15.02.—15.03.19
Carmen Neely
LIFELINES

15.02.—15.03.19
Group Exhibition
MEMO

15.02.—15.03.19
Group Exhibition
MEMO

15.02.—15.03.19
Group Exhibition
MEMO

15.02.—15.03.19
Group Exhibition
MEMO

On the occasion of the Photo Weekend 2019 SETAREH X presents the double exhibition memo by Morgaine Schäfer and Sabine Dusend. The overarching theme of the exhibition is "memories" recorded or deleted by visual media. While Morgaine Schäfer shows photographs of analog "slide projections" from her rediscovered family collection, Sabine Dusend illustrates the process of deleting private and artistic images from the memory of her digital camera.

Morgaine Schäfer's previous work (b. 1989 in Wolfsburg, lives and works in Cologne) has often been based on her own family history, which the artist seeks to present in generally understandable forms, which can potentially be linked to often similar pictorial remembrance of the recipients. Morgaine Schäfer photographs slides on which her parents and relatives can be seen schematically, lying on lined paper as well as being set up by hand so that a blurred projection emerges on the sheet. These are pictures of images of past situations that, although often forgotten - as the slides prove - must have happened. The relativity of these memories captured in photographs, which theoretically could belong to someone else, is expressed in the blurriness of the scenes projected onto paper. Photographs of lines also written on lined paper give the respective pictures a narrative framework.

On the occasion of the Photo Weekend 2019 SETAREH X presents the double exhibition memo by Morgaine Schäfer and Sabine Dusend. The overarching theme of the exhibition is "memories" recorded or deleted by visual media. While Morgaine Schäfer shows photographs of analog "slide projections" from her rediscovered family collection, Sabine Dusend illustrates the process of deleting private and artistic images from the memory of her digital camera.

Morgaine Schäfer's previous work (b. 1989 in Wolfsburg, lives and works in Cologne) has often been based on her own family history, which the artist seeks to present in generally understandable forms, which can potentially be linked to often similar pictorial remembrance of the recipients. Morgaine Schäfer photographs slides on which her parents and relatives can be seen schematically, lying on lined paper as well as being set up by hand so that a blurred projection emerges on the sheet. These are pictures of images of past situations that, although often forgotten - as the slides prove - must have happened. The relativity of these memories captured in photographs, which theoretically could belong to someone else, is expressed in the blurriness of the scenes projected onto paper. Photographs of lines also written on lined paper give the respective pictures a narrative framework.

On the occasion of the Photo Weekend 2019 SETAREH X presents the double exhibition memo by Morgaine Schäfer and Sabine Dusend. The overarching theme of the exhibition is "memories" recorded or deleted by visual media. While Morgaine Schäfer shows photographs of analog "slide projections" from her rediscovered family collection, Sabine Dusend illustrates the process of deleting private and artistic images from the memory of her digital camera.

Morgaine Schäfer's previous work (b. 1989 in Wolfsburg, lives and works in Cologne) has often been based on her own family history, which the artist seeks to present in generally understandable forms, which can potentially be linked to often similar pictorial remembrance of the recipients. Morgaine Schäfer photographs slides on which her parents and relatives can be seen schematically, lying on lined paper as well as being set up by hand so that a blurred projection emerges on the sheet. These are pictures of images of past situations that, although often forgotten - as the slides prove - must have happened. The relativity of these memories captured in photographs, which theoretically could belong to someone else, is expressed in the blurriness of the scenes projected onto paper. Photographs of lines also written on lined paper give the respective pictures a narrative framework.

Sabine Dusend's (b. 1984 in Neuss, lives and works in Düsseldorf) basic work utensil is her now outdated Fujifilm Finepix digital camera, which she uses like a notebook and diary and with which some of her photographic works were made. If you delete images from the data memory of this type of camera, the process is visualized by a blue pixelization of the photo to be deleted. The photograph, which is apparently in dissolution, turns into a technical blue screen and is finally and irrevocably deleted. Whether this elimination of images happens by mistake, to generate more memory space or with the intention of getting rid of unpleasant (visual) memories, it is often accompanied by certain emotions, ranging from banal indifference to shame, anger and pain, and sometimes very personal in nature. By photographing the images of these extinguishing processes, Sabine Dusend captures what is actually unstable, captures on camera what is about to dissolve and thus arrives at a pictorial possibility of remembering the forgotten. 

The photographic works of both artists form thematic and compositional parallels and in the overall view create interesting cross-connections as well as extended spaces of thought and interpretation that relate the variability and sensitivity of pictorial memories to media-reflexive and critical discourses. A publication will be published on the occasion of the exhibition.

Sabine Dusend's (b. 1984 in Neuss, lives and works in Düsseldorf) basic work utensil is her now outdated Fujifilm Finepix digital camera, which she uses like a notebook and diary and with which some of her photographic works were made. If you delete images from the data memory of this type of camera, the process is visualized by a blue pixelization of the photo to be deleted. The photograph, which is apparently in dissolution, turns into a technical blue screen and is finally and irrevocably deleted. Whether this elimination of images happens by mistake, to generate more memory space or with the intention of getting rid of unpleasant (visual) memories, it is often accompanied by certain emotions, ranging from banal indifference to shame, anger and pain, and sometimes very personal in nature. By photographing the images of these extinguishing processes, Sabine Dusend captures what is actually unstable, captures on camera what is about to dissolve and thus arrives at a pictorial possibility of remembering the forgotten. 

The photographic works of both artists form thematic and compositional parallels and in the overall view create interesting cross-connections as well as extended spaces of thought and interpretation that relate the variability and sensitivity of pictorial memories to media-reflexive and critical discourses. A publication will be published on the occasion of the exhibition.

Sabine Dusend's (b. 1984 in Neuss, lives and works in Düsseldorf) basic work utensil is her now outdated Fujifilm Finepix digital camera, which she uses like a notebook and diary and with which some of her photographic works were made. If you delete images from the data memory of this type of camera, the process is visualized by a blue pixelization of the photo to be deleted. The photograph, which is apparently in dissolution, turns into a technical blue screen and is finally and irrevocably deleted. Whether this elimination of images happens by mistake, to generate more memory space or with the intention of getting rid of unpleasant (visual) memories, it is often accompanied by certain emotions, ranging from banal indifference to shame, anger and pain, and sometimes very personal in nature. By photographing the images of these extinguishing processes, Sabine Dusend captures what is actually unstable, captures on camera what is about to dissolve and thus arrives at a pictorial possibility of remembering the forgotten. 

The photographic works of both artists form thematic and compositional parallels and in the overall view create interesting cross-connections as well as extended spaces of thought and interpretation that relate the variability and sensitivity of pictorial memories to media-reflexive and critical discourses. A publication will be published on the occasion of the exhibition.

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Hohe Straße 53

40213 Düsseldorf Germany

Hohe Straße 53

40213 Düsseldorf, Germany

Hohe Straße 53

40213 Düsseldorf, Germany

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©2020
SETAREH X

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SETAREH X

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SETAREH X

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