Tuesday, 14 February 2017

List of participating artists: Adam Fuss / Adam Golfer / Adam Jeppesen / Alec Soth / Alejandra Laviada / Alejandro Cartagena / Aleksander Rodchenko / Ana-Maria Preduț / Andrew Hammerand / Anne Collier / Annika von Hausswolff / Anouk Kruithof / Arseny Zhilyaev / Awoiska van der Molen / Basel Abbas and Ruanne Abou-Rahme / Beatrix Pang / Bjarne Bare / Bogdan Bordeianu / Brud / Carolyn Drake / Chen Kun Hui / Ching Chin Wai / Christina Leithe Hansen / Daisuke Yokota / Daniel Stier / David Fathi / Denes Miklosi / Doug Dubois / Eliza Hutchison / Emil Salto / Espen Gleditsch / Espen Tveit / Eva Stenram / Federico Ciamei / Francesca Catastini / Giulia Mangione / Godwin Koay / Guadalupe Ruiz / Guy Tillim / Hajime Kimura / Ingrid Eggen / Jaap Scheeren / Jetmir Idrizi / Judith Joy Ross / Ka-Man Tse / Katrin Koenning / Kiluanji Kia Henda / Lau Wai / Lina Selander / Lisa Oppenheim / Lorena Guillen Vaschetti / Lorenzo Vitturi / Lucas Blalock / Mame-Diarra Niang / Marianna Dellekamp / Marie Sjøvold / Mariela Sancari / Marwa Arsanios / Matt Lipps / Mihai Șovăială / Mikhael Subotzky / Ming Wong / Morten Andenæs / Mårten Lange / Nadia Mounier / Nico Krebs & Taiyo Onorato / Nicu Ilfoveanu / Ola Rindal / Oleg Samoilov / Patricia Piccinini / Peter Puklus / Pieter Hugo / Pipilotti Rist / Preben Holst / Sabelo Mlangeni / Sandrine Lopez / Setareh Shahbazi / Shimpei Takeda / Shirana Shahbazi / Sonja Thomsen / Susan Derges / Sveinn Fannar Jóhannsson / Tereza Zelenkova / Torbjørn Rødland / Tracey Moffatt / Trevor Paglen / Veronica Gerber Bicecci / Vik Lai / Vittorio Mortarotti / Viviane Sassen / Vlad Albu / Vojtech Veskrna / Wawi Navarroza / Wendy Ewald / Wolfgang Tillmans / Yafei Qi / Yakov Chernikhov / Yamamoto Masao / Yvonne Todd


Tuesday, 10 January 2017

'Between Realities' is a one-day symposium addressing diverse photographic positions, which challenge the prevailing modes of visual representation and their supposed factual depiction of reality through the photographic medium.

Several international artists have been invited, who in practice blur the borders between fact and fiction, thus re-imagining and subverting the traditional visual conception of the documentary genre.

The intention of the presentations is to open the discussion about the truth of an absolute ‘objective’ photographic replication of reality. Is the reproduction of a pictorial unadulterated ‘objective truth’ an erroneous belief, a goal neither viable nor desirable?

Tuesday, 3 January 2017

"What emerges over time from this immersion in place in Koenning’s practice is photography as a process of worlding. In The Crossing there is a sense in which each photograph offers a miniature portrait of a natural world on the cusp of disappearance. At the same time, there is ambiguity at play, especially in Koenning’s arresting images of fish and bird life hovering between states of appearance and disappearance, or processes of emergence and withdrawal. In Howqua #1 (Falsche Gezeiten, 2015), a tortoise shimmers in bioluminescent white light and appears as if plummeting into a dark void or falling through stars. Might this be the last tortoise, hurtling toward extinction or, more optimistically, can this sole tortoise be read as a symbol of species survival and thus an emblem of hope? Some images draw their titles from the work of Michel Serres and, indeed, The Crossing echoes the French philosopher’s call for “a natural contract of symbiosis and reciprocity.” As an embedded and deeply personal response to a transitioning ecology, Koenning’s images also embody what Zylinska terms a “post-anthropocentric ethics of expanded obligations.” This is ethics as “a way of taking responsibility, by the human, for various sorts of thickenings of the universe, across different scales, and of responding to the tangled mesh of everyday connections and relations."

"With the experience of being displaced from a homeland comes a continuous process of re-placement, through transcending traditional physical boundaries and traditional methods of psychological interactions. An anti-linear or disjunctive order emerges from this constant state of interpretation. Imagined borders give way to imagined worlds and newly created homes. Invariably and spontaneously responding to what surrounds and inhabits her when photographing, Koenning’s aesthetic varies, adjusting itself to the environment and the experiences that produce it, never following a formula. Just like a continuous shaft of light full of glimmering dust, constantly fluctuating, and without boundaries, Indefinitely redefines the notion of distance associated with the migratory experience by filling it with the most simple and intense visual poems.” — Claire Monneraye, Curator, Australian Centre for Photography

Monday, 26 December 2016

Colberg, who picked my work (Indefinitely), writes: “Pictures are more than what they are as pictures. They also are what we bring to them. Possibly my choice is in part a reflection of how I have been feeling about the state of this world since this year’s events have taken humanity back to a very dark place. Indefinitely for sure is dark and somber. Yet it contains traces of hope, of it being a dream. We don’t know, yet, whether it’s about to become a nightmare or whether it will end well.”
Astres Noirs, photobook of the year:

Friday, 2 December 2016

Friday, 25 November 2016

"Astres Noirs is an ethereal, other-worldly experience; figures bathe in half light, galactic dust clouds disrupt familiar landscapes and alien jellyfish seem to be suspended in motion. The duotone printing shimmers with an unique silver quality, providing an astonishingly beautiful publication with a tactility not often experienced in the photobook".

Thursday, 27 October 2016

Spread from With Devil, coming soon.

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.

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.