About

With an Agfa Click I, I discovered medium format photography at the age of 13, including development in an improvised cellar laboratory. From 1979 to 1985 I studied drawing, painting and above all interdisciplinary methods at the Kunstakademie Stuttgart, where I came back to the still image via video film. I worked as an assistant director and did my legal clerkship as an art teacher at grammar schools. Since 1987 I have been working as a freelance artist on extensive, conceptual work series, teaching and curating exhibitions.

Statement

For the transformation of world experience and world perception into art, my cameras are instruments of my subjective approach. Photography is my personal approach to the phenomena that occupy me. Of course, I want to see how something is photographed and ultimately how it looks in large form, but optimal light and perfect composition are not the only decisive criteria for me. Each work series has its own character, is photographed specifically and prepared specifically for museum exhibitions, e.g. in installations or projections. Depending on the subject, I work "documentary" with film material or reproduce found material, stage or work with abstraction. I investigate how worlds of ideas or scientific ambitions become reality in the form of spaces, constructions and objects. I find whispering theatricality in spaces in which time accumulates and narratives that have become attached to the edges and surfaces of objects. Or suddenly people become the focus of my attention and so they offer me views of terrain towards me I have never seen before. I take most photographs with an analog large-format or medium-format camera, whereby the negative or slide predetermine me what I ultimately can to see as the finished image. Bit by bit I "discover" the world which I find myself in by interpreting it with my artistic photography.

Education

  • 1979 -1985 | Akademie der Bildenden Künste Stuttgart (DE)
  • 1978 - 1981 | Kunstwissenschaft, Universität Stuttgart (DE)

Institution (Work Experience)

  • Seit 2018 | 1. Vorsitzende des Künstlerbundes Baden-Württemberg (DE)
  • 2016 | Cokuratorin für die 2. Trinationale, Biennale de la Photographie de Mulhouse (FR)
  • 2011 - 2013 | Mentorin im Mentoring-Programm Rheinland-Pfalz für junge Künstlerinnen (DE).
  • 2009 - 2010 | Professur Künstlerische Fotografie in Vertretung an der Hochschule der Bildenden Künste Saarbrücken (DE)
  • 1999 - 2003 | Lehre Fotografie an der Hochschule für Gestaltung Pforzheim (DE)
  • 1998 – 2005 | Ausstellungsorganisation in der Gesellschaft der Freunde junger Kunst Baden-Baden (DE)
  • 1996 - 1999 | Lehre Fotografie und Zeichnung an der Freien Hochschule für Graphik Design/ Bildende Kunst Freiburg (DE)
  • 1993 - 1995 | Konzept und Organisation der Ausstellung „Begreifungskräfte - Künstlerinnen Heute“, Badischer Kunstverein Karlsruhe (DE), Museum Ulm/Stadthaus Ulm. (DE)

Selected Awards

  • 2015 | Hanna-Nagel-Preis, Karlsruhe (DE)
  • 2013 | Karin Abt Straubinger Stiftung, Projektförderung (DE)
  • 2008 | Stiftung Kunstfonds Bonn, Projektförderung (DE)
  • 2003 | Cité Internationale des Arts, Paris (FR)
  • 1987 | Stipendium der Kunststiftung Baden-Württemberg (DE)

Selected Exhibitions/Publications

  • Ausstellungen / Exhibitions:
  • 2018 | Sammlung Rau im Arp Museum Bahnhof Rolandseck (DE)
  • 2018 | Port25 Mannheim (DE)
  • 2017 | MAST Foundation Bologna (IT)
  • 2016 | Kunstmuseum Heidenheim (DE)
  • 2016 | Museum Morsbroich, Leverkusen (DE)
  • 2015 | Städtische Galerie Karlsruhe (DE)
  • 2015 | Fotofestival Mannheim-Heidelberg-Ludwigshafen (DE)
  • 2014 | Staatliche Kunsthalle Baden-Baden (DE)
  • 2012 | Goetheinstitut Nancy, (FR)
  • 2012 | Museum MOCAK Krakau (PL)
  • 2010 | Arp Museum Bahnhof Rolandseck, Remagen (DE)
  • 2010 | Kunstverein Ludwigshafen (DE)
  • 2010 | Fotoforum West, Innsbruck (AT)
  • 2007 | Museum der Universität Tübingen (DE)
  • 2005 | 3. Fotosommer, Stuttgart (DE)
  • 2003 | Fotogalerie Wien, WUK, Wien (AT)
  • 2000 | Museum Karlovy Vary, Tschechien (CZ)
  • 1999 | Muzeum Nardowego Wroclaw (PL)
  • 1994 | Museum am Ostwall, Dortmund (DE)
  • Publikationen / Publications:
  • 2015 | tief blicken, Städtische Galerie Karlsruhe (DE)
  • 2014 | Instrumenta Sceleris, Snoeck Verlag Köln (DE)
  • 2010 | Turn Round, Hatje Cantz Verlag (DE)
  • 2003 | Freude am Leben, Museum im Ritterhaus, Offenburg (DE)
  • 1992 | Froschkönigs Tellerwäsche. Museum am Ostwall, Dortmund (DE)

Personal Website

http://www.simonedemandt.de

Galleries

Simone Demandt | Labs Overnight (2008 - 2009)

Simone Demandt | Labs Overnight (2008 - 2009)

Freely based on Ernst Bloch's philosophical speculation "what things do when we leave space" (in "Spuren", Suhrkamp Verlag...), the series ""Dunkle Labore/Labs Overnight" was created between 2007 and 2009. She deals with chemical, physical, medical and cosmetic laboratories etc. without room lighting or daylight, empty of people, in stand-by mode at night. The series is a subjective examination of technical (scientific) spaces under special lighting conditions and an exploration of atmospheric changes or charging of functional spaces through darkness. The images were exposed to 4 x 5 inch negative material using a timer for 8-10 hours only with the laboratory's own light (displays, control displays, monitors, emergency exit lights, etc.).

Format:

gallery

Simone Demandt | Instrumenta Sceleris (2011 - 2013)

Simone Demandt | Instrumenta Sceleris (2011 - 2013)

“Instrumenta Sceleris" (2011-2013) deals with the metamorphoses of everyday objects into instruments that made a crime possible or were also weapons of crime in the course of criminal or affect-controlled actions. I was not interested in weapons, but in objects archived in evidence rooms, which became evidence or tools of crime, i.e. banal objects of daily use or tools made by perpetrators themselves. The respective object can be seen in a kind of "showcase" mostly on simple, improvised pedestals or stands. Staged in such a way with a "dignity formula", I decouple the original meaning of the practical, decorative or symbolic and confront the viewer with the coded meaning as part of a criminal action and leave it to their imagination.

Format:

gallery

Simone Demandt | L.i.t. (Landscape is comforting) (1992 - ongoing)

Simone Demandt | L.i.t. (Landscape is comforting) (1992 - ongoing)

L.i.t. ("Landscape is comforting") is a group of works who grows since 1992. As a work with found pictorial material, it deals with the landscape image in the print advertising of the automobile industry. I am interested in the manipulated landscape, which I trim in such a way that the heavily cut roof of the advertised car can be seen. The photographic character of the landscapes "continues a romantic soul imagination as we know it from the history of landscape painting" (Bernd Künzig) but the artificial advertising landscapes are supposed to associate adventures in the wilderness but their abandonment and wasteland evoke end-time fantasies, especially from today's point of view. I exaggerate this interpretation with the fragmented Car as a relic of a bygone golden age.

Format:

gallery

Simone Demandt | Players (2017)

Simone Demandt | Players (2017)

In the series "Players" I am dealing with the paintball game which is strange to me. Paintball is a tactical team game and a sport in which players mark themselves with colored balls, which is why recreational players wear old clothes. Paintball is a team sport. Teamwork and tactical skills are required above all. All players wear helmets, tournament players wear special suits. The discrepancy between play, emotionality and partly martial equipment is the subject of the portrait series. The players were photographed on a paintball area on the A5 motorway, near Achern (DE) after their games against a white background on medium-format film. They proudly show their "markers" (paintball guns) and at the same time a touching hesitance and vulnerability.

Format:

gallery