Joachim Koester
21 Nov - 23 Dec 2005
JOACHIM KOESTER
November 21 - December 23 2005
Greene Naftali Gallery is pleased to present our third solo exhibition with Danish artist Joachim Koester. The exhibition will include two recent series of photographs. The Kant Walks and Morning of the Magicians as well as the film installation Message From Andr which was first shown at the Venice Biennale this past summer. This exhibition continues Koesters investigation of historical narrative in photography and film installation. Drawing on a diverse variety of sources, the works are unified by a shared speculative approach to the geographical, intellectual and mystical.
In the fall of 2003, Koester visited Immanual Kants hometown of Kaliningrad, formerly known as Ksberg, to trace the route of the philosophers daily walk and use this as a script for a series of photographs. However, research was complicated by the citys tumultuous past. Heavily damaged during World War II, then in 1945 conquered by the Soviet Union, the city was subject to a policy of erasure that functioned until 1991 to supress its German past. Koester says, paradoxically, I found that the concealment of the citys history, made it appear even more distinct, exactly because the past was not compartmentalized as such, but seemed to turn up as blind spots. By overlaying maps of both cities and using details provided by Kant scholars, Koester was able to retrace Kants routes and photograph the area.
For the photographic series Morning of the Magicians, Koester traveled to Cefalcily in search of the villa that once served as a communal home for the infamous occultist Aleister Crowley and his group of devotees. Koester found the long abandoned building in a dilapidated state, buried in bushes, with a hole in the roof and all but one window boarded shut. Inside, the walls were covered with graffiti, leaving Crowleys drug-heavy and sexually explicit frescos visible only through several layers of peeling paint. For Koester, the building functioned as one of the few monuments in what is largely an invisible history.
November 21 - December 23 2005
Greene Naftali Gallery is pleased to present our third solo exhibition with Danish artist Joachim Koester. The exhibition will include two recent series of photographs. The Kant Walks and Morning of the Magicians as well as the film installation Message From Andr which was first shown at the Venice Biennale this past summer. This exhibition continues Koesters investigation of historical narrative in photography and film installation. Drawing on a diverse variety of sources, the works are unified by a shared speculative approach to the geographical, intellectual and mystical.
In the fall of 2003, Koester visited Immanual Kants hometown of Kaliningrad, formerly known as Ksberg, to trace the route of the philosophers daily walk and use this as a script for a series of photographs. However, research was complicated by the citys tumultuous past. Heavily damaged during World War II, then in 1945 conquered by the Soviet Union, the city was subject to a policy of erasure that functioned until 1991 to supress its German past. Koester says, paradoxically, I found that the concealment of the citys history, made it appear even more distinct, exactly because the past was not compartmentalized as such, but seemed to turn up as blind spots. By overlaying maps of both cities and using details provided by Kant scholars, Koester was able to retrace Kants routes and photograph the area.
For the photographic series Morning of the Magicians, Koester traveled to Cefalcily in search of the villa that once served as a communal home for the infamous occultist Aleister Crowley and his group of devotees. Koester found the long abandoned building in a dilapidated state, buried in bushes, with a hole in the roof and all but one window boarded shut. Inside, the walls were covered with graffiti, leaving Crowleys drug-heavy and sexually explicit frescos visible only through several layers of peeling paint. For Koester, the building functioned as one of the few monuments in what is largely an invisible history.