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event:

3./4.12.: DFA Winter Conference | Deichtorhallen Hamburg

date:

03-04.12.2022

city:

Hamburg

address:

Deichtorstr. 1–2, 20095 Hamburg

DFA Winter-Conference | Deichtorhallen Hamburg | 3.-4.Dezember 2022

The program of the conference and short descriptions of the presentations will be announced in November. The presentations will be held regularly in German. For all those who cannot be present, there is the livestream of our Facebook page and after the conference the recordings on YouTube. You will find the links in the descriptions of the presentations.

Location

As the "Haus der Photographie" is currently being renovated, the conference will take place in the second building of the Deichtorhallen, the "Halle für aktuelle Kunst" opposite, Deichtorstr. 1-2, Hamburg.

We would like to thank you for the funding from "KULTUR.GEMEINSCHAFTEN - Förderprogramm für digitale Content-Produktion in Kultureinrichtungen". This funding project is supported by the Federal Government Commissioner for Culture and the Media, NEUSTART KULTUR and the Kulturstiftung der Länder.

Registration & Hygiene Measures

  • We are looking forward to seeing as many of you as possible at the conference in Hamburg on the first weekend of December 3-4 at the Deichtorhallen.
  • Since the "Südhalle" with the Haus der Photographie is currently being renovated, our conference will take place across the street in the auditorium of the "Nordhalle".
  • Don't be confused by construction fences and possibly confusing entrances.
  • Since Corona numbers are increasing again and the auditorium is not particularly spacious, we are limiting the number of people in the room to 100.

Please register in good time via our booking system:

https://anny.co/b/dfa

  • There you have the possibility to choose the start and end date of your visit individually and to book either the whole conference weekend or only one of the two days.
  • Afterwards you will automatically receive a confirmation email and a link where you can make changes later.
  • If you are unable to come, please use the cancellation option to release reserved places.
  • Contacts for further questions about the conference can also be found on the site.

We ask you to wear FFP2 masks in the hall.

These will be provided free of charge at the entrance.

DFA Conference Programme

Saturday, 3. Dezember

  • 10.00 - 10.15 Begrüßung: Ruth Stoltenberg
  • 10.15 - 11.15 Christiane Feser
  • 11.15 - 12.15 Sabine Schründer: 'METER, MOFA, MAGMA'
  • 12.15 - 13.15 Mittagspause
  • 13.15 - 14.15 Thomas Gust: 'Interfaces of Photography'
  • 14.15 - 15.15 Dr Kathrin Schönegg: 'Between Graphic Cabinet and Post-Internet Art'
  • 15.15 - 15.45 Kaffeepause
  • 15.45 - 16.45 Wolfram Janzer: 'Ciphers from oblivion - images against war'
  • 16.45 - 17.45 Nadja Bournonville: 'A worm crossed the street'
  • 18.00 - 21.00 Portfoliowalk

Sunday, 4. Dezember

  • 10.00 - 11.00 Nadja Ellinger: "Path of Pins"
  • 11.00 - 12.00 Bärbel Möllmann
  • 12.00 - 13.30 Mittagspause
  • 13.30 - 14.30 Ingo Taubhorn: 'THE NEW ABNORMAL'
  • 14.30 - 15.30 Boris Eldagsen: 'Mind over matter'
  • 15.30 - 16.00 Kaffeepause
  • 16.00 - 17.00 Wolfgang Nebel: 'Transformation – Beyond Imagination'
  • 17.00 Ende der Tagung

GUEST PRESENTATIONS

Christiane Feser

Saturday, December 3, 10:15 - 11:15 AM (CET)

Christiane Feser's work explores the borderland between photography and object, between the human, dynamic perception of space and the static, two-dimensional pictorial space of photographic images. Her working method questions the concept of the photographic and at the same time expands it in a playful way. Simple elements such as threads, pins, and blank sheets of paper become complex nested structures, so-called photo objects, which create their own shadow casts in which the present and the past intertwine to create hybrid works between image and thinghood. The photo objects enable the viewer to adopt different perspectives and at the same time challenge him to see analytically.

