Clare Strand is a British conceptual artist, working with and against the photographic medium. Over the past two decades she has worked with found imagery, kinetic machinery, web programmes, fairground attractions and most recently, large scale paintings. She rejects the subject-based qualities and the immediate demand of information, so often associated with the photographic image and instead, and without apology, adopts and welcomes a subtle, slow burn approach. Strands work has been widely exhibited in venues such as The Museum Folkwang; The Center Pompidou; Tate Britain; Salzburg Museum of Modern Art and the Victoria and Albert Museum. Her work is held in the collections of MOMA; SFMoma; The V&A; The Center Pompidou; The British Council; McEvoy Collection; The Arts Council; The NY Public Library; The Uni Credit Bank; The Mead Museum and Cornell University. She has produced 3 publications, Clare Strand Monograph published by Stedil (2009), Skirts published by GOST (2014) and Girl Plays with Snake published by MACK (2017). She is represented by Parrotta Contemporary, Cologne/Bonn.
Kunstmuseum Bonn Announces Special Edition Release of Horse Skirt by Clare Strand
In 2024, artist Clare Strand collaborated with Sotheby’s Institute and the Victoria and Albert Museum Digital Festival (UK) by running an AI system across her complete back catalogue of esteemed photographic work.
The series Skirts by Clare Strand, recently acquired and exhibited by the Kunstmuseum Bonn, was included in Strands Ai dataset.
`Referencing the first images ever electronically transmitted (1880) by Shelford Bidwel, depicting an image of a butterfly and a horse, Strand prompted her programme to generate images of both Fauna.
As a result of this project, The Kunstmuseum Bonn (@kunstfreunde_bonn) is offering a unique opportunity to own a special edition image from the Butterfly and Horse portfolio entitled Horse Skirt. This work was personally selected to mark 2026 as the Year of the Horse, while also establishing a direct link to the Skirts series held in the museum’s collection.
Proceeds from the sale support the Kunstmuseum Bonn, enabling the museum to continue its mission of providing a world-class programme of exhibitions and events.
Each 12 × 16 inch black-and-white matte Hahnemühle print is signed and dated, produced in an edition of 10 and accompanied by a signed copy of the publication Skirts by Clare Strand, featuring an introduction by designer Philippe Starck.
For enquiries, please contact ……………………….
With thanks to Parrotta Contemporary https://parrotta.de/
SCRAPED SOLO SHOW OPENS 5TH NOVEMBER, 2025 - PARROTTA CONTEMPORARY , COLOGNE
At the centre of the exhibition is The Entropy Pendulum, a specially constructed apparatus that continuously sets a pendulum in motion. As it swings, the pendulum's abrasive weight scrapes across 35 individual photographs from the artist’s archive, gradually wearing them down. This slow erosion inscribes itself into the image surface as both presence and loss.
On each day of the exhibition, one photo from the set is placed beneath the pendulum. At a time determined by the gallerist, the image is removed and placed into one of 36 empty frames on the gallery wall. Once all 35 images are framed, the process is complete.
The Entropy Pendulum is both a machine and a metaphor. Clare Strand succeeds in capturing the immaterial logic of the digital through tactile, analogue means. In response to the immense spread of immaterial images online — which are scrolled, harvested, scraped, grabbed and re-framed — the artist performs a gesture of degradation and reinvention.
The photographs that enter the Pendulum come from the artist’s specific areas of interest — magic, industry, telepathy, technology, and communication — their meanings neither fixed nor stable; remaining in constant motion, friction, and transformation over time.
Other works include items made from damaged negatives (Fox gloves) and a reconfiguration of Barthes' influential book, Camera Lucida.
'SCREENED' NEW WORK - OPENING 31ST OCTOBER AT BURG LEDE, COLOGNE. SOLO SHOW.
