Eröffnung: Samstag, 25. September 2010, 12:00 Uhr
Dauer der Ausstellung: 26. 9. 2010 – 9. 1. 2011
KünstlerInnen:
Thomas Bayrle (D), Walead Beshty (GB), Björn Braun (D), Agnieska Brzeżańska (PL), Natalie Czech (D), Jeanne Faust (D), Hans-Peter Feldmann (D), Aurélien Froment (F), Sylvia Henrich (D), Horáková + Maurer (CZ/A), Susan Howe / James Welling (USA), Margarete Jakschik (PL), Annette Kelm (D), Herwig Kempinger (A), Heinz Peter Knes (D), Ernst Koslitsch (A), Tatiana Lecomte (F), Jochen Lempert (D), Ulrike Lienbacher (A), Lotte Lyon (A), Eva Maria Ocherbauer (A), Markéta Othová (CZ), Michael Schmidt (D), Gregor Schmoll (A), Roman Schramm (D), Stefanie Seufert (D), Dirk Stewart (D), Josef Strau (A), Barbara Trautmann (Germany), Susanne Winterling ( D)
published in 1957 Harold Edgerton that famous photograph, which holds the impact of a milk drop. In this photograph, there is no time, no sense of weight or gravity. The image freezes a moment between movement and stillness, between stability and instability and keeps this transition in the balance
As it is with this relationship between stability and instability of today? How can we create an image with photographic means, in dem die Dingwelt in ihrer Erscheinungsweise aus dem Gleichgewicht oder in ihren Gewichtungen verschoben erscheint? Wie lassen sich Prozesse von struktureller Veränderung und Wandlung fotografisch sichtbar machen?
Diese Fragen tauchen vermehrt in aktuellen künstlerischen Projekten als grundlegende Formfragen wieder auf, verknüpft mit Debatten über mögliche Anschlussstellen an ästhetische Projekte der Nach-Moderne – etwa an die Neue Sachlichkeit mit ihrer Fixierung auf Struktur und Form oder an surrealistische Ästhetiken der Verrätselung und Metaphorisierung der Dingwelt. Dabei scheint es um die Darstellung von elementaren Formen und Figurationen und den ihnen inhärenten Bruchstellen zu gehen: ephemere Erscheinungen und States that condense in a strange and yet emblematic moment in a specific form. Non-disclosure or the aesthetic of reality is the goal, but the still controversial question of the relationship between visibility and reality.
show in thirty table cases, the participating artists in each exhibition for its "Milk Drop Coronet". The thus created "Reading situation" allows a form of in-depth assessment, which differs significantly from a "scanning" view of exhibition walls. The limited space and in many cases, the concentration of stresses on black and white photography of smaller sizes the experimental Handling of the artists with their photographic material. Including silhouettes, double exposures, photo collages and photograms, but are also present with a marked tendency to discoloration of the photographic image again increased the techniques used that are not only an emphasis on shapes and configurations in the image is possible, but a quasi-atmospheric- exaggerated, speculative presentation of the material world.
The selected artists to make the method a "unobjective objectivity" appropriated, the logic between innuendo and succinctly-point seems to lie open, creating a constantly renewing addressed to deal with traditional issues of representation is to remain committed to photography.
prevent, especially in the visual media countless irrelevant information is often the key to register - a phenomenon that has described the sociologist Pierre Bourdieu as "Hide and shown. At the same time this phenomenon Bourdieu political consequences, because the ordinary has the important thing, because the spectacularization the banality of interest covered in imperceptible changes and the world will be transformed into a disjointed succession of incomprehensible snapshots. Or, as Alain Badiou puts it: "This is what determines the formal principle in all the arts: the ability for all (...). The visible, which does not exist for the media and commerce, and thus for all
seem The artists in the exhibition through the use of formal means and their pictures to follow so a counter-strategy: access by Hide -. they slow down so that the reading of refuse of the images and a purely superficial orientation depicted in a way they follow Bourdieu's demand to make the ordinary extraordinary, it is to describe a way that is visible, how extraordinary it is - as the immobilized drops of milk in Edgerton Photography
The point of attachment to the theme of the Styrian Autumn 2010. - "Master, Trickster, bricoleur" - is not modified in the issuing dispositive of the thirty table showcases thirty "showrooms": a terrain of showing and seeing that much of the convention of the White Cube settles and the visitors at the same time intimate as scattered in both formal as forming political debate caught by and between the positions shown. How much virtuosity have to raise the viewers to make the "text" of the exhibition? By the "exhibitions" on the fine line between vision and oscillate knowledge, history and aesthetics, contingency, and emblems, objectivity and mystification, they also provide the traditional ascriptions of photography as a technique of point-and-vision in question, so also the rules of recognition, interpretation and understanding.
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