On the edge is a series that began in 2018 in the vicinity of Kyoto, Japan. While hiking in the surrounding mountains and villages, photographs with an ambivalent atmosphere and barren landscapes were taken. On the outskirts of the city, grey areas and hard-to-reach places appeared. Although these regions are inhabited, they seem to be abandoned. A fluctuation between what is present and what is absent comes about, between what seems to be controllable in the images and what evades the camera. On the Edge is a contemplative view of a specific region, a sensitive and personal confrontation with Japan, oscillating between the visible and invisible.
In an age when the entire earth appears to have been mapped, categorized, and partitioned by linear boundaries – I Never Saw this Land Before attempts to deconstruct the fundamental components of territory. One of the earliest functions of photography was the pictorial rendering of previously unexplored land. The work refers to this function by exploring the correlations between various emblematic elements, which evoke the arising of territoriality, as characterized by settlement and occupation of land. Fiction and reality are fused together playfully. With the aid of markings, signs, and physical gestures a territorium of its own is established in a virgin landscape.
The casinos of the city are timeless unaltered spaces, which know neither day nor night. They are surrounded by shops, cinemas, hotels, and restaurants. The mechanics of consumerism reflect the ideology of these rooms: Fountains, collonades of artificial trees, constant temperatures, and the same perpetual soundtrack in the background, from which a guest cannot escape. A gigantic playground, isolated from the outside world, blinds and intoxicates with its brilliance. Any specificity disappears when viewed through a moral, aesthetic, or critical perspective. Paradoxically, this insight fills these rooms with a strange sensation.
The photographic principle of the sequence interrupts the present while it is still happening and disturbs its steady flow. Geography of variations is a series in a fragmented form that questions both the concept of deja‑vu as well as that of the present. The geological chaos produced by volcanic activity presents itself as a natural state of ruin. As a metaphor for time and space, this project portrays a small slice of the geological timescale. It also reminds us of our relationship to nature by means of visual archeology, simultaneously future-oriented and poetic.
Ce projet documente les préparatifs du carnaval brésilien à Recife, un mois seulement après l‘investiture du président d‘extrême droite Jair Bolsonaro au début de l‘année 2019. Dans une région traditionnellement acquise à la cause de Lula, ce premier carnaval était aussi bien l’occasion d’oublier les tracas du quotidien qu’un prétexte idoine pour exprimer un rejet massif du président extrémiste et de ses valeurs patriarcales ultra-conservatrices. La série 3 por 10 alterne clichés pris à la volée et portraits plus posés, dans une combinaison décrivant à la fois le cœur de l’évènement et sa périphérie plus étendue.
Isolated on a kind of floating island in the form of a sailboat, with no contact with the outside world, the photographer confronted her expectations of the myth of seafaring. The endless monotony of the daily change of watch and the regulated day‑night rhythm amid mountains of waves forces one to grapple with one’s perceptions. One’s feeling of freedom needs to be redefined in face of such narrowness and vastness. The question of the true reality of this experience arises. However, romanticization and glorification come about immediately upon landing. mittwegs is the exploration of a childhood dream.
Das Problem sind die Sonntage shows what is no longer there by depicting what remains and is remembered. It attempts to document what is influenced by this ‘non-existence’, this vacuum. The project is a photographic approach to a world of emotions, that emerges when a person suffers a severe loss. This is purely subjective and undergoes constant change. The commonplace becomes emotionally loaded and takes on a meaning of its own. According to the Federal Statistical Office, there are about 500,000 young wid-ows and widowers in Germany. Those counted are under 60 years of age, married people who have lost their partner. The unmarried do not appear in the statistics. What they all have in common is that from each couple one is suddenly left alone: With the grief, the mutual tasks, and the unfulfilled plans.
Desire started in 2017 as an experiment on the dating app Lovoo dur-ing which a profile was created for a female looking mannequin. The profile was set up with images in which the artificiality of the mannequin could only be recognized by taking a closer look. In the course of this experiment, more than 80 messages addressed to the profile were received. Some of these were answered with a freely accessible online chatbot software. The resulting dialogues, the collected messages as well as photographs of mannequin and human constitute the core of the work. Desire thus addresses the ambivalence between expectation and reality, between fantasy and projection. At the same time, the status quo and future of sexuality, romance, and partnership in the 21st century are put to question.
David (17) and Robin (15) are best friends. Both grew up in Herne, North-Rhine-Westphalia and have known each other since second grade. After they set fire to a clothing container, they were forbidden by their parents to have any contact with each other. Nevertheless, they meet regularly on the streets of Bochum and Herne. They scrounge cigarettes, argue, listen to loud music, get along again, and discover places of the city unknown to them. Almost always together. The photographic work David Robin accompanies the friends for several months, portraying the teenagers’ friendship and everything that makes it special: the fights, the jealousy, but also their mutual dependency and their attempts at self-assertion.
The documentary work Land of Five Waters examines agriculture in the cotton and rice-growing areas in the Indian state of Punjab. Doc-uments, interviews, and maps form the historical basis for a photographic exploration of the Green Revolution in the 1960s. This agricultural revolution was characterized by mechanization and the use of high-yielding varieties, fertilizers, and pesticides. The protagonists as well as cultural and geographical characteristics are considered from different perspectives in multimedia. The photographic level is characterized by the interaction between portrait and documentary photography along with the construction of subjective truth in today‘s crisis reporting.
Many call it ‘Magic’, some call it simply ‘the special day’. Half of the world population experiences it and the other half does not: menstruation. It is accompanied by pain, a change of appetite, a blaz-ing rage, or deep sorrow. Women who menstruate bleed regularly – whether they want to or not – and are even emotionally influenced by their period. It feels as if someone else is living in their body. The uterus leads its own life. For many, it is normal to conceal that they are menstruating. 2 weeks describes a break with this secret-keeping. The work deals with the experiences of a woman who openly deals with her period and experiments with various menstrual products. The photographic work is also a personal narrative about the feelings and experiences associated with menstruation and about the foreign being that lives within a menstruating body.
All Eyes on Us describes the universe of a generation on an acid hangover when the boundaries of gender, time, and place are blurred. Creatures of the night, who live in clubs and occupied buildings, are often threatened by the uniformity of big cities. These people are like bright lights in the middle of urban decline. They are victims of the ever-increasing globalization. Within this field of tension, their vulnerability becomes evident. The series All Eyes On Us is inspired by the work of Wolfgang Tillmanns and the novel “Generation X” by Douglas Coupland. The work reveals a world where day and night have merged and the buildings have taken on a ‘queer’ identity.
Forever is a project about women and their tattooed bodies that go beyond the usual standards of beauty and representation. For the participants of this project – and also for the photographer – a tattoo is a desired aesthetic intervention and at the same time a possibility for self‑determination and bodily autonomy. At the meetings with the twelve participants, the meaning of tattoos as an expression of self-care and political protest was discussed. As the name Forever already emphasizes: tattoos remain forever. However, this also means that they change their color, size, shape, and elasticity.
Rjukan, a former industrial city in the Norwegian hinterland, lies in a narrow valley where there is no sunlight during the entire six months of winter. In 2013, a heliostat was erected on a slope of the mountain. This sculpture – in addition to other features of the location – represents its uniqueness. One by one the photographs dis-close details of a landscape that is marked by the phenomenon of constant darkness. Hidden tensions, relationships, and fragments of memory appear to arise out of the layers of the images’ surface.