Ohne Titel, 1997

Mischtechnik auf Papier und Holz

159,3 x 97,3 x 7 cm


Invitation to the exhibition

DARK SIDE II – Photographic Power and Violence, Disease and Death
Photographed.


Images of the night sky lit up by bombs, rockets, and flak have repeatedly fueled discussions since the Second World War: how do we deal with these pictures, how do we react when we see photographs of horrific scenario and yet are unable to resist the fascination of these images? Painful photographs and photographs of painful events are as upsetting as they are big business. They are part of social exchange, are used and consumed in the media, crop up in works of art, in advertising and fashion. One could not conceive of the visual landscape of the last fifty years without these images of terror. Why is it that people are transfixed by photographs of terror, horror, disease, and death? Do we look at these sights in order to strengthen our own moral fiber? How honest and ethical are the intention of those who produce and distribute these images? How honest are our intentions as observers? Darkside 2 investigates these issues and in so doing demonstrates the power of photography and elaborates on the function of images of violence, disease and bodily decay. This exhibition forms the second part of Darkside, one year after Darkside 1—Photographic Desire and Sexuality Photographed.



Ausstellungen:

Darkside II – Fotografische Macht und fotografierte Gewalt, Krankheit und Tod/Photographic Power and Violence, Disease and Death Photographed, Winterthur, Fotomuseum Winterthur, 5.9. – 15.11.2009

SCHRIFT BILDER DENKEN 2: Walter Benjamin und die Kunst der Gegenwart. Formen des Gedenkens in der zeitgenössischen Kunst, Berlin, Haus am Waldsee, 29.11.2004 – 30.1.2005

Publikationen:

Ausst.kat. Darkside II – Fotografische Macht und fotografierte Gewalt, Krankheit und Tod/Photographic Power and Violence, Disease and Death Photographed, Winterthur (Fotomuseum Winterthur), Göttingen 2009, S. 23

Ausst.kat. SCHRIFT BILDER DENKEN 2: Walter Benjamin und die Kunst der Gegenwart. Formen des Gedenkens in der zeitgenössischen Kunst, Berlin (Haus am Waldsee), Berlin 2005, S. 146 – 147

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