SCREENED - BONN
“Screened” is a new exhibition by artist Clare Strand comprising of six bespoke large-scale, folding privacy screens. A privacy screen can exist in digital and physical forms, both serving to obscure what lies behind, whilst, paradoxically, drawing attention to the very act of hiding. Strand’s new work amplifies this paradox exhibiting these photographic screens, displaying images of the very objects they are concealing.
Spanning a 30-year career, Strand has explored the photographic medium in its many capacities and forms. Since 2012 she has largely set aside the camera, instead branching into painting, kinetic sculpture, fairground attractions, chamber music and most recently AI. Yet she has never abandoned her central questions: what is photography, what does it do and how does it circulate and operate in our fast-moving, digitally-saturated world?
For the exhibition "Screened", Strand’s 30-year ‘archive' of work-related materials and ephemera become the artworks - taking the form of cardboard tubes containing photographic prints, her darkroom enlarger, boxes of research and props and piles of magazines, which have featured Strand's work over her career. Traversing the gallery, viewers navigate between the interface of the photographic image and its hidden three-dimensional referent. Screened is the result of a thought process, without nostalgic reflection, of our tacit relationship to the analogue archive when considering the unfathomable, vast and untethered visual scape of the digital.
SKIRTS SHOWING IN THE GROUP SHOW FUNNY BUSINESS CURATED BY EMILIA MICKEVICIUS, PHENIOX ART MUSEUM. USA.
Artists include John Baldessari, Tom Barrow,Jo Ann Callis, Liz Cohen, Robert Cumming,Judy Dater, Steffi Fairclot, Jacques-Henri Lartigue,Zig Jackson, Kenneth Josephson,Tommy Kha, Tseng Kwong Chi, Helen Levitt, Jeff Mermelstein, Bucky Miller, Reynier Leyva Novo, Mike Mandel & Larry Sultan, ,Lisette Model, Clare Strand, William Wegman, Garry Winogrand and Guanyu Xu.
Deadpan is not so much a type of joke as a mode of delivery, a manner of address to an audience that often provokes nervous laughter.
Comedian Nathan Fielder’s persona is marked by deadpan. In his hit HBO comedy series “The Rehearsal,” he maintains a blank facial expression as he listens to contestants fumble their auditions for “Wings of Voice,” his fake reality singing competition. He takes the task of donning the guise of an adult-size infant very seriously, in order to relive the childhood of heroic pilot Sully Sullenberger. His voice is steady and monotone as he converses with a male pilot who cluelessly describes the egregious behavior he’s displayed toward women colleagues.
What makes deadpan feel so off, so destabilizing, so dryly funny?
One reason is that performers – particularly comedians – are expected to be expressive and over the top, or even hint to the audience that they’re supposed to chuckle, similar to a sitcom laugh track.
As I recently organized an exhibition on photography’s relationship to humor, I found myself thinking about how deadpan works in photography. A still, deadpan image might seem like a paradox: Don’t you need a real, live performance? But exploring how photographers have deployed deadpan sheds light on just how powerful and incisive this form of humor can be.
Are you not entertained?
“Pan” was slang for “face” in the 19th century. The genre of deadpan humor was popularized in movies by actor Buster Keaton, whose expressionless, blunt and stilted presence before the camera inspired his nickname, “the Great Stone Face.”
Sprung upon an audience, deadpan can yield a reaction that reveals what philosopher Ted Cohen has described as the “conditional” nature of humor – that it plays into assumptions, expectations and prior knowledge precisely to disrupt them.
Puzzled by the unmet promise of a clear emotion or narrative, the audience laughs uncomfortably at their own bewilderment. The performer’s restraint registers as absurd.
The opposite of postcard perfect
As a medium, photography has historically been burdened by debates over its ability to convey ideas or expression. To early critics, a photograph seemed “mechanical” because it appeared only to reproduce the world, rather than express something new. Compared to drawing or painting, they reasoned, the camera could merely copy.
But I would argue that for these very reasons, photography is a rich lens to explore how deadpan works visually. In photography, deadpan doesn’t even need to involve people.
