from Neue Zürcher Zeitung, 26 2. 2011
photography and sculpture have mutually fertilized for 170 years and changed. The Kunsthaus Zurich is showing in a large, from Museum of Modern Art in New York and acquired from its own Stocks extended metamorphosis exhibit surprising long-standing relationship.
By Brigitte Ulmer
Man Ray in 1918 staged a simple, mechanically operated whisk in a dramatic light and shade area. He pressed the shutter of his camera, the film developed in the darkroom, and his photo cheeky "L'homme" titled. The claim was the prosaic instrument is a life of its own as an object, as sculpture, photography and artists praised as "excellent student of views, which holds not our retina." The Picture, a rare vintage print of a New York private collection throws light on the moults, which should experience the sculpture over the coming decades by means of photography.
photography and sculpture are truly an odd couple: Here, the age-old medium, the long sum was for materiality, immobility, Severity: veiled in three dimensions and because of its unique character of sublime aura. Since young, photography, 170 years, flat, light, a documentation and archiving machine and reproducible. has produced what unexpected forms and new creations every medium by contact and friction with the other, the exhibition features "photo-sculpture" in the Zurich Kunsthaus, which was acquired by the Museum of Modern Art in New York and enriched with works from the collection.
Since the invention of the daguerreotype in 1839 include the sculpture of the first subjects of the photographers: photographic pioneer Henry Fox Talbot perpetuated the Bust of Patroclus, Hippolyte Bayard plaster casts and statues arranged still life, and through the camera, the sculptural and architectural Remains of medieval France as systematic as the photographically recorded archaeological monuments in Egypt. Thanks to the camera's Remote, real estate has been carried into the living rooms, art history was only made possible by photographic reproductions.
The documentary feature on the limited role of photography in the approach to the sculpture but was soon shaken off. Even with Eugène Atget, who in the twenties with its laconic photographs of Statues, fountains and reliefs in Paris created a compendium of French cultural heritage, will receive its own life and the sculptures are like animated - they have become sources of inspiration of the Surrealists. The fact that the camera created a sculpture in the first place, could do but it took a few art revolutions, the Surrealists, Duchamp, the adventurous artists of the land art artist and intrepid hobbyists such as Fischli / Weiss.
The exhibition, divided into ten chapters with about 300 works - including exquisite pieces from the Dada and Surrealist collection of the Kunsthaus Zurich - is not linear-structured chronologically, but is always a time jumps to a surprising Analogies reveal. The exhibition, which acts at the beginning of something becoming didactic, from room to room at Verve, it shows that ironically just sculptor of photography confer a major role in the dematerialization of the sculpture. The presumption was seem to suggest that the photochemical process, this alchemical magic of silver salt crystals and light, from the "hardware" could recoup all their own forms. It was an obsessive sculptor Constantin Brancusi Photographer as necessary to free the sculpture from the torpor. The 1600 prints that were found after his death in his studio, his lively sculptures with special lighting effects, reflections, and unusual perspectives. Shiny bronzes, flashes of light flashes appear as broken. Movement, transparency, boundaries: Brancusi was instrumental in that photography dematerialized the concept of sculpture.
saw especially the surrealists, the Bauhaus artists and photographers of the "new vision" of an imaginary camera chisel. Moholy-Nagy had the idea of the "photo sculpture," Bauhaus teachers Herbert Bayer created with the icon "Humanly Impossible" (1932) an uneasy hybrid between sculpture and man. Hans Bellmer breathed into his photos deformed dolls creepy character, and Edward Weston Umbos Camera lenses again enchanted mannequins and machines, as if they were living beings. Key witness for the slow blurring of the boundaries between photography and sculpture, and unique series of reproduced but Marcel Duchamp's "Boîte-en-valise" is (1935-1941), a incunabula of Surrealism from the Collection of the Zurich Kunsthaus, a cross between a photo album and replicas collection of his ready-mades.
The core thesis of the curator Roxana Marcoci that photography crucial participated in changing the concept of sculpture, peels out in the back rooms, and since winning the show to surprise moments: the photography, because of their cold mechanics once reviled appear suddenly as an accomplice to all those who wanted to bring art history radically forward. Duchamp's readymades and Man Ray were of everyday objects derived human figure paintings near impossible without a camera. Robert Smithson and Richard Long's land art revolutionary undertakings of the sixties, the art from the galleries and studio space freed, and Gordon Matta-Clark's architectural interventions with a chainsaw, which he divided all the facades would be without photography just deleted from the memory like the living sculpture of Gilbert & George, Ana Mendieta Photo performances in nature and Bruce Nauman's body experiments in the studio space. It does not need a chisel, forming no more hands, the sculpture is created with the shutter button. Ready-made, land art, performance and body art - all Wegverzweigungen radical new inventions and the arts - are inconceivable without photography.
the very end of the show has a series of images from the thirties, as if it came fresh from a studio. Brassaï "involontaires Sculptures" (1932) show prosaic as a cotton ball or a lapsed toothpaste in close-up magic of enigmatic sculptures. The images are key to understanding the works of contemporary sculpture. It is now a common sense of the art system that each everyday object when it is arranged in front of the lens becomes a sculptural object. The experimental arrangements show of women's shoes, or assembled together the fragile arrangements of kitchen utensils by Fischli / Weiss, Gabriel Orozkos mysterious assemblages of watermelon and cat food and Erwin Wurm "One Minute Sculptures," where men grow markers from nostrils. The sculpture was dissolved by the photography swallowed. She lives in the extended, more open space in ever new and wonderful incarnations.
photo sculpture. The photograph of the sculpture from 1839 to today. Kunsthaus Zurich, and 15 May Catalog with essays by Geoffrey Batchen, Tobia Bezzola and Roxana Marcoci, Hatje Cantz Verlag, 256 p., fig, Fri 49th -.
0 comments:
Post a Comment