Norbert Wiesneth
1972 born in Munich, lives and works in Berlin
mailto:contact [a] berlinerpool.de
Note: for privacy reasons we will forward your email to the artist. Therefore it is important that you fill in the artists complete name as subject of your email. Emails that lack the artists name in the subject will not be forwarded.
http://www.norbertwiesneth.de
image: scheibe
1972 born in Munich, lives and works in Berlin
mailto:contact [a] berlinerpool.de
Note: for privacy reasons we will forward your email to the artist. Therefore it is important that you fill in the artists complete name as subject of your email. Emails that lack the artists name in the subject will not be forwarded.
http://www.norbertwiesneth.de
image: scheibe
Statement I
Octpob-Island
"Immanuel Kant, the cosmopolitan of Königsberg, would have approved of the young photographer who worked around the island where he was buried two hundred years ago. Undoubtedly this was someone who has been alerted by the thunderclap of the Critique of Pure Reason (even though he merely quotes the Critique of Aesthetic Judgement): We do not know things as such but solely as appearances, that is to say as being perceived through our senses. The invention of photography has fully confirmed Kant‘s criticism of the more naïve assumptions. Far from showing „true reality“, the camera converts physical data into pictures, in a rough but not altogether misleading analogy to our reason providing objective notions of sensations.
Significantly Norbert Wiesneth did not come to photography via painting. At art school he tried out „all sorts of things“ before he passed the final exam with an installation. Establishing an interior space is possibly closer to photography than making a painting. Painters never can completely escape the affinity to building: their work starts on a flat support, needs a wall for presentation, even perhaps a frame in order to function as a kind of imaginary window. With photography this is different. Its only basic, immutable condition is the delimitation of the area to be recorded, establishing firm and stable borders that are alien to our natural way of looking. This radical artificiality determines the simple snapshot as much as any sophisticated arrangement. The art of photography therefore does not depend on emulating the creative freedom of painting by digital manipulation, „morphing“ and the like, in order to be credited as art, but is rooted in the formation of a particular way of looking-within-limits. Wiesneth has shown the expressive range of this photographic glance in several series devoted to both landscape and interior motifs. The content of these works resides less in the respective motifs as such than in endowing them with an intrinsic visual cogency through a specific way of recording.
This treatment is however not completely independent from the choice of subject matter. Wiesneth so far has preferred motifs that only indirectly, in absentia as it were, deal with the human presence: a decaying hotel in Tangier, run down holiday camps on the Baltic, artificially laid out poplar groves in the Po region etc. Each time the conceptual sub-text seems to be the relationship between artefact and nature that to a certain extent is characteristic of photography itself. The series from Kaliningrad adds to this a new dimension. For at first glance we do not know why the pictures look the way they are looking. Is it a cloud of dust that obfuscates the sky? Or are we confronted with documents of an earthquake, as the shaky outlines of the buildings seem to suggest? No such thing, of course. We are witnessing the result of a double reflection: the camera film receiving the reflection from the mirror-image of urban sites and vegetation upon the surface of a river. But with the explanation of the effect and the objects involved the attraction of the pictures is by no means exhausted, only our interest in recognising the mechanics of what we see is satisfied. The aesthetic fascination which Kant called „disinterested pleasure“ continues because the richness of sensations conveyed by these images cannot be subsumed under any definitive term or notion. Wiesneth‘s pictures give rise to an „aesthetic idea“ of becoming and vanishing that involves the transformation of Königsberg to Kaliningrad, touching upon the original name „Kneiphof“ for the area that is now called Dome or Kant Island. This was no premature homage to the founder of hydrotherapy, but a blurred reflex of the Russian word for „being flooded round“ in German language. Maybe the river is still the better mirror of reality."
Robert Kudielka
image: rotor
Octpob-Island
"Immanuel Kant, the cosmopolitan of Königsberg, would have approved of the young photographer who worked around the island where he was buried two hundred years ago. Undoubtedly this was someone who has been alerted by the thunderclap of the Critique of Pure Reason (even though he merely quotes the Critique of Aesthetic Judgement): We do not know things as such but solely as appearances, that is to say as being perceived through our senses. The invention of photography has fully confirmed Kant‘s criticism of the more naïve assumptions. Far from showing „true reality“, the camera converts physical data into pictures, in a rough but not altogether misleading analogy to our reason providing objective notions of sensations.
