| | | |  | | | Katharina Sieverding
Nachtmensch / Weltlinie 1982
© Katharina Sieverding, VG Bild-Kunst, Bonn 2017
© Foto: Klaus Mettig, VG Bild-Kunst, Bonn 2017 | | | | | | Art and Capital | | | | Works from 1967 to 2017 | | | | 11 March – 16 July, 2017 | | |  | | | Bundeskunsthalle Bonn Friedrich-Ebert-Allee 4, 53113 Bonn
T +49 (0)228-91710
www.bundeskunsthalle.de
Tue, Wed 10am-9pm; Thu-Sun 10am-7pm |  |
| | | | | |  | | | Katharina Sieverding
Global Desire 2016
© Katharina Sieverding, VG Bild-Kunst, Bonn 2017
© Foto: Klaus Mettig, VG Bild-Kunst, Bonn 2017 | | | | | | "No image is conceivable without the entirety of all the images that are in the world."
Internationally recognised as a pioneer of unconventional visual strategies and an innovative media-led creative practice, Katharina Sieverding has revitalised the artistic potential of photography. She introduced the super-sized format as a key element of her exhibitions at a time when this was far from common practice. An assertion-turned-object, the large format manifests itself in space in the form of projections after experimentation with different sizes. | | | | | |  | | | Katharina Sieverding
Kontinentalkern I, XXIV-1/83 1983
C-Print, Acrylic, Steel, 400 x 750 cm
© Katharina Sieverding, VG Bild-Kunst
© Foto: Klaus Mettig, VG Bild-Kunst | | | | | | Sieverding’s serial photographic works give expression to reflections about identity, gender discourses and the necessary emancipation of the role of the female artist as well as about the current social, political and cultural climate. Her archive is a repository of recollections and knowledge. Mirroring the artist’s themes and subjective perception of current events, it conveys an image of the time.
Since the 1960s, using film and photography, Sieverding has employed her portrait with unparalleled consistency, often blowing it up it to monumental size and manipulating it in myriad ways. In the 1970s, with astonishing prescience, she began to develop her large-format multilayer montages on the state of the world, which were first presented to an international audience at documenta 6 in 1977. But the artist also addresses fundamental questions about art and the conditions of its production and reception. She investigates the relationship between individual and global structures as well as microscopic and macroscopic ones. Her creative practice not only reproduces the accelerated visual processes of the present, it also scrutinises them with a view to responsibility, not least her own. | | | | | |  | | | Katharina Sieverding
Transformer 1973/74
Installationsansicht Close Up, MoMA PS1, New York 2004–2005
© Katharina Sieverding, VG Bild-Kunst, Bonn 2017
© Foto: Klaus Mettig, VG Bild-Kunst, Bonn 2017 | | | | | | | The retrospective exhibition presents a survey of Katharina Sieverding’s serial photographic works from 1967 to today and is complemented by floor-to-ceiling projections that allow the artist to visualise the innovative power of her archive of images. | | | | | |  | | | Katharina Sieverding
Deutschland wird deutscher XLI-92 1992
Installationsansicht, Plakatierung U-Bahn Alexanderplatz Berlin, 30. April bis 12. Mai 1993
© Katharina Sieverding, VG Bild-Kunst, Bonn 2017
© Foto: studio111a | | | | | | unsubscribe here
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© 23 Feb 2017 photography-now.com
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