Marcus Kaiser has been exploring the concept of the image for almost 30 years. Following on from his work on “Artificial Ruins”, Kaiser photographed numerous destroyed and abandoned…
A four-dimensional representation of the topography of the city as a landscape in the virtual world: walkable, with refractions of temporal reality, disturbances in the structure, through data always in construction and destruction at the same time.
“… when there are only images, there is no longer any other of the image. And when there is no longer the other of the image, the concept of the image itself loses its content, so there is no longer an image.“ (Jacques Ranciére, The Future of the Image)
This group of works takes up the photographic imaging process of the cyanotype and the photogram, as well as the context of the plant encyclopedia, to document genetically modified crops.
« In September 1990, 6 months after I finished the camera obscura series “Wall Views”, I traveled to Berlin again, but the wall had disappeared. Therefore an amazing…
In Kaiser’s work, the Wall is the ideological monument at which the images of the world collapse. As an ideology that becomes a monument, the Berlin Wall marks the border that inverts the image of the world into its opposite. In short, in Kaiser’s images of the Berlin Wall, the physically inverted image meets the image as philosophical and ideological inversion.
The hut is dark inside, on the floor in the middle there is a bright surface on which, after a few minutes, when the eyes have become accustomed to it, a picture emerges: A bird flies by, the panorama of the city in the background, an aeroplane holds course for a skyscraper, a skater passes by.
Supersam, built in the 1970s, was the first large supermarket in Poland, at the time an architectural and economic island of modernity in socialist Poland. Today it has become more of an expression of an outmoded collective consciousness. It still holds an intangible utopian promise …
Rudiments of institutionally mediated art education on the one hand and ever new signs of free, often wild, destructive creativity on the other. Partly standing next to each other incoherently, unconnected, overlapping and complementing each other, these remnants of various youth cultural forms of expression evoke an aesthetic that can also be found in current trends of contemporary art. He associatively gives the individual pictures titles such as “Meeze”, “Hirschhorn”, “Majerus”, “Planet of the Apes”.
In 1854, the photographer Alphonse-Eugene Disdéri patented a process that could be used to take several portraits in a row on one plate. The small-format Cartes-de-Visite, served the…