unsatisfied by the idea of displaying pictures on a wall, the ambition was raised to create a specific spatial condition for each photography, thus challenging the spectator to take actively part in the experience of the exhibition. by ”breaking” a wall, 3 very distinct conditions were created: first, a front and a back-side. second, ergonomically different distances to the pictures. third, top and bottom , or rather over and under positions.
these 3 spatial conditions enabled to precisely organize the photographies in relation to their content: “intimate” pictures were displayed on the backside, on an elevation from 1 to 1, 80 m, illuminated by warm halogen spots, while on the front side, the photographies were placed in lightboxes that were positioned in relation to the angle they were shot in.
in order to communicate the roughness of the images and the contexts they were shot in, the rendering of the structure was made out of wood planks traditionally used for concrete casing.
the result was an installation that left behind the discussion- the quest of beauty in photography, and focused more on the content of the images, trying to evoke a notion of the sublime in the spectator’s relation to each picture and the exhibition as a whole.
1.“intro” : entrance zone displaying title and descriptive abstract of the exhibition. the slightly angled shape of the entrance zone guides the visitors in the direction of the exhibition.
2.“on stage” : pictures taken during live performances. Each picture is mounted on an aluminum frame and backlit by neon lights. all gallery lights on this side are turned off.
3.“backstage” : pictures taken during recording sessions, rehearsals, on tour etc. the small-sized images are printed by a xerox machine on heavy paper and lit by natural light and gallery spots.
plongée / contre-plongée : in order to enable the visitor to go beyond the mere aesthetical aspect of the images, the scenography was designed to represent the live pictures in their respective shooting position. the installation became thus more engaging for the spectator.
ergonomics : a major ambition for the scenography was to make it totally accessible and experienceable for disabled people. the dimensioning of the structure had thus to answer strict structural as well as ergonomic demands. the installation was designed in order to stand by its own, while simultaneously creating an a more spectacular i.e. impressive effect of the pictures on the front side, as well as allowing a more intimate relation to the pictures on the backside, and this for all visitors.
a major ambition for the scenography was to make it totally accessible and experienceable for disabled people. the dimensioning of the structure had thus to answer strict structural as well as ergonomic demands
“intro” : entrance zone displaying title and descriptive abstract of the exhibition. the slightly angled shape of the entrance zone guides the visitors in the direction of the exhibition.
“on stage” : pictures taken during live performances. Each picture is mounted on an aluminum frame and backlit by neon lights. all gallery lights on this side are turned off.
“backstage” : pictures taken during recording sessions, rehearsals, on tour etc. the small-sized images are printed by a xerox machine on heavy paper and lit by natural light and gallery spots.
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