Christiane Feser (*1977/ Würzburg) studied Visual Communication at the Hochschule für Gestaltung, Offenbach am Main under Heiner Blum and Lewis Baltz. Her works are part of the following collections (among others) Solomon R. Guggenheim Museum, New York; J. Paul Getty Museum, DZ Bank Art Collection, Frankfurt; Mönchehaus Museum, Goslar and the Center for Art and Media, Karlsruhe. Feser has exhibited at numerous international institutions, including the Getty Museum, Los Angeles; Museum für Konkrete Kunst, Ingolstadt; Centre for Contemporary Culture, Palazzo Strozzi, Florence; Museum Wiesbaden; Guggenheim Museum, New York; Topographie de l'Art, Paris; Torrance Art Museum, Los Angeles; Kunstmuseum Bochum and the Kunstverein Gera (selection). She lives and works in Frankfurt am Main.

DFA_christianefeser2
© Christiane Feser | "Loops 1", Fotoobjekt, 2022

Thomas Gust

'Interfaces of Photography'

Saturday, December 3, 13:15 - 14:15 AM (CET)

"My lecture shows in the first part three of my own photographic series. In the second part I explain the connections between the work as a publisher of photobooks, the strategies of the gallery, as well as fields of work and research approaches of my teaching and workshops."

Thomas Gust (b.1972) lives and works as a freelance artistic photographer, publisher, gallery owner and lecturer for photography in Berlin. Using analog multiple exposures and collages of photographs, overpaintings, and archival images, Thomas Gust develops photographic series that amplify the fictional, narrative moments of the images. In this way, larger geographical and historical contexts are established and narrated. Together with photographer, curator and designer Ana Druga, he runs the photobook publishing house Buchkunst Berlin and the gallery of the same name in Berlin-Mitte. Thomas Gust teaches at the Ostkreuzschule für Fotografie in Berlin on the subject of photo history, photo book history and photo book design. He has received teaching assignments at the University of Arts and Applied Sciences Dortmund and the FH Potsdam. Workshops and lectures at photographic institutions, e.g. at the AdK Berlin, the UdK Berlin, at the ARU Cambridge, the Hartford School New York and many others. New strategies of visualization and mediation of the analog medium photo book in the times of its ever increasing digital perception is one of the central themes of his work.

DFA_gust
© Thomas Gust | "Peek Communism"

Dr. Kathrin Schönegg

"Between Graphic Cabinet and Post-Internet Art - Reflecting on Current Image Culture as an Exhibition House for Photography".

Saturday, December 3, 2:15 - 3:15 PM (CET)

Photography has long since conquered the art market as a vintage print. And it has dissolved into moving image, media art and post-internet art. Which of these forms of expression do we mean when we talk about photography today? Are they private, public, commercial, governmental images or creative approaches in their many journalistic, amateur or artistic forms that can still be subsumed under the concept of auteur photography at its core? How can the many discursive spaces of photography be mapped? What qualities does it have beyond art? Which historical images have we overlooked? In my contribution, I present exemplary projects that explore continuities and ruptures between the old and new mediums and thus work towards a definition of photography between graphic cabinet and post-internet art.

Dr. Kathrin Schönegg is a photo historian. She works as program director and curator for photography at C/O Berlin.

