About

Born in Cairo, enrolled in Duisburg, graduated in Berlin - since then artistic photographer.

Statement

Photography for the investigation of the world, depiction as metaphors of the actual. Transience, joy, fear, sexuality, identity, others. Ask serious questions. And thinking about photography, both merging into one work. All styles possible when useful. Disassembling, assembling, shifting, re-reading. To see. Only the picture is important. It speaks and we understand or not.

Education

  • 1983 - 1990 | Architektur, Technische Universität Berlin (DE)

Selected Exhibitions/Publications

  • Einzelausstellungen / Solo Exhibitions:
  • 2019 | Haus am Kleistpark, Berlin (DE)
  • 2019 | Collection Regard, Berlin (DE)
  • 2018 | Elisabeth Schneider-Stiftung, Freiburg i. B. (DE)
  • 2017 | Kunstraum 11m², Berlin (DE)
  • 2016 | Skulpturhalle Basel, Basel (CH)
  • 2015 | Kommunale Galerie Berlin (DE)
  • Publikationen / Publications:
  • 2019 | VON DER BRÜCHIGKEIT DES SEINS, Wasmuth & Zohlen Verlag, Berlin (DE)
  • 2019 | SOME CHANGES MADE, Collection Regard, Katalog, Berlin (DE)
  • 2015 | UNDER SKIES OF BLUE AND GREY Peperoni Books, Berlin (DE)
  • 2011 | AUTONOME BILDER Peperoni Books, Berlin (DE)
  • 2007 | SILBERLICHT ex pose verlag, Berlin (DE)
  • 2002 | EINE REISE NACH ÄGYPTEN.1997. ex pose verlag, Berlin (DE)

Personal Website

http://www.amineldib.ch

Amin El Dib | Katalog „Some Changes Made“

Amin El Dib | Katalog „Some Changes Made“

Catalogue for the exhibition "Some Changes Made" in the Collection Regard 2019. The catalogue shows photographs, collages and montages from various series from the 1990s to 2019. The selection focuses on cracks and fractures as aesthetic means and as metaphors for vulnerability and transience. Cracks and fractures appear in various photographic techniques such as image and photogram, or as a material state in the collages. The examination of the photographic material leads to a deconstructive reflection of the medium.

Format:

PDF Presentation

Galleries

Amin El Dib | On the Fragility of Being (2014-2016)

Amin El Dib | On the Fragility of Being (2014-2016)

41 pictures, 88 x 116 cm, piezo pigment prints … Amin El Dib´s situating of his photographic series temporally in the legacy of classical antiquity is no coincidence: he has been a regular visitor to the Skulpturhalle since 2014, where, in the figures of ancient deities and heroes, he discovered ideal models, so to speak. El Dib is intimately familiar with the more or less visible marks left by the casting process on the three-dimensional replicas. In this regard, the Basel collection echoes his photographic interests in the boundary between what the image asserts and what is lost in this process: the shadows, graininess, seams, and cracks that have simultaneously created and marred his photography since his series GelatinSilverLightCardboard (from 2002) are also evident in the sculptural works handed down from antiquity. Both photography and the casting process are techniques of reproduction that rely on a negative as an intermediary step. This is another reason why the protagonists in the room call for a visual comparison in such a restrained and precise way. …

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Amin El Dib | Under Skies of Blue and Grey (2007-2014)

Amin El Dib | Under Skies of Blue and Grey (2007-2014)

54 pictures, 56 x 70 cm, some 73 x 90 cm, piezo pigment prints Images about the concept of cultural landscape

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gallery

Amin El Dib | GelatinSilverLightCardboard (2002-2006)

Amin El Dib | GelatinSilverLightCardboard (2002-2006)

… An investigation of the physical characteristics of baryte prints is combined with a fragmentation of the depictions of the people photographed. By tearing, breaking the surface and overexposing the paper, the fiber weave of the cardboard and the quality of the surface of the gelatine layer are made visible. A relationship is established between these elements and the represented textures, usually the skin of depicted body parts. In these images, a union of different elements (gelatine, cardboard, skin, fragments of the body) is achieved through taking another photograph. However, the gaze of the viewer falls on an intact surface. Simultaneously the textures of the depicted surfaces are layered with the grains of the two negatives used (one for the destroyed photograph and one for the representation of the destroyed photograph). The sensual materiality of the images is taken in by the eye. …

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gallery

Amin El Dib | Staged Portraits (1988-2002)

Amin El Dib | Staged Portraits (1988-2002)

89 pictures, 48 x 48 cm, gelatin silver prints Images with people from Berlin

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gallery