Nadine Ethner

Nadine Ethner, an artist and photographer based in Berlin, was born in Germany in 1975 and studied at Burg Giebichenstein University of Art and Design in Halle, Germany and at the Academy of Fine Arts in Rome, Italy. After finishing her art degree in Germany she spent seven years in Rome, where she held lectures and workshops about photography and collaborated with international artists on various interactive projects. Travel in Europe, India, Japan, North Africa and Turkey during the same period exerted a strong, lasting influence on her visual language. This diversity of experience resulted in numerous group and solo shows in various galleries, institutions and foundations. In 2007 she moved to Berlin, where she and other international artists and photographers co-founded the exhibition space exp12 / exposure twelve in 2010. In 2016 she founded VTph Visual Thoughts – an online magazine and platform from which she presents international artistic positions in photography and discusses the following essential question: What do they do to us, these photographs that describe, narrate and interpret time and our world with such great complexity? www.vt-ph.com

Nadine Ethner, an artist and photographer based in Berlin, was born in Germany in 1975 and studied at Burg Giebichenstein University of Art and Design in Halle, Germany and at the Academy of Fine Arts in Rome, Italy. After finishing her art degree in Germany she spent seven years in Rome, where she held lectures and workshops about photography and collaborated with international artists on various interactive projects. Travel in Europe, India, Japan, North Africa and Turkey during the same period exerted a strong, lasting influence on her visual language. This diversity of experience resulted in numerous group and solo shows in various galleries, institutions and foundations. In 2007 she moved to Berlin, where she and other international artists and photographers co-founded the exhibition space exp12 / exposure twelve in 2010. In 2016 she founded VTph Visual Thoughts – an online magazine and platform from which she presents international artistic positions in photography and discusses the following essential question: What do they do to us, these photographs that describe, narrate and interpret time and our world with such great complexity? www.vt-ph.com

Mirjana Vrbaški “Verses of Emptiness”

© Mirjana Vrbaški, from the series "Verses of Emptiness", Nora, 2013

© Mirjana Vrbaški, from the series “Verses of Emptiness”, Nora, 2013

© Mirjana Vrbaški, from the series "Verses of Emptiness", Tamar, 2013

© Mirjana Vrbaški, from the series “Verses of Emptiness”, Tamar, 2013

© Mirjana Vrbaški, from the series "Verses of Emptiness", Sara, 2017

© Mirjana Vrbaški, from the series “Verses of Emptiness”, Sara, 2017

© Mirjana Vrbaški, from the series "Verses of Emptiness", Jill, 2017

© Mirjana Vrbaški, from the series “Verses of Emptiness”, Jill, 2016

© Mirjana Vrbaški, from the series "Verses of Emptiness", Sanda, 2017

© Mirjana Vrbaški, from the series “Verses of Emptiness”, Sanda, 2017

„So sind die Portraits, die ich erschaffe, gleichermaßen Selbstportraits, Versionen meiner selbst: manche davon musste ich zurücklassen, andere sind Abbilder davon, wie ich sein zu müssen glaube. Wieder andere Versionen zeigen, wie ich gerne wäre und welche Anteile ich idealisiere.

Dennoch geht es in Verses of Emptiness für mich eher um etwas generell Menschliches. Die Tatsache, dass meine Modelle bisher stets Frauen sind, rührt schlicht daher, dass mir ‘weiblich‘ als Sprache am vertrautesten scheint.

In der Reinheit und Klarheit der Frauen, die ich fotografiere, liegt etwas genuin Verletzliches und zugleich Makelloses, das mich zutiefst berührt. Was ich darin spüre, ist nicht geschlechtsspezifisch: Es ist die Präsenz tiefer Aufrichtigkeit einer unangetasteten, unangepassten Integrität. Das Fotografieren dieser Frauen wird so zum ‘Schälen’ – zum Abschälen von ihren äußeren, oberflächlichen, konstruierten Schichten und schließlich zum Aufdecken einer wahrhaftigeren, universellen Schicht. Einer Schicht, der ich auf einem instinktivem und unverstelltem Niveau begegnen kann. So wird dann das Portraitieren ein ‘Modellieren’ nach Innen, hin zu einer universelleren Menschlichkeit.“

Mirjana Vrbaški

Mirjana Vrbaški wurde 1978 in Montreal (Kanada) geboren und wuchs in Belgrad (Serbien) auf. Sie studierte Fotografie an der Royal Academy of Art in Den Haag. Ihre Serie „Verses of Emptiness / Verse der Leere“ wurde vielfach international ausgestellt; unter anderem in der National Portrait Gallery in London, im Fotomuseum Den Haag, der Transformer Station in Cleveland und in der Kunsthalle Darmstadt.

