Sabine Wenzel   The German Forest

10 November - 8 December 2007

Opening: Friday, 9 November 7pm

galerie engler
Kastanienallee 67, 10119 Berlin
Tel +49 (0)30 44308500
engler@berlin-art-info.de
www.berlin-art-info.de
Opening hours: Tue-Sat 1-8pm

Sabine Wenzel
www.sabinewenzel.de

The German forest as a structure formed by light. Dematerialised, mysterious and unapproachable. Sabine's images undermine the viewer's sense of reality. Yes, the trees and the light of the forest clearings are there, but somehow these are not the classic forest images that we have internalised from childhood memories.
Here the forest is portrayed as a layer of atmospheric conditions, as an illusion created by pale, flickering light, as metaphor. Shafts of light come through the trees in rhythmic tones, bathed in magical light, simultaneously fascinating and unsettling. Images, where the emphasis is not the individual trees, but the overall impression of forest itself.
Experimental photography?
Perhaps, yes, but only to a certain extent. What is important here is not how the images are interpreted, but more the vision itself. The correspondence between reality and its transcendence to the emotional and unfathomable; which the forest, the German forest, exemplifies with a proverbial fascination.
The approach to such a visually loaded subject matter, with its break from C.D. Friedrich's Romanticism is courageous. Equally so, when having gone full circle, Sabine Wenzel returns to Romanticism; this time around devoid of gnomes and fairies, but having lost none of its mystery or drama.
In Sabine Wenzel's work the forest is presented as an integrated whole. Her focus is neither on its impenetrable depths nor on the individual trees. What she is interested in showing is, in the true sense of the word, a subjectively coloured idea of forest. Unsuitable for a PR brochure for the woodlands, and not a strategic gesture to dress itself up as Art, her images are a deeply personal response to her subject matter.
(Denis Brudna/Photonews 7/8-07)



Wald bei Moderwitz #1, 2006, Edition 5 (+2)

Sabine Wenzel *1966, studied at the Academy of Visual Arts in Leipzig and majored at Burg Giebichenstein in Photography.
She lives and works in Berlin.

Imprint / Impressum:

Torstr. 218
10115 Berlin

Editor: Claudia Stein

T +49.30.24 34 27 80
F +49.30.24 34 27 89
contact@photography-now.com

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© 07.11.2007 Photography-now
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Frank Hülsbömer   The anatomy of surface

Special Night in Paris: Tuesday, 13 November 2007, 6-9pm

On view during Paris Photo: 14 - 17 November 2007



78, rue Amelot, 75011 Paris . France
Tel: +33(0)1 45833851
magda@magda-gallery.com
www.magda-gallery.com
Opening hours: Tues-Fri 11am-7pm . Sat 2-7pm

Frank Hülsbömer   www.frankhuelsboemer.de
"The anatomy of surface"   www.frankhuelsboemer.de/page4/page4.html

A l'occasion de Paris Photo, la galerie organise une soiree speciale dediee a Frank Hulsbomer. Il y devoile ses dernieres photos et un coffret special documentaire sur certaines formes architecturales et sur la relation entre les hommes et les lieux qu'ils construisent .
Pour recevoir une invitation pour cette soiree magda@magda-gallery.com

Celebrating Paris Photo the gallery offers a special night to discover Frank Hulsbomer's newest works, which are as some say, documentaries on specific architectural forms and about the relation between the people and the places they build
To receive the invitation for this special evening magda@magda-gallery.com

in his new series entitled "the anatomy of surface", frank hülsbömer fills his surfaces with a semantic depth which appears diametrically opposed to the idea of surface itself. here surfaces are led to simulate objects via curves and kinks, alternatively becoming independent zones, configurations or positions, juxtaposed as they are with neighbouring surfaces and objects in contrasting shades.
the photographs are digitally unmanipulated and only print optimised yet their rendering-like aesthetics suggest a binaric origin.

connotations of bauhaus and russian avant-garde appear but, at the same time, hülsbömer ironizes their search for abstraction via fragmentation and reduction.
one is reminded of the physical theories of the past century, though these photographs constitute an independent visionary entity.

all in all, hülsbömer's work appears to have undergone an artistic development from an subjective capturing of existing spaces to the conceptually creative. the exhibition also includes the "remix" series, which contrasts one external and one internal image in a sequence of diptyches, comprehensibly charting the artist's reversal - by association. magda danysz is also showing a series of works named: "family constellations" which is part of hülsbömer's pictogram studies.

Imprint / Impressum:

Torstr. 218
10115 Berlin

Editor: Claudia Stein

T +49.30.24 34 27 80
F +49.30.24 34 27 89
contact@photography-now.com

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© 08.11.2007 Photography-now
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Flatland Gallery
at Paris Photo

November 15 - 18, 2007

Ruud van Empel
Erwin Olaf
Cornelie Tollens
Carla van de Puttelaar

Paris Photo 2007
At the Carrousel du Louvre
Booth E5
www.parisphoto.fr

In Erwin Olaf's latest series 'Grief' (2007) he portrais the unhappy, private lives of beautiful, affluent women, evoking 1960s America shortly after John F Kennedy's assassination. Olaf compares the worldwide Grief that ensued to that which followed September 11, 2001. What accentuates the series' poignancy is the contrast between the charmed, external appearance of the women's lives and their internal sense of desolation.
Anna Samson for Eyemazing Magazine



    Cornelie Tollens:
    Citron Confit et du Sucre Candi

Cornelie Tollens (1964)  surrounds herself in an imaginary boudoir filled with things that she finds intriguing and alluring. Flowers, fruits and fruit, valuable materials such as lace, satin and damask, supple and smooth ribbons and lingerie. But also the secret places in soft, beautiful bodies, and the suggestive soft shapes of life in the sea, as opposed to the aggressive pointed shapes of a beak or a high heel. These are the ingredients of her work in which it is important that the artist herself remains firmly in charge of the complete presentation. Cornelie Tollens uses her photography to illustrate both beauty and creamy innocence, which is not an easy task given the wide selection of guilty objects and accessories. 



Ruud van Empel, Venus # 3, 2007

Flatland will bring two new works of Ruud van Empel's Venus series.
'When Ruud van Empel chooses children to play the leading roles, which is in most of the cases, that primitive impulse of desire, that feeling that everything is possible turns into something concrete. Fantasy has no limits and invades the territory that belongs to reality. And we enjoy those scenes created by artists like van Empel because we get a chance to be as naïve, innocent and fresh as those kids staring at us; at least for a moment'
Maria Carolina Baulo for Next Level Magazine



Carla van de Puttelaar "Untitled"

Carla van de Puttelaar 's intimatie nudes capture young women bathed in a subdued natural light reminiscent of her Flemish predecessors centuries before... She photographs them in an oblique way, teasing us with halfturned bodies, covering hands, closed eyes and details that are delicately sexy rather than overt.
Sophie Wright for the British Journal of Photography

Imprint / Impressum:

Torstr. 218
10115 Berlin

Editor: Claudia Stein

T +49.30.24 34 27 80
F +49.30.24 34 27 89
contact@photography-now.com

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Newsletter was sent to joe.le.trembleur@gmail.com

© 08.11.2007 Photography-now
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