Born in Lennep, Germany, in 1937, Neususs has dedicated his whole career to extending the practice, study and teaching of the photogram_alongside his work as an artist, he is known as an influential writer and teacher on camera-less photography_Neususs brought renewed ambition to the photogram process, in both scale and visual treatment, with the Körperfotogramms(or whole-body photograms) that he first exhibited in the 1960s_since that time, he has consistently explored the photogram’s numerous technical, conceptual and visual possibilities_
Shadow Catchers,13 October 2010 - 20 February 2011, will present the work of five international contemporary artists - Floris Neusüss, Pierre Cordier, Susan Derges, Garry Fabian Miller and Adam Fuss - who work without a camera_
Camera-less photographs were popular with botanical illustrators in the 1840s and ’50s but the process was really taken up in a big way in the 1920s by artists connected with European avant garde art movements such as Da Da, Surrealism, including Christian Schad, Man Ray and Curtis Moffat_a way of exploring new concepts of light, time and space_
Music for Piano, Flute, Violin and Violoncello by Sofia Koubli_ Photography by Petros Koublis_ Video by Fotis Tsakos_
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“Since then, the girl wanders perpetually, as awake and walking while asleep. From year to year becomes finest, and despite the efforts of the curious, who flock from all over the world to see her, nobody ever was able to wake her up”
Andreas Embirikos, Writings or Personal Mythology - 1960
Photographer Ben Ali Ong: “By shooting 35mm black and white film and layering negatives together during the scanning stage, as well as the use of surface scratching and inscriptions to the negative, I try evoke a dream like detachment of an earlier age”_
Ben Ali Ong is quickly making a name for himself on the Australian art scene. Born in Singapore in 1982, the Sydney-based artist has exhibited widely with recent solo shows at Tim Olsen Gallery, the Queensland Centre for Photography and the Powerhouse Museum in Brisbane_
“Throughout my work I have been primarily interested in the suggestive possibilities between images, and the narrative I can create by juxtaposing the interior and exterior world beside each other. Portraits next to landscape, for example, and the tension between these two environments”_
László Moholy-Nagy - Ein Lichtspiel schwarz weiss grau [Light Display: Black-White-Grey}, 1930
Laszlo Moholy-Nagy is arguably one of the greatest influences on post-war art education in the United States. A modernist and a restless experimentalist from the outset, the Hungarian-born artist was shaped by Dada, Suprematism, Constructivism, and debates about photography. When Walter Gropius invited him to Bauhaus, in Dessau, he took over the school’s crucial preliminary course, and gave it a more practical, experimental and technological bent. He later delved into various fields, from commercial design to theatre set design; he made films and worked as a magazine art director.
His interest in qualities of space, time, and light endured throughout his career and transcended the very different media he employed. Whether he was painting, or creating ” photograms” (photographs made without the use of a camera or negative), or crafting sculptures made of transparent plexiglass, he was ultimately interested in studying how all these basic elements interact.
...Ummagumma, invisible islands, poetry in cinema, surrealism, good cigarettes, desert blues, Johann Sebastian Bach, Andrei Tarkovsky's eyes, Modigliani's portraits, cinnamon, André Breton's Nadja, the blue of Chefchaouen, red eyes, the roads of Lisboa, The color of pomegranates, the smell of the sea, Rainer Maria Rilke's poetry, the shadows of the moonlight, harpsichord, Dostoevky's characters, Fenando Pessoa's mind, Invisible cities, behind the observatory time, Persona, Expressionism, Vincent Van Gogh's shoes, vanilla and brown sugar, Man Ray's style, clouds of books, searching the Phantom of Liberty, Marx in economy, the knowledge of Borges, anticapitalism, Thus Spoke Zarathustra, The Idiot, universal freedom, La Societé du Spectacle, Sigmund Freud's Psychoanalysis, the purple night, Dada movement, Art Brut, Hieronymus Bosch dreaming hell, the fear of the fear, The Divine Comedy, gothic churches, Poe's darkness, Les Chants de Maldoror, black cats, a dark cabaret, Porto wine, a call from the past, The End of the Game, Die Nibelungen, Schiele's nude, watch her disappear, Gnossiennes, the fruits of love, Lollita, Une femme est une femme, macabre eyes, the kiss of Klimt, bloodstone, Edvard Munch's melancholia, drunken kaleidoscopes, Dali's elephatns, Venus in Furs, the sound of the Tahiti rain, Picasso's old guitarist, playing the stone of the sun, with Rodin's hands, born under a bad sign, Jeanne D'Arc in total injustice, Le Spleen de Paris, old music box, Kieslowksi's Decalog, Mesecina, gypsy violins, Paganini, Les Amants D'un Jour, magic crystal balls, the shape of Kiki's lips, gentle little shells at the bottom of the sea, Matsuo Bashō's haiku, broken blossoms, Ansel Adams's trees, Ugetsu monogatari, a blue bird in my head, Marketa Lazarová, Nostalghia, b&w still life, pagan poetry in Sintra, Hobo blues, cretan laouto, Sergei Paradjanov's colours, the blue veins, Sappfo's lyrics, the wild wind, at th Abbey Road, Berlin Alexanderplatz, the last waltz, Tom Wait's blues, subways, Moondog on the streets of New York, Stieglitz's Camera Work, the magic of the smoke, Kudelka's panoramics, Dreams That Money Can Buy, Maya Deren's key, whispering in my ear, Paul Élyard's images, rhum with lemon, Wassily Kandinsky's abstract dream, marimba tales, bamboo forests, Cassava Piece, morning passages, Fellini's pierrots and the white-orange fish is swimming inside the cave-house and dreaming the reality of gatakka...