Take the work of Californian photographer Henry Wessel Jr. Known for his decades-long documentation of everyday life in California, Wessel was one of 10 photographers featured in the watershed 1975 exhibition “New Topographics” at the George Eastman Museum in Rochester, New York, which trained a lens on landscapes altered by humans rather than nature alone – think gas stations, parking lots and tract homes instead of national parks.
Yet the shift Wessel and the other photographers initiated did not simply concern subject matter, but the manner in which they presented it: coolly, at least by the standards of iconic landscape. Previously, photographers such as Ansel Adams had infused their pictures with drama and contrast to provoke the same reverence that they felt toward nature’s beauty. Museumgoers were accustomed to seeing these kinds of landscapes: picturesque and sublime, featuring sprawling mountain ranges and billowing clouds rendered in dramatic tonal ranges.
By contrast, Wessel photographed suburbia in the American West – and with irreverent affection. He composed his images with mock casualness and printed in a narrow tonal range, as if yielding to the leveling quality of the bright sunlight on the stucco and concrete.
This was puzzling; Wessel’s pictures seemed worlds away from fine art landscape photography. They resisted awe and transcendence in favor of dry bemusement. By 1970s standards, his subject matter and aesthetic were equivalents of deadpan’s monotone. Who in their right mind would make the effort to take such a plain picture of a humdrum house?
Yet by adopting this style, Wessel encouraged audiences to pay greater attention to their immediate surroundings: to read front porches, carports and landscaping as evidence of people’s lifestyles and values. His photographs demonstrate the wealth of information that lurks in the mundane.To Wessel, the seemingly mundane was brimming with intrigue.
Why so serious?
Other photographers have marshaled deadpan to explore themes of identity and belonging.
Tseng Kwong Chi was a prominent personality in the East Village art scene in the 1980s and a friend of pop artist Keith Haring. In his landmark series of proto-selfies, “East Meets West,” the Hong Kong-born artist used a funny personal experience as the point of departure.
Dining at Windows on the World, the restaurant atop the North Tower of the World Trade Center, Tseng decided to wear a Zhongshan suit, or “Mao suit,” as it was known in the West, due to its association with the former Chinese leader Mao Zedong.
The restaurant’s staff treated him as a dignitary, inspiring Tseng to embark upon what ultimately became over 100 self-portraits in which he appeared in this guise of an “ambiguous ambassador.” In the series, Tseng appears in front of popular tourist destinations – Disneyland, Mount Rushmore, Cape Canaveral, Paramount Studios – but never cracks a smile. Goofy hams it up for the camera as Tseng’s suit and serious expression subvert the conventions of tourist snapshots.
Similarly, in his series “Entering Zig’s Indian Reservation,” Zig Jackson adopts a caricature-like persona to both mock and resist Native American stereotypes.
Jackson was the first member of his family to leave their reservation in North Dakota. He spent time in various western states before enrolling as a photography student at the San Francisco Art Institute in the early 1990s.
Early in his time there, as he went for a jog in the city’s sprawling Golden Gate Park, he heard grunting bison from the nearby paddock, a beloved San Francisco landmark since 1892. Jackson felt simultaneously at home and homesick, like he was “among relatives.”
Wearing a war bonnet, or feathered headdress – an item of regalia that is often appropriated by white people “playing Indian” – he returned to the site to “claim the buffalo as my own,” as he explained to me in an email.
Sometimes I find myself wondering whether photography itself is inherently deadpan. It possesses a built-in bluntness that registers as absurd or confusing in certain contexts.
For her series “Skirts,” British conceptual artist Clare Strandrented banquet tables from a commercial catering company, covered them with linens and photographed them one by one. She then presented the images as a grid, as if they were specimens.
The viewer might initially assume that there is some sort of overarching narrative: Are they for a party? An award ceremony?
Strand extends a thread that scholar Heather Diack identified in the conceptual art of the 1970s: the centrality of humor as a strategy for artists whose work involves photographic documentation. Playing with photography’s purported straightforwardness, their work shows how photographs are anything but natural, literal or transparent.
