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Berlin

KLEMM'S

Exhibition Detail
16.777.216 Farben
Prinzessinnenstr. 29
10969 Berlin
Germany


January 23rd, 2010 - March 6th, 2010
Opening: 
January 22nd, 2010 6:00 PM - 9:00 PM
 
 16.777.216 Farben, close view, Adrian SauerAdrian Sauer, 16.777.216 Farben, close view,
2009
© Adrian Sauer
16.777.216 Farben (14.12.2009, 12:25:26), Adrian SauerAdrian Sauer,
16.777.216 Farben (14.12.2009, 12:25:26),
2009, dig. c-print, framed and passepartout, 150 x 220 cm
© Adrian Sauer
16.777.216 Farben (colors), exhibition view KLEMM\'S, Berlin 2010, Adrian SauerAdrian Sauer,
16.777.216 Farben (colors), exhibition view KLEMM'S, Berlin 2010

© KLEMM'S
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> QUICK FACTS
WEBSITE:  
http://www.klemms-berlin.com
NEIGHBORHOOD:  
friedrichshain-kreuzberg
EMAIL:  
info@klemms-berlin.com
PHONE:  
+49 (0)30.40.50.49.53
OPEN HOURS:  
Tue - Sat, 11 a.m - 6 p.m.
TAGS:  
photography, digital
> DESCRIPTION

Opening and book presentation: Friday, 22 January 2010, 6–9 p.m.
Artist talk: Tuesday, 23 February 2010, 7 p.m.


“In his 16.777.216 Farben (16.777.216 colors), Adrian Sauer presents the whole palette of
digital painting. The 16.777.216 different colors that the RGB-color space can generate with
the additive model of color synthesis are ordered at random, not according to color
spectrums. Instead of smooth transitions and fine chromatic difference, there is a flickering
expanse of tiny color squares expressing the idea of the finitude of the space of digital color:
what you see is all you get. With this gesture, Adrian Sauer designates his work as Verifiche,
as new verifications of the material of photography 40 years after the pioneers of
Bildanalytische Photographie (Analytical Photography).

In another work Sauer presents ‘portraits’ of books. The pictures were taken from various
angles and in front of a neutral background. The interplay of the two views makes manifest
the sculptural quality of the books, their solidity, while also showing their traces of use. This is
the point where the carefully dosed paradox of Sauer’s way of representing becomes visible.
Both the photo books and their backgrounds have become synthetic surfaces. The
photographic grain from the original volume has been replaced by a digitally defined color
gradation; the marks of real use have been replaced by the reconstructed signs of this use.
Whereas the picture is set up to emphasize precisely the object character of the book, the
treatment of the surface transforms the corporeal volumes into surrogates, similar to the
empty covers standing in as real books on the shelves of big furniture stores.3 The images
refer to titles which could just as easily be invented. Sauer chooses to subject standard
works of contemporary photo theory to his process of digital re-composition by
photographing and processing them in Photoshop. This is particularly significant because all
three publications contain important essays on digital photography that have informed
Sauer’s work. His images thus turn books into evidence of a media-historical process, partly
through their sober appearance, partly through the reference to particular positions in theory
and partly through the precarious nature of the reference itself, half photographic and half
pictorial.” (Florian Ebner)

The artist book ‘16.777.216 Farben’ is published during the same time. Adrian Sauer
compiles in three volumes works that have reflected and pointed to his interest for the
conditions and effects of the disappearance of analogue photography for contemporary
image culture and the effect of the use of digital images.

An artist talk with Adrian Sauer will take place in the gallery on 23rd February, 2010. He will
discuss his works with Prof. Dr. Bernd Stiegler and Prof. Dr. Steffen Siegel. Bernd Stiegler
teaches at University of Constance focusing on theory and history of photography. He has
published various books with Suhrkamp and Wilhelm Fink publishing houses. Steffen Siegel
is junior professor at University of Jena. He deals with the utilization of visualization in culture
and science and has published with Wilhelm Fink publishing house as well. Florian Ebner,
photography historian and director of the museum of photography in Braunschweig, will
moderate the talk. He is also the author of the text in the artist book.


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