Significantly Norbert Wiesneth did not come to photography via painting. At art school he tried out „all sorts of things“ before he passed the final exam with an installation. Establishing an interior space is possibly closer to photography than making a painting. Painters never can completely escape the affinity to building: their work starts on a flat support, needs a wall for presentation, even perhaps a frame in order to function as a kind of imaginary window. With photography this is different. Its only basic, immutable condition is the delimitation of the area to be recorded, establishing firm and stable borders that are alien to our natural way of looking. This radical artificiality determines the simple snapshot as much as any sophisticated arrangement. The art of photography therefore does not depend on emulating the creative freedom of painting by digital manipulation, „morphing“ and the like, in order to be credited as art, but is rooted in the formation of a particular way of looking-within-limits. Wiesneth has shown the expressive range of this photographic glance in several series devoted to both landscape and interior motifs. The content of these works resides less in the respective motifs as such than in endowing them with an intrinsic visual cogency through a specific way of recording.
This treatment is however not completely independent from the choice of subject matter. Wiesneth so far has preferred motifs that only indirectly, in absentia as it were, deal with the human presence: a decaying hotel in Tangier, run down holiday camps on the Baltic, artificially laid out poplar groves in the Po region etc. Each time the conceptual sub-text seems to be the relationship between artefact and nature that to a certain extent is characteristic of photography itself. The series from Kaliningrad adds to this a new dimension. For at first glance we do not know why the pictures look the way they are looking. Is it a cloud of dust that obfuscates the sky? Or are we confronted with documents of an earthquake, as the shaky outlines of the buildings seem to suggest? No such thing, of course. We are witnessing the result of a double reflection: the camera film receiving the reflection from the mirror-image of urban sites and vegetation upon the surface of a river. But with the explanation of the effect and the objects involved the attraction of the pictures is by no means exhausted, only our interest in recognising the mechanics of what we see is satisfied. The aesthetic fascination which Kant called „disinterested pleasure“ continues because the richness of sensations conveyed by these images cannot be subsumed under any definitive term or notion. Wiesneth‘s pictures give rise to an „aesthetic idea“ of becoming and vanishing that involves the transformation of Königsberg to Kaliningrad, touching upon the original name „Kneiphof“ for the area that is now called Dome or Kant Island. This was no premature homage to the founder of hydrotherapy, but a blurred reflex of the Russian word for „being flooded round“ in German language. Maybe the river is still the better mirror of reality."
Robert Kudielka
image: rotor
Statement II
Meanwhile
"Deserted recreational architecture is the topic of the photos taken within the scope of the Baltic Sea photo project „Meanwhile“. In these pictures of former GDR holiday camps the emphasis is not on depicting the various states of decay.
By means of the photographic production, the Baltic Sea pictures’ interiors reinterpret a situation which is at first linked to a sense of loss – the abandoning of places, that once represented fun and recreation – and thereby try to once again sensitize one’s own perception. They show a radical change, the no-more and not-yet.
The window pictures made in the context of the Baltic Sea works show an intensive dealing with the relationship between architecture and landscape. The wide window panes of the chosen s, which were counted among the most innovative and even internationally recognized architecture in the GDR – Norbert Wiesneth has particularly dealt with the buildings of Ulrich Müther – offer an ideal projection screen for pictorial reflexive structures. As a metaphor for pictures they no longer offer a spatial illusion. On the contrary, the landscapes on the outside that can be seen through the windows look like photo wallpaper and thereby reveals that aspect of the landscape, which it was assigned ever since the boom of landscape painting in the 19th century: The landscape is a projection screen for our fantasy and needs."
Cara Schweitzer
Sisters of Phaeton
"Inspired by the structure of the landscape in the Italian Po plain, which was transformed into an agricultural production area as early as in Roman times and is nowadays dominated by mono-cultural exploitation, the pictures of the most recent works series were made, “Geometrie des Waldes” (“The Geometry of the Forest”), which explore the borderland between no-longer-natural and not-yet-artificial. In these shots, lattice and grid shapes set the compositional tone. Armies of fruit trees and the typical poplar trees of this region, make a lane and emphasize the vertical line. Sharply contrasting and dividing the photos into two halves, the line of the horizon and the furrows of a ploughed field, as straight as if drawn with a ruler, stand out against the trees. The central perspective creates a focal point und directs the glance along the row of trees towards the depth of the picture. Associations to earlier landscape pictures of the Italian renaissance are awakened by depicting a completely geometrical landscape in a central perspective construction. Therefore, Norbert Wiesneth’s photographs also reflect the region’s historical pictorial tradition. The exact compositional alignment of horizontal and vertical lines as well as the precise handling of light point to the genesis: These are no quick snapshots taken while roaming through the countryside, moreover one can recognize the genesis of these pictures, sometimes extended over several days – the motifs found in the landscape are usually prepared graphically. The strict order that the poplar forests have to submit to, lends them a disturbing monotony, but also a sadness – they seem disenchanted. Here the loss of a cultural symbol, that depicted the woods as a mysterious and mythical place, becomes evident."