Yet because people tend to associate photography with objectivity, it renders the medium ripe for deadpan humor – for crafting the appearance of a “straight face,” but with a wink.
DISCRETE CHANNEL WITH NOISE SHOWING IN 'CYBERNETICS NETWORKED SYSTEMS' CURATED BY DR CHRISTINA LEBER FOR THE DZBANK , FRANKFURT . JUNE 4 TO OCTOBER 18, 2025.
The exhibition “Cybernetics. Networked Systems” can be understood as an intermezzo, a cheerful scenic interlude that encapsulates the stance of the DZ BANK Art Foundation: interdisciplinary thinking and the uncovering, questioning, and analysis of connections and processes – between living beings, the arts, sciences, and technical and ecological systems. The exhibition draws on past ideas and aims to further explore impulses and connections from there.
Cybernetics is the regulation of message transmission in living beings and machines. It is about controlling complex systems that are transferred from humans to machines. It is the continuous search for common structures and communication principles, conceived in analogy to living organisms and social organizations.
The exhibition, featuring works from the DZ BANK collection, is divided into four main themes:
Perception and Language. Communication as a Complex System
Humans and Computers. Communication with Machines
Self-Organizing Systems. Nature and the Environment
Social Systems. Seeing Oneself Through Oneself.
artists include : Heba Y. Amin, John Baldessari , Rosa Barba, Robert Barry, Jan Paul , Evers Christiane,Feser Thomas Florschuetz , Johanne Franzen , Jochen Gerz.,Timo Hinze , Zofia Kulik ,Jochen Lempert, Michaela Melián,?Olaf Metzel, Antoni Muntadas, Mehreen Murtaza, Anne & Patrick Poirier,Johannes Raimann ,Thomas Ruff, Jörg Sasse, Helmut Schweizer, Clare Strand , VALIE EXPORT and Adrian Williams
IT’S THE 21ST CENTURY THAT EXPECTS EVERYTHING FROM YOU.
CURATED BY CHRISTIN MULLER FOR HAUNT GALLERY AS PART OF EMOP, BERLIN. 01.03.–29.03.2025
IT’S THE 21ST CENTURY THAT EXPECTS EVERYTHING FROM YOU
Viktoria Binschtok, Elina Brotherus, Peggy Buth, Yvon Chabrowski, Louisa Clement, Marsha Cottrell, Rebekka Deubner, Jan Paul Evers, Falk Haberkorn, Esther Hovers, Paul Hutchinson, Sven Johne, Julia Kissina, Simon Lehner, Marge Monko, Simon Norfolk, Barbara Probst, Anys Reimann, Adrian Sauer, Sarah Schönfeld, Fiete Stolte, Clare Strand, Rosemarie Trockel, Marion Scemama & David Wojnarowicz
Our present age is shaped by ideology and emotion. Digitization, climate change, and conflicts between societies and states are leading to political and social upheavals that impact individuals and the environment alike. The artists in this show reflect on experienced and anticipated processes of transformation; their carefully crafted images respond to the fast-paced visual media economy with new perspectives for facing the challenges of the early twenty-first century. How do we position ourselves in the present? What are the repercussions of social reorganization? How are urban and rural realities changing? And what is expected of us? The exhibition sheds light on these questions with photographic works by the Art’Us Collectors’ Collective, a non-profit association of private collectors committed to a lively culture of exhibition and communication.
HASSELBLAD CENTER, GOTHENBURG CURATED BY LOUISE WOLTHERS AND NINA MANGALANAYAGAM
8th Feb - May 4th 2025
Bugs & Metamorphosis: Glitching Photography is an exhibition that explores "bugs" in two intriguing ways: both as technical glitches and as tiny creatures, insects. By combining these two perspectives, the exhibition creates a visual experience that’s playful, critical, and thought-provoking. From digital mishaps to insect-inspired art, the works challenge our understanding of photography and technology.
