2021 09
In Kooperation mit der AdBK München
To Be An Angular Something As A Round Nothing
Ausstellung Kaulbachstraße München | 16. – 30. 09. 2021In Kooperation mit der AdBK München
Authenticity is a dynamic process of endless becoming in an innately changing environment, rather than a fixed state of being. We do not wish to consider authenticity and inauthenticity as mutually exclusive states, but rather as mutually dependent concepts. Authenticity as a concept is a human construct, as such, it has no reality independent of minds.
Can authenticity be, publicized, declared, marketed, or exchanged as some sort of commodity or must it be unpretentious and understated? The act of photography is one of phenomenological doubt. The paradox of authenticity lies in the ephemeral medium only being able to point to that which it cannot represent. An authentic beyond. A question, as much draws us as it repulses us: Who am I, The ‘photographer’ if my inauthenticity is premeditated? Seduced by this question, we return to it. Magically, illustriously, repentingly. Wherein lies trust, if not in authentic appeal?
In order to apply true, revolutionary evolutions in communications - centered on a world of information and interaction - we seek to comprehend the ubiquitous media in its totality: the semantic role of photography and in its technological consequences such as digitization and the role of the Internet. In this permanent hypermedialization, every future is suffocated because it occurs only symbolically. To analyze the intentions of photographic practice and the overall functionalism of photography is to transmute it into actual power. Such an investigation is critical because it is the only form of revolution left open to us. In our hands lies the intimate urgency and necessity of this exhibition. Our collective responsibility as photographers is to consciously operate on the strangeness of photographs, play against the camera, proposing new and revolutionary new ways of seeing by using images to create spaces running counter to those that are programmed within apparatuses.
We seek to reveal the intricacy of the virtual language of photographs, the challenges posed to any definition of art, fiction, or society. By investigating the unmediated boundaries between knowledge and perception, focusing on employing language to break down control. A lethal hijack the representational, traditional space of semiotics.
Consisting of 24 individual pursuits of possibilities that are still unexplored in the camera’s program, exhibiting for the first time informative, improbable images that have not been seen before and leading as pioneers of post-authentic investigation: Ours is a project of individual artists focusing on themes of identity, origins, credibility, translation and communication, appropriation, fictive documentation and representation, degrees of authenticity/inauthenticity, fragmentary functionalities and constructs, display, value, tradition and cultural authenticity – the autonomy of the art world, and testimonial photography. It is in the interest of Being an Angular Something as a Round Nothing to realize an exhibition concerning the establishment of a model of freedom. Consciously revealing the innate inauthenticity of the photographic act, one dominated by the camera’s game, a strangeness we have become blind functionaries of.
In this exhibition, by intentionally revealing the inherent un-authenticity of the mischievous mechanical image in the post-industrial age, a true investigation of the most fundamental questions in our practice is blown wide open. From how to read the surface of images to how to realize the true aim of any single photograph - to disclose the logic of being produced. And finally, reveal the immanent question of the effects of the information society on the basic structures of human existence and freedom. Artists seek to deal with a constructed narrative in shape and time. In an effort to map, decode and uncover a “limited” truth, they reveal the relativity of meaning as a constant relative matter of relationships and constructs. Through their use and transcendence of the photographic medium, the artist’s works consist in revealing the fictitiousness, banality, and inauthenticity of the narrative of construct and time. They masterfully dissect the un-truth of the photographic image - one known only through representations that are fragmentary and in themselves ambiguous collectively seeking to describe a moment of realization about a perceiving self that is independent of, but not separate from the world and all its manifestations.
...And why are we so obsessed with possessing authenticity anyway? Has it ever been for having? Could It ever be for keeping?
It curves
Into round
Nothing angular can be something
Somethings round in spite of nothing.
Take a picture, just try.
Unter dem Titel „To Be An Angular Something As A Round Nothing“ haben Studierende der AdBK Nürnberg sowie AdBK München gemeinsam eine interdisziplinäre Ausstellung realisiert.
