A huge Smartphone receives the visitors of the exhibition “the subject and the object”, John’s Post has it stuck as a film to the Window glass, the Kunsthalle Düsseldorf presents an example of the most used camera of the present. The protective glass is chipped and looks like a commodity fetish, rather, you ask yourself, what is the lived life in the hands of young people, but perhaps also on a long, forced journey of this cell phone route, may well have been damaged. And what has been communicated about everything. To such associations in 1983 in Neuss, Germany-born artist more fleeting images are added. The outside is reflected on the human-sized Display, from the inside, you look through them on the grabbeplatz, and see the art collection of North Rhine-Westphalia, in the picturesque blurring in Gerhard Richter once on the silver screen.
pictures of pictures, this time real, exactly 512 aluminum framed photographs, hoards Jörg Sasse also equal to the input in his “memory II” by 2010. The accurate archive exudes the cool brilliance of a minimalist object, and takes conceivable a variety of subject groups. Some of them hang on the wall as the mini-series “holiday” and “facades”: the expression of a stressed laconic Domination of the world by means of serial photography, as taught in the “düsseldorf school” of Bernd and Hilla Becher, here, however, provided with dry irony.
the exhibition in the presence of
hundreds of images, in turn, the group show on the history of photography in the Rhine and Ruhr gathered, since Otto 1959 Steinert at the Essen Folkwang school in the first photography class at a University in the Federal Republic of Germany had taken over. The flow of the exhibition reaches back behind the current debate, where a new Institute for the Genre will be located in Essen or in Düsseldorf? As a plea for a location, it can also be read as little as as a navel-gazing of the photo city of Düsseldorf, as it almost twenty years ago, the review “was edited from today up to now”. But then?
For the plurality of positions in “similarities and Differences” and “part clearly comprehensible, such as on the other hand, loose links” in the Region, and the Foreword by Dana Bergmann, Ralph Goertz and Gregor Jansen. On “stringent mappings” of schools, places, Chronologies, the curators wanted to avoid and put more on “associative Interplay”. In order to allow pit himself all the freedom between the smorgasbord and the Fund. One suspects, as the list of Artists grew up in the preparation and grew, until it was closed at 107 photographers.