With more than 15 artworks, the exhibition reveals how glitches can disrupt and question systems of knowledge, classification, and control. Bugs appear both as real creatures—moths, flies, bees, and other insects—and as technical malfunctions with themes like swarming, webbing, symbiosis, and extinction. The exhibition highlights the ecologies between human-made and natural forces.
Bugs & Metamorphosis provides critical insights into contemporary networked and machine-based photography. Bugs emerge through hybridity, camouflage, mimicry, and transformation. Many of the artworks are grounded in decolonial, feminist, queer, and ecological practices, embracing glitching to highlight ambiguity, unruliness, and vulnerability. Other works delve into glitches within archiving, mapping, and visualization processes. Through a mix of technologies—both analogue and digital, screen-based and installation, AI/GAN, and “low-tech”—the exhibition shows how glitches can open new ways of seeing and understanding the world.
Several of the works have been created specifically for this exhibition, and many of the artists are shown in Sweden for the first time. During the exhibition, photography and videoworks by Rashaad Newsome and Amalie Smith are shown at Gothenburg Museum of Art, and at Gothenburg Museum of Natural History works by Joana Moll, Mónica Alcázar-Duarte and Kristina Lenz and Alex Klug are on display.
Curators:
Louise Wolthers, Hasselblad Foundation and Nina Mangalanayagam, HDK-Valand, University of Gothenburg
An extended public program including performances and film screenings will take place during the exhibition period. Details to follow.
Parts of the exhibition will travel to Kunsthal Aarhus in Denmark, June – August 2025.
In connection with the exhibition, the book Bugs & Metamorphosis: Field Guide to Glitching Photography will be published by Art & Theory. The book is designed as a field guide and includes an introduction by Nina Mangalanayagam and Louise Wolthers, as well as essays by Cathryn Klasto, Joanna Zylinska, Majken Overgaard, Peter Nielsen, Peter Ole Pedersen, Tintin Wulia.
PUSHING THE ENVELOPE - NATIONAL MUSEUM OF COMPUTING (TNMOC) CURATED BY LUCY HELTON. 2nd November - March 2025.
The National Museum of Computing invites you to view Pushing the Envelope: An exhibition of mailed and correspondence art, an innovative exhibition coordinated by (TNMOC') first artist-in-residence, Lucy Helton.
Pushing the Envelope: An exhibition of mailed and correspondence art showcases work made by 2D artists who either use or reference archaic technologies. As The National Museum of Computing houses the world's first electronic computer, the Colossus, which Tommy Flowers spent eleven months designing and building at the Post Office Research Station in North West London, each artwork will be posted into the Museum. The mailed artworks are to be hung through-out the galleries between, beside or over the machines themselves. While the museum’s visitors will diversify and expand the artists' audiences, the exhibition aims to introduce art to the visitors they would otherwise never see.
The exhibition features work from the following artists:
Antony Cairns
Harry Gammer-Flitcroft
Stewart Hardie
Lucy Helton
Qiana Mestrich
Sarah Pickering
Indianna Solnick
Barry Stone
Clare Strand
Rahel Zoller & Louis Porter
99g's Artist Book Cooperative and invited artists
Through technical support from Museum volunteers, Lucy and participating artists have transformed the Museum into a vehicle for artistic expression.
A BUTTERFLY AND A HORSE AT PARIS PHOTO ON PARROTTA GALLERY BOOTH A48 AND CONVERSATION PANEL.
Presenting new work from The Butterfly and a Horse Series and talking on the Conversations panel "Collecting the Photographic – Current and Future Practices", Alongside Viktoria Binschtok, and Hanako Murakami, with Nadine Wietlisbach as chair.
LANDSKRONA FOTO :CLARE STRAND SELECTED WORKS 2005-2022
6th September-3rd November 2024.
