Regarding the progression of an ever increasing dissolution of photographic support material – perceptibly a property inherent within the medium itself, furthered by digital technologies – we would like to bring together three different artistic positions which make the materiality relational to its medial determinants a subject of discussion. Sharing an initial point by not being confined only to the visual attraction of the medium but eliciting also tactile qualities. Not only specific interventions within the manufacturing process but also the presentation of photographic images, lead finally to the basic questioning of any objective capability.
Based on the concept within Jean-François Lyotard’s forecast that the awareness of the world increasingly means a loss of connection to materiality because henceforth the access happens only via instruments, authentic experiencable practices ask for something beyond visual communication. Modification and deconstruction of the photographic media therefore opens a range of potentially new aesthetic experiences. Additions as well as violations of the medial conditions concur that the habitual smooth and flawless surface of photography reject, transfigure or deny its correspondency. Starting from a culture deluged with images, the three artists work up potential meaningfulness of the visual phenomenon. Sounding out ambivalent ideas within medial images – of signifier and significate as well as of a presence and an absence – the exhibition seeks a dialog between seeing and touching.
For Anouk Kruithof the photo-optical mode serves as the basic media whose margins and borders are stretched and defied to delegate the material to an obvious haptic and spatial form. The installative presentations of Kruithof’s photographs display a space-consuming aspiration and widen the exclusive superficies of photography. Techniques of dissection as well as of (re-)construction connects the perception of photographic motifs with physical experiences. Within this virtue the works equally convey a sense of tactility that refers straight to the beholder’s real space.
With her work Mariana Mauricio assumes the social practice of photography as a visual memory-storage and manipulates and violates the images until the photograph is questioned in its property as a historical resource. Working with found images the artist rather transfers the medium of photography from image-reality into a mirror of its own properties than displaying the world photographically. The artistic handling with the medium – of applications as well as damages or mixtures – re-assimilates the inherent structures of the medial capabilities of presence and absence and directs the historical motifs to a new idea of zeitgeist. The question of a reproduced reality becomes obsolete. For the reception of the photographic works of Mauricio the beholder is challenged to educe new kinds of approaches.
Darren Harvey-Regan achieves the subjects of his works by segregating single objects from his surrounding environment and nature, like tools or animals. Focusing on the object-relation of photography he transfigures the principles of causality by duplicating the motivic influences of his photographs. In doing so Harvey-Regan resolves the onesidedness of the photographic act and leads the image within the exhibition space to three-dimensionality. In relation to their concrete counterparts, the installation-based photographs gain vice versa objective virtues.