| | | |  | | | | Sissi Farassat: Red Shoes, 2016, 28 x 38 cm, C-Print with Swarovski, unique piece | | | | | | | in the cabinet: | | | René Mächler » Paysages de Femme 1961 – 1968 | | | | 2 November – 21 December, 2019 | | | Opening: Saturday, 2 November, 7 pm
Sissi Farassat will join the opening. | | |  | | | | | | | | | |  | | | | Sissi Farassat: Wall, 2019, 40 x 50 cm, C-print with thread, unique piece | | | | | | | Sissi Farassat was born in 1969 in Tehran and moved with her family to Vienna in 1978, where she still lives and works today. She has been working as a photographer since 1991 and participated in the 1993 International Summer Academy under the direction of Nan Goldin. She was a student of Friedl Kubelka at the Hochschule für Bildende Kunst Fotografie in Vienna (1993-94). She then received a scholarship from the Austrian Ministry of Education, Science and the Arts to realize her series Self Portrait Paris. | | | | | |  | | | | Sissi Farassat: Stay 4, 2019, 20 X 25, C-Print with Swarovski, unique piece | | | | | | | Sissi Farassat's works are largely autobiographical and often reveal her personal history through a unique combination of influences from Persian and Viennese art and design. She began by changing her own expired passports, decorating them with sequins and pearls, and returning the passport from its original use to a unique work of art. Through her handicraft, Farassat isolates parts of the photograph and replaces the original background with a fine overlay. Hundreds of hours have been spent manually transforming each photo into a unique object. Farassat drastically changes the most inherent characteristics of the photographic medium: the immediacy of the camera and the ability to make multiple photographic prints. Instead, she takes the needle and thread to each print and sews thousands of crystals, pearls, and sequins by hand, turning her photos into a kind of tapestry. | | | | | |  | | | | Sissi Farassat: Atelier, 2019, 22 x 29 cm, C-Print with thread, unique piece | | | | | | | In doing so, she blurs the distinction between the photo and the object, the revealed and the hidden, and eliminates the subject from its original context. Farassat challenges our gaze and seems to rejoice in the ambivalence of her transformations. For her works she uses either intimate selfportraits or random snapshots of her friends and close acquaintances. The pictures are neither staged nor formally posed, but always seductive and somewhat mysterious. | | | | | | | | | |
| | | | | | | | | |  | | | | Rene Mächler: Paysage de Femme, 1961-68 | | | | | | Paysages de Femme - 1961 – 1968 | | | | 2 November – 21 December, 2019 | | | This is a presentation of one of René Mächler's first series, which already anticipates many features of his later major work of abstract concrete photography. They are abstracting, analytically detailed body landscapes designed for extreme contrasts.
Mächler commented on these works: "When I take photographs, I want to testify, but I do not want to capture the matter itself, but the meaning of the matter." | | | | | |  | | | | Rene Mächler: Paysage de Femme, 1961-68 | | | | | | | The in focus gallery shows very rare vintage photographs on Agfa silver gelatin baryte paper from the years 1961-68. | | | | | | unsubscribe here
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© 27 Oct 2019 photo-index UG (haftungsbeschränkt)
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