Thomas Weinberger
26 Oct - 08 Dec 2012
THOMAS WEINBERGER
schön (beautiful)
26 October - 8 Decemebr 2012
Nusser & Baumgart is delighted to present at the occasion of the Art Weekend a new group of works by Munich-based artist Thomas Weinberger (*1964).
“The Bechers, too, didn’t really do anything else but take pictures of sunsets.” This comment by Thomas Weinberger, with reference to his new works, is a provocation. Weinberger, in fact, searches for icons: Visual phenomena which, through the photographic eye, reveal processes related to aesthetic perception. The reference to the Bechers first becomes visually apparent through the means of accumulation and the characteristic hanging of the works. Yet what is surprising in light of Weinberger’s remark is that the motif of his works is not to be found in an industrial context. In fact, the exhibition is comprised of an installation encompassing 99 sunsets.
With his presentation, which appears to be, at first sight, an antithetical presentation, the photographer actually calls attention to a phenomenon in human perception: despite the countless attempts by philosophers, sociologists and art scholars to specify the conditions in order that something be categorized as "beautiful", there is no universally valid definition of beauty. However, there are certain phenomena that society more or less collectively considers to be beautiful. In the search for criteria that appear to determine this canon, Weinberger’s sunsets prove themselves to be paradigmatic. On the basis of the multitude of presented sunsets and their specially chosen motifs, the intention is to induce visitors to call in question the sensation associated with “beauty” per se. Why exactly is a sunset inevitably perceived aesthetically? For Weinberger, one characteristic in particular associated with the setting sun is of great importance: the closer the sun is to the horizon, the more it loses its actual function of generating light. Only when it is divorced from this defining function, can the sun be seen in its most immediate manifestation and perceived aesthetically. As a result of the installation-related accumulation, the motif is separated from its origins and the formal aspects of the composition made visible.
By presenting anonymous visual material, Thomas Weinberger attempts to draw the attention to a fundamental issue in photography: to what extent does the motif determine the quality or categorization of a photograph?
A visual theme that is generally perceived as beautiful by most people is considered kitsch or romantic: qualities that carry a strong negative undertone in the photography scene; it is often proclaimed that photography should possess a socio-critical, documentary or political element. Romanticism conjures up the exact opposite of this reality, which is so highly prized in photography. This emphasis is, according to Weinberger’s thesis, closely connected to the history of the Enlightenment: the dreaminess and egocentricity of romanticism is considered to be detrimental to a society that has been shaped by rationality and efficiency.
In his book “Stress und Freiheit” (stress and freedom), Sloterdijk notes: “Since it has been proven that reality can be forgotten, it needs lawyers who can make a case for its return. In point of fact, the history of ideas and mentality in Europe for 250 years has been, essentially, a battle against the consequences of Rousseau’s discovery. Since that time, it is all about the endless skirmish of reality against what has been scornfully or premonitorily called romanticism.”
Thomas Weinberger has taken up the criticism against a collective condemnation of romanticism, positioning it in a photographic context. With respect to this, there is still the expectation of having to generate an objective image of reality and, in so doing, acquire insight. Dealing with questions related to a pure aesthetic is at odds with this claim. The exhibited works by Weinberger ignore these maxims and consciously raise questions regarding the position of the photographer within a theory of aesthetics.
Text: Dana Weschke, translation: A. Forman
schön (beautiful)
26 October - 8 Decemebr 2012
Nusser & Baumgart is delighted to present at the occasion of the Art Weekend a new group of works by Munich-based artist Thomas Weinberger (*1964).
“The Bechers, too, didn’t really do anything else but take pictures of sunsets.” This comment by Thomas Weinberger, with reference to his new works, is a provocation. Weinberger, in fact, searches for icons: Visual phenomena which, through the photographic eye, reveal processes related to aesthetic perception. The reference to the Bechers first becomes visually apparent through the means of accumulation and the characteristic hanging of the works. Yet what is surprising in light of Weinberger’s remark is that the motif of his works is not to be found in an industrial context. In fact, the exhibition is comprised of an installation encompassing 99 sunsets.
With his presentation, which appears to be, at first sight, an antithetical presentation, the photographer actually calls attention to a phenomenon in human perception: despite the countless attempts by philosophers, sociologists and art scholars to specify the conditions in order that something be categorized as "beautiful", there is no universally valid definition of beauty. However, there are certain phenomena that society more or less collectively considers to be beautiful. In the search for criteria that appear to determine this canon, Weinberger’s sunsets prove themselves to be paradigmatic. On the basis of the multitude of presented sunsets and their specially chosen motifs, the intention is to induce visitors to call in question the sensation associated with “beauty” per se. Why exactly is a sunset inevitably perceived aesthetically? For Weinberger, one characteristic in particular associated with the setting sun is of great importance: the closer the sun is to the horizon, the more it loses its actual function of generating light. Only when it is divorced from this defining function, can the sun be seen in its most immediate manifestation and perceived aesthetically. As a result of the installation-related accumulation, the motif is separated from its origins and the formal aspects of the composition made visible.
By presenting anonymous visual material, Thomas Weinberger attempts to draw the attention to a fundamental issue in photography: to what extent does the motif determine the quality or categorization of a photograph?
A visual theme that is generally perceived as beautiful by most people is considered kitsch or romantic: qualities that carry a strong negative undertone in the photography scene; it is often proclaimed that photography should possess a socio-critical, documentary or political element. Romanticism conjures up the exact opposite of this reality, which is so highly prized in photography. This emphasis is, according to Weinberger’s thesis, closely connected to the history of the Enlightenment: the dreaminess and egocentricity of romanticism is considered to be detrimental to a society that has been shaped by rationality and efficiency.
In his book “Stress und Freiheit” (stress and freedom), Sloterdijk notes: “Since it has been proven that reality can be forgotten, it needs lawyers who can make a case for its return. In point of fact, the history of ideas and mentality in Europe for 250 years has been, essentially, a battle against the consequences of Rousseau’s discovery. Since that time, it is all about the endless skirmish of reality against what has been scornfully or premonitorily called romanticism.”
Thomas Weinberger has taken up the criticism against a collective condemnation of romanticism, positioning it in a photographic context. With respect to this, there is still the expectation of having to generate an objective image of reality and, in so doing, acquire insight. Dealing with questions related to a pure aesthetic is at odds with this claim. The exhibited works by Weinberger ignore these maxims and consciously raise questions regarding the position of the photographer within a theory of aesthetics.
Text: Dana Weschke, translation: A. Forman