For the exhibition About You Nina Hoffmann gathered five plug artistic positions that focus on a specific connection between dem-/derjenigen front of and behind the camera. Unlike a purely documentary or ethnographic view showing selected photographs and motion pictures a process of reflection, which takes over the respective recording apparatus of time.
The work of Rachel (2006) by Lukas Hoffmann jerks to look into the camera to focus in photography. The classical way, the young woman stands facing the camera. Her expression is, however, recognize that the act of being photographed clearly in question and it looks as if they pierce with their skeptical view camera and photographer. Through their defiant attitude they will from a passive to active questioners depicted cross, her look and the photographer in the moment of capture. As a viewer we now take the position of the photographer. And while the scene of a photograph is usually in the image space, the viewer is drawn inevitably to Rachel Gegenüber and thus into the picture with events.
The work of the foundation (2012) by Nina Hoffmann shows two different modes with the Gefilmtwerden see umzugehen.Zu are two synchronized image sequences, each showing a man and a woman who shoot each other. Unnoticed, the only recognizable by their sitters look into the camera that they are received. Nina Hoffmann interested in exactly this moment, in which shows both a spontaneous reaction to deal with the situation. In the depicted are the parents of Künstlerin and so there will be more attractive crossings at the points, as can be seen in the form of Nina Hoffmann reflections to himself in the picture. The Künstlerin which selects from the private material with an analytical eye, writes in this way even into the picture. potential K (2011) is a slide installations, whose photographs have emerged over a period of eleven years. The multi-faceted portrait of a long-time friend of the Künstlerin, the trust between the two near the center. The work asks what insights we obtained through the portrait of a man whose relationship is marked by portraying the deep friendship.
Also in the work Genealogy (1971-2012) by Iris Janke is expressed a special relationship between proximity and distance, because the photographic series, the growth of family members over three generations, lit. On the one hand, the material comes from the mother of Künstlerin - self-trained photographer - and consists of children's pictures of Iris Janke, on the other hand, the Künstlerin photographing her own children now. A former times are now at that time and is reflected in the present. The pictures, which were partially included in the same places, show how the role can be seen between now and see yourself change over time and Eder can always manifests itself in the recordings understand the desire, the other and begleitenzu want.
At work frontal teaching (2009) by Ulf Aminde the recording camera is in the intersection between actors using young people and artists. As part of the Schiller Festival should Künstlermit a group of young people develop an outcry for the State Theater in Mannheim. The four-week rehearsal period, however, proved to be highly problematic and threatened to overturn the project. To give young people a feeling Darfur, what it means to stand on a Wetzel, Ulf Aminde organized an afternoon on a Probebühne the State Theatre. While the group participants on the stage in the headlights sat, stood the artists gegenüber them behind the camera. The only stage direction was to play that young people should Ulf Aminde, while he - not visible for us - the young people re-enacting the same time. Characterized by their depiction of the young people a very accurate picture of the sample period, by imitating the artists in his attempts to tame the group. They translate the shared experiences in a spontaneous performance that holds the artists a multiple mirror. In frontal teaching the shooting situation ultimately delivered under the condition that, from a situation that threatened zuscheitern, a dense portrait of the past tense could occur weeks. Here, the camera is in focus of the coming together of two realities.
Susanne M. Winterling's work Untitled (artist as Torquato Tasso) (2009) deals with the Italian writer Torquato Tasso, in the 16th Century in conflict with the courtly society was due to his mental illness and spent several years in captivity. In the flickering light of the projector Künstlerin Are we in a single shot as überlebensgroßes frontal close-up gegenüber undwerden witnesses of their metamorphosis. Susanne M. Winterling takes no grand gestures. The "Hineinschlüpfen" in the delusional state of mind of the writer is taking place solely in the face of Künstlerin. The clown-white makeup with the wrong nose determines the masquerade not only open, but this serves as a visual representation which goes behind the Künstlerin crossing their identity with that of the Schriftstellerszu. Regardless of gender attributions to an approach takes on the precarious disposition of a historical figure with a simultaneous identification of the impossibility of the task. There is no blending of two identities, but a break is clearly visible as a difference. We are looking into a dark, color-reduced space in the visionary character study, self-portrait and projection fall into one.
The selected works represent different varieties, to reflect in the other. Here are the exhibits from the sitter is not easy, but put them in the act of becoming recorded. Both perspectives are intertwined and are enrolling in the works. Thus, the recording conditions are always mitreflektiert why the work is ultimately about the nature of representation as statements to understand itself. In the direct confrontation between portrayed and portraying itself undergoing a psychological process that is gathered within this project can be understood as a formal coordinate some aesthetic productions. About you stretches a web of relationships of these encounters, reflections and intersections.