Over the past 25 years, British artist Clare Strand has established herself as a significant and influential figure in contemporary art, known for her often unconventional approach to photography. Specially curated for the Landskrona Foto Festival, we are showing selected works at Landskrona Museum. Strand’s work has been exhibited widely, and she continues to be a prominent voice in discussions about the future of photography.
A BUTTERFLY AND HORSE - A PUBLIC THREE-DAY EVENT WITH SOTHEBY INSTITUTE AND V&A MUSEUM.
19-21st September 2024.
A Butterfly and a Horse by Clare Strand is a participatory monument to the complex relationship between the analogue, the networked, the digital and the generated image. This new work commissioned by MA students at Sotheby’s Institute of Art opens for the Digital Design Festival at the Victoria and Albert Museum. Inspired by the early image transfer experiments by Shelford Bidwell, a pioneer of modern digital technology, this work explores how the creation, profusion, and circulation of images have a significant impact on our experience of time, memory, and identity.
The work consists of a recreated darkroom, incorporating Strand’s own (and longtime unused) enlarger, which visitors will be invited to use to manually expose a photograph of either a horse or a butterfly, making reference to the first two images which Bidwell attempted to digitally transfer in 1880.
Although photography was originally considered the most scientifically accurate instrument capable of capturing reality, even the earliest pioneers recognized its potential for misinformation and the ‘hoax.’ It is now clear that photographic images can also pervert reality, especially considering recent developments in digital technology such as generative AI software. Far from Roland Barthes’ idea of the photographic image as an index of the ‘having-been-there’ of a precise moment in the past, digital technology has completely changed the prospects of the medium, manifesting in several respects as an oversaturation and deluge of images. It is precisely the phenomenon of the constant presence and rapid exchange of images in our daily lives, particularly through social media, that causes fundamental confusion and disorientation. This potentially leads to the draining of value from images themselves and even a distortion of the memory they carry. Paradoxically, the mere act of capturing what stands before us through the lenses of a smartphone or a digital camera to preserve a memory can lead to the oblivion of that very memory. It is as if digitising memory can somehow eradicate actual memory. Instead, we insist on the implicit mediating effect that photography has, as it is not a neutral instrument, but tends to frame reality through the photographer’s eye. Photographs epitomise the irreversible passage of time, inevitably interposing a distance between what has been captured by the camera and its viewers, like monuments which frequently claim to bear remembrance of the past but are necessarily detached from the present.
While monuments traditionally occupy public space and typically glorify certain individuals or values belonging to the past, the Reimagining the Monument team proposes a different concept of what monuments can be. Contrary to the traditional view, we emphasize that memory is inherently subjective, shaped by each person's unique experiences, personality, and identity. Rather than considering the function of memory as exercised simply through the visualisation of images, we must also consider that often identities are expressed through images, particularly via social media, as they are able to stage certain scenarios, which further suggests that memory is inherently subjective.
Erving Goffman in his seminal text The Presentation of Self in Everyday Life (1956), theorised the so-called “dramaturgical analysis” of social interaction, arguing that individuals behave like actors on a stage, perform their own identity to a public of social peers, and present themselves as they want to be perceived. In the context of social media, we could talk about a digital presentation of the self, in which individuals present or post their identity mainly through image sharing, contributing to the empowering of digital memory and building a data set that will be kept as reference by platforms operated by algorithms. The digital self would only function as a mere simulacrum of the real individual, inevitably blurring the boundaries between the virtual and real, creating a hybrid reality.
In this context, we might ask ourselves what the role of a monument is in our current society. Is it still a useful instrument to crystallise the past and preserve its memory, or does it risk standing as a mute symbol of something irremediably forgotten in our epoch, exclusively oriented to the hic et nunc dimension?
Strand’s work responds to these questions by conceiving a type of non-monument to the very idea of image creation and transference, focusing on the analogue photographic process and rejecting the modern thirst for immediate satisfaction by delaying the completion of the developing process of the photographs. People engaging with the monument will indeed receive their final photographs in the post weeks after exposing the negatives at the V&A.
In this sense, Strand’s own approach to the photographic medium, which she deliberately affirms to work ‘against’, is emblematic of the issues raised by digitalization. Shifting away from an essentially analogue practice, the artist has focused her approach on the intersection between the electronic and digital world, with its algorithms and generative tools as photographic lenses, resulting in an interesting exploration of the role of chance in the disoriented world we live in.
It is crucial to note that Strand’s monument also directly addresses the perennial issue of photography’s veridicity, as the images of a butterfly and a horse used for creating the negatives will be generated by an AI program trained on her own back catalogue of work. The two images offered are ‘memories’ of images, delivered in Strand’s own personal style, even though the animals depicted never existed and the photographs were never physically taken.
Finally, the very images produced by the people visiting the monument will be posted on a Butterfly and a Horse Instagram page, also showing the context in which every visitor framed them, and highlighting how digital image-sharing has become an important instrument to express identity. Thus, the participatory element of the installation will encourage visitors to focus on their own personal experience of images, shifting the paradigm of the monument from the public sphere to a more intimate and personal one, addressing the fragmentation present in modern society and the inescapable subjectivity of memory.
Alessandro Manetti, MA Contemporary Art '24
Sandra Nikusev, MA Art Business '24
'ALL THAT HOOPLA' SHOWING IN INTERVENTIONS AT BUNDESKUNSTHALLE, BONN, GERMANY. 1 MAY TO 27TH OCTOBER 2024
With Interactions 2024, we once again invite you to spend the summer in the public outdoor and indoor spaces of the Bundeskunsthalle. "Clare Strand’s fun fair stand All that Hoopla is a playful reflection on the mechanisms of the art market".
"All the works demonstrate that art can be an open offer, serving both individual and shared experiences – a togetherness in which rigid roles and behaviours are questioned and openness, tolerance and sensitivity are encouraged. All the participating artists are interested in forms of expression and techniques that reduce the possible distance to art, as well as the distance within a complex, diverse society"
Until August 25, the Kunstmuseum Bonn is exhibiting an overview of the new additions to its collection. On display are paintings, photographs and sculptures that provide an insight into the Kunstmuseum’s current collection focuses and developments.
With works by
Natalie Czech, Helmut Dorner, Bogomir Ecker, Robert Elfgen, Gregor Gleiwitz, Vivian Greven, Anna Lehmann-Brauns, C. O. Paeffgen, Stephanie Pech, Thomas Scheibitz, Corinna Schnitt, Clare Strand
FROM HERE ON OUT A CRITICAL REVIEW. KUNSTSTIFTUNG DZ BANK. February 15- 15 June 2024.
Photo-like images on the World Wide Web and on all digital devices mean that “photography” is once again on everyone’s lips. Do these data-based images have anything to do with drawing with light?We take this question as an opportunity to take stock and look at the history of the development of photography. What is photography?
Art foundation DZ bank
"From here. An inventory
Photo-like images on the World Wide Web and on all digital devices mean that “photography” is once again on everyone’s lips. Do these data-based images have anything to do with drawing with light?
We take this question as an opportunity to take stock and look at the history of the development of photography. What is photography? For the exhibition »From Here. “An Inventory” brings together 20 artists whose works demonstrate the experimental spectrum that photography has brought about as an artistic genre. The audience can expect a fascinating compilation that ranges from the idea of the Platonic allegory of the cave to digital image creation and includes photographic images from various techniques as well as reliefs, sculptures and films.
Eine Ausstellung mit Werken von:
Ketuta Alexi-Meskhishivili, Viktoria Binschtok, Miriam Böhm, Katarína Dubovská, Christiane Feser, Philipp Goldbach, Beate Gütschow, Gottfried Jäger, Isabelle Le Minh, Peter Miller, Conrad Müller, Johannes Raimann, Timm Rautert, Adrian Sauer, Stefanie Seutert, Clare Strand, Sophie Thun, Ulay, Valter Ventura und Oriol Vilanova
