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2023 DFA Conference | Darmstädter Tage der Fotografie
Darmstadt
Justus-Liebig-Haus | Große Bachgasse 2 | 64283 Darmstadt
This year, we are pleased to implement the long-planned collaboration with the Darmstadt Days of Photography, which was canceled due to the pandemic. This will begin on Friday with the opening of "Tilt/Shift - Experiment as Normal State", where selected DFA members will show their photographic work. This is followed by a weekend full of presentations and discussions by and with DFA members and invited guests.
Location: Justus-Liebig-Haus | Große Bachgasse 2 | 64283 Darmstadt
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 de
Ruediger Glatz presents three series of works:
BACKFLASHES portrays bombing, illegal spraying in the graffiti scene.
CONFRONTATION is a self-portrait of obsessive thoughts that are energetically put into perspective by touching light situations.
RUGGED&RAW portrays the former Deutsche Bahn AG headquarters in Frankfurt am Main.
Ruediger Glatz (*1975, Heidelberg) is an autodidact who integrates photography and video works into his everyday life. Inspired by the mystical, he collects traces of past stories and formulates his worldview through them. He devotes himself to formative themes and explores them photographically.
In the 90s he worked as a graffiti writer, founded a spray can distribution company, and in 2000 discovered photography as a means of personal expression. He sold his company in 2003 and went part-time to devote more time to photography. Glatz stayed on as managing director responsible for product development and marketing before turning exclusively to the camera and art in 2011. He has three children and lives in Hamburg.
In response to the first Corona Lockdown in spring 2020, photographer Ingmar Björn Nolting began a road trip through Germany. This took him around 25.000 km through the country over the span of a year. During these unusual journeys, Nolting photographed a personal and comprehensive document of life in times of global crisis. His photo project "About the Days Ahead" reflects German society between collective isolation, fear, despair and the longing for an improvised normality. It was published as a photo book by Verlag Kettler in February this year.
Ingmar Björn Nolting (1995) lives and works as a freelance photographer in Leipzig, Germany. He studied photography at the Fachhochschule Dortmund. He is a member of the Laif Agency, a member of the supervisory board of the laif Genossenschaft and a founding member of the DOCKS photo collective. Nolting was a fellow of the Stiftung Kunstfonds and his work is part of the collection of the Museum für Kunst und Kulturgeschichte, Dortmund.
In his works, Michael Najjar deals with the technological developments that are defining and drastically changing the early 21st century. He combines science, art and technology to create artistic visions and utopias of future social orders that are emerging under the influence of new technologies.
Born in 1966 in Landau, Germany, Najjar studied at the Berlin bildo Akademie für Medienkunst from 1988 to 1993. His works are thematically grouped in series. For image genesis, he often exposes himself to extreme experiences and tests his mental and physical limits in the context of highly complex natural or technical environments.
Najjar has exhibited in numerous national and international museums, institutions and galleries: Akademie der Künste, Berlin; Museum Ludwig, Cologne; Deichtorhallen, Hamburg; ZKM, Karlsruhe; Saatchi Gallery, London; Centre pour l'image contemporaine, Geneva; Museum of Contemporary Art, Belgrade; FORMA International Centre for Photography, Milan; Museum of Art, Tucson; Auckland Art Gallery, Auckland; National Gallery of Victoria, Melbourne; National Museum of Science, Taipei; Central Academy of Fine Arts, Beijing; Ullens Center for Contemporary Art, Beijing; National Museum of Modern and Contemporary Art, Seoul; Art and Science Museum, Singapore.
How can the medium of photography be expanded in university teaching and translated into the future in terms of technology and methodology?
Based on projects from a 10-year teaching practice in photography, a playground opens up with a technological canon of subjects that relates to the adjacent topics of film/moving image, VR, spatial installation, metavers and AI, while incorporating the student perspective.
This lecture ties in with the DFA Photo Dialogue contribution from 2020 "Strategies of image making with the photographic material" - in pictorial dialogue with graduates Michaela Anderl and Katrin Bauer in cooperation with Darmstädter Tage der Fotografie and dieMotive.
Karin Jobst completed her Master of Fine Arts at the HFBK Hamburg with Silke Grossmann and Wim Wenders in 2010 and her diploma in photography with Katharina Bosse at the FH Bielefeld in 2007 with a scholarship from the Heinrich Böll Foundation. She has photographed a German nuclear power plant, travelled by container ship from Hamburg to New York City and photographed at Niagara Falls in one of the largest tunnels in North America. Karin Jobst lives and works in Hamburg and Freiburg, and has been teaching photography and moving image at the Hochschule Macromedia since 2013.
The contribution "New image bans?" reflects the observation that dealing with historical images and other artefacts is becoming increasingly difficult. At universities and other schools, in research, in museums and in publications, the public's sensitivity towards images that do not meet today's standards of ethics and political correctness is growing.
