– in the film
EX UMBRIS ET IMAGINIBUS IN VERITATEM –
From shadows and images to truth (Grave inscription on Melaten, Cologne)
Our memory is created by acts of remembrance – the “doing memory”, it is a performative process. In the process, an image appears in the here and now, which makes us remember and reveals ourselves in our transience.
The photographs of the work DOING MEMORY take up this theme, in a time when we are confronted with the corona pandemic.
Astonishingly many people are currently visiting cemeteries. The resting places for the dead reflect to visitors that death does not only affect the dead, but above all the living – they are places of communication. Do we create our identity only in the execution of remembering and what emerges as a picture? How can it be photographed?
With the help of a (coffin-like) pinhole camera and the special print method of cyanotype, analogous long exposures produce bluish images of figures on gravestones and photographs of gardeners and gravediggers. The “doing memory” occurs and materializes by means of this photographic strategy.
ein bauer, ein ingenieur und ein beamter – in der serie ersieundich sind drei männliche identitäten klischeehaft konstruiert. phänomenologisch schnell rezipiert wächst erst mit zunehmender betrachtung die erkenntnis eines vexierbildes: es scheint sich um variablen einer person zu handeln, die aufgrund sichtbarer androgünität als frau in männlicher rolle lesbar sind. es sind selbstportraits der fotografin, sie schlüpft in eine männliche und zusätzlich in eine weibliche rolle: bruder und schwester treffen so in manchen aufnahmen aufeinander. die drei narrativ inszenierten leben des mannes hätten das des vor 40 jahren verstorbenen bruders sein können. diese selbstreflexive performance spielt mit der teilung der identität innerhalb eines heteronormativen, binären konstrukts um geschlechterrollen.
als zeitung in einem schuber
auflage 50 exemplare
64 seiten, 33,- €
the cologne bridges – major engineering achievements from below: photographed from the water, they are each composed of around 150 individual shots. in this way, they appear both graphically constructive and surprisingly pictorial. the cologne bridge greenery, defined in 1929, gives the series its unity.
available in the following sizes:
24 x 30 cm
48 x 60 cm
93 x 116 cm
my special thanks for your support:
jochen vetter, skipper, driving instructor
“shop counters are offerings: if it is on the counter, it is on display and for sale. where climatically possible, the shop counter marks the boundary between inside and out. inside stands the shopkeeper, buyers stand outside, the goods are between them. as an ensemble shop counters are an architectural theme that is as ancient as it is fascinating – and when they are collected so compellingly throughout the world as they are by anja schlamann, they are what’s more a seductive offering made to the eye. the work shows shop counters from damascus, the oldest city in the world, from morocco and from cuba, the last stronghold of communist shadow economy. here, the presentations of spices and delicacies carefully calculated for centuries, there, the spontaneously deposited staple foods and spare parts: the counters bear the responsibility for daily survival and cultural added value alike. and behind the counter stand shopkeepers who see themselves in the picture, for anja schlamann draws their attention to themselves, quite deliberately: once more photography proves to be a machine generating symbols and myths, thanks be to anja schlamann.”
EXHIBITION: vhs phtotgalerie, stuttgart
rothebühlplatz 28, 70173 stuttgart
vernissage: 11.10.2017, 12.10.- 26.11.2017
Schichtung – Tectonica
Die Transformation von dreidimensionaler Architektur zu zweidimensionaler Fotografie folgt seinen eigenen Gesetzen. Sobald Gebautes fotografiert wird, stellt sich aufgrund immanenter Raumtiefe auch in der zweidimensionalen Abbildung eine bildliche Tiefenwirkung ein.
In der Malerei wurde der untiefe, abstrakte Raum, der die Tiefenwirkung aufhebt, im Kubismus der 1920er Jahre entdeckt. Aus einem Ganzen wurden Elemente separiert, gedreht und geschichtet. Diese neue Art der Fügung erzeugte dabei eine Zusammenstellung, die die räumliche Wirkung negierte.
Übertragen auf gebaute Architektur ist dieses Prinzip in der Arbeit “Schichtung – Tectonica” von Anja Schlamann zu sehen: venezianische Fassaden sind in engen Ausschnitten fotografiert. Erhabene und rückspringende Wandfragmente fügen sich collageartig zueinander, ohne eine Tiefenwirkung erkennen zu lassen.
cologne opera house, one of the centrepieces of cologne’s 1950s architecture, is at the focus of the artistic work ENCANTO – DIE OPER KÖLN.
the series shows the whole opera house in cologne as a unique architectonic stage. representative areas and also the spaces hidden to the public behind the stage are shown in fragments. laconic and packed with details, the fragments reveal traces of a theatre’s life spanning 60 years. the sober look at the rooms is given an emphemeral layer by the surprisingly recurrent presence of the figure of carmen. she shows herself in flowing and transparent form, full of emotional richness and magic. this is like a staging outside of the stage, in which the artistic universe of opera unfolds in a previously unheard-of, soundless primal state as though telling its own story. the wonderfully enigmatic appearance in the opera house is thus shaped into an image in its own right.
“We cannot escape fashion, and we cannot do without architecture. We tailor to both. We all wear fashion and everyone needs architecture as a place to work or to live in. Fashion, architecture and design stay with us throughout our lives. They express an awareness of life, they are part of our culture and also play an important role as an economic factor. … The subtle relationship between people, space, time and fashion depicted by Regina Relang is also a characteristic feature of the series of fashion shots by Cologne-based architect and photographer Anja Schlamann. She takes a very personal and individual approach, very different to that of overly groomed and hyper-aesthetic advertising and fashion photography. In the series “Sie” – or “She” – produced over a period of three years, Anja Schlamann depicts fashion in unusual and spectacular spaces that are otherwise seldom seen. Here she blurs the borders between art, fashion and architectural photography. The series “Sie” shows Anja Schlamann at locations she has chosen herself.
from: syria, cuba, marocco, spain,
sri lanka, sansibar
BelowBridges was her last successful series, now Anja Schlamann shows us something new:
From Cuba to Sri Lanka, from Zanzibar to Morocco. Everywhere in the world goods are sold. Since antiquity, merchants have proudly advertised their goods, sellers have arranged their displays and merchants have been waiting for their customers. In her studio at the Kunsthaus Rhenania, Anja Schlamann takes us on a journey across the globe. She shows us numerous counters and their owners. With always the same picture composition, photographed frontally, the artist develops a typology of the counter in the sense of conceptual art. Her extensive series is “a seductive offer to the eye” (Prof. Dr. Rolf Sachsse). Four continents, six countries, 60 photographs, one motif: Same same, but different…
edition: 7+2 ap
size: 56 x 71 cm
One of the European regions, which are in competition with each other is the border area between Germany, Belgium and the Netherlands. It is considered as a separate cultural area. A research project of the University of Applied Sciences in Aachen called “Euregio Charlemagne” tries to find the reasons for these differing aspects of these regions. Under leadership of Prof. Christian Uwer several authors of the region have tried to describe some aspects of their region in a series of scientific essays. Attendant there is a photography essay done by the photographer Anja Schlamann. These photographs document the different cultural physiognomies and they can be viewed in this exhibition for the first time.