Ihre Frauenportraits zeigen Gesichter voller Nuancen, sie sind Spiegelbilder und Ikonen zugleich. Die Portraits entblättern psychologische Tiefen mit unbändiger Kraft und das Alltägliche wird durch die Blicke der Frauen transformiert. Die Frauen scheinen entrückt – dennoch sind sie nahbar, manchmal sogar ist ein Zwiegespräch möglich. Ihre Augen jedoch schützen die unergründlichen Tiefen ihrer eigenen Seele.

//

Mirjana Vrbaški

www.mirjanavrbaski.com

Rafał Milach “Refusal” – shortlisted for the Deutsche Börse Photography Foundation Prize 2018

© Rafal Milach, from the series "Refusal" / Gori, Georgia, 2013, After the Russo-Georgian War of 2008, one hundred and twenty-eight thousand Georgians were forced to leave South Ossetia, which had become a puppet state dependent on Russia. Some of them found shelter in a long-term refugee camp on the outskirts of the city of Gori. On a clear day, the buildings of the Ossetian village they were expelled from can be seen from the camp.

© Rafal Milach, from the series “Refusal” / Gori, Georgia, 2013. After the Russo-Georgian War of 2008, one hundred and twenty-eight thousand Georgians were forced to leave South Ossetia, which had become a puppet state dependent on Russia. Some of them found shelter in a long-term refugee camp on the outskirts of the city of Gori. On a clear day, the buildings of the Ossetian village they were expelled from can be seen from the camp.

© Rafal Milach, from the series "Refusal" / Anaklia, Georgia, 2013. An unfinished viewing tower. In 2011, President Micheil Saakashvili visited Anaklia, a village located on the Black Sea. He conferred town rights on it and announced the beginning of an ambitious development programme which would transform it into a luxury resort. Resplendent with lavish glamour, Anaklia was intended both to become the new authorities’ political flagship and to compensate for the nearby city of Sukhumi, which was lost during the Georgian Russian-Abkhazian conflict of the early nineteen nineties. Construction work began in 2012. After Saakashvili’s party was defeated in the parliamentary election of 2013 and Saakashvili himself fled the country, the work was discontinued and the colossal building site rapidly transformed into crumbling ‘modern’ ruins.

© Rafal Milach, from the series “Refusal” / Anaklia, Georgia, 2013. An unfinished viewing tower. In 2011, President Micheil Saakashvili visited Anaklia, a village located on the Black Sea. He conferred town rights on it and announced the beginning of an ambitious development programme which would transform it into a luxury resort. Resplendent with lavish glamour, Anaklia was intended both to become the new authorities’ political flagship and to compensate for the nearby city of Sukhumi, which was lost during the Georgian Russian-Abkhazian conflict of the early nineteen nineties. Construction work began in 2012. After Saakashvili’s party was defeated in the parliamentary election of 2013 and Saakashvili himself fled the country, the work was discontinued and the colossal building site rapidly transformed into crumbling ‘modern’ ruins.

© Rafal Milach, from the series "Refusal" / Batumi, Georgia, 2013. One of the interiors of the Alphabetic Tower. In 2013, the Rustavi 2 Broadcasting Company, which supported the then president of Georgia, Micheil Saakashvili, had a television studio there. That same year, Saakashvili’s party lost the parliamentary election and the former president was formally accused of appropriating government funds. The Rustavi 2 editorial department was deserted overnight, becoming a giant trap for birds. Dozens of rock sparrows flew into it through a small opening in the wall. Once they were trapped inside, a combination of heat and starvation killed them.

© Rafal Milach, from the series “Refusal” / Batumi, Georgia, 2013. One of the interiors of the Alphabetic Tower. In 2013, the Rustavi 2 Broadcasting Company, which supported the then president of Georgia, Micheil Saakashvili, had a television studio there. That same year, Saakashvili’s party lost the parliamentary election and the former president was formally accused of appropriating government funds. The Rustavi 2 editorial department was deserted overnight, becoming a giant trap for birds. Dozens of rock sparrows flew into it through a small opening in the wall. Once they were trapped inside, a combination of heat and starvation killed them.

