Monday, 22 August 2016

Yet Magazine (take-over)


Saturday, 20 August 2016

Wednesday, 17 August 2016

Work in progress


Saturday, 13 August 2016

Work in progress

Field notes, 04.08.2016: Three days ago, on my nightwalk, I stood for long in front of this found constellation of things which rose up into air; two trees of different but similar height, a sign. I thought of my mother. Suddenly I saw a double agony in distance; the thing itself as a burn, insatiable, unsated, alas. But this - that objects closer would be closer, and those at a distance would be further away. And this - that then, in case of pain, greater pain would be inflicted by close distance. Less by large. Should the closer objects experience distance, the agony would be greater due to spatial proximity. The object the farthest away, then, is one of double-distance.



Saturday, 6 August 2016

Documentum TV, takeover

Tuesday, 2 August 2016


'Indefinitely is that moment of intimate silence that binds us to life, that freezes time, action, judgment. It's the space between reality and imagination. It's the transition from sleep to the perception of the new day's sun. Katrin Koenning captures observation itself, in its purity; her shots translate a sense of pause that has to do with listening.'






Sunday, 31 July 2016

Work in progress


Sunday, 17 July 2016

 
'Completely captivated by the photographic possibilities of light, both artists come at the medium with a desire to seek the extraordinary in order to access invisible states of consciousness...The essence of both their work, therefore, appears to be rooted in the personal and meditative relationship they have with metaphysical thought and less with rigid notions of representing a photographic reality. Astres Noirs gives us an insight into their supernatural vision through these fairly eclectic astral projections...Having been a follower of both Koenning and Protick for some time on Instagram, often being mesmerised by their images and regularly dumbfounded at how they might have been created, I was beautifully reminded of the very natural affinity both artists have towards a higher state of consciousness.'
 

 

Friday, 15 July 2016

'The central tone of the book is one of yearning; Astres Noirs constructs a dark and mysterious interaction between images that collectively seem to weave a meditation on existence. There’s a science fiction flavour to the images too, albeit a mature and delicate one; in Douglas Adams’s The Hitchhiker’s Guide to the Galaxy, a towel is said to be just about ‘the most massively useful thing an interstellar hitchhiker can have’; in Koenning’s photographic universe the same might be said for her mobile phone. What’s intriguing is the unique use of mobile technology as a way to see (and re-see) the world; I don’t recall any photographer using camera phones in such a way ever before, Koenning might be the first practitioner to create a style in and through Instagram... It seems Koenning has somehow accessed a different visual spectrum, accessed the full electromagnetic field of light, both visible and invisible, and also has developed an understanding of light that is beyond us mere mortals.'


Wednesday, 13 July 2016

'It really is a beautiful thing, with its opening picture of an image of a hand holding a shimmering ball of light. In Astres Noirs, the light isn’t white, it’s silver, and it really does take you into a slightly mysterious place...We’re on another planet here, one where bodies glow in ponds, where crescents of light intersect mountains and forests, one where scratched glass and grains of dust shine like stars in some distant galaxy. But this is earth and we are the aliens on its otherworldly surface. Hill slopes, feral trees, cumuli nimbus, horse manes and white doves add to this voyage of discovery.'







Lars Boering, managing director at World Press Photo, on The Crossing, Noorderlicht Festival, NL


Thursday, 9 June 2016


'Katrin Koenning's remarkable exhibition "Indefinitely" is gracing our walls currently. Stephen took a moment to record his thoughts; "Movement changes the way we perceive time and place. Einstein made a big deal out of it, but it’s also clear to anyone who knows the dead hours of a long-haul flight or who looks at the world through the window of a speeding train. Katrin Koenning’s photos are about the migrant experience.They reveal the emotional states produced by movement: away from home, into a new country, into strangeness. In the midst of these dislocations of time, place and emotion, isolated people seem out of place, as though they’ve gone on holiday with the wrong family or they’ve woken up in the wrong country. It is an experience of loneliness, rather than alienation, because their situations are recognisable but not familiar, safe but not comforting. There is a soft melancholy throughout this exhibition. It seems that the true subject of these photographs is out of the picture, in either place or time." '





Thursday, 26 May 2016






Curated by Pippa Milne, CCP Declares: On the Social Contract draws together emerging and mid-career artists working at the forefront of Australian photography and video in its expanded field. The subtitle to this second iteration of CCP Declares acknowledges that these works examine or extend the idea of social contract theory; the idea that moral and political obligations and rights are bound upon an intrinsic agreement amongst the various constituents of a society.

Wednesday, 25 May 2016

'...The images are removed from any notions or nationality; they represent a kind of ethereal non-place, further emphasised by her use of overexposed flash, bringing the viewer into a kind of trance of ambiguity.'

 

Saturday, 14 May 2016


'We live in a time when our global culture has subordinated nature. It has become almost impossible to experience unspoilt land, no matter how far we direct our gaze. What remains once humanity and its thirst for action have left the stage, in search of ever greener pastures? With ARENA, Noorderlicht casts a forensic look at the traces left behind in the landscape. For ARENA twenty-one artists have been invited from around the world, showing with their respective images a part of the bigger story.'



Photographic Museum of Humanity (take-over)



Australian Centre for Photography (take-over)


Wednesday, 13 April 2016


'Koenning’s environment is one not solely of nature, but of human interference in the ritual of place making – and yet, the opportunity remains to insulate artefacts of history under gentle observation, in order to explore the entrenched narratives of each frame...'