Group Exhibition | MATERIAL

Elena Karakitsou | Monad | Cyanotype on Hahnemühle Torchon paper
Benjamin Kummer | BepiColombo und der Würfel | Belichtung auf Barytpapier
Victor Puigcerver | Chaos in form | Silver Gelatin
Ana Daganzo | The Atlas of Correlations | Cyanotype Emulsion
Markus Kaesler | FRA -BKK / 9002 km /  11 h 05 min | Silver Gelatine Barytpapier
Marie Laforge | Flags Are Just Colors | Fotogramm auf Fotopapier
Julien Menand | EK#1 (Einkapselung) | Fotoautomat mounted on aluminum & wooden framed
Aurelian Cafadaru | There is nothing old under the sky | ink jet on a Baryta Satin-Gloss paper
Tina Rowe | Oyster Shell Ghost | mulsion on Oyster Shell
Thomas Ming-Hui Stanka | Stressinterview No. 13 | PE Schwarz-Weiß Papier
Alissa Ohashi | Who We Are | Hahnemühle Fine Art Print
Malte Nies | Orthochroma | Lochkamera, Fotoemulsion auf Büttenpapier
Rachael Jablo | Untitled from Refracted Growth | Collaged c-print photograms
George Wigens | Jack’s Hands | Inkjet on Butterbrot paper
Catherine Bruce | Our Lady | Inkjet pigment on museum etching paper

Solo Exhibition | Nils Karlson

Nils Karlson is a fine art photographer living in Bochum, Germany. His practice is based on the experience of time in the realm of photography. Based on a background as a foley editor and musician, he explores the fragile spans of silence between sounds, the moments between the actions. Using a camera, Nils Karlson combines the aim to create most quiet photography possible with a passion for colour and light. Since 2015, his works have been exhibited internationally, both in numerous solo and group exhibitions all over Europe and the US. Furthermore, his photos have been published in print and online. In 2016, he published his first book, followed by a magazine titled Eyes Like Slumber, which is available at the festival and online for €25.

About the exhibition:

In November and December 2018 I had the chance to participate in the Listhus Artist Residency program in Ólafsfjörður (Iceland). In the winter times, Ólafsfjörður does not get touched by direct sunlight for nine weeks, and I got a taste of this for four weeks. During my journeys into solitude, I found multiple variations of silence. Silence based on low intensity of sound. Silence in between sounds. Silence based on lack of sound. And a profound silence, based on the lack of sound and its last residue being muffled and absorbed by myriads of snow particles floating in the air and resting on the ground.

Solo Exhibition | Ria Wank

When using my favored analog technique, the “Film Soup”, analog films are inserted into or cooked in all kinds of liquids to receive a coloring effect. I always asked myself how I can control this process and how I can recreate a random coincidence. So I started to keep record and studied how 35mm film reacts in different conditions over many stages of development, that lasted sometimes over several years. The material is the 35mm film, the composition of the cocktail and the development process. Together they react very differently in different conditions.

The selection of the material is the starting point of my work, the process is in the center of it, as the process is the symbiose of material, chemistry, time, temperature and all the small details that influence the image in its development process.

The main exhibit, “Lightbox”, shows 48 originals of a E6 35mm film, cooked with “Berliner Weiße” (original Berlin style beer). After a resting phase of 3 months the film was developed in classical fashion and partly further treated and lightened with chlorine bleach.

The two big exhibits show a similar experiment but with C41 film. The film was lightly cooked in “Berliner Weiße” beer for 5 minutes and after a 6 hour resting phase developed straight away. The whole series with Berliner Weiße consists of an 18 month study with over 60 35mm films. In my experiments all films are NOT exposed with light.