© Rafal Milach, from the series "Refusal" / Khyrdalan, Azerbaijan, 2016. Geometric figures and models triggering optical illusions, partly created by pupils of the chess school located in the Khyrdalan Heydar Aliyev Centre. The structure and observation of these objects is intended to help develop young Azerbaijanis’ spatial imagination and abstract thinking skills. The man the centre is named after began his road to authority as an official of the Stalinist secret police organisation, the NKVD. He was a member of the Communist Party of the Soviet Union and an opponent of both Gorbachev and the politics of glasnost. In 1993, he became the president of the recently independent Azerbaijan.

© Rafal Milach, from the series “Refusal” / Khyrdalan, Azerbaijan, 2016. Geometric figures and models triggering optical illusions, partly created by pupils of the chess school located in the Khyrdalan Heydar Aliyev Centre. The structure and observation of these objects is intended to help develop young Azerbaijanis’ spatial imagination and abstract thinking skills. The man the centre is named after began his road to authority as an official of the Stalinist secret police organisation, the NKVD. He was a member of the Communist Party of the Soviet Union and an opponent of both Gorbachev and the politics of glasnost. In 1993, he became the president of the recently independent Azerbaijan.

© Rafal Milach, from the series "Refusal" / Khyrdalan, Azerbaijan, 2016. Geometric figures and models triggering optical illusions, partly created by pupils of the chess school located in the Khyrdalan Heydar Aliyev Centre. The structure and observation of these objects is intended to help develop young Azerbaijanis’ spatial imagination and abstract thinking skills. The man the centre is named after began his road to authority as an official of the Stalinist secret police organisation, the NKVD. He was a member of the Communist Party of the Soviet Union and an opponent of both Gorbachev and the politics of glasnost. In 1993, he became the president of the recently independent Azerbaijan.

© Rafal Milach, from the series “Refusal” / Khyrdalan, Azerbaijan, 2016. 

© Rafal Milach, from the series "Refusal" / Khyrdalan, Azerbaijan, 2016. Geometric figures and models triggering optical illusions, partly created by pupils of the chess school located in the Khyrdalan Heydar Aliyev Centre. The structure and observation of these objects is intended to help develop young Azerbaijanis’ spatial imagination and abstract thinking skills. The man the centre is named after began his road to authority as an official of the Stalinist secret police organisation, the NKVD. He was a member of the Communist Party of the Soviet Union and an opponent of both Gorbachev and the politics of glasnost. In 1993, he became the president of the recently independent Azerbaijan.

© Rafal Milach, from the series “Refusal” / Khyrdalan, Azerbaijan, 2016. 

“Refusal”

In 1971, Soviet television broadcast a science programme that presented the mechanisms by means of which human consciousness could be manipulated effectively. The young people who had been invited to the studio were subjected to experiments that were intended to make the viewers aware of the extent to which suggestion and conformism influences our reception of reality, eliminating even the most self-evident of facts from it.

It would be no special exaggeration to state that the programme laid bare, albeit it indirectly, the techniques applied on an everyday basis by the Soviet authorities. At the time, no one spotted the subversive potential of the work… the regime’s propaganda tube presented it as devoid of any connection with the realities of interesting scientific facts.
Contemporary autocracies, particularly those in the post-Soviet region, have adopted the techniques for the collective management of their citizens’ consciousness with a great deal of success. They set up gigantic laboratories where an exemplary model of a social structure is created, no matter what the consequences.
“Refusal” is an endeavour aimed at the visual presentation of various systems of control and exerting pressure. The process of formatting and shifting meanings and of creating new ideologies is written into innocent gestures and tried and trusted sociotechnical treatments alike. The intensity, scale and methods vary, depending on the region, but they all serve a concrete, utopian vision which is imposed by the apparatus of government.
The only instance that I noted of a disruption which ruffled that model was at the small Kreyvantsy kolkhoz in Belarus, where the local ‘shock worker’, a plougher by the name of Valeriy, refused to cooperate with the photographer despite his superiors’ express instructions. (R.M.)

