Bilder des Wohnens
Roman Bezjak, Axel Grünewald, Eyal Pinkas,
Emanuel Raab, Marco Vedana, Suse Wiegand
12 October 2019 until 5 January 2020
Opening Friday, 11 October 2019 at 7 p.m.
The exhibition is funded using resources from
and supported by
With the housing shortage currently under debate at the political level, “Bilder des Wohnens” presents aesthetic, philosophical, art-immanent and image-immanent references to architecture, space and living.
Axel Grünewald examines social and cultural spaces in the coastal regions of northern Morocco and southern Spain against the background of the migratory movements towards Europe. In his work “Bankett” he interprets architecture and topography as symbols of the transitory. Based on their architectonic heritage Roman Bezjakexplores the societal utopias of the 20th century and their status quo, in Tashkent, for example.
The vision of an ideal city with Soviet modernity in mind was realised there in the 1960s. “Luoghi tedeschi”, “German Places”, is the name given by Marco Vedana to an image series which he combines with a typology of German urban space.
Whereas Marco Vedana and Roman Bezjak highlight cultural characteristics via an analysis of architectonic form, Emanuel Raab deliberately separates the close-ups of buildings from their temporal, geographical and architectonic contexts. Dimensional relations, scale or spatial orientations are edited out. Eyal Pinkas also lifts the mundane out of its habitual context with his temporary room sculptures. Objects are subjected to astonishing variations both in terms of their design and through their position in the room. Suse Wiegand, in her delicate and simultaneously space-consuming installation, transforms the functions of objects into entirely new levels of meaning. After all, a sieve is more than just a sieve.
The exhibition is based on the research project by Bielefeld University of Applied Sciences on the topic, “Erkenntnisformen der Fotografie” with the interdisciplinary research project “Bilder des Wohnens. Architekturen im Bild” and is funded using resources from the Hypokulturstiftung.
We thank Digitaldruck Graze for support during the making of the exhibition.