Donald Judd – A good chair is a good chair / International Design Museum Munich

•August 5, 2011 • Leave a Comment




Die Neue Sammlung – The International Design Museum Munich



Donald Judd – A good chair is a good chair
15.07.-09.10.2011


»If a chair or a building is not functional … it is ridiculous.« (Donald Judd)


Donald Judd


Donald Judd
© Judd Foundation Archive





American Donald Judd (1928-1994) is considered one of the most important 20th- century artists the world over. He came to fame in the 1960s as one of the protagonists of Minimal Art but expanded his oeuvre to include the areas of architecture and design. Yet only a few people are aware that Donald Judd also applied himself intensively to furniture design.

For the first time in the context of an interdisciplinary institution, Die Neue Sammlung – The International Design Museum Munich – is showing a focused selection of the furniture Judd conceived, doing so within a setting of important museum collections on the history of modern art and design.

Judd addressed the design of furniture more intensely after moving to Marfa/Texas. He needed tables, chairs and a children’s bed for his small house. As Judd was unable to buy the furniture that met his requirements either in Marfa or the surrounding towns he decided to design and make his own. The first item he produced was the bed for his children – made of simple pine boards. It was only later that he worked with a carpenter who produced the furniture exactly according to his specifications. After a while in addition to the wooden furniture he opted for his first metal pieces of furniture, for which purpose he largely used sheet aluminum, which was produced in different colors. Judd was always intent on his furniture not being seen as »artist’s furniture« but as proper furniture that functioned well.


Donald Judd


Donald Judd, Children’s bed (pine), 1977. Fabricated by Donald Judd.
Courtesy Flavin and Rainer Judd. Photo: Stuart Whipps, Donald Judd Furniture (Trademark) © Judd Foundation

Donald Judd


Donald Judd, Children`s Desk (pine), 1978. Fabricated by Donald Judd.
Courtesy Rainer Judd. Photo: Stuart Whipps, Donald Judd Furniture (Trademark) © Judd Foundation





Aside from the items produced in small numbers of wood and metal the exhibition also shows prototypes and early pieces the artist constructed for himself, which have seldom been previously shown outside of the two places he lived, namely New York and Marfa/Texas.

The extensive collection of design objects owned by Die Neue Sammlung – The International Design Museum Munich – and its permanent exhibition at Pinakothek der Moderne make it possible for the first time to show Donald Judd’s furniture in the context of works by designers whom the artist particularly appreciated. These include not only the Americans Ray and Charles Eames, but also Dieter Rams – among other things, Judd lauded Rams’ appliances for Braun.

From as early as June onwards, the start of the »American Summer« shows, Die Neue Sammlung will shift the focus of its permanent exhibition to aspects of American design from the early 20th century to the present day under the motto AMERICAN DESIGN.


Donald Judd


Donald Judd, Stool, 1992. Die Neue Sammlung – The International Design Museum Munich
Photo: Die Neue Sammlung – The International Design Museum Munich (A. Laurenzo) Donald Judd Furniture (Trademark) © Judd Foundation





The choice of Donald Judd’s furniture as the topic for the exhibition and the concerted endeavors of all four museums in Pinakothek der Moderne under the motto AMERICAN SUMMER is very much in keeping with the trans-disciplinary concept championed by Pinakothek der Moderne.

The exhibition will be accompanied by a catalog of the same title. With a text by Alex Coles and the essay »It’s hard to find a good lamp« by Donald Judd. 126 pages with numerous illustrations. In English and German. Prize: ca. 30 Euro.







Courtesy Pinakothek der Moderne München
Images © Judd Foundation






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Street puppet theatre, Peking – Photo of the day

•August 5, 2011 • Leave a Comment


Published by Kathy Hackett on July 25, 2011 in Photo of the day.





Powerhouse Museum – Sydney





    Street puppet theatre, Peking






    “Much of the life of Peking people took place in the streets. Most household essentials were hawked through the streets, each hawker with his distinctive cry accompanied by an equally distinctive clapper or hand gong or trumpet. Some brought entertainment for the children such as puppet shows and performing animals…

    The puppet master would roam the streets and set up his booth on the street or in a private courtyard, whenever it was wanted.”

From Hedda Morrison, A Photographer in Old Peking, Oxford University Press, 1985, p.137 and 157.

Photographer Hedda Morrison, (1908-1991), was born Hedda Hammer in Stuttgart, Germany. She acquired her first camera, a Box Brownie, at the age of 11. In 1931, after completing studies at the State Institute for Photography in Munich and working in the studio of photographer Adolf Lazi (1884-1955), she answered an advertisement in a photography journal for a job in Peking.