Mit Arbeiten u. a. von Anna Boldt, Valentin Hesch, Jason Hess, Laura Michèle Kniesel, Max Pospiech und Rebecca Schwarzmeier.
Ausstellungsansichten © Jason Hess, 2021
Can authenticity be, publicized, declared, marketed, or exchanged as some sort of commodity or must it be unpretentious and understated? The act of photography is one of phenomenological doubt. The paradox of authenticity lies in the ephemeral medium only being able to point to that which it cannot represent. An authentic beyond. A question, as much draws us as it repulses us: Who am I, The ‘photographer’ if my inauthenticity is premeditated? Seduced by this question, we return to it. Magically, illustriously, repentingly. Wherein lies trust, if not in authentic appeal?
In order to apply true, revolutionary evolutions in communications - centered on a world of information and interaction - we seek to comprehend the ubiquitous media in its totality: the semantic role of photography and in its technological consequences such as digitization and the role of the Internet. In this permanent hypermedialization, every future is suffocated because it occurs only symbolically. To analyze the intentions of photographic practice and the overall functionalism of photography is to transmute it into actual power. Such an investigation is critical because it is the only form of revolution left open to us. In our hands lies the intimate urgency and necessity of this exhibition. Our collective responsibility as photographers is to consciously operate on the strangeness of photographs, play against the camera, proposing new and revolutionary new ways of seeing by using images to create spaces running counter to those that are programmed within apparatuses.
We seek to reveal the intricacy of the virtual language of photographs, the challenges posed to any definition of art, fiction, or society. By investigating the unmediated boundaries between knowledge and perception, focusing on employing language to break down control. A lethal hijack the representational, traditional space of semiotics.
Consisting of 24 individual pursuits of possibilities that are still unexplored in the camera’s program, exhibiting for the first time informative, improbable images that have not been seen before and leading as pioneers of post-authentic investigation: Ours is a project of individual artists focusing on themes of identity, origins, credibility, translation and communication, appropriation, fictive documentation and representation, degrees of authenticity/inauthenticity, fragmentary functionalities and constructs, display, value, tradition and cultural authenticity – the autonomy of the art world, and testimonial photography. It is in the interest of Being an Angular Something as a Round Nothing to realize an exhibition concerning the establishment of a model of freedom. Consciously revealing the innate inauthenticity of the photographic act, one dominated by the camera’s game, a strangeness we have become blind functionaries of.
In this exhibition, by intentionally revealing the inherent un-authenticity of the mischievous mechanical image in the post-industrial age, a true investigation of the most fundamental questions in our practice is blown wide open. From how to read the surface of images to how to realize the true aim of any single photograph - to disclose the logic of being produced. And finally, reveal the immanent question of the effects of the information society on the basic structures of human existence and freedom. Artists seek to deal with a constructed narrative in shape and time. In an effort to map, decode and uncover a “limited” truth, they reveal the relativity of meaning as a constant relative matter of relationships and constructs. Through their use and transcendence of the photographic medium, the artist’s works consist in revealing the fictitiousness, banality, and inauthenticity of the narrative of construct and time. They masterfully dissect the un-truth of the photographic image - one known only through representations that are fragmentary and in themselves ambiguous collectively seeking to describe a moment of realization about a perceiving self that is independent of, but not separate from the world and all its manifestations.
...And why are we so obsessed with possessing authenticity anyway? Has it ever been for having? Could It ever be for keeping?
It curves
Into round
Nothing angular can be something
Somethings round in spite of nothing.
Take a picture, just try.
Unter dem Titel „To Be An Angular Something As A Round Nothing“ haben Studierende der AdBK Nürnberg sowie AdBK München gemeinsam eine interdisziplinäre Ausstellung realisiert.
Mit Arbeiten u. a. von Anna Boldt, Valentin Hesch, Jason Hess, Laura Michèle Kniesel, Max Pospiech und Rebecca Schwarzmeier.
Ausstellungsansichten © Jason Hess, 2021
Fotos © Jason Hess, 2021