Claudia Rogge (Düsseldorf) Flavia Junqueira (São Paulo), Iwajla Klinke (Berlin) , Owanto (Gabon), Kay Kaul (Düsseldorf), Rosell Meseguer (Murcia)
11.9.2021 – 28.9.2021
In 1726 a fundamental event for the art world took place, the celebration of the first Art Salon in Paris organized by the Académie des beaux-arts, a new model of competitive exhibition that, in turn, served as a space for meeting, discussion and manifestation of new artistic proposals. Its success led to its expansion to different metropolises, adapting and feeding off the new poetics, as well as the new practices that arose from the application of industrial innovations to the art world, such as the birth of photography.
Once the discourse of mere technical reproducibility was overcome in the 1990s, memory, identity, subversion and, above all, experimentation became concepts inherent to contemporary photography. The works that make up this exhibition should be understood as discursive devices where past, present and future, real and artifice, presence and absence are combined, allowing us to reflect on our own subjectivity in both an individual and collective sense.
Clearly influenced by baroque theatricality, Claudia Rogge questions us about the possibility of the development of the individual dimension within the public discourses of production of homogenized subjectivities.
Her works, charged with tension, multiply bodies, but not identities, questioning the disappearance of our individuality within the framework of a society and a culture that inexorably leads us towards uniformity.
Kay Kaul’s work, on the other hand, is based on the encounter of Western and Eastern traditions, creating works typical of nineteenthcentury European landscape painting.
On the other hand, the vision of photography as a document, as well as the use of the archive itself in the generation of projects is the basis of many other photographers who see in it the tool to investigate, reflect and create a dialogue between what was, what is or what could have been.
In tune with Rogge’s work, Iwajla Klinke takes up the tradition of photographic portraits from the end of the 19th century to problematize the way in which current capitalism leads to a tendency towards uniformity and, consequently, the disappearance of traditional rites, languages and cultures. He carries out an archival work in which he highlights the value of these endangered expressions of identity and, by the same token, documents them to prevent them from being forgotten.
At the same time, Owanto uses archives and documents to question the future, starting from the past. Through his works, whose fundamental message is to question and make the viewer reflect on where we are heading as a community, he highlights the importance of moral strength and conscience to heal the problems that persist in our contemporary societies.
The dialogue and relationships between past, present and future are also an essential part of Rosell Meseguer’s work, which is a work of historical archaeology through the recovery of spaces by using archives and documents. Unlike the historian or the sociologist, the main architects of collective memory, she uses images to offer a personal and affective perspective, different in any case, on places in her immediate environment, with hich she establishes a direct cognitive relationship.
Finally, Flávia Junqueira invites us to enter scenes that straddle different spheres. Her works are framed in a discourse of historical recovery, both public and private, and documentary. She allows us to access spaces that materialize Brazil’s grandiose past but, at the same time, she questions us directly through the use of the globe as a metaphorical reminiscence of childhood. In this sense, different temporal, cognitive and sensorial dimensions are simultaneously superimposed in his work.