Lucie Marsmann – von damals und übermorgen
I am happy to present to you “von damals bis übermorgen” a photographic installation of Lucie Marsmann. The title means “from then and the day after tomorrow”.
Lucie Marsmann is a photographer, installation and video artist living in Bielefeld, Germany. Since 2006 she is part of Artists Unlimited, an artist space and community.
She develops her artistic work from her own material as well as found footage. Within installative prasentations she combines photography with film, projections and collages.
Lucie Marsmann deals with family history and its complex connections to today’s situation. She reflects the past in regard to the present day and future possiblities.
For the exhibition of „von damals und übermorgen“ she uses photographies, slides, collages and film material. She utilizes her familie’s archive as well as private images of anonymous families and combines them with her own photography.
Through the particular combination Lucie Marsmann raises questions about the production of imagery and its history. The personal involvement of the author and the spectator is reflected through formerly private material. Lucie Marsmann stresses absurdities which emerge with the distance of time. Funny as well as sad moments are crucial parts of her work. She connects them in a fine and tender way.
Through looking at the installation we are automatically confronted with questions about time, process and identity. What hapenned to the vivid girl in the photograph? Is she the mother of the artist, the artis herself or a complete stranger? How will the vacation snapshot of 2060 look like?
More work of Lucie you find at her website www.luciemarsmann.com
In this post I am presenting you photographs by Graham Hains. He is an Australian artist and photographer living in Berlin. The images are part of his projects which emerged during a four years stay in Indonesia.
The first series shows Indonesian, muslim families in their homes.
Interesting about the pictures is not only the documentary glance into their living rooms but also how the portraied are clearly involved within the photographic situation. Through smiling for the camera they control their own image.
These two pictures show Ayu, a Indonesian woman. Ayu is working as a domestic in Jakarta. Both images are staged yet they reflect on her real life.
She wears her traditional dress, designed for festive ocasions. The outfit can only be worn by a woman who is a native of Ayu’s area, as all areas of Indonesia has site specific batik.
The second photograph shows Ayu in a working situation. The picture is staged yet it reflects her everyday labor. By photographing her in a closed situation Graham Hains hints on the issue of female rights and the working situation of woman.
Narratives of Desire by Hayley Austin
Today I am presenting you a series from Hayley Austin. She is a photographer coming from the United States. She studied in Texas and in Germany, at the University of Applied Sciences Bielefeld. Currently she lives in Bremen studying with Peter Bialobrzeski.
Hayeley Austin is treating the subject of intimacy in love relationships. She is raising questions of tenderness, distance/closeness and nascent conflicts between lovers.
We see photographs that allow glances into imitate situations yet they don’t satisfy our voyouristic gaze. Her pictures oscillate between documentation and staged film stills. They trigger the viewer to think about relationships, gender roles and its connected life plans. The archetypical situations shown by Hayley Austin make us relive our personal as well as collective experiences. Wishes, desires and plans, which might turn out to be illusions, are visualized in her images.
More personal work of Hayley Austin you find at her website. www.hayleyaustin.com
Venture One by Christian Doeller
My second post is about the work of my friend Christian Doeller. I am happy to give you a glance into his ideas and artistic procedures.
Christian’s work emerged from a purely photographic point of view. Over the last years his artistic practice became an open investigation of scientific and philosophical questions. He is not limiting his use of media or material. Everything follows the logic his questions demand. He is interested in scientific subjects such as archeology or physics, as well as other fields of knowledge, like philosophy, esoterism and sports.
The project presented is called »Venture One«. Christian Doellers idea was to collect DNA samples of volunteers and send them into space via a balloon. He understands this project to be performative and particpative, as it demands the active attendance of others. The whole performance was organized as a big event. It included collecting money and technical equipment, drawing volunteer participants through a lottery, taking their DNA samples and installing a big balloon, ready to take off into space. The whole event was documented in photographs and video by artists from Bielefeld, including Michael Kohls, Lucie Marsmann, Heinrich Holtgreve. People from the local press also attended the happening..
Christian Doellers combines questions of science and poetry, open to further processing. The final end of „Venture One“ is left open to our imagination and utopian ideas.
You find Christian Doeller’s blog about »Venture One« under the following link: www.noahsspaceship.tumblr.com
actions for a fragmented picture – archive of gestures
Today I am presenting you my final exam project from July 2014. It was supported by prof Suse Wiegand and Prof. Dr. Wiebke Leister at the University of Applied Sciences Bielefeld.
„actions for a fragmented picture – archive of gestures“ is an installation based on a subjective archive. It is a long-term project which I understand as performative and process orientated. The objects, photographs and arrangements are based on a collection of images and reproductions of the Vatican Pietà from Michelangelo. The gathered material emerged from publications, postcards, books, magazines and the internet. Those images form the basic material for further interventions. Through fragmentation and transformation of both material and image I am deconstructing the religous myth of „ the Pietà“. The subjectivity of my work contrasts a generalized, reproductive point of view.
I understand my collection as open and performative. The archive is impermanent and therefore not bound to a certain size. Collection, collages and installations are versions of my involvement. The work changes due to spatial, social and medial circumstances. My concept of „version“ allows me to stay active within the artistic process. The material can be placed, displaced and over-written in regard to the current situation.
I am concerned with the question of public (re-) presentation of knowledge. For this reason I am utilizing museum strategies of display in a discontinous way. The viewer plays a central role in the installation and performative process of displaying. She or he has to follow an unguided movement through the exhibition.
Exhibition photos by Heinrich Holtgreve and myself.