In Peking Morrison managed Hartung’s photographic studio from 1933-1938. After her contract expired she continued to work freelance from a small darkroom in her home in Nanchang Street. The young photographer travelled around the city, usually by bicycle, often photographing its inhabitants. This photograph, is part of the Hedda Morrison Photographic Collection



Post by Kathy Hackett, Photo Librarian
Photography by Hedda Morrison
Powerhouse Museum Collection 92/1414-219
No known copyright restrictions.


    © Copyright Powerhouse Museum


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Donald Judd – A good chair is a good chair / Die Neue Sammlung, München

•August 5, 2011 • Leave a Comment




Die Neue Sammlung – The International Design Museum Munich



Donald Judd – A good chair is a good chair
15.07.-09.10.2011


»If a chair or a building is not functional … it is ridiculous.« (Donald Judd)


Donald Judd


Donald Judd
© Judd Foundation Archive





Dass sich der amerikanische Künstler Donald Judd (1928-1994) – einer der Protagonisten der Minimal Art – auch intensiv mit der Gestaltung von Möbeln beschäftigt hat, war bisher nur wenigen bekannt. Erstmals im Kontext eines interdisziplinären Hauses zeigt Die Neue Sammlung – The International Design Museum Munich – eine konzentrierte Auswahl der von Judd konzipierten Möbel, und dies vor dem Hintergrund bedeutender Museumssammlungen zur Geschichte des Designs und der modernen Kunst in der Pinakothek der Moderne.

Mit der Gestaltung von Möbeln beschäftigte sich Judd seit seinem Umzug von New York City nach Marfa/Texas intensiver. Für sein kleines Wohnhaus benötigte er zunächst Tische, Stühle und ein Kinderbett. Da Judd in Marfa und in den umliegenden Orten keine Möbel fand die seinen Vorstellungen und Ansprüchen gerecht wurden, entschloss er sich kurzer Hand, selbst welche zu entwerfen und zu bauen. Als erstes entstand ein Bett für seine Kinder – aus einfachen Kiefernbrettern gezimmert. Als Grundmodul diente das Standardmaß des Holzes, 12 Zoll/Inches, denn im örtlichen Holzhandel konnte Judd die Bretter nur kürzen, nicht aber weiter bearbeiten lassen. Erst später arbeitete er mit einem Tischler zusammen, der die Möbel exakt nach seinen Vorgaben fertigte. Zu den Holzmöbeln kamen nach einiger Zeit die ersten Metallmöbel. Hierfür benützte Judd überwiegend Aluminiumblech, das in verschiedenen Farben produziert wurde. Judd legte stets besonderen Wert darauf, dass seine Möbel nicht als Künstlermöbel betrachtet werden sollten, sondern als funktionierende Möbel.


Donald Judd


Donald Judd, Kinderbett (Kiefer), 1977. Hersteller Donald Judd.
Courtesy Flavin and Rainer Judd. Foto: Stuart Whipps, Donald Judd Furniture (Trademark) © Judd Foundation

Donald Judd


Donald Judd, Kinderschreibtisch (Kiefer), 1978. Hersteller Donald Judd.
Courtesy Rainer Judd. Foto: Stuart Whipps, Donald Judd Furniture (Trademark) © Judd Foundation





Die Ausstellung umfasst neben den in kleinster Auflage produzierten Arbeiten aus Holz und Metall auch Prototypen und frühe, vom Künstler selbst gebaute Stücke für den eigenen Gebrauch, die bisher nur selten außerhalb von Judds Wohnorten in New York und Marfa zu sehen waren.

Die reichen Designbestände der Neuen Sammlung und ihre Dauerausstellung in der Pinakothek der Moderne ermöglichen es zudem, die Möbel von Donald Judd vor dem Hintergrund von Entwerfern zu zeigen, die der Künstler besonders schätzte. Dazu gehören nicht nur Gerrit Rietveld, Ludwig Mies van der Rohe oder Alvar Aalto, sondern mit Dieter Rams auch ein klassischer Produktdesigner. Die Neue Sammlung richtet zudem in ihrer Dauerausstellung unter dem Motto »American Design« den Fokus auf Aspekte des amerikanischen Designs vom frühen 20. Jahrhundert bis zur Gegenwart.

