you were happy and we were sad when you were sad. Now when you are grown up and far away, we do not know neither your joy, nor your cry; but you remain the child… Love, mum & dad
Re/turn is a multimedia project, for which i recorded visits and moments at and with my parents. In Re/turn I recorded some kind of past and some kind of future – slipping all the time from one to another. There are small personal things which inhabits my memory and shapes the imaginary of my identity.
While remembering, we narrate our own story. With every new remembering we create it anew, affirming ourselves in the present by placing ourselves in the past. Each new remembering can change those places, sometimes barely perceivable. How does a bird find its way? Is it instinct, or memory? In Abu Dhabi, where this series was photographed, the falcon enjoys high appreciation. For centuries, Bedouins in the United Arab Emirates traditionally trained falcons, as to be able to procure sources of food in the desert. The falcon was not just a domesticated animal, a means to an end, but in fact regarded and respected as a member of the family. When a falconer trains a falcon, it is crucial to create a relationship of care and safety, so that the bird can trust its owner completely.
Hide + Seek
“Hide & Seek” is a series about anxiety. Each era creates its own fears, where new anxiety emerges. Classic phobias remain constant, but they are always seeking for current objects. We are free but sometimes we are locked in our own heads.
Esther was 92, when I first met her in California. She told me “I have seen the Wright brothers fly over my house, when I was a little girl”. How can we see the same, when her eyes have seen something so remarkable, so iconic, so fundamentally world-changing? Did you know that photons have travelled light years through the universe to earth, just to cease to exist when they are captured on our retina or camera? Trona is a drive-through non-descript town, which one would pass without noticing if it was not for its “whiteness”. White dust covers everything, streets, trees, mountains, the few houses. It is a mining town for borax. The English word borax is derived from the Arabic bauraq (“natron”) to “glisten” or the Persian word burah meaning “white”. When we see a white object that means none of the colors of the visible spectrum were absorbed by the object.
One last puff, Roxy blows smoke out loudly and upwards, pushing the cigarette in to the ashtray. Swelling over again; I could empty it, she thinks. But it is late, and in an hour the first guests will arrive in the cinema…
(Extract from the book: Ralf Döring)
Ein Bau ohne Außen
3 minutes. No, I had to go into the cellar dressed in my pyjama I was wearing. The adults may have had clothes on, I do not know. Was there a ceiling? Yes, everything was already there. Small cellar. There has been a breakthrough in addition to the cellar to the neighboring house. How long did it take? Half a day. How often? I do not know. Food? Do not think so. In which floor have you lived? In the 2nd. When was your father retracted? I was 5. He is in hiding perished, he has hidden in the basement. Erfurt Do you have a image in your mind? A little bit. Mood? It was still horrible, I always had to be awakened at night and had to get up and quickly wear something.
Ich denke auch Familienbilder
The fairy tale theme park in Ludwigsburg still exists. I have seen it for myself. Exactly like when I was a child, the pigeons are still supposed to visit Cinderella “in just two minutes“, attracted by seeds trickling slowly into a bowl. Just like us fifth graders back then, ten-year-olds still gather in groups by the fence, picking their noses and waiting for the overfed birds that hardly ever show up at the statue of Cinderella. Rapunzel’s braid still moves up and down just a little bit, almost paranoidly far above the heads and hands of the children and never close enough to the window of the castle for it to disappear. The unsatisfying thing about this braid; the chattering of the mechanics, which were worn out even back when I was a child; the background noise of the fairy tale audio tapes, whose volume is still turned down too low; the old-fashioned speaking style of the narrators, and the reproach in their voices (“You are not our mother!“), together with the rolled “r”, like in very old German movies – all of this still exists, exactly the way it was when I left it behind more than thirty years ago. One thing surprised me, however, because it hadn’t been part of my memory: the huge number of preschoolers, and what a knockout success the park was for them. Patiently they waited for hours in front of the water lily pond for their turn to get a lift up, and then down again, on the big throne in its center. Each child wanted to get sprayed by little water fountains on their way. I don’t know how many times children pressed the door handle for the witch to open her window and say (in Swabian dialect): “Nibble, nibble, like a mouse …?“ The clicking noise of the audio tapes turning on and off; the door of Ali Baba’s cave that opened way too early, long before they had finished the words „Open, Sesame!“, and even the fairy tales that were under construction and blocked with red and white barrier tape – nothing could spoil it for them. Bolt upright they stood in front of Snow White’ mirror, calling it 1001 times, each time getting a response. I am pretty sure a thermographic camera could have captured how their little bodies lit up, in turns with the slide projections on the other side of the fence.
(Text: Ursula Brandt / ursulinskaja.wordpress.com)