Andreas Langen is a photographer (die arge lola), journalist (e.g. SWR2, Photonews) and lecturer from Stuttgart.
Dr Petra Bopp studied art history, archaeology and ethnology in Hamburg. Her research focuses on photography and art in National Socialism, war photography in the 20th century and Orientalism in photography and 19th/20th century visual art. From 1995 to 2001 she was coordinator of the exhibition "Vernichtungskrieg. Crimes of the Wehrmacht 1941 to 1944 "at the Hamburg Institute for Social Research and the Verein zur Förderung der Ausstellung "Vernichtungskrieg" e.V. in Hamburg. From 2004 to 2006 she was a research assistant in the DFG research project "Fremde im Visier. Private Photography of Wehrmacht Soldiers in the Second World War" with Detlef Hoffmann at the University of Oldenburg. From April 2006 to December 2008 she continued the project with Norbert Frei at the University of Jena at the Jena Center History of the 20th Century with funding from the Hamburg Foundation for the Promotion of Science and Culture. Since 2009 she has been curator of the travelling exhibition "Fremde im Visier. Photo Albums from the Second World War". From 2013 to 2014, she was a fellow at the Kolleg research group "BildEvidenz. History and Aesthetics" at the Art History Institute of the Free University of Berlin.
Wahala 2019-2022
Germany / Nigeria / India / Poland
The work exposes the mechanisms of exploitation behind the extraction of fossil fuels and visualises that there is no difference in principle between the destruction of the environment and violence against people. The photographs expose the contradictions of the promise of perpetual growth and reveal how much the system of fossil capitalism groans under its own weight. Photographed in sacrificed zones, in places where long-term damage to the environment and people is accepted because it enables profits elsewhere. The apocalypse has already begun, even if it is made easy for the consumer not to see it. The brutality of these places rarely enters the consciousness. For the people in the pictures, however, they are everyday life.
Robin Hinsch is an artist and photographer based in Hamburg and Berlin, Germany. In his artistic, photographic practice he focuses mainly on social-economic and political issues. In his research-based subjective sometimes intuitiv storytelling approach he combines photography with film collages and installation techniques.
He studied photography in Karlsruhe, Hannover and Hamburg in the Classes of Prof. Ute Mahler, Prof. Elger Esser and Prof. Vincent Kohlbecher. He holds a Master Degree in Photography.
His Work has been awarded with the World Photography Award, the International Photography Award, the European Photo Exhibition Award, among others.and the Georg Koppmann Prize, has been shortlisted for the Leica Oskar Barnack Prize and the Lucie Awards and has been nominated for the Prix Pictet and the Henri Nennen Prize, to name a few.
His work is widely nationally and internationally published. Besides his own practice he is teaching and holding lectures at various occasions like Leuphana University Lüneburg, AdBK Nuremberg and the House of Photography in Hamburg. Since 2017 he is the curator and founder of „Format“ a vital laboratory for contemporary photography in Hamburg.
From the village story(s) reported in Mannheim in 2021, there is an arc to the Darmstädter Tage der Fotografie 2023, in which the DFA is participating for the first time as a guest. In some respects, the photography scene also functions like a large village. The so-called new media have not made it better, but only different.
I found out about this year's theme of the DTdF by chance, the accompanying text appealed to me very directly.
I first took photographs with a large-format camera capable of tilt/shift in 1965. For the last 20 years I have been working mainly with the film format 20x25 cm. Afterwards, the pictures are preferably printed in the form of copper intaglio- heliogravures, occasionally also in the form of moving digital pictures with musical background.
In the lecture I will report on my village and present some possibilities of movement and use of the large format camera. I will interpret this year's theme of the DTdF under photographic and personal aspects.
Individual passages can have a disturbing effect on sensitive people.
(Anja Engelke, Saeed Foroghi, Ingo Gerken, Esther Hagenmaier, Karen Irmer, Katrin Jaquet, Ute Lindner, Anastasia Mityukova). Atelier Jaquet, March 23, Berlin.
The group exhibition "Illuminations of Disenchantment" took place in the context of the Monats der Fotografie Off. It featured eight artists who explore or transcend the boundaries of the medium of photography and its conventional forms of presentation.
The title, borrowed from a book by the theorist Jonathan Crary, refers to light, enlightenment, disenchantment. These aspects emerge in the works shown in very different ways: layered or composite realities, conundrums of false reflections, staged spatial situations, traces of light from the past, images within images, disappointed expectations can be found in objects, installations and classical photographs.
Katrin Jaquet, who organised the exhibition, introduces the concept and the individual positions.
Most of the participating artists will be present for a subsequent exchange.
With:
