Viktoria Binschtok - World of Details
09 Sep - 22 Oct 2011
World of Details (tire-man + flat tire), 2011, c-print, object frame, 89 x 98 cm, ink jet print on mdf-plate , 18 x 26 cm, Ed. 3+1 a.p
World of Details (balance + white woman), 2011, c-print, object frame, 69 x 57 cm, ink jet print on mdf-plate , 18 x 26 cm, Ed. 3+1 a.p
World of Details (trash 1+2 + trash), 2011, c-print, object frame, each 101 x 128 cm, ink jet print on mdf-plate , 18 x 26 cm, Ed. 3+1 a.p
World of Details (billiardtable + billiard), 2011, c-print, object frame, 88 x 109 cm, ink jet print on mdf-plate , 18 x 26 cm, Ed. 3+1 a.p
World of Details (garage + garage), 2011, c-print, object frame, 100 x 125 cm, ink jet print on mdf-plate , 18 x 26 cm, Ed. 3+1 a.p
World of Details (coats + couple), 2011, c-print, object frame, 121 x 95 cm, ink jet print on mdf-plate , 18 x 26 cm, Ed. 3+1 a.p
Viktoria Binschtok
World of Details
9 September - 22 October, 2011
Viktoria Binschtok traces in her photographic work the idea of visibility. By defering the context in interesting ways she raises questions about which contents are transported within clearly defined image borders and which ones – based on our common knowledge – surpass them. Binschtok refers equally to images taken from media sources such as the Internet as well as images taken by herself in order to discuss their function and representation.
In her newest series 'World of Details' she connects both analogue and digital image sources. Basis to her work here are selected images from the gigantic GoogleStreetView archive in order to assemble her images. She then establishes a second image level through the analogue detail shots she has taken at the respective site.
Binschtok’s first step is strictly analytical when she filters street views that show by-passers who look into the camera and who are actually aware of being photographed. But in contrast to traditional "picture-taking" there is no person taking the picture. Those depicted look into a lense of an apparatus set on a car roof and that takes full-automatic panorama shots of its surroundings. These street views cannot be exceeded in authenticity as they were shot without any sense of composition. The second step leads Binschtok physically to the sites chosen by the previous selection process in order to make her own picture of the existing reality on site. While the reference pictures depict the section of the street view with a certain distance, the artist now zooms in and thus contrasts the programmed automat with something very human in the end: intention.
In delineating the complexity of 'World of Details' Binschtok does not only shed a light on our world but she manages to walk the thin line of photography that goes beyond documentary while relinquishing the means of staging at the same time.
World of Details
9 September - 22 October, 2011
Viktoria Binschtok traces in her photographic work the idea of visibility. By defering the context in interesting ways she raises questions about which contents are transported within clearly defined image borders and which ones – based on our common knowledge – surpass them. Binschtok refers equally to images taken from media sources such as the Internet as well as images taken by herself in order to discuss their function and representation.
In her newest series 'World of Details' she connects both analogue and digital image sources. Basis to her work here are selected images from the gigantic GoogleStreetView archive in order to assemble her images. She then establishes a second image level through the analogue detail shots she has taken at the respective site.
Binschtok’s first step is strictly analytical when she filters street views that show by-passers who look into the camera and who are actually aware of being photographed. But in contrast to traditional "picture-taking" there is no person taking the picture. Those depicted look into a lense of an apparatus set on a car roof and that takes full-automatic panorama shots of its surroundings. These street views cannot be exceeded in authenticity as they were shot without any sense of composition. The second step leads Binschtok physically to the sites chosen by the previous selection process in order to make her own picture of the existing reality on site. While the reference pictures depict the section of the street view with a certain distance, the artist now zooms in and thus contrasts the programmed automat with something very human in the end: intention.
In delineating the complexity of 'World of Details' Binschtok does not only shed a light on our world but she manages to walk the thin line of photography that goes beyond documentary while relinquishing the means of staging at the same time.