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When we strike up this song, as the rhythm leads us up the stairways to the second floor, we already understood the genesis of the square nature studies which adorn the walls of the villas stairwell.
Tim Bruns photographs a sea piece and runs the romantic scenario through the filter cascades of Instagram. Enchanted by pseudo-chemical formulas, infinite permutations of the same object emerge as the sentiment changes the place of longing by color, luminosity, grain and a combination of different techniques applying programmed algorithms. An alchemy of chance because these filters are created by information scientists and marketing experts decide which tools can be applied. Appalling positivism as these filters are designed according to the preferences of the user. No aesthetic surprises but safety within the business model. Ready-mades from the visual retort for hobby photographers who want to recreate the snapshot as piece of art, promising a little individuality without creative risk.
We have attained the no man’s land of art where signatures are changing, authors are shifting, identities are varying and photographic work can be redyed at any time. But hasn’t this always been so?
On the one hand Tim Bruns shows how any of us turns into a creative user but the exhibition objects the quick upload for a community by presenting the photographs as physical objects. The difference between user and traditional author manifests – opposite to randomly clicking an app – through quest and persistence, through intensity, especially through doubt, through objection and the sincerity to question the result over and over again. Still to modify it, to improve it again and again – until the decision can be made public.