bäckerstrasse4 - Stand G25
Benjamin Eichhorn's work comprises a mixture of installation and photography, which stand in an inseparable dialogue. The artistic practice, which spans from creating large-scale still life installations to his conceptual photography capturing these exact in situ works, will be represented in its entirety. Eichhorn has created an exhibition concept, in which he installs one of his typical camouflaged still lives, by covering the background, as well as domestic objects and furniture, in patterned fabric. The corresponding photographic works will be juxtaposed to the in situ work. This creates a pseudo domestic scenery, in which the viewer is supposed to loose orientation for a moment, to then discover the artist’s hidden symbolic objects and messages.
Eichhorn’s work is concerned with the phenomenon of one’s home with its decor and furniture, which is often connected to the human longing for stability, intimacy, but simultaneously an expression of intentional social representation. He addresses stereotype rituals and objects of the daily domestic life by creating still lifes, using fabric in uncanny flower patterns, which pours over innumerable real or abstract surfaces. By the means of photography and installation Eichhorn presents his typically minimalistic and conceptual imagery placing everyday objects into focus and at the same time revealing their anachronism.
NINA RIKE SPRINGER
As an artist using the techniques of classical photography, Nina Rike Springer has been
treating the subject of “sequences” several times. Not, however, in a linear meaning, one
picture following the next, but sequences, which fit together by their coherent contents, by
their statements. Her attempts to work with “linear” sequences (in contrast to the
photographs) automatically lead to work with motion picture techniques, which are nothing
else then long sequences. As a consequence Springer’s film technique that represent her
ideas is trick-film, which consists of single photographs.
Her works show a clear and light image composition, for which she often stands in front of
the camera herself, however her work is not about self-staging within the medium of
photography. She rather sees her body as an instrument of expression, turning into her
strangely familiar figures: „My protagonists feel the wish and the urge to arrange the image.”
In fact, her images are populated by figures, which seem tremendously busy in their plain
but colourful fantasy outfits. They follow absurd choreographies and obey secret codes of