Georg Brückmann: Bauhaus Dessau
18 May—22 June 2019
One focus of Georg Brückmann's photographic work is to question the realistic heritage of photography as a reflection of reality. To this end, he has recently repeatedly photographed fictitious spaces he has created himself, which are obviously constructed. He uses a fragmented realism and plays with perspective both for the construction of the space and to irritate the viewer—and not least to deconstruct the photographic claim of the depictability of reality.
In the photographic works of the Bauhaus Dessau series by the artist Georg Brückmann, the already typical cubes that function as image carriers and almost as canvases appear once again. In projections of the past, Brückmann creates re-stages that make places of the past accessible again today, at least in the form of fragments.
Capturing and showing the power of the photographic era is the central theme of Brückmann's series on the Bauhaus in Dessau. In doing so, however, he critically questions the medium itself and shows its characteristics, but also tricks, in a direct way. Today, nobody believes in the supposed supermimesis of this technology, i.e. to depict reality objectively and provably. But Brückmann makes use of this insight in his staging and showing. Boldly, the artist shows us the aspect of the constructed in photographic image-making, thus strengthening the possibilities of showing and pointing in his motifs.
These motifs are rooms 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 the present environment is a unique way of visualising history, which can be both a warning and astonishment. Regardless of whether the seclusion of history is questioned here or continuity and transition are depicted, the artist makes it clear that certain perspectives are involved. His piled up cubes make it clearer than ever: the point of view conditions the possibility of meaningful seeing and recognizing. In a time of post-factual discourse, Brückmann's works are thus an important commentary, without, however, jeopardizing the openness of the artwork. The complete series of 25 works can now be seen for the first time at Josef Filipp.
The Museum of Photography in Braunschweig will also be showing works by Georg Brückmann from his Bauhaus Dessau series until the end of June.
Georg Brückmann was born in 1977 in Frankfurt am Main, lives and works in Leipzig. He studied communication design with a focus on photography at the University of Essen since 2001. In 2003, he began studying photography at the Academy of Visual Arts Leipzig, where he graduated in 2009 with a diploma with distinction under Tina Bara. From 2009 to 2012, he followed a master's degree course, also with Tina Bara. From 2011 to 2012, Brückmann received the artists' promotion through the Trustee Program of the Else Heiliger Fund of the Konrad Adenauer Foundation. In 2013 he received a working scholarship from the Kunstfonds Foundation in Bonn. Since 2007 Brückmann has been taking part in group exhibitions. Since 2012 his works are also shown in solo exhibitions. In 2015 he prevails over 140 applications and receives the Otto Steinert Prize. 2016 Artist sponsorship, Heussenstamm Foundation Frankfurt/Main | 2017 Catalogue sponsorship, Kunstfonds Foundation, Bonn
In the photographic works of the Bauhaus Dessau series by the artist Georg Brückmann, the already typical cubes that function as image carriers and almost as canvases appear once again. In projections of the past, Brückmann creates re-stages that make places of the past accessible again today, at least in the form of fragments.
Capturing and showing the power of the photographic era is the central theme of Brückmann's series on the Bauhaus in Dessau. In doing so, however, he critically questions the medium itself and shows its characteristics, but also tricks, in a direct way. Today, nobody believes in the supposed supermimesis of this technology, i.e. to depict reality objectively and provably. But Brückmann makes use of this insight in his staging and showing. Boldly, the artist shows us the aspect of the constructed in photographic image-making, thus strengthening the possibilities of showing and pointing in his motifs.
These motifs are rooms 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 the present environment is a unique way of visualising history, which can be both a warning and astonishment. Regardless of whether the seclusion of history is questioned here or continuity and transition are depicted, the artist makes it clear that certain perspectives are involved. His piled up cubes make it clearer than ever: the point of view conditions the possibility of meaningful seeing and recognizing. In a time of post-factual discourse, Brückmann's works are thus an important commentary, without, however, jeopardizing the openness of the artwork. The complete series of 25 works can now be seen for the first time at Josef Filipp.
The Museum of Photography in Braunschweig will also be showing works by Georg Brückmann from his Bauhaus Dessau series until the end of June.
Georg Brückmann was born in 1977 in Frankfurt am Main, lives and works in Leipzig. He studied communication design with a focus on photography at the University of Essen since 2001. In 2003, he began studying photography at the Academy of Visual Arts Leipzig, where he graduated in 2009 with a diploma with distinction under Tina Bara. From 2009 to 2012, he followed a master's degree course, also with Tina Bara. From 2011 to 2012, Brückmann received the artists' promotion through the Trustee Program of the Else Heiliger Fund of the Konrad Adenauer Foundation. In 2013 he received a working scholarship from the Kunstfonds Foundation in Bonn. Since 2007 Brückmann has been taking part in group exhibitions. Since 2012 his works are also shown in solo exhibitions. In 2015 he prevails over 140 applications and receives the Otto Steinert Prize. 2016 Artist sponsorship, Heussenstamm Foundation Frankfurt/Main | 2017 Catalogue sponsorship, Kunstfonds Foundation, Bonn