Thomas Bachler
Photoshooting
08 Jul - 11 Sep 2011
THOMAS BACHLER
Photoshooting
8 July - 11 September 2011
Thomas Bachler's project Photoshooting was created specifically for La Casa Encendida. This photographic action entailed installing a booth in the exhibition hall where visitors are invited to take their picture with the artist. The unusual part is that Bachler uses a gun to do it. He stands beside the person, opposite the black box he made himself that serves as a camera, and shoots, opening the "lens" that captures the double image.
Alongside this interactive piece we find a selection of photographs entitled Scenes of Crime, which the show's curator, Christian Domínguez, identifies as the origin of Photoshooting.
Bachler (b. Detmold, 1961) uses analogue technology to reflect on the very nature of photography, turning conventional images into unsettling scenes by means of a minimal yet effective intervention in the photographic document. He uses deliberately subjective points of view that force spectators to be part of the work or, more accurately, his accomplices; and in the same vein, he introduces personal and collective memory as a necessary tool for deciphering his images.
Photoshooting
8 July - 11 September 2011
Thomas Bachler's project Photoshooting was created specifically for La Casa Encendida. This photographic action entailed installing a booth in the exhibition hall where visitors are invited to take their picture with the artist. The unusual part is that Bachler uses a gun to do it. He stands beside the person, opposite the black box he made himself that serves as a camera, and shoots, opening the "lens" that captures the double image.
Alongside this interactive piece we find a selection of photographs entitled Scenes of Crime, which the show's curator, Christian Domínguez, identifies as the origin of Photoshooting.
Bachler (b. Detmold, 1961) uses analogue technology to reflect on the very nature of photography, turning conventional images into unsettling scenes by means of a minimal yet effective intervention in the photographic document. He uses deliberately subjective points of view that force spectators to be part of the work or, more accurately, his accomplices; and in the same vein, he introduces personal and collective memory as a necessary tool for deciphering his images.