Strukturforscher

A Project from Photgrapher Wolfgang Brückner

The starting point for the STRUKTURFORSCHER (Structure Research) project was the observation that the identity and special features of the location of buildings and residential buildings are largely lost within the interior spaces. Even large, grand buildings often lose their charisma once you enter them. Even when art is part of the interior design, it seldom has a logical connection to the building and its surroundings. Wolfgang Brückner’s images, on the other hand, create an identification and “fraternization” with the respective building; for example, his “dream-windows” which actually show what is behind the walls, as if the architect had built a window into an extended perception. We are continually flooded by stimuli, pushing information into the background which was previously vital: for instance, information about our position and size in relation to the environment. The nervous system still generates this information, but it is only briefly checked in the subconscious and then deleted. This sense-impression makes the Structural Research Project visible, by, for instance, overlaying the same photo in different perspectives and colors. People do not play a big role in the pictures, it is always about the position of the perception relative to the environment. The large-format (up to 4 × 4 meters) colorful images are more reminiscent of paintings than of photos, they evoke feelings, stimulate dreaming, and unlike most architectural photographs, create a new relationship between the viewer and the object.

http://www.strukturforscher.com

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CURIOUS?

Marc Peschke

All in one – gallerist, culture journalist and photographer

In Marc Peschke’s artistic practice he has been moving away from the classical stylistic devices of photography and photographic art. The series were conceived as a subjective, fragmentary diary, forming a poetic, ambigious entirety. The artistic approach is surrealistic, anti-documentary and anti-photographic.

http://www.marcpeschke.de/

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CURIOUS?

C-Print on aluminium under plexiglass, milled, edition per motive 15 + 2 exemplars, signed

format A3 – 290 €, format A2 – 490 €, format A1 – 990 €, format A0 – 1.990 €

“The Cubes – Liquidacion Total”, hexagonal diasecs, deal with the debris of communication in a consumer or post-consumer society. Employing a constructivist, modernist pictorial language, subjects are transformed into absurd, cubic product units.These ironic photo-objects engage the viewer in a visually minimalistic and thematically complex play.

Marc Peschke is an art historian and photograph, born 1970 in the Offenbach near Frankfurt. His work of recent years have become more and more detached from the classical styles and means of photographic art. Series like „After This Darkness There Is Another“, „The Dark Cubes“, „Among Animals & Plants“ or „The Cubes – Liquidacion Total“ shall be read as subjective, fragmentary, ambiguous, though deeply poetical diaries. The attitude is surrealistic, anti-photographic and anti-documentary. Peschke: „My art is about re-mystification and codification But then, these are wanderings through my life. I don’t stage or re-enact my images. I do not look for motives – they find me.“

His latest series „The Cubes – Liquidacion Total“ – hexagonally shaped diasecs – pick up graphic remains – the communication junk – of our society, and forms them into absurd, cube-like handy goods. The works of this series are much more “artistic wall objects” created from photographs than they are classical photographs in its own right. Formally minimalist-serial, they present a complex and ironic view into the transient nature of today’s consumer society.

Nora dal Cero

Food & Fashion Photography in a different way

Nora Dal Cero is a photographer based in Zurich and Berlin. Her roots are Swiss with Italian and British heritage and she was raised both in Switzerland and Spain. Professionally she is specialized in food photography and the visual staging of fashion. With her free work however she does not limit herself to categories – from the landscapes of rural Namibia to the architectural treasures of Tokyo or the visitors of her Berlin studio sitting on a couch, she is always looking for the one perfect picture. Nora’s work has been exhibited in galleries and museums in Switzerland, Austria and Germany.

http://www.noradalcero.ch/Home.13.html

Zahnbürste, Stlyling: Alexandra Eichenauer

Blume, Food Stlyling: Alexandra Eichenauer

Kuchen, Food Styling: Alexandra Eichenauer

Lippenstift, Stlyling: Alexandra Eichenauer

Schwamm, Food Stlyling: Alexandra Eichenauer

Kronleuchter, Stlyling: Alexandra Eichenauer

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Prices on request

CURIOUS?

Thomas Lucker

at the interface of sculpture and photography

Thomas Lucker is working with stoneslabs in a traditional way, later exposing them to light in his darkroom. He is interested in processes of remembering and forgetting and how our mind produces, alters, and overwrites memories to construct a coherent picture of ourselves and of the world. Lucker always starts with a photo, that finally becomes part of the work through treatment in the darkroom. Lucker uses limestone, a sediment emerged in primevally oceans, and thus bearing memories of the history of life already in it’s structure.

http://www.thomaslucker.de/

Frischwasser, limestone, black/white illumination, indian ink, 90 x 48 x 4 cm, 2016, 3.900 €

Meanwhile, limestone, black/white illumination, three parts, 60 x 180 x 4 cm, 2015, 8.300 €

Hafenspaziergang, Tusche, limestone, black/white illumination, three parts, 100 x 165 x 4 cm, 2015, Foto: Ute Zscharnt, 12.400 €

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CURIOUS?

Aufbruch von Lemnos, limestone, black/white illumination, 100 x 70 x 4 cm, 2014, Photo: Ute Zscharnt, 4,500 €

The Edge, limestone, black/white illumination, 70 x 50 x 4 cm, 2013, Pboto: Sven Hagolani, 3.500 €

Schlickrutscher, limestone, black/white illumination, 100 x 60 x 4 cm, 2015, Photo: Ute Zscharnt, 4.200 €

Nausikaa, limestone, black/white illumination, 60 x 100 x 4 cm, 2014, Pboto: Ute Zscharnt, 4.200 €

Das Beiboot, limestone, black/white illumination, acrylic, 70 x 100 x 4 cm, 2014, Photo: Ute Zscharnt, 4.500 €

Schloss, marble, black/white illumination, 53 x 73 x 2 cm, 2013, Photo: Sven Hagolani, 3.200 €

Stabeshöhe, limestone, black/white illumination, 46 x 75 x 4 cm, 2015, 2.900 €

Wintertag am Meer, limestone, black/white illumination, indian ink, acrylic, 60 x 100 x 4 cm, 2014, Photo: Ute Zscharnt, 4.200 €

up and down, limestone, marble, black/white illumination, five parts, 100 x 130 x 2cm, 2013, Photo: Sven Hagolani, 7.400 €

Miriam Künzli

No flower bed is good enough that you can’t build a carousel for children on it (Johannes XXIII). Amusement parks are a feast for our senses. We happily plunge into a playful and reflective illusionary world and let an artificial naturalness seduce and deceive us. Nothing is real, except our childlike joy and awe caused by obvious fake. The often breathtaking and also outrageous fantasy constructions and furnitures of the rides are a requirement and the stage for the ups and downs of our perception and emotions. This photo series focuses on the scenery and not human beings. Without the thunderous swoosh and chatter of scooters, without the screeching teens in the loops and the piercing screams during free fall, without having black licorice and pink cotton candy smudges all over faces of children, there is a dreary beauty and melancholic loneliness on the fairgrounds. A memory of the cheerful hilarity of our own childhood.
www.miriamkuenzli.de/