Re-locations

Ausbeutung oder wie man
die Oberflaeche durchbricht


Beyond visual rande

Pact of silence

Line of site

untitled (ventilations)

Waiting for movement

Re-Locations, 
photographic series

One of the most beautiful places

SLON

Air to land








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Re-locations

Single-channel video, silent, 24min., 2020 Sound installation, 15min., 2020

Re-locations is a project based around a small publication of personal photographs and memories of the Soviet soldier Vladislav Tamarov who fought in the Soviet-Afghan war in the mid-1980s. Later, he moved to the US and published a book with the help of the journalist Naomi Marcus. It is distinguished by its very subtle transitions from battles to the author's pre-war life and vice versa. This project traces the constant remediations of memory and trauma. 

Testimony of Light

A digital reenactment of the Afghan landscape described in the diary entries and documented in personal photographs of the soldier. Once a battleground, the site no longer physically resembles those descriptions closely. A meeting point of multiple times and places, the subject of the Testimony floats around multiple themes, among most visible on its surface are those of the agency of the landscape and the nature of the gaze.

Talking Stone

Further exploring the theme of documentation and witnessing, the work Talking Stone consists of a large rock with a speaker attached to it. The sound exuded is a monologue that retells the descriptions of the landscapes of Afghanistan as captured in sketches made by  Soviet military painters during the invasion. Combining an element of the landscape with various descriptions of it, the work explores the themes of language and landscape, interpretation, witnessing and storytelling.





Ausbeutung oder wie man die Oberflaeche durchbricht

5-Channel video-installation, 2020

Ausbeutung oder wie man die Oberfläche durchbricht follows and tells a story of a restorer who studies the history of mining guided by the image by Hans Hesse located at the back of the mountain altar in the church of St. Annen in Annaberg-Buchholz.
The work is an experiment in what happens if tracing an idea or a phenomenon replaces the practice of pointing directly at it. It is preoccupied with construction - the process, the actors, and the space, as well as the image which captures the relationship between them. The five screens parallel late medieval painting style of the 16th century.

In collaboration with Paula Abalos, Emerson Culurgioni, Charlotte Eifler, Deborah Jeromin, Clemens von Wedemeyer



Line of site

12 photo etchings, 2015

Line of Site is a series of modified press photos. The original images, made by Russian and Ukrainian photo agencies, depicted enemy artillery positions of the military forces involved in the conflict of the Donbass region in the Ukraine.
The photo documentations are altered to highlight the background on which the action takes place, the point of view from which it is viewed being unclear in each print. The work explores the themes of visibility, agency and action.



Waiting for movement

10 photographs, C-print, 60x60cm, 2011

Series of photographs, which are based on classified gun-camera footage published by Chelsea Manning and Wikileaks in 2010. The images are a depiction of an event which turned out to be a fatal mistake – the air strike in the suburb of New Baghdad, which ended up killing a group of people that included members of Reuters news staff. The photographs display the shapes that the military personnel that viewed the footage had mistakenly interpreted to be documenting weapons.






Pact of Silence

22 photographs, C-print, 7-channel sound, 2016

The piece consists of 22 re-photographed traces of photographs that had been torn out of a photo album from the Soviet labor camp (1923 – 1937) on the Solovetsky Islands in the White Sea, alongside a multi-channel sound installation that re-tells the story of the photo album as a museum object. The work displays the photo album as a pictorial genre that is directly related to speech and storytelling. Over time, its invisible component - the story - disappears, and with it the means for understanding are lost as well. There are only photographs left for interpretation and analysis, a mnemonic device in which one might recognize a pattern: the mechanism behind the construction of a narrative.