Die Ausstellung »Donald Judd – A good chair is a good chair« ist eine Kooperation der Neuen Sammlung – The International Design Museum Munich – und der Sammlung Moderne Kunst / Bayerische Staatsgemäldesammlungen, bietet es sich bei den Möbeln von Donald Judd doch besonders an, auch die Dauerausstellung der Sammlung Moderner Kunst mit ihrem besonderen Schwerpunkt Minimal Art einzubeziehen; hier können Installationen von Donald Judd wie auch seiner Zeitgenossen Dan Flavin und Fred Sandback betrachtet werden. Damit lassen sich Überschneidungen, Unterschiede und Wechselbeziehungen zwischen Kunst und Design anschaulich machen und diskutieren.


Donald Judd


Donald Judd, Hocker, 1992. Die Neue Sammlung – The International Design Museum Munich
Foto: Die Neue Sammlung – The International Design Museum Munich (A. Laurenzo) Donald Judd Furniture (Trademark) © Judd Foundation





Das Thema der Ausstellung über die Möbel von Donald Judd und die konzertierte Aktion der Museen während des AMERICAN SUMMER entspricht in besonders sinnfälliger Weise der transdisziplinären Konzeption der Pinakothek der Moderne.

Zur Ausstellung erscheint ein Katalog gleichen Titels. Mit einem Text von Alex Coles und dem Essay »It’s hard to find a good lamp« von Donald Judd. 126 Seiten mit zahlreichen Abbildungen. In englischer und deutscher Sprache. Ca. 30 Euro.







Courtesy Pinakothek der Moderne München
Bildmaterial © Judd Foundation






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GRALGLAS. 1930-1981. An example of German Design / International Design Museum Munich

•July 30, 2011 • Leave a Comment




Die Neue Sammlung – The International Design Museum Munich



GRALGLAS. 1930-1981. An example of German Design
01.07.-18.09.2011


Blazing light, mystical spirituality, magical allure, life-giving chalice – the ‘Grail’ is the stuff of many legends. And a Swabian family company claimed the German word ‘Gral’ for itself and used it as an expression of its fascination with the material glass. For more than half a century, the Gral glassworks was one of the leading German glass manufacturers of the 20th century.


Hans Theo Baumann


Hans Theo Baumann, Carafe with Cups, 1960, Gral-Glashütte, Dürnau.Die Neue Sammlung – The International Design Museum Munich
Photo: Die Neue Sammlung (A. Laurenzo)





With the support of one of the major Modernist glass artists – Wilhelm von Eiff, professor at the Kunstgewerbeschule in Stuttgart – the Gral glass workshops in Göppingen developed into one of the most advanced finishing plants for cutting and engraving until WWII.

In keeping with the ideals of the Deutscher Werkbund and influenced by the modern style of Northern Europe, Gralglas evolved into a glassworks in its own right during the post-war period, by this time based in Dürnau. The high quality, plain objectivity, clear functionality and affordability of its glass products were a symbol of Gute Form (good design) – and were soon to be found in representative official residences of the still young Federal Republic of Germany.

The standard and status of the Gral glassworks was roughly comparable internationally with the Daum glass company in France, Iittala in Finland, Orrefors in Sweden, Leerdam in the Netherlands, Riedel in Austria, Rosenthal in Germany and Venini in Italy, with which Gralglas was linked through the ‘Group 21’. External industrial designers, artists and international glass specialists, including Hans Theo Baumann and Hartmut Esslinger, as well as Murano glass artists such as Livio Seguso, became responsible for Gral’s new style. Apart from mass- produced everyday glassware, individual artistic pieces manufactured in in-house workshops from the end of the 1960s onwards testify to the high- quality design, the skill of the craftsmen and the delight in technical experimentation that strove to entice an ever greater power of expression from the material glass.


Heinrich Löffelhardt


Heinrich Löffelhardt, Pharmacist-bottles, ca. 1950, Gral-Glas-Werkstätten, Göppingen. Die Neue Sammlung – The International Design Museum Munich
Photo: Die Neue Sammlung (A. Laurenzo)

Hans Theo Baumann


Hans Theo Baumann, Cup-Series, 1957, Gral-Glashütte, Dürnau. Die Neue Sammlung – The International Design Museum Munich
Photo: Die Neue Sammlung (A. Laurenzo)

Hans Theo Baumann


Hans Theo Baumann, Glas-Objects, 1960s, Gral-Glashütte, Dürnau. Die Neue Sammlung – The International Design Museum Munich
Photo: Die Neue Sammlung (A. Laurenzo)





Complemented by design drawings that widen our picture of the design process, selected pieces reflect the Gral glassworks’ multifacetted richness in this first comprehensive retrospective: wafer-thin chalices and footed beakers, strict stereometry and unconstrained forms, lucid transparency and saturated coloured landscapes.

