sketches on sea

ri pe la luhel-68 lux50 ju na restr75 slhel-57 si mahel-32

If we sing this song while being carried to the first floor by the rhythm of the steps, we have already understood the story of the square nature studies that adorn the staircase of the villa.

Tim Bruns photographs a sea piece and chases the romantic scenario through the filter cascades of Instagram. Enchanted by pseudo-chemical formulas, infinite permutations of the ever-same subject emerge, whose mood changes with programmed algorithms, changing the motif of longing in color, intensity, granularity and in the combination of several processes.

An alchemy of coincidence. Because computer scientists program these filters and marketing experts decide which tools the users may use. Frightening positivism, because these filters are designed according to the preferences of the users, i.e. no aesthetic surprises, but security in the business model. Readymades from the visual retort for hobby photographers who want to create an artistic motif from the snapshot, promising a little individuality without any design risk.

We have arrived in the no man’s land of art, where signatures change, authors shift, identities vary and photographic works can be re-coloured at any time. But wasn’t that always the case?

On the one hand, Tim Bruns shows how each of us becomes a creative user, but the exhibition, in its gesture of spatial exhibition, contradicts the quick upload for the community. The difference between user / user and the traditional author is shown – compared to the arbitrary clicking in an app – in search and perseverance, in intensity, especially in doubt, contradiction and in sincerity to question a result again and again, to change it, improve it again and again – until the decision may become public. For example this evening in this exhibition.

Martin Kreyßig, speech on the occasion of the vernissage „Überall nichts Heiliges“

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