DFA_schoenegg_songsfromthesky
Installationsansicht "Send me an Image. From Postcard to Social Media", C/O Berlin Foundation, Berlin, 29.05.2021-02.09.2021

Nadja Bournonville

"A worm crossed the street"

Saturday, December 3, 4:45 - 5:45 PM (CET)

The book "A worm crossed the street" was produced in 2019 in collaboration with the Natural History Museum Vienna. It is an artist's book and exhibition that uses 377 photographs, silkscreens, a film, a sinuous worm sculpture, a text and an augmented reality egg, to reflect not only on the fundamentals of the photographic medium, but more importantly to speak about biodiversity, time, heritage, representation and extinction. At the same time, the photographs, which document only a fraction of the richness of this natural history museum's collection, represent the inherent heterotopia of the museum. Bournonville's intention and subjectivity aim to make the scientific knowledge inscribed in the specimens disappear behind abstraction. Through detailed observation, a wordless communication is established through pattern, form, skin, and stain. The starting point for this work is the 1981 poem Alphabet by Danish poet Inger Christensen, which is hidden among the photographs. The book was published by Fotohof edition in 2020 and won the Swedish Photo Book Prize in 2021.

Nadja Bournonville, born in 1983 in Vimmerby, lives in Berlin. Bournonville studied artistic photography at the Glasgow School of Art and at the Hochschule für Grafik und Buchkunst in Leipzig. She exhibits regularly in Germany and abroad. Bournonville has received grants from the Maria Bonnier Foundation, Gute Aussichten, the Stiftung Kunstfonds, and the recommended Fellowship, among others. Bournonville's book, A worm crossed the street, was awarded the 2021 Swedish Photo Book Prize. Currently, Bournonville is a research associate at the graduate program "Identity and Heritage" at Bauhaus Uni Weimar.

DFA_nadjabournonville
© Nadja Bournonville | "Philomachus Pugnax"

Nadja Ellinger

"Path of Pins"

Sunday, December 4, 10:00 - 11:00 AM (CET)

Path of Pins is a pictorial retelling of Little Red Riding Hood that revolves around coming of age and the ever-changing representation of female characters in folklore. In one of the earliest orally transmitted versions of the tale, which later inspired Charles Perrault's Petit Chaperon Rouge, the wolf asks the unnamed heroine, "Which way will you go?" to which she chooses the way of the pins, the careless and fleeting way, as opposed to the way of the sewing needles, the irreversible way of the wolf. This decision of the pins reflects two interesting aspects: on a personal level, by refusing to follow the prescribed path, the heroine decides to remain a child and prefers the state of countless possibilities. By exploring what lies beyond, she takes us deep into the forest. On an abstract level, this metaphor of pins and needles relates to how fairy tales are edited: Like a butterfly collector, Perrault kills the living, ever-evolving oral narrative in order to present it to the reader in a pose that he has artificially imposed upon it: He forces the heroine into the corset of his ideologies. Compared to the early variants of the tale, in which the heroine outwits the wolf, Perrault reduces her to a naive girl who is guilty of her own rape. The fairy tale calls authorship into question: any form of retelling or restaging embeds earlier versions of the tale, repeats it, alters it, so that it will never be original-no authorship can be claimed over it. The fairy tale gives birth to itself. That's why I work with my friends, my family, my own body. It's a dream-like state where logic no longer applies and time works differently. The subconscious draws connections, develops a narrative that I was not aware of, and finds analogies between this universe and reality, sewing these two worlds together. The narrative unfolds, slowly, growing with each iteration. Like a living being.

Nadja Ellinger is a visual artist who works with the female figure in oral traditions and folklore. She was born in 1993 in a small medieval village in the middle of Germany. She spent most of her time in the forest and in books and fell in love with fairy tales, folklore and storytelling. After graduating with a Bachelor's degree in Photography from the University of Applied Sciences in Munich, she studied for her MA in Photography at the Royal College of Art in London from 2018 to 2020. Nadja's work has been exhibited and published in the UK, USA, Italy, UAE, Denmark, Germany and France, among other countries. Most recently, she exhibited at Copenhagen Photofestival 2021, OpenWalls Arles 2021 and Ashurst Art Prize 2021 in London. She has worked for clients including Vogue USA and the British Design Museum.

Essay by DFA-member Christoph Linzbach, announcing the presentation (in German): Link.

DFA_nadjaellinger2
© Nadja Ellinger | "untitled (hair)"

Bärbel Möllmann

Sunday, December 4, 11.00 - 12.00 PM (CET)

In my photographic works and installations, I am not concerned with the resulting photograph, but with the process and perception of reality. At the end of the 90's a far-reaching debate emerged, called the "pictural turn", in which the camera obscura is seen as the starting point of view. The relationship between the perception of the world and the corresponding reflection is discussed. Thus William John Thomas Mitchell formulated the question: What is a picture? He oriented himself on the materiality of the image and connected the turn to the image with social and political questions. I place my work with the pinhole camera and the camera obscura in this context. Thus, in transforming a space into a camera obscura, I am not simply concerned with the effect of the camera obscura, but with the sensitization of perception: of interior and exterior space, the inversion of space, and the reflection of space and time. The final product is the image - a fusion of inner and outer world.

Bärbel Möllmann (*1970), place of residence: Düsseldorf / Berlin. After her professional training as a reprographer, she studied photography and media at the FH Bielefeld with Gottfried Jäger and at the Tyler School of Art in Philadelphia, for deepening, photo-historical processes with Martha Madigan. Since 1996 she has been working with the pinhole camera or camera obscura. In her current work, she converts spaces into walk-in camerae obscurae and photographs the projection of the camera obscura.

DFA_baerbelmoellmann
© Bärbel Möllmann | Camera Obscura, Wien 2015

Wolfgang Nebel

'Transformation – Beyond Imagination'

Sunday, December 4, 4:00 - 5:00 p.m.

'As a professor of computer science, Wolfgang Nebel deals intensively with the Internet and mobile communication. In his smartphone series 'in | or | out' he symbolically shows through reflections and views the impossibility of extracting the absolute truth from the infinite digital information streams of the Internet. The reconstructions of the world that arise in the mind remain subjective - and manipulable. Most recently, he has been working on the project 'Transformation - Beyond Imagination' in which he uses the change of use of large buildings and installations to thematize symbols of social, economic and military change in large-scale works: Fliegerhost becomes photovoltaic plant, nuclear power plant becomes amusement park and salt mine becomes sports facility.'

Wolfgang Nebel (*1956), lives and works in Oldenburg. He studied electrical engineering, earned a doctorate in computer science, was a development engineer in microelectronics, and was a professor of computer science from 1993 to 2022. Wolfgang Nebel is an appointed member of the German Academy of Science and Engineering. Photography has accompanied him since his student days as co-founder of a university group. The acquaintance with contemporary photographers such as Heinrich Riebesehl, Joan Fontcuberta, Philipp Scholz Rittermann and Michael Schmidt as well as the photographing artist of life Otto Umbehr, called Umbo, shaped his photographic development. This was greatly reduced for many years due to professional reasons, and he resumed it seriously only with his projects "in | or | out" as well as "Transformation - Beyond Imagination". His works were shown in 13 group and solo exhibitions at home and abroad from 2015 to 2022.

DFA_wolfgangnebel
© Wolfgang Nebel | Bergwerk Merkers

MEMBER PRESENTATIONS

Sabine Schründer

'METER, MOFA, MAGMA'

Saturday, December 3, 11:15 AM - 12:15 PM (CET)

Structures dissolve, scales shift, systems of reference rearrange themselves. The starting point for the photographic series of works "METER, MOFA, MAGMA" was an autobiographical essay that I wrote initially to console myself and later as a reflection of my grief over the death of my father. That was in October 2020. In "Reusen" I describe and analyze my family system, emotional states and human relationships. I transformed fragments of the essay and parallel associations into the visual plane. In "METER, MOFA, MAGMA" I work with words written by my father in the last four weeks of his life. These 1,500 terms, extracted from crossword puzzles, correlate with images of objects that came from his passion for fishing. I generate the individual word-image compositions by printing over the same image carrier several times. Thus, palimpsest-like layer by layer new image information can be written in and overwritten. Words and objects overlap as well as thoughts, emotions and spatial references.

I will experimentally combine both forms of artistic exploration in the lecture performance.

Sabine Schründer (*1973) lives and works in Berlin. After studying photography at the FH Bielefeld, a semester abroad in Melbourne, a longer stay in Tokyo and her diploma, she moved to Berlin in 1999. Her work is regularly exhibited nationally and internationally and has received numerous awards and support, including the Alfried Krupp von Bohlen und Halbach Foundation, Körber Photo Award, Goethe Institute Bangalore, Ina Nobuo Award Tokyo. Together with seven other artists she founded and established "Loris - Gallery for Contemporary Art" from 2007 - 2012. Since 2006 she teaches photography and visual media at Lette Verein Berlin.

sabineschruender_mmm
© Sabine Schründer | METER, MOFA, MAGMA

Wolfram Janzer

'Ciphers from oblivion - images against war"

Saturday, December 3, 3:45 - 4:45 PM (CET)

In 1988, the French photographer Hervé Rabot and I were invited to an exhibition on September 1, 1989 in the Stuttgart Landespavillon, exactly 50 years after the beginning of the Second World War. Exhibition idea: how does a young Frenchman and a young German feel 50 years after. I searched for my images at sites of horror in the West and East of Europe, looking for traces of the First World War in Champagne, remains of German bunkers on the Atlantic, in the destroyed Oradour sur Glane near Limoges, in the Czech Lidice in the concentration camps Theresienstadt,, Auschwitz, Birkenau and Mauthausen... a long series of horrible places. I denied myself documentary directness, but tried to express my consternation in my reduced visual language.

Wolfram Janzer (*1945), youth in Radolfzell/Lake Constance, architecture diploma at the University of Stuttgart - has been involved with photography since his architecture studies. 1985 two-volume monograph together with Horst Bredekamp on the sculpture grove of Bomarzo. Appointed to the GDL/ DFA in 1985. Until the end of the 1980s, two-track architectural planning and development of his photographic visual language - from 1990 exclusively professional architectural photography and exhibition projects. Numerous exhibitions and publications.

wolframjanzer_1988_bildergegendenkrieg
© Wolfram Janzer |"Bilder gegen den Krieg", 1988

Peter Thomann

"PHOTOS IN DIALOGUE"

Saturday, December 3, 5:45 - 6:30 PM (CET)

"I present my illustrated book for the exhibition: PHOTOS IM DIALOG. On double pages I have placed images, facing each other, which visually or thematically, enter into a critical or humorous dialogue. They are shots from my student days at the Folkwangschule, from my star reports and from free artistic work. They are all analog features."

Born 1940 in Berlin, studied and graduated (1965) in photojournalism with Prof. Dr.Otto Steinert. From 1968 to 2005 one of the last permanently employed Stern photographers. Afterwards free artistic activity; exhibitions, lectures. Awards: 1st Award Cat. Features WORLD PRESS PHOTO 1963 "Mare with Foal" - 1st Award 1964 Cat. Most artistic Press Photo "Oriental Alley/Oriental Gasse - 3rd Award 1982 Cat. "Art and Siense "Berlin einst und heute" - 1986 Kulturpreis der Großen Kreisstadt Emmendingen - Kokak Photobook Award 1993. Since 1979 DFA member.

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© Peter Thomann | Publikation "PHOTOS IM DIALOG"

Ingo Taubhorn

'THE NEW ABNORMAL'

Sunday, December 4 | 1:30 - 2:30 PM (CET)

How normal is the organization of an exhibition with Ukrainian photographers in times of war? The escalation of war and the full-scale invasion of Ukraine by Russian troops on February 24, 2022 have dramatically changed the course of history and life in the country. The exhibition THE NEW ABNORMAL featured recent works by five Ukrainian women photographers and seven Ukrainian photographers, stories of adjustment to life under the occupation of the Crimean Tatars, about the lives of the residents of Kiev and Kharkiv in the metro stations during the bombardment of their cities, daily visual records of the experiences of the photographers themselves, and documentation of the destroyed cities and towns. In his lecture, Ingo Taubhorn reports on the creation of an exhibition that was put together within four months and on the individual approaches and contents of the series.

