PRESS | Preview of Hanno Otten “Schlacht” at Widewalls.ch | March 2016

Preview of our exhibition HANNO OTTEN | Schlacht

WAR EXPLORED THROUGH COLORS IN HANNO OTTEN EXHIBITION AT PRISKA PASQUER GALLERY

Widewalls.ch, April 2016
by Lorenzo Pereira

The break-up of Yugoslavia was followed by a series of brutal wars causing thousands of killed, millions of refugees, destroyed regions. The war was perceived as a shock in the Western Europe. Nobody really expected that a war of such magnitude could happen again in the middle of Europe. Cologne-based artist Hanno Otten was also quite shocked faced with the consequences of this war, and Yugoslav wars in the early 1990s changed his worldview fundamentally. Since the 1990s, he began to explore the subject of war on artistic level. And he began to wonder: What is war? How does war come about? What is war about? Exploring the subject in intense detail, Otten developed a new cycle of works, part of which will be exhibited for the first time in public at Priska Pasquer Gallery in Cologne. Be sure not to miss Hanno Otten exhibition !

Understanding War – The Art of Hanno Otten

Hanno Otten is renowned above all for his work with color. For some years, however, the Cologne-based artist has become increasingly interested in war as a theme. His work is derived from plumbing the depths of his theme for years on end. He has explored color for many years, taking an almost scientifically systematic approach. Another important theme in his art is war. The first photo-text piece was completed back in 1993, followed by the video Beirut five years later. However, it was to take some further years until Otten found what he felt to be an adequate form for presenting his subject: the battle pictures measuring 2.30 x 7 meters in landscape format. Trying to understand war, Otten revisited the scenes of the First and Second World Wars. He delved into artistic works on the subject such as historical paintings, war novels, operas and war films, but also into specialist literature on military history and research into violence. And then he began to approach the subject with his own artistic means. The photo-text piece Die Schlacht was created in 1993, based on an article by German newspaper correspondent Monika Borgmann. Filmed in 1998, the Beirut video alludes to the ritual and stigmatizing cutting of hair, a widespread practice in times of war (of course, themes related to war has inspired a number of contemporary artists. We recently wrote about Banksy’s interventions in Calais and Ai Weiwei’s intervention in regard with the refugee crisis).

Die Schlacht

Several years later, Hanno Otten finally knew how he would approach the subject: It must simply be painted. There has to be a physical conflict. We have certain thought structures that we always repeat, even when examining war. But I want to get away from the representational documentary depiction and move towards a non-conceptual, physical approach. Hanno Otten developed the various picture structures for the battle pictures, opting for a wide landscape format in homage to the classic genre. However, the size of the pictures ended up presenting a particular challenge for him: they should be large and powerful – but without overwhelming the audience. He experimented until he found a suitable format “at eye level” – 2.30 × 7 meters. He completed the first battle pictures in 2006. The three battle pictures in the exhibition were created in 2007, 2014 and 2015. The works themselves could not be more different: one is in bright colors with cross-running stripes, another sober and unreserved with a pattern on colorless ground canvas, the third entirely in black and white with gentle, deliquescent structures. All pictures have several levels. They can be observed from a distance, but also right up close – you can walk past them or head straight towards them and out again. They are battle pictures of the 21st century.

Hanno Otten Exhibition at Priska Pasquer Gallery

Hanno Otten has developed truly unique artistic approach towards war as an art subject matter. His pictures challenge their audience. They tell them no story, provide them with no explanation, but open their eyes instead. As Otten said: I don’t declare war and I don’t say how it should be seen either. So, it’s up to viewer to contemplate and enjoy these beautiful artworks. The exhibition of Hanno Otten Die Schlacht will be on view from April 15 until June 18, 2016 at Priska Pasquer Gallery in Cologne, Germany. The vernissage is scheduled for April 14.

