Max Baur ยท Lily of the Valley
Category: still life, Stillleben, nature morte, naturaleza muerta, natura morta
Rhododendron flowers in vase
Blumenvasen um 1920
Der Blumenstrauร. Die vergรคngliche Pracht
Fotografie von den Anfรคngen bis heute
17. Mai bis 29. Juni 2024
anlรคsslich der dรผsseldorf photo+ Biennale for Visual and Sonic Media
Mit Nobuyoshi Araki, Max Baur, Boris Becker, Ute Behrend, Viktoria Binschtok, Peter Bรถmmels, Tim Berresheim, Natalie Czech, Michael Dannenmann, Sam Evans, Jan Paul Evers, Jitka Hanzlovรก, Axel Hรผtte, Leiko Ikemura, Benjamin Katz, Annette Kelm, Karin Kneffel, Maximilian Koppernock, August Kotzsch, Heinrich Kรผhn, Kathrin Linkersdorff, Robert Mapplethorpe, Hartmut Neumann, Roland Schappert, Luzia Simons, Josef Sudek, Michael Wesely, Dr. Wolff+Tritschler und einigen anonymen alten Fotoarbeiten.
Der Blumenstrauร als kรผnstlerische Installation, die der Fotografie vorausgeht, steht im Fokus dieser Gruppenausstellung.
Als klassisches Thema des Stilllebens hat der Blumenstrauร seinen Reiz bis in die Gegenwart nicht verloren. Die arrangierten Fotos von Blumenstrรคuรen Mitte des 19. Jahrhunderts sind als Vorlรคufer der inszenierten Fotografie zu verstehen.
Mit diversen fotografischen Positionen wird der Bogen von historischer Fotografie, beispielsweise von Heinrich Kรผhn, bis hin zu computerbasierter Fotografie von Tim Berresheim gespannt. Anhand dieses Bildsujets wird auch die Verรคnderung der technischen und inhaltlichen Mรถglichkeiten von Fotografie aufgezeigt.
Die zeitgenรถssische โBlumenstrauรfotografieโ geht weit รผber die Natur- oder Dokumentarfotografie hinaus. So haben die Fotokรผnstler in unterschiedlicher Ausprรคgung die skulpturale, malerische und konzeptuelle Mรถglichkeit dieses Stilllebens ausgelotet und hinterfragt.
Seit Beginn des 17. Jahrhunderts ist der Blumenstrauร in der Malerei als Stilleben in all seiner arrangierten Pracht gegenwรคrtig und oft sinnbildlich fรผr die Vergรคnglichkeit allen Seins dargestellt. Die Fotografie hat die Mรถglichkeit, den Prozess des Vergรคnglichen zu begleiten, und oft sind es die bereits verwelkten Blumen, die einen besonderen Reiz in der Wirklichkeitswahrnehmung ausmachen. Nichts zeigt die Wirklichkeit frappierender als die Vergรคnglichkeit.
quoted from Der Blumenstrauร: Die Vergรคngliche Pracht ~ Beck & Eggeling
A Bouquet of Flowers. Transient Beauty
Photography from the beginnings to the present day
17th May until 29th June 2024
on the occasion of dรผsseldorf photo+ Biennale for Visual and Sonic Media
With Nobuyoshi Araki, Max Baur, Boris Becker, Ute Behrend, Viktoria Binschtok, Peter Bรถmmels, Tim Berresheim, Natalie Czech, Michael Dannenmann, Sam Evans, Jan Paul Evers, Jitka Hanzlovรก, Axel Hรผtte, Leiko Ikemura, Benjamin Katz, Annette Kelm, Karin Kneffel, Maximilian Koppernock, August Kotzsch, Heinrich Kรผhn, Kathrin Linkersdorff, Robert Mapplethorpe, Hartmut Neumann, Roland Schappert, Luzia Simons, Josef Sudek, Michael Wesely, Dr. Wolff+Tritschler and a selection of anonymous historical photographs.
The bouquet of flowers as an artistic installation that precedes photography is the focus of this group exhibition.
As a classic still life subject, the bouquet of flowers has not lost its appeal to the present day. The arranged photographs of bouquets of flowers in the mid-19th century are to be understood as precursors of staged photography.
With various photographic positions, the exhibition ranges from historical photography, for example by Heinrich Kรผhn, to computer-based photography by Tim Berresheim. This pictorial subject is also used to demonstrate the changes in the technical and content-related possibilities of photography.
Contemporary “bouquet photography” goes far beyond nature or documentary photography. Photographic artists have explored and scrutinized the sculptural, painterly and conceptual possibilities of this still life to varying degrees.
Since the beginning of the 17th century, the bouquet of flowers has been present in painting as a still life in all its arranged splendour, often symbolizing the transience of all existence. Photography has the opportunity to accompany the process of transience, and it is often the flowers that have already withered that create a special charm in the perception of reality. Nothing shows reality more strikingly than transience.
He Brings Me Roses
Still-life and flower studies ca. 1925
Portrait still-life by Imboden
The Swiss cabinetmaker and talented amateur photographer Martin Imboden received important impulses in 1929 when he visited the legendary ‘FIFO’, the international exhibition of the German Werkbund. He accentuated his pictorial language, which was oriented towards the New Objectivity, with tight cropping and strong contrasts. During his most productive years as a photographer he lived in Vienna, where his photographs appeared in magazines such as ‘Der Kuckuck’ and ‘Die Bรผhne’. Despite favorable reactions, he did not want to make photography his profession and concentrated on selected photo projects as an amateur.
Pictorialist portrait by Weston
Water Lily by Margrethe Mather
Autochromes de Acillona
Sudek ยท through the window
Czech Avant-Garde at Gitterman Gallery ~ Nov 14 โ Dec 22, 2023
Gitterman Gallery presents a selection of avant-garde Czech photography with a focus on rare vintage works by two seminal figures, Frantiลกek Drtikol and Josef Sudek. Each created exquisite prints that added dimension to their innovative visions.
Josef Sudek (1896-1976), after having lost his right arm in combat during World War I, devoted his life to photography. Working with a large format camera, he stayed close to home. He primarily worked in his studio in Prague, photographing intricately constructed still lifes and atmospheric views through his studio window, as well as portraits, landscapes and his city. Though Sudek chose seemingly conventional subjects, his delicate prints convey the poetic magic of the photographic medium.
un regard oblique 