Rafał Milach (1978)

Visual artist, photographer, author of photobooks. Graduate of the Academy of Fine Arts in Katowice and ITF in Opava (Czech Republic). He currently lectures in the latter institution. For over 10 years, Rafał Milach has been working on transition issues in Russian-speaking countries and the CEE region. He has earned worldwide recognition for his books – “The Winners”, “Black Sea of Concrete”, “7 Rooms”. In 2007, he took part in a prestigious Joop Swat Masterclass in Amsterdam run by the World Press Photo Foundation. He received grants from the Ministry of Culture, Magnum Foundation and the European Cultural Foundation. He has won prestigious prizes, including the World Press Photo, Pictures of the Year International. Co-founder of the Sputnik Photos collective. Selected individual exhibitions: C/O Berlin and Zachęta National Gallery of Art in Warsaw. He has had a number of group shows. His works are found in the collections of the Kiyosato Museum of Photographic Arts in Japan, Brandts in Odense (Denmark), CCA Ujazdowski Castle in Warsaw, ING Polish Art Foundation, Museum in Gliwice.

Exhibition at THE PHOTOGRAPHERS´ GALLERY / London, UK

23 February – 03 June 2018

www.thephotographersgallery.org.uk

Deutsche Börse Photography Foundation Prize 2018

www.deutscheboersephotographyfoundation.org

//

Rafał Milach

www.rafalmilach.com

 

Sonya Schönberger “André Müller – aus dem Kassettenarchiv eines radikalen Interviewers”

© Sonya Schönberger (Kassette Ingmar Bergman)

© Sonya Schönberger (Kassette Ingmar Bergman)

Deutschlandfunk Kultur

10.03.2018 um 18.05 Uhr

Quälend und provokant waren die Fragen des Journalisten André Müller. Manche Gesprächspartner brachen Interviews ab oder prozessierten gegen ihn. Anderen entlockte er unerwartete Einsichten über Einsamkeit, Zweifel und Tod. Zu seiner Kunst des Fragens sagte Müller, der sich auf seine Gesprächspartner wie kein zweiter vorbereitete: „Ich habe in den Interviews immer die Erfahrung gemacht, dass ich mehr zu sagen habe als diese Leute“. Als er 2011 starb, hinterließ er ein umfangreiches Kassettenarchiv mit Tonaufnahmen der Interviews. Eine Archivrecherche. (Deutschlandfunk)

© Sonya Schönberger (Kassette Rainer Werner Fassbinder)

© Sonya Schönberger (Kassette Rainer Werner Fassbinder)

© Sonya Schönberger (Kassette Margarethe von Trotta)

© Sonya Schönberger (Kassette Margarethe von Trotta)

© Sonya Schönberger (Kassette Rosa von Praunheim)

© Sonya Schönberger (Kassette Rosa von Praunheim)

© Sonya Schönberger (Kassette Wim Wenders)

© Sonya Schönberger (Kassette Wim Wenders)

© Sonya Schönberger (Kassette Wolfgang Petersen)

© Sonya Schönberger (Kassette Wolfgang Petersen)

© Sonya Schönberger (Kassette Loriot)

© Sonya Schönberger (Kassette Loriot)

© Sonya Schönberger (Kassette Jacques Tati)

© Sonya Schönberger (Kassette Jacques Tati)

© Sonya Schönberger (Kassette André Heller)

© Sonya Schönberger (Kassette André Heller)

© Sonya Schönberger (Kassette Karl Lagerfeld)

© Sonya Schönberger (Kassette Karl Lagerfeld)

Sonya Schönberger beschäftigt sich seit drei Jahren mit dem Werk und dem Nachlass des Journalisten André Müller, der während seiner vier Jahrzehnte viele bedeutende Interviews, u.a. für den “Spiegel” und für “DIE ZEIT”, geführt hatte. Einige von ihnen wurden nach ihrer Veröffentlichung kontrovers diskutiert.

Sonya Schönberger studierte Ethnologie und Experimentelle Mediengestaltung und lebt als bildende Künstlerin in Berlin. Für das HAU Hebbel am Ufer schrieb und produzierte sie 2016 zusammen mit der pakistanischen Künstlerin Shahana Rajani den Audiowalk “I would always dream of my house – Stories of Displacement”. 2017 produzierte sie für das Nationaltheater Litauen das Theaterstück “Vokietuka” über die Wolfskinder aus Ostpreußen.

Norbert Lang studierte Kulturwissenschaften und ästhetische Praxis mit den Schwerpunkten Musik und Medien. Er lebt und arbeitet als freier Rundfunkautor und Musiker in Berlin. Er konzipierte 2014 das “Hörspiel im Aufnahmezustand” für den Bayrischen Rundfunk und 2013 ebendort das Hörspiel “Das Timbre des Denkens”, gemeinsam mit Arno Böhler und l’ocelle mare.

