f/stop Accomplice
Georg Brückmann: Bauhaus Dessau
23 June—14 July 2018
In the photographic works of the Bauhaus Dessau series by the artist Georg Brückmann, his already typical cubes appear again, functioning as image carriers and almost as canvases. In projections of the past, Brückmann creates re-stagings that make places of the past accessible again in the present.
The power of photography to capture and show time becomes a theme in Brückmann's way of working, without unreflectively using the mimesis of this technology, which is invalid today. Boldly, Brückmann shows us the aspect of the constructed in photographic image-making and thus strengthens the possibilities of showing and pointing in his motifs.
As part of the 8th f/stop festival of photography, Georg Brückmann presents spaces and places of the Bauhaus and the Masters' Houses in Dessau, in which people and historical presences reappear in equal measure. The insertion of historical photographs into contemporary settings is its own way of visualising history, which can be both a reminder and an astonishment. Whether it is the closure of history that is being questioned or continuity and transition that are being visualised, the artist makes it clear that it is a matter of specific perspectives. The point of view conditions the possibility of meaningful seeing and recognising. In a time of post-factual discourse, Brückmann's works are thus important commentaries, but without jeopardising the openness of the artwork.
The power of photography to capture and show time becomes a theme in Brückmann's way of working, without unreflectively using the mimesis of this technology, which is invalid today. Boldly, Brückmann shows us the aspect of the constructed in photographic image-making and thus strengthens the possibilities of showing and pointing in his motifs.
As part of the 8th f/stop festival of photography, Georg Brückmann presents spaces and places of the Bauhaus and the Masters' Houses in Dessau, in which people and historical presences reappear in equal measure. The insertion of historical photographs into contemporary settings is its own way of visualising history, which can be both a reminder and an astonishment. Whether it is the closure of history that is being questioned or continuity and transition that are being visualised, the artist makes it clear that it is a matter of specific perspectives. The point of view conditions the possibility of meaningful seeing and recognising. In a time of post-factual discourse, Brückmann's works are thus important commentaries, but without jeopardising the openness of the artwork.