An exhibition catalogue edited by Helmut Ricke and Wilfried van Loyen, with contributions by Xenia Riemann, Die Neue Sammlung – The International Design Museum Munich, accompanies the exhibition.

An exhibition of Die Neue Sammlung – The International Design Museum Munich. In cooperation with the Glasmuseum Hentrich in the Museum Kunstpalast Düsseldorf and The Finnish Glass Museum, Riihimäki.




Courtesy Pinakothek der Moderne München
Images © Die Neue Sammlung / All rights reserved






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Roadside fortune teller, Peking – Photo of the day

•July 30, 2011 • Leave a Comment


Published by Kathy Hackett on July 20, 2011 in Photo of the day.





Powerhouse Museum – Sydney





    Roadside fortune teller, Peking






Photographer Hedda Morrison, (1908-1991), was born Hedda Hammer in Stuttgart, Germany. She acquired her first camera, a Box Brownie, at the age of 11. In 1931, after completing studies at the State Institute for Photography in Munich and working in the studio of photographer Adolf Lazi (1884-1955), she answered an advertisement in a photography journal for a job in Peking.

In Peking Morrison managed Hartung’s photographic studio from 1933-1938. After her contract expired she continued to work freelance from a small darkroom in her home in Nanchang Street. The young photographer travelled around the city, usually by bicycle, often photographing its inhabitants. Many of these photographs are part of the Hedda Morrison Photographic Collection Some have also been posted on Photo of the Day.

In her book, A Photographer in Old Peking, Hedda Morrison wrote of this photograph:

    Peking people never tired of having their fortunes told and such forecasts were often an important guide to current action. From the container in the foreground the client would shake out a sliver of bamboo, on which were inscribed certain characters. From a study of these and reference to booklets arranged around the centre-piece, decorated with the Eight Trigrams that provide the symbolic foundation for divination, the fortune-teller would advise his client as to what the future held for him.

It is possible that Hedda Morrison’s interest in fortune-telling extended beyond her photographic subject matter. Among the personal papers with when she died in 1991 were two horoscopes and two graphologists’ reports. She had preserved these items for some 60 years, carrying them from Germany through Asia and, finally, to Australia.



Post by Kathy Hackett, Photo Librarian
Photography by Hedda Morrison
Powerhouse Museum Collection 92/1414-219
No known copyright restrictions.


    © Copyright Powerhouse Museum


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GRALGLAS. 1930-1981. Ein Beispiel des deutschen Designs / Die Neue Sammlung, München

•July 30, 2011 • Leave a Comment




Die Neue Sammlung – The International Design Museum Munich



GRALGLAS. 1930-1981. Ein Beispiel des deutschen Designs
01.07.-18.09.2011


Leuchtendes Licht, mystische Spiritualität, magische Anziehungskraft, lebensspendender Kelch – der sagenumwobene Name Gral lässt viele Deutungen zu. Und ein schwäbischer Familienbetrieb nahm ihn für sich in Anspruch und brachte darin seine Faszination für die Materie Glas zum Ausdruck: Die Gral-Glashütte gehörte ein halbes Jahrhundert lang zu den führenden deutschen Glasmanufakturen des 20. Jahrhunderts.


Hans Theo Baumann


Hans Theo Baumann, Karaffe mit Becher, 1960, Gral-Glashütte, Dürnau. Die Neue Sammlung – The International Design Museum Munich
Foto: Die Neue Sammlung (A. Laurenzo)





Mit Unterstützung eines der wichtigsten Glaskünstler der Moderne – Wilhelm von Eiff, Professor an der Kunstgewerbeschule in Stuttgart – entwickelten sich die Gral-Glas-Werkstätten in Göppingen bis zum Zweiten Weltkrieg zum fortschrittlichsten Veredelungsbetrieb für Schliff und Gravur.

Den Idealen des Deutschen Werkbundes entsprechend und beeinflusst durch den modernen Stil aus den nordischen Ländern, wandelte sich Gralglas in der Nachkriegszeit zur eigenständigen Glashütte, nun mit Sitz in Dürnau. Die Gläser standen mit ihrer hohen Qualität, dekorlosen Sachlichkeit, klaren Funktionalität und dem bezahlbaren Preis symbolhaft für die Gute Form – und gehörten bald zur Ausstattung repräsentativer Amtssitze der noch jungen Bundesrepublik.