Deutschlandfunk Kultur

Ursendung 10.03.2018 um 18:05 Uhr

Radiofeature in Kollaboration mit Norbert Lang

Sprecherin Anne Ratte-Polle

Von Sonya Schönberger und Norbert Lang
Regie: die Autoren
Mit: Anne Ratte-Polle
Musik: Norbert Lang u.a.
Produktion: Deutschlandfunk Kultur 2018

Länge: ca. 54’30

www.deutschlandfunkkultur.de

//

Sonya Schönberger wird von der Galerie Katharina Maria Raab vertreten

www.katharinamariaraab.com

 

Alexander Gehring „The Alchemy of Colour“

 

© Alexander Gehring "Blätter", aus der Serie 'Alchemy of Colour', 2018

© Alexander Gehring “Blätter”, aus der Serie ‘Alchemy of Colour’, 2018

„Auch bei den Abläufen der analogen Fotografie gibt es geheimnisvolle Momente. Aus einem unsichtbaren Bild (das latente Bild) wird etwas Sichtbareres – ein Abbild der Natur, der Welt. Im Fotolabor werden die Analogien zwischen Alchemie und Fotografie erlebbar. So bezeichnen viele Menschen, die zum ersten Mal den Entwicklungsprozess eines Papierbildes in der Entwicklerschale bestaunen, diesen Moment als „magisch“. Hier wie da werden durch den Einsatz von Chemikalien, Metallen und Salzen chemische Reaktionen in Gang gesetzt, die die Umwandlung von unsichtbar zu sichtbar hervorrufen und etwas Neues schaffen.“ 

Michael Biedowicz

Alexander Gehring, der den Merck Preis der Darmstädter Tage der Fotografie 2016 erhielt, zeigt einmal mehr in der kommenden Ausstellung „The Alchemy of Colour“, dass sich das Medium Fotografie hervorragend dazu eignet, um Grenzen auszuloten und zu verschieben. Der Fotograf ist hier Schöpfer, der ganz im alchemischen Sinne die Stofflichkeit zur Feinstofflichkeit hin verschiebt und einen Stoff in einen anderen Stoff wandelt.

In einer seiner letzten Arbeiten beschäftigte sich Alexander Gehring mit der Übertragung von einem Medium an und in ein anderes. In „Messages from the Darkroom“ beleuchtete er spiritistische und transzendente Sitzungen, Séancen, um diese dann im übertragenen Sinne im Bilde festzuhalten. Hier jedoch, in „The Alchemy of Colour“, wird uns der Fotograf mit der Kunst der Alchemie vertraut machen. Einige der Prints sind mit Lasurfarbe übermalt und können dadurch im Original leicht abweichende Farbnuancen aufweisen als in der digitalen Variante. Sie werden so zu Unikaten.

© Alexander Gehring "Figur", aus der Serie 'Alchemy of Colour', 2018

© Alexander Gehring “Figur”, aus der Serie ‘Alchemy of Colour’, 2018

© Alexander Gehring "Mauer", aus der Serie 'Alchemy of Colour', 2018

© Alexander Gehring “Mauer”, aus der Serie ‘Alchemy of Colour’, 2018

© Alexander Gehring "Stein", aus der Serie 'Alchemy of Colour', 2018

© Alexander Gehring “Stein”, aus der Serie ‘Alchemy of Colour’, 2018

© Alexander Gehring "Wurzeln", aus der Serie 'Alchemy of Colour', 2018

© Alexander Gehring “Wurzeln”, aus der Serie ‘Alchemy of Colour’, 2018

Der in Berlin lebende Künstler Alexander Gehring (* 1981 in Bielefeld) studierte Fotografie und neue Medien an der Fachhochschule Bielefeld sowie am London College of Communication. Seine Arbeiten wurden unter anderem in der Aperture Gallery in New York, im Museum Morsbroich, der Warte für Kunst in Kassel, der Galerie Tagomago Paris sowie im Camera Club New York ausgestellt. 2016 gewann er den Merck Preis der Darmstädter Tage der Fotografie.

Upcoming exhibition / Opening: March 15, 2018 at 7pm

pavlov’s dog

Raum für Fotografie

Bergstraße 19

10115 Berlin

www.pavlovsdog.org

//

Alexander Gehring

www.alexandergehring.com