In #Visual Noise, curator Tina Sauerländer pairs artists Diana Artus and Ornella Fieres to explore the threshold between analogue and digital photography.
Artus and Fieres use the photography process to create a “noise” effect in their work – Artus by repeatedly processing analogue photos of cityscapes, Fieres by digitally photographing found material – using the resulting spots, interferences and distortions to play with the human perception of memories. Curator Sauerländer is already known for her work at Haus der Kunst in Munich and her curatorial project “peer to space”. Since arriving in Berlin in 2011, she has been working as a freelance curator and author, continuing to curate projects under the “peer to space” label as well as working for the Berlin-based Haupt Collection.
Where did the idea for the show come from?
Diana Artus and Ornella Fieres both belong to the generation that grew up with the aesthetics and the technical functioning of analogue photography and also grew into digital photography when it came up and was accessible for everyone. Therefore both artists deal with the peculiarities and limits of both analogue and digital photography, combining both media in a technical and aesthetical way in their works.
What does “visual noise” mean in this context?
Visual noise is a change in visual expression through digital and analogue processes of image editing, creating a more abstract image or photograph. When it comes to the idea of memories, the exhibited works state that a memory of a certain event or place as such doesn’t exist: The memorised individual perception of an event or visual impression of a place changes and ceases over time. We forget certain facts, gaps occur in our imagination which could be filled with our personal wishful thinking of the past. Like visual noise, our memories change or become more and more abstract.
What attracted you to Lage Egal?
Lage Egal is one of the most important art spaces in Berlin, thanks to the enthusiastic work and great personality of gallerist Pierre Granoux. He also co-curated the show #by-cycles, which I would say was one of the most unconventional and most-seen exhibitions of last year, with artistic bicycle works by Alicja Kwade, Jonathan Monk and many more. We met when Jennifer Oellerich exhibited together there with Claudio Wichert in #zu viel Regen… Pierre and I got along well and we talked over the evening about curating, Berlin’s art scene, etc.. Keeping in touch since then, Pierre asked me to curate a show.
Is there a leitmotif in your curating practice?
I see myself as a curator for contemporary art. I am interested in showing contemporary artistic positions that deal with topics and aesthetics that mark the time we live in together right now. I don’t want to tie myself down to any certain kind of artistic expression anymore. Some years ago, I wanted to become a photo curator ‘only’, but then I discovered digital art! My last show Entering Space was about sculpture and spatial works, and now I’m planning another show which deals with a totally different medium. I love to discover new artistic perspectives and find links between them. I love to reveal and present these relationships in order to show their relevance by stressing and combining them in my exhibitions.
#VISUAL NOISE Through Mar 21 | Lage Egal, Danzige Str. 145, Prenzlauer Berg, M10 Arnswalder Platz, Thu- Fri 14-18
Originally published in issue #125, March 2014.