Link: http://www.widewalls.ch/hanno-otten-exhibition-priska-pasquer-gallery-cologne/

PRESS | Lieko Shiga “Rasen Kaigan” Portfolio | Monopol Magazine | Feb 2016

LIEKO SHIGA “RASEN KAIGAN” PORTFOLIO

Monopol magazine, February 2016
Text by Daniel Kothenschulte

LIEKO SHIGA

Erst kam der Tsunami. Dann kam die Strahlung aus Fukushima. Doch die junge japanische Fotografin blieb. Inzwischen stellt sie ihre Fotografien im MoMA und in Los Angeles aus. Hier zeigt sie exklusiv einen Bildessay, der aussieht wie eine Mischung aus Albtraum und verblassender Erinnerung.

Lieko Shiga kam als Tänzerin zur Fotografie, und vielleicht erklärt das, warum Fotografie für sie etwas anderes ist als ein kleines Stückchen Zeit. Für die Surrealisten war Zeit eine flüssige Masse, und so scheinen auch die Bilder dieser leidenschaftlichen Traumsammlerin aus einem trüben Fluss geborgen. Bekannt wurde sie 2007 mit dem Fotobuch „Canary“, das von der Sammlergemeinde gleich ins Herz geschlossen wurde. Hier war etwas völlig Neuartiges zu entdecken, das zugleich an die Frühgeschichte der Fotografie erinnerte, als dem Medium noch etwas Magisches nachgesagt wurde bis hin zur Möglichkeit, Geister damit dingfest zu machen. Die geheimnisvollen Nachtstücke, die die Japanerin in „Canary“ versammelte, waren der Traumwelt näher als der Wirklichkeit. Benannt nach jenen Singvögeln, die man früher als lebende Alarmanlagen in Bergwerken einsetzte, setzten sie sich über die Grenzen unserer Sinne leichtfüßig hinweg.

Das gilt auch für ihre Serie „Rasen Kaigan“, aus der einige Bilder dieses Portfolios entstammen. Lieko Shiga lebte eine Zeit lang im winzigen nordjapanischen Küstendorf Kitagama, wo sie die 372 Einwohner bei einer Vielzahl von Aktivitäten, Festen und offiziellen Anlässen fotografierte und sich auch in ihre mündliche Überlieferung einweihen ließ. Dankbar nahmen die Bewohner ihre Dienste an, man überließ ihr ein Farmhaus, sie bedankte sich mit Porträts – bis 2011 der Tsunami das gesamte Dorf und 60 seiner Einwohner in einem tragischen Atemzug auslöschte. Auch die Künstlerin verlor ihre gesamte Habe und viele ihrer Werke. Doch was sie noch gespeichert hatte, war zugleich der gesamte Besitz der Überlebenden. Ungeachtet der Strahlenbelastung von Fukushima, die dem Tsunami folgte, blieb sie im Dorf, ließ sich eine neue Kamera schicken, dokumentierte die Katastrophe und half bei den Begräbnissen. Ihre Fotografie, die sich stets als Erinnerungsarbeit verstand, wurde zur Überlebenshilfe. Doch auch ihre eigenen fotografischen Ideen setzte sie mit den Dorfbewohnern in traumhaften Szenerien um. „Im Reich der Fotografie“, sagt die 1980 geborene Künstlerin, „gibt es keine Vergangenheit, Gegenwart oder Zukunft. Der Wert der Fotos ist unsicher und verwandlungsfähig: Manchmal werden sie wie Altpapier behandelt, manchmal verehrt wie lebende Menschen oder zum Gegenstand religiöser Anbetung.“

Seit den 60er-Jahren verdankt die Fotowelt japanischen Künstlern eine Realitätsnähe abseits der Dogmen von Darstellungsgenauigkeit und Präzision. Lieko Shiga schreibt diese Geschichte fort. Und schuf bei aller Skepsis gegenüber dem Dokumentarischen die künstlerisch wohl bedeutendste Auseinandersetzung mit einem Leben angesichts der Katastrophe.

Daniel Kothenschulte

Lieko Shiga wird vertreten durch die Galerie Priska Pasquer, Köln

PRESS | Priska Pasquer at Blouinartinfo | Japanese Photography: The Birth of a Market

Japanese Photography: The Birth of a Market

by Noelle Bodick, Art + Auction | December 16, 2015

Published at Blouin Artinfo

DAIