Monika Baumgartl, Ilona Weber

  • Artists:
    Monika BaumgartlIlona Weber
  • Date:
    16.2.2018
  • Venue:

Monika Baumgartl uses photography as a vehicle for new seeing or seeing, and because it is (still) time to take the world out of rigid one-sidedness and to see it from various perspectives.

 

It shows an object serially, in temporal movement, in phases, carries out visual time stretching, allows it to grow. Serial photography and long exposures, photographic formats that demonstrate the possibilities of seeing behind seeing or seeing from the other side, so to speak. Processes become visible that have been rationally suppressed before, silently, so to speak in secretly blossoming, swallowed up by everyday life, covered up by busy normality. Or they became invisible in blind habits to wallpaper, thus ignored, overlooked, invisible. Already because many of her works are signs and drawings set in black ground with light, she says a n d e r e S e i t t e s. It brings light into darkness, using light as a means of drawing, which writes itself white in dark surfaces. Monika as a pioneer of artistic phase photography and corresponding long time exposures. Scout woman with the courage and loneliness of those who enter unknown territory.
text excerpt: Karl Krüll Z e i t t S t i l l s on the art of Monika Baumgartl 2017

 

Ilona Weber paints with the means of photography. The exclusive subject is the colour in a bright room. Artificial, thus signaling and quite tender at the next moment, it appears as a combination of ragged surfaces or in the wake of passing strokes and fibres, which in turn lie opaque next to other coloured, nuanced areas. Sometimes voluminous bodies occupy large parts of the otherwise empty image space. The size, the relationship to the image detail and the essence of the particles remain unclear. The colours signal change and dynamics. They tilt forward in an arch or push their way in from the edges. Compaction and dissolution occur simultaneously. The climate changes from picture to picture. Sometimes the events heat up, seem highly dramatic, then again there is a great meditative calm. Space and space, foreground and image depth merge.

 

Of course, yes, these images provoke associations. One could think of ink, which gradually dissolves in the image or – concretely, materially – the fauna and flora of the deep sea, where every measure is put into perspective. The glowing mood of the scenarios characterizes a marked sensuality and the colours are caught in a fragile balance in their saturated presence and their like bleached withdrawal.

 

In fact, the paint is passive, decommissioned. But the touching (intuitive, on the other hand experienced and from time to time varying) movement of Ilona Weber’s camera over colored surfaces and objects conveys a vibrating dynamic in a fluid fluid. Everything remains in the balance, is passed back to our perception. Above all, one can learn one thing in these photographs: to see, to develop a new, enriching feeling for forms and, detached from them, to develop colours. (Thomas Hirsch)

Monika Baumgartl, Ilona Weber

  • Artists:
    Monika BaumgartlIlona Weber
  • Date:
    16.2.2018
  • Venue:

Monika Baumgartl uses photography as a vehicle for new seeing or seeing, and because it is (still) time to take the world out of rigid one-sidedness and to see it from various perspectives.

 

It shows an object serially, in temporal movement, in phases, carries out visual time stretching, allows it to grow. Serial photography and long exposures, photographic formats that demonstrate the possibilities of seeing behind seeing or seeing from the other side, so to speak. Processes become visible that have been rationally suppressed before, silently, so to speak in secretly blossoming, swallowed up by everyday life, covered up by busy normality. Or they became invisible in blind habits to wallpaper, thus ignored, overlooked, invisible. Already because many of her works are signs and drawings set in black ground with light, she says a n d e r e S e i t t e s. It brings light into darkness, using light as a means of drawing, which writes itself white in dark surfaces. Monika as a pioneer of artistic phase photography and corresponding long time exposures. Scout woman with the courage and loneliness of those who enter unknown territory.
text excerpt: Karl Krüll Z e i t t S t i l l s on the art of Monika Baumgartl 2017

 

Ilona Weber paints with the means of photography. The exclusive subject is the colour in a bright room. Artificial, thus signaling and quite tender at the next moment, it appears as a combination of ragged surfaces or in the wake of passing strokes and fibres, which in turn lie opaque next to other coloured, nuanced areas. Sometimes voluminous bodies occupy large parts of the otherwise empty image space. The size, the relationship to the image detail and the essence of the particles remain unclear. The colours signal change and dynamics. They tilt forward in an arch or push their way in from the edges. Compaction and dissolution occur simultaneously. The climate changes from picture to picture. Sometimes the events heat up, seem highly dramatic, then again there is a great meditative calm. Space and space, foreground and image depth merge.

 

Of course, yes, these images provoke associations. One could think of ink, which gradually dissolves in the image or – concretely, materially – the fauna and flora of the deep sea, where every measure is put into perspective. The glowing mood of the scenarios characterizes a marked sensuality and the colours are caught in a fragile balance in their saturated presence and their like bleached withdrawal.

 

In fact, the paint is passive, decommissioned. But the touching (intuitive, on the other hand experienced and from time to time varying) movement of Ilona Weber’s camera over colored surfaces and objects conveys a vibrating dynamic in a fluid fluid. Everything remains in the balance, is passed back to our perception. Above all, one can learn one thing in these photographs: to see, to develop a new, enriching feeling for forms and, detached from them, to develop colours. (Thomas Hirsch)