Ingo Taubhorn has been curator of the Haus der Photographie | Deichtorhallen Hamburg for over 15 years. He has been working as a freelance exhibition organizer for well-known galleries and museums in Germany and abroad since 1988, including the PPS.Galerie F.C. Gundlach in Hamburg, the Museum Folkwang in Essen, the Pat Hearn Gallery in New York, and the Neue Gesellschaft für Bildende Kunst in Berlin. Taubhorn is also president of the German Photographic Academy and holds teaching positions in photography and visual media at the Bielefeld University of Applied Sciences and the Ostkreuzschule in Berlin. His last exhibition project at the Haus der Photographie was the group exhibition "Family Affairs - Familie in der aktuellen Fotografie" (Family Affairs - Family in Contemporary Photography) with 23 international positions that make visible both the diversity of photographic approaches and the diversity of family models and lifestyles. He also curated the 2020 Ostkreuz exhibition "Continent - In Search of Europe" at the Akademie der Künste Berlin. Taubhorn studied visual communication in Dortmund with a focus on photography and film. He lives and works in Hamburg and Berlin.

thenewabnornmal
© Mykhalo Palinchak | Sirens Whisper, 2022

Boris Eldagsen

'Mind triumphs over matter - Why A.I. is the gravedigger of photography and gets us excited about ghouls'

Sunday, December 4, 2:30 - 3:30 PM (CET)

For a few months now, #DALLE2, #Midjourney, #StableDiffusion and other artificial intelligences have been able to generate photos in any form, style and content - through descriptive text input. Since August, Eldagsen has been subjecting these platforms to a creative stress test and for the first time comprehensively shows his artistic experiments and the current state of technical development. He describes why these disruptive techniques are a Big Bang for photography and society, the consequences of which we can hardly guess, why commercial image production is facing a mass extinction and what is good about it. And why the Old Testament and Frankenstein's monster shake hands when it comes to AI-generated images.

Boris Eldagsen (*1970) lives and works in Berlin. He studied fine arts at the Mainz Art Academy, the Academy of Fine Arts (Prague, CZ) and the Sarojini Naidu School of Arts & Communication (Hyderabad, India). He also studied philosophy at the universities of Cologne and Mainz. So far, his photographic and video works have been exhibited at museums such as Fridericianum Kassel, Deichtorhallen Hamburg, CCP Melbourne, ACP Sydney, Bundeskunsthalle Bonn, and festivals such as Edinburgh Art Festival, FORMAT Derby, Darmstädter Tage der Fotografie, EMAF Osnabrück, Noorderlicht / Groningen, Singapore International Photography Festival, Chobi Mela / Dhaka, and Kochi Muziris Biennale. Since 2004, he has taught at international universities and art academies, and given workshops at museums and colleges. He launched the DFA's digitization and "Digital Dialogue" and works as a digital marketing consultant for Roger Ballen, fhochdrei Berlin and Nadine Dinter PR.

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© Boris Eldagsen | PSEUDOMNESIA (The Electrician)

PORTFOLIO WALK PARTICIPANTS

Saturday, December 3, 6.30 - 9.00 PM (CET)

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© Agnes Zimmermann | "Von 1 bis 10"
DFA_portfoliowalk_DoroHartmannshenn
© Doro Hartmannshenn
DFA_portfoliowalk_helengraeser
© Helen Gräser | "Zoobrücke"
DFA_portfoliowalk_jennybewer
© Jenny Bewer | "I know"
DFA_portfoliowalk_shapirorubleva
© Olga Shapiro-Rubleva | "A Cabinet of Curiosities"
DFA_portfoliowalk_sergiobelinchon
© Sergio Belinchon | "Provisional Atlas of Berlin"
DFA_portfoliowalk_samevans2
© Sam Evans | Conclusus
DFA_portfoliowalk_victoriajung
© Victoria Jung | "fever dream"

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