Cara Schweitzer
image: prospekt
Meanwhile
"Deserted recreational architecture is the topic of the photos taken within the scope of the Baltic Sea photo project „Meanwhile“. In these pictures of former GDR holiday camps the emphasis is not on depicting the various states of decay.
By means of the photographic production, the Baltic Sea pictures’ interiors reinterpret a situation which is at first linked to a sense of loss – the abandoning of places, that once represented fun and recreation – and thereby try to once again sensitize one’s own perception. They show a radical change, the no-more and not-yet.
The window pictures made in the context of the Baltic Sea works show an intensive dealing with the relationship between architecture and landscape. The wide window panes of the chosen s, which were counted among the most innovative and even internationally recognized architecture in the GDR – Norbert Wiesneth has particularly dealt with the buildings of Ulrich Müther – offer an ideal projection screen for pictorial reflexive structures. As a metaphor for pictures they no longer offer a spatial illusion. On the contrary, the landscapes on the outside that can be seen through the windows look like photo wallpaper and thereby reveals that aspect of the landscape, which it was assigned ever since the boom of landscape painting in the 19th century: The landscape is a projection screen for our fantasy and needs."
Cara Schweitzer
Sisters of Phaeton
"Inspired by the structure of the landscape in the Italian Po plain, which was transformed into an agricultural production area as early as in Roman times and is nowadays dominated by mono-cultural exploitation, the pictures of the most recent works series were made, “Geometrie des Waldes” (“The Geometry of the Forest”), which explore the borderland between no-longer-natural and not-yet-artificial. In these shots, lattice and grid shapes set the compositional tone. Armies of fruit trees and the typical poplar trees of this region, make a lane and emphasize the vertical line. Sharply contrasting and dividing the photos into two halves, the line of the horizon and the furrows of a ploughed field, as straight as if drawn with a ruler, stand out against the trees. The central perspective creates a focal point und directs the glance along the row of trees towards the depth of the picture. Associations to earlier landscape pictures of the Italian renaissance are awakened by depicting a completely geometrical landscape in a central perspective construction. Therefore, Norbert Wiesneth’s photographs also reflect the region’s historical pictorial tradition. The exact compositional alignment of horizontal and vertical lines as well as the precise handling of light point to the genesis: These are no quick snapshots taken while roaming through the countryside, moreover one can recognize the genesis of these pictures, sometimes extended over several days – the motifs found in the landscape are usually prepared graphically. The strict order that the poplar forests have to submit to, lends them a disturbing monotony, but also a sadness – they seem disenchanted. Here the loss of a cultural symbol, that depicted the woods as a mysterious and mythical place, becomes evident."
Cara Schweitzer
image: prospekt
Studies
2003 graduate studies at the Accademia di Belle Arti Bologna
1997-00 art studies at the Universtity of Art with Prof. Rebecca Horn, Berlin, Diploma
1996 studies of photography at the Facultad de Bellas Artes Madrid with Cristina Garcia-Rodero
1993-97 art studies at the Accademia di Belle Arti with Prof. Concetto Pozzati, Bologna
image: weg
2003 graduate studies at the Accademia di Belle Arti Bologna
1997-00 art studies at the Universtity of Art with Prof. Rebecca Horn, Berlin, Diploma
1996 studies of photography at the Facultad de Bellas Artes Madrid with Cristina Garcia-Rodero
1993-97 art studies at the Accademia di Belle Arti with Prof. Concetto Pozzati, Bologna
image: weg
Exhibitions
Solo Exhibitions
2007
• Ibb Award For Photography 2007, Ibb, Berlin
2006
• Zeitfenster, Galerie Inges, Berlin
2005
• Entfernungen, Goethe-Institut, Milan, Galerie Charlier, Berlin
• Tanger, La Mysterieuse, Monochrom, Berlin
• Fuchsbau, Otto-Nagel Galerie, Berlin
2004
• Orientierungsangaben, Goethe-Institut Milan
• Ruderal, Kunstmittenord, Berlin
• „Etwas Fehlt Immer“, Galerie Inges, Berlin
2001
• Einrichtungsorgane, Milchhof, Berlin
2000
• Begleiterscheinungen, Goethe-Centre, Tanger
1997
• Manipuliert, Galerie C-Keller, Weimar
• Bella Impossibile, Il Campo Delle Fragole, Bologna
Group Exhibitions
2008
• Raum : Selbst , Kunstverein Tiergarten, Berlin
2007
• Laufwerk.Tmp.Data.Rescue, Medien.Projekt.Raum, Berlin Clips, Galerie Nord, Berlin
• Photophobia, State Art Museum, Kaliningrad, Ncca Yekaterinenburg
2006
• Kaliningrad Transit, German-Russian House, Kaliningrad,
• Orientalische Reise, Galerie Charlier, Berlin Outliners, Arttransponder, Berlin
2005
• Schöner Ort, Neues Kunsthaus, Ahrenshoop
2004
• Heimweg, Haus Der Kunst, München, Galerie Martin Kudlek, Köln
• Kleinode, Kunstagenten, Berlin
2003
• Nordfenster Iii, Kunstmittenord, Berlin
• Die Deutsche Bank, Otto-Nagel Galerie, Berlin
• Zeitgenössisch, Kpm-Quartier, Berlin
2002
• Triade, Neues Kunsthaus, Ahrenshoop
• Berlin Tanger Ahrenshoop Moskau, Nordfenster Ii, Berlin
1999
• Outdoorgames, Hochschule Der Künste, Berlin
1998
• Bologna-Berlin, Ausstellungszentrum Am Alexanderplatz, Berlin
• Indoorgames, Stiftung Starke, Berlin
1997
• Destinazione Casuale, La Stazione Ferroviaria, Bologna
• Associazioni, Galleria Comunale D’arte Contemporanea, Castel S. Pietro Terme
/ Honors
2007
• Ibb-Award For Photography
2006
• Exchange Scholarship, Zeit Foundation An Künstlerhaus Lukas In Kaliningrad
2004
• Pubblication Support Grant By The Senat Of Culture Berlin
2003
• Art Projekt Near Mantua (Italy) With The Daad Grant.
2002
• Artist Residency At The Künstlerhaus Lukas Of The Kulturfonds-Foundation At Ahrenshoop
Solo Exhibitions
2007
• Ibb Award For Photography 2007, Ibb, Berlin
2006
• Zeitfenster, Galerie Inges, Berlin
2005
• Entfernungen, Goethe-Institut, Milan, Galerie Charlier, Berlin
• Tanger, La Mysterieuse, Monochrom, Berlin
• Fuchsbau, Otto-Nagel Galerie, Berlin
2004
• Orientierungsangaben, Goethe-Institut Milan
• Ruderal, Kunstmittenord, Berlin
• „Etwas Fehlt Immer“, Galerie Inges, Berlin
2001
• Einrichtungsorgane, Milchhof, Berlin
2000
• Begleiterscheinungen, Goethe-Centre, Tanger
1997
• Manipuliert, Galerie C-Keller, Weimar
• Bella Impossibile, Il Campo Delle Fragole, Bologna
Group Exhibitions
2008
• Raum : Selbst , Kunstverein Tiergarten, Berlin
2007
• Laufwerk.Tmp.Data.Rescue, Medien.Projekt.Raum, Berlin Clips, Galerie Nord, Berlin
• Photophobia, State Art Museum, Kaliningrad, Ncca Yekaterinenburg
2006
• Kaliningrad Transit, German-Russian House, Kaliningrad,
• Orientalische Reise, Galerie Charlier, Berlin Outliners, Arttransponder, Berlin
2005
• Schöner Ort, Neues Kunsthaus, Ahrenshoop
2004
• Heimweg, Haus Der Kunst, München, Galerie Martin Kudlek, Köln
• Kleinode, Kunstagenten, Berlin
2003
• Nordfenster Iii, Kunstmittenord, Berlin
• Die Deutsche Bank, Otto-Nagel Galerie, Berlin
• Zeitgenössisch, Kpm-Quartier, Berlin
2002
• Triade, Neues Kunsthaus, Ahrenshoop
• Berlin Tanger Ahrenshoop Moskau, Nordfenster Ii, Berlin
1999
• Outdoorgames, Hochschule Der Künste, Berlin
1998
• Bologna-Berlin, Ausstellungszentrum Am Alexanderplatz, Berlin
• Indoorgames, Stiftung Starke, Berlin
1997
• Destinazione Casuale, La Stazione Ferroviaria, Bologna
• Associazioni, Galleria Comunale D’arte Contemporanea, Castel S. Pietro Terme
/ Honors
2007
• Ibb-Award For Photography
2006
• Exchange Scholarship, Zeit Foundation An Künstlerhaus Lukas In Kaliningrad
2004
• Pubblication Support Grant By The Senat Of Culture Berlin
2003
• Art Projekt Near Mantua (Italy) With The Daad Grant.
2002
• Artist Residency At The Künstlerhaus Lukas Of The Kulturfonds-Foundation At Ahrenshoop
