May 4th, 2013
Artists: C. Angelmaier, Herbert Bayer, Gottfried Bechtold, Norbert Becwar, Arthur Benda, Martin Bruch, Rosa Brueckl, Gregor Schmoll, Clegg & Guttmann,Herbert de Colle, Plamen Dejanov & Svetlana Heger, Inge Dick, Gerald Domenig, Andreas Duscha, Thomas Freiler, Padhi Frieberger, Bernhard Fuchs, Seiichi Furuya, Walther Gamerith, Robert Gruber, Eva Grubinger, Manfred Grübl, Harald Gsaller, Ernst Haas, Maria Hahnenkamp, Robert F. Hammerstiel, Matthias Herrmann, Richard Hoeck, Kathi Hofer Christine Hohenbüchler Edgar Honetschläger Dieter Huber, Franz Hubmann, Gerhard Jurkovic, Werner Kaligofsky, Eleni Kampuridis, Leo Kandl, Barbara Kapusta, Herwig Kempinger, Erich Kofler-Fuchsberger, Peter Kogler, Paul Kranzler, Richard Kratochwill, Elke Silvia Krystufek, Erich Kuss, Heimo Lattner, Paul Albert Leitner, Branko Lenart, Ernst Logar, Dorit Margreiter, Michael Mauracher, Ursula Mayer, Michael Neumüller, Martin Osterider, Michael Part, Helga Pasch, Hermes Payrhuber, Pascal Petignat & Martin Scholz-Jakszus, Friederike Pezold, Norbert Pfaffenbichler, Barbara Pflaum, Cora Pongracz, Ferry Radax, Anja Ronacher, Constanze Ruhm, Didi Sattmann, Christoph Scharff, Klaus Scherübel, Alfons Schilling, Michael Schuster, Günther and Loredana Selichar, Lucie Stahl, Hermann Staudinger, Alexander Stern, Ingeborg Strobl, Octavian Trauttmansdorff, Herwig Turk, Nadim Vardag, Christian Wachter, Peter Weibel, Manfred Willmann, Erwin Wurm, Michael Ziegler, Heimo Zobernig
Venue: 21er Haus, Vienna
Exhibition Title: Points of view in Austrian Photography from the 1930s until today
Date: January 30 – May 5, 2013
Full gallery of images, press release and link available after the jump.
Images courtesy of 21er Haus, Vienna
How do things stand when it comes to Austrian photography, what is its status quo?
The exhibition Photos – Points of view in Austrian Photography from the 1930s until today, on view at the 21er Hausfrom 30 January 2013, is an attempt to answer this query. The focus will less be on the individual protagonists of the country’s vibrantly active photography scene than on their motifs, by way of which we can access the current discourse in the arts in a nonchalant, associative fashion. The selection of works is based on three essential motifs: objects, people, and photography as such. Still-life photography ranging from historical to contemporary examples reveals a distinct perspective of everyday objects, thereby not least reflecting a retirement into private life. These works alternate with depictions of people and their gazes: snapshots of small gestures exposing interpersonal and characteristic moments, which in turn are complemented by images dealing with photography per se. These three principal motifs stand for the defining parameters of photography – object and subject and how they interrelate – in terms of either documentation or artistic merit. The exhibits address the age-old issue of effigy, the authenticity of the image, but also that of the camera’s objectivity, in an up-to-date form. The exhibition is about people, the things which surround them, the way in which people relate to them, and about the lens that is in between of all this – the eye of Austrian photography that seeks to capture what it sees.
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