In Anspruch und Haltung international vergleichbar sind etwa die Glasunternehmen Daum in Frankreich, Iittala in Finnland, Orrefors in Schweden, Leerdam in den Niederlanden, Riedel in Österreich, Rosenthal in Deutschland oder Venini in Italien, mit denen sich Gralglas in der »Gruppe 21« vernetzte. Für den neuen Stil bei Gral waren externe Industriedesigner, Künstler und internationale Glasspezialisten verantwortlich, u.a. Hans Theo Baumann und Hartmut Esslinger oder Muraneser Glaskünstler wie Livio Seguso. Neben dem seriellen Gebrauchsglas bezeugen künstlerische Unikate – hergestellt in internen Workshops ab Ende der 1960er Jahre – den gestalterischen Anspruch, das handwerkliche Geschick und die technische Experimentierfreude, die dem Glas noch mehr Ausdruckskraft zu entlocken versuchte.


Heinrich Löffelhardt


Heinrich Löffelhardt, Apothekerflaschen, um 1950, Gral-Glas-Werkstätten, Göppingen. Die Neue Sammlung – The International Design Museum Munich
Foto: Die Neue Sammlung (A. Laurenzo)

Hans Theo Baumann


Hans Theo Baumann, Becher Serie, 1957, Gral-Glashütte, Dürnau. Die Neue Sammlung – The International Design Museum Munich
Foto: Die Neue Sammlung (A. Laurenzo)

Hans Theo Baumann


Hans Theo Baumann, Glas-gefäße, 1960er Jahre, Gral-Glashütte, Dürnau. Die Neue Sammlung – The International Design Museum Munich
Foto: Die Neue Sammlung (A. Laurenzo)





Ergänzt durch Entwurfszeichnungen, die den Blick auf den Designprozess erweitern, geben in dieser ersten umfassenden Retrospektive ausgewählte Beispiele den Facettenreichtum der Gral-Glashütte wieder: hauchdünne Kelche und geschliffene Fußbecher, strenge Stereometrie und freie Formen, klare Transparenz und tiefgründige Farblandschaften.

Zur Ausstellung erscheint ein Katalog: Hrsg. Helmut Ricke und Wilfried van Loyen; mit Beiträgen von Xenia Riemann, Die Neue Sammlung – The International Design Museum Munich.

Eine Ausstellung der Neuen Sammlung – The International Design Museum Munich. In Kooperation mit dem Glasmuseum Hentrich im Museum Kunstpalast Düsseldorf und The Finnish Glass Museum, Riihimäki.




Courtesy Pinakothek der Moderne München
Bildmaterial © Die Neue Sammlung / Alle Rechte vorbehalten






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Beyond the Document – Contemporary Belgian Photographers / Center for Fine Arts, Brussels

•July 24, 2011 • Leave a Comment




Center for Fine Arts, Brussels



Beyond the Document
Contemporary Belgian Photographers
29.06 > 25.09.2011





The exhibition explores the links between artistic and documentary photography; it includes works by 14 Belgian photographers: Gilbert Fastenaekens, Thomas Chable, Chantal Maes, Philippe Herbet, Christine Felten, Véronique Massinger, Vincen Beeckman, Arno Roncada, Jan Kempenaers, Bert Danckaert, Nick Hannes, Herman van den Boom, Lara Dhondt, and Karin Borghouts.


Jan Kempenaers


Jan Kempenaers The Bunker #1, 2010
Courtesy of the artist
© Jan Kempenaers





Documentary versus art photography

The impact of photography on contemporary (visual) culture is colossal. Photography – and digital image-processing technology more generally – permeates just about every sector of social life: professional, private, artistic, fiction, and non-fiction. The vast array of visual material being produced threatens to devalue the image itself; the choice of photographs to be published tends to be made more on the basis of their likely mediagenic impact than on their content or their documentary value. This means that we are suffering from a strange kind of censorship in reportage, whereby only those images make it into the public eye that meet the requirements of a particular kind of commercial sensationalism . Every image, moreover, can be rapidly and almost imperceptibly manipulated; this has damaged the credibility that reportage photography enjoyed in the past. There is a question mark again over how objectively our images are created. One initial reaction is a tendency to turn one's back on a visual culture that is too all-pervasive and commercial and to advocate a purified minimising of the production of images. What we need, however, is not fewer images, but different images: documentary images with a value that is not merely mediagenic.

Since the 1970s art has also taken an interest in the documentary picture. Artists appropriated the neutral, objective, documentary image as the basis for their work and incorporated it into subjective, conceptual works of art. In photography interest in documentary images owed much to the work of the German couple Bernd and Hilla Becher. Their extremely distilled way of dealing with images of industrial archaeology resulted in extensive series that, because of their approach and concept, were seen as works of art rather than as mere historical documents.

Bernd and Hilla Becher had many followers: photographers who approached documentary images from a subjective, artistic angle – not with the intention of minimising the documentary element, but with a view to adding to its value. Over the last three decades much of international photography has concerned itself with social and historical reality in relation to the subjective, conceptual, or generally artistic. Photographers stage or dramatise reality, situate themselves in it as characters, or make series that take a highly individual concept as a starting point. The old dividing line between the work of art and the documentary image, between subjective interpretation and objective representation, has become blurred. Creative photography acts as an amplifier of the documentary.


Gilbert Fastenaekens


Gilbert Fastenaekens 02 – SITE, Cahier des coins, Bruxelles 1990 – 1996
Courtesy of the artist
© Gilbert Fastenaekens

Nick Hannes


Nick Hannes – Brest, Belarus 2008
Courtesy of the artist
© Nick Hannes


The photographers selected

So what have Belgian contemporary photographers contributed to this great laboratory of “creative images”? As on the international art photography scene, in Belgium too a certain kind of photography has balanced between images with a strongly documentary slant and “tableaux” that are conceptual or metaphorical. The Beyond the Document exhibition looks at contemporary Belgian photography that combines the “documentary” with the “work of 3art” – in which subjectivity and objectivity, fiction and non-fiction, reportage and concept are intermingled in a single image. This is a highly particular selection of Belgian photographs: the exhibition does not aim to present an anthology of contemporary Belgian photography as a whole.

Of the 14 photographers selected, Gilbert Fastenaekens is the one who has been working on this kind of creative production of images the longest. His work takes as its starting point particular typologies, on the basis of which he approaches the reality of a(n urban) landscape. In Beyond the Document he presents eight monumental photo-documentaries about Brussels, each based on a particular kind of city view that, in combination with the others, provides an orchestrated experience of the city.

Equally conceptual in his approach, Herman Van den Boom devised his series devoted to Belgian gardens according to extremely strict criteria on the basis of a sophisticated idea of his own about them.

In his representations of landscapes, Arno Roncada also works in terms of definite concepts such as “loneliness”, “expanse”, and “insignificance”. In the work of Jan Kempenaers imposing debris from building sites becomes a metaphor for “monument”, “decline”, or “history”. In Bert Danckaert‘s extremely measured city scenes, walls have become abstract paintings, seascapes, or exercises in perspective.

In Thomas Chable, Philippe Herbet, and Lara Dhondt‘s pictures the subjective experience has become intrinsic to the photography. Thomas Chable’s La peau des choses combines images from different reportages into a single large visual story on the wall, a metaphor for travel in general and the universal feeling of estrangement. Philippe Herbet’s reportage about Belarus is backed up by a passionate piece of fiction written by himself, while Lara Dhondt documents concepts such as “house”, “protection”, and “security” in her photographs.

The metaphorical can also be seen smouldering subtly in the reportages by Nick Hannes.

Chantal Maes, for her part, attempts to show in stereo images the intangible moment of transition from one situation to another, while the Felten-Massinger photographic duo also tries to capture the transience of time and Karin Borghouts creates pictures in which what is absent is the most prominent subject.

Vincen Beeckman‘s huge installation documents the social reality of a Chinese restaurant, in which he works both with his own and recycled photographs and is himself one of the characters involved. For Vincen Beeckman photography is also a social act.


Philippe Herbet


Philippe Herbet – Two friends, Vladivostok, Russia (series Rhizome Oriental) 2007
Courtesy of the artist
© Philippe Herbet

Lara Dhondt


Lara Dhondt – 24m.00s. Shelters of Refuse series 2009
Courtesy of the artist
© Lara Dhondt


By focusing attention on the metaphorical, the abstract, the conceptual, and the invisible, these photographers teach us to take a more profound look at documentary images. The Beyond the Document exhibition invites us to penetrate a world of contemporary photography in which the objective documentary image and the subjective, artistic approach are not contradictory, as tradition might accustom us to believe, but reinforce each other in pictures with unexpected layers of concept and experience.




Courtesy Center of Fine Arts, Brussles
Images © All rights reserved





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