Andreas Muller-Pohle
22nd of July - 28th of September 2014
Galerie hlavního města Prahy, Dům fotografie
Revoluční 5, Praha 1
Curator: Pavel Vančát
Admission: 120 Kč full (60 Kč reduced)
Open: tue-sun 10 a.m. - 6 p.m., mon closed
The exhibition presents the work of Berlin-based artist Andreas Müller-Pohle as one of the key European figures questioning both the ontological and representational essence of photography since the mid-1970s, and reflecting the radical change of the technical images through the 1990s till today. The ever-recurring questions of the codification and meaning of information and their dialectic opposition to entropy and chance shows Müller-Pohle's mutual influence with Czech-born philosopher and media theorist Vilém Flusser. The exhibition, conceived as “a select retrospective”, will comprise 18 crucial cycles and projects, starting with the influential Constellations and Transformace through the works adressing the transition from analogue to digital codes up to the recent long-term projects depicting our civilization in a global measure.
Constellations series:
The artist's first photographic cycle intended to distil the principles of avant-garde photography back to primary forms and thematize Modernist photography's perception.
Constellations series:
The artist's first photographic cycle intended to distil the principles of avant-garde photography back to primary forms and thematize Modernist photography's perception.
Albufera (1985) series:
This cycle originated near Valencia, Spain with the objective of disturbing traditional landscape photography by tearing the negatives and arranging then next to one another into new images and times creating new imaginary constellations.
Photobox (2001):
The material created by shredding thousands of photographs, films and framed pictures in the project Entropia makes up the content of this transparent sarcophagus embodying the literal destruction of analogue image.
Entropic cylinders (1996):
The material created by shredding thousands of photographs, films and framed pictures in the project Entropy is compressed into a form that ca be a minimalistic sculpture as well as a briquette.
Signa (since 1991):
These are the photographs of tourist landmarks taken on Polaroid film but instead of following the manufacturer's instructions of separating the positive and negative in 60 seconds, this is done only after returning home. The pictorial icons become fossils.
Cyclograms (1991-1994):
Discarded photographs are shredded into strips and confetti and then thrown in a vessel containing a developer and new photographic paper. The title connotes the idea of recycling: waste is transformed into new images.
Atomic laughter (2002):
On 6th of August 1945, American president Harry S. Truman, seemingly off the record, let out this sentence with laughter, just before his public announcement of the nuclear attack on Japan: "We have spent more than 2 billion dollars on the greatest scientific gamble in history and we have won."
Digital scores (After Neciphore Niepce, 1995-1998):
The author let Niepce's photograph View from a Window at le Gras be translated into an alphanumeric code which found the final typographical form in disturbing the complete code onto eight panels. As if after the apocalyptic Entropia the next natural step was to turn to the incoming digitalisation which was coming to establish a new order of things.
The Danube river project (2005-2006):
The Danube river, interconnecting a large part of Europe, became the subject of the artist photographing along the 2800 km long course of the river directly from its water surface. Muller- Pohle also took water samples in 21 places and had laboratory analysis done on these which made another level of this untraditional culturally-ecological travelogue.
No comments:
Post a Comment