Künstlerhaus Dortmund
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room with a view

7 September 2019 – 13 October 2019

Opening on Friday, 6 September at 8 p.m.

The exhibition room with a view focuses on the transformation processes that occur within the medium of photography and how the three-dimensional space in front of the camera lens is reduced to a two-dimensional image. Which possibilities and perceptions of space are lost, or which ones come into the room through sculptural translation? The five artistic positions show works that deal with the fusion of real spaces, imaginary picture spaces, and object-like spatial experiences.

Chris Engman
Emma Hart
Katharina Kiebacher
Alexandra Leykauf
Susa Templin


Dorothea Breit from WDR 3 visited the exhibition for Mosaik and spoke with the artists
WDR 3 Mosaik from 06.09.2019 to listen to:

Chris Engman

Videostill von Sunrise to Sunset, Sunset to Sunrise, detail, 2010

At the origin of Chris Engman’s work there is an idea, a concept and in-depth research. Themes immanent to photography, such as time, transience, light and the question concerning the possibility of reproducing reality, are central to his work. Here the artist primarily works with deception, illusion and the irritation of the spectator.
Engman’s videoworks were produced during long drives to deserted places in the countryside along the US west coast, places he refers to as “settings”, or “empty canvasses” – free from disruptive associations and interpretations. These temporary interventions and sculptures were elaborately assembled, yet were made of the simplest building materials, such as sand, plywood, rope or concrete stone. As soon as the photographical work was completed, the installations were abandoned and left to their own devices.

Emma Hart

Family Portrait Lake Orta, digital slide show, size variable, 2019

Emma Hart's works of art explore relationships. Personal, domestic and family relationships are exposed in an unpleasant way, while the balance of power between viewer and artwork - who cares about whom? - is examined. In series, the cumulative effect of visual repetition is used to support and position the audience, often attempting to manipulate them.
Emma Hart works mainly with ceramics, with the material having an immediacy that allows for something coarse and personal. In Hart's hands, it is an ideal vehicle for a practice that deals with the repetitive patterns of ups and downs of human behavior.

Katharina Kiebacher

Untitled (Handrail), Laserprints, Styrofoam, primed c-prints, glazed ceramics, size variable, 2016, VG-Bildkunst

Katharina Kiebacher’s work explores the multiple relationships between images and objects, and is engaged in the playful transition from two- to three-dimensional manifestations. Her inspiration is drawn from everyday life with a focus on architectural structures and urban patterns. Her most recent works revolve around the merging of photography with sculpture and the confrontation of two very diverse materials: clay and photographic ink jet prints.
Photographs are usual very modest when it comes to their actual physical presence: flat in a frame with almost no elevation from the wall they operate rather as windows than as objects. But there are two spaces that a photograph represents: The setting of what is shown on the image, the transformed space in front of the camera. And the space the photograph claims for itself.  In this context Katharina Kiebacher's sculptures reveal ways in which photography can assert space beyond a mere motif.

Alexandra Leykauf

Videostill from Cliché Verre, Video, Sound, 41 minutes, 2017

The examination of image spaces and my own mental and physical relation to them has been a recurring theme in all my works. I observe the act of looking. Many of my works play with the transition from a three dimensional object to the surface of the image and back to a spatial experience. I examine the multiple implications of changing pictorial conventions and our contemporary mode of viewing, questions of origin, authorship, and our position towards the contradictory truths of images.
Be it the carpet, the baroque garden, the movie theater, the museum, the tent, the vitrine, the cabinet or the book, it is the designed interior surrounded by an undefined exterior and the interface between those different spheres that trigger my wish to orientate, to find a sense for vantage point and direction. The conflict between the initial fascination or enchantment I experience when looking at images - a certain inwardness - and a thriving for the sobriety of the overview, the wish to extract myself to a point of view from which I can clearly see artificiality and context motivates my work, but speaking of interiors and my own position within or outside of man-made spaces is also connected to who I am as a female artist.

Susa Templin

Folded Spaces, space-sketch, 2017, VG-Bildkunst

How does perception work in built space and how can spatial experiences be put into pictures? Questions like these have long occupied Susa Templin. She works with photography and three-dimensional spatial models, a concept that she concretized during her studio scholarship in New York and has developed further.
Her extensive archive of photographs of room fragments, which are always photographed analogously and processed in her own laboratory - a corner of a room, a curtain, a specific door situation - Templin uses for new, atmospherically dense spatial designs. Using the technical possibilities of photography and installation, the artist realizes subjective qualities of architecture and spaces: associative and at the same time real places that, like Folded Spaces, challenge the physical manifestations of space, objects and bodies.

Concept und Organisation: Pit Schmieder, Adriane Wachholz
Images works and text: © the artists
Images opening: © Jens Sundheim

Kindly supported by: Kulturbüro Dortmund, Sparkasse Dortmund, DEW 21