Photo Gallery Gmünd

The photogallery which is situated directly at the river Malta, is presenting three photo exhibitions this year.
Opening Hours: open daily from 10.00 to 18.00, Admission free.

Further information to the photo gallery under +43 650 / 9853171

Exhibition Programme 2016

PATRICK NICHOLAS
Fotoprojekt Metamorphosen
Vernissage: FR, 29. April, 19.00 Uhr,
zu sehen täglich von 10 bis 18 Uhr, bis 28. Juni 2016

  Arven Šakti Kralj Szomi
Neue fotografische Arbeiten
Vernissage: FR, 1. Juli, 19.00 Uhr,
zu sehen täglich von 10 bis 18 Uhr, bis 31. August 2016

 RICHARD KRÄMMER
andersBaum
Vernissage: FR, 2. September, 19.00 Uhr,
zu sehen täglich von 10 bis 18 Uhr, bis 30. Oktober 2016


web landscapes

PATRICK NICHOLAS
„Metamorphosen“

Information unter www.photonicholas.com

Podsreda Castle, Inside©Arven Sakti Kralj Szomi

ARVEN ŠAKTI KRALJ SZOMI
In View
Photography exhibition, a selection of works

 About the exhibition:

The artist will present several series of classic black and white photographic works, which build on the subtleties of an intimate inner dialogue and the complexities of its outer interrelations. The narratives that unravel are tales told through the language of objects, fragments of landscape and glimpses of figures. The view that the artist affords us spans over a certain period of time and a nameless space inhabited by stories that entice the viewer into a reciprocal exchange.

About the artist:

Arven Šakti Kralj Szomi (1974) is a Slovenian visual artist, whose work revolves around the photographic image. She studied at Leeds College of Art and Design and completed her BA in Fine Art, Studio Practice and Contemporary Critical Theory, at Goldsmiths’ College University of London, before going on to complete an MA in Video and Photography at the Ljubljana Academy of Fine Arts and Design. Her work is concerned with the language of the image, which she largely investigates through photographic processes, inserting into her work a seemingly innate and intimate narrative, and a multiplicity of tales that can be read on many levels. Recent projects have included a large-scale overview of object-based photographic works in Slovenia, and a series focused on children exploring the interrelation of the intimate and the public. She is an accredited artist by the Ministry of Culture of the Republic of Slovenia and regularly exhibits at home and abroad.

Further information: www.arven.org.

 About the artist’s work:

Parallels
“While there is perhaps a province in which the photograph can tell us nothing more than what we see with our own eyes, there is another in which it proves to us how little our eyes permit us to see,” maintained the illustrious photographer and master of psychological portraits, Dorothea Lange. Indeed, the human psyche is indubitably one of these alluring and almost inaccessible worlds. It is fascinating to note that to the camera, which feeds exclusively upon visual information, this perplexing mental space can at the same time afford a fruitful platform for the articulation of the un/known and the in/visible. It is thus not surprising that after a century and a half, the medium of photography still takes on the challenge of the human subject. In a way, the photographs by Arven Šakti Kralj Szomi stand as proof of the very felicitous union of all these elements.

The images from Kralj Szomi’s cycle of works are constructed in multiple layers and should also be understood in this way, as they provide a kind of psychological self-portrait of the artist. But even though to a certain extent the story features autobiographical iconography tied to the artist’s own private world, where the viewer even meets the gaze of the photographer’s, the artist also explores the general psychological profile of man and the mode of perception of one’s own intimacy. Somewhere among the images of old portraits, trinkets in boxes, rocks collected long ago, garments slipped off and put away, and other personal belongings, the artist discloses a complex field of recollections, dreams, emotions, hopes and fantasies in a subtle and refined manner. Memories, desires and experiences, real and adopted, cross over and overlap in her photographs. Time flows differently here. And although these images are exhibited in a certain fixed order, the real narrative in them appears in indefinite sequences, or better parallels, where linearity ceases to exist – just like all this is deposited in the sediments and layers of the human mind, governed by the logic of the streams of consciousness that attach the images of our innermost self according to their own laws, illogical to our own selves. In all this, the artist naturally endeavours to avoid the lurking illustrative narrative of the material world. She thus immerses it in a metaphysical atmosphere of light and constructs it on the basis of unexpected contrasts and surprising visual relations. With their atmosphere, assembly, rich iconography and dreamlike scenery, her photographs in a way constitute a return to the golden era of surrealism and fantasy. But at the same time, all this can even exist today, as man still, or increasingly more often, seeks fantasy precisely in the world of art, where everything is possible and where certain questions can be posed without embarrassment.

It is true to say that the camera can not literally record man’s innermost world in the way that it can make a record of his external image. But paths exist between the two, which in a symbolic sense bring to plan much more than a defined portrait, if taken on by an attentive photographer. However, in doing so, the right combination of various elements is required. Kralj Szomi takes on this complex system through the contrasting effects of light, re/arranging of structures and the pictorial plane, allusive subject details, highlighting the focus and unusual vantage points, sequencing the direct gaze, a rich scenography, as well as the re/arranging of various established relationships and boundaries within all of this. As a whole, this leads to the effect that may even embody the very abstract world of human emotion and all other spiritual aspects of man’s mental existence. And at this point, the photograph becomes the very apparatus that reveals that which is usually invisible to the naked eye. The photographs by Arven Šakti Kralj Szomi reinvent the very fact that alongside the visible world, the other one, hidden beneath the skin of us all, leads a parallel life.

Barbara Sterle Vurnik, art historian and curator

 

 

Licht_fällt_auf_einen_Felsen ©Richard Krämmer (1280x850)

RICHARD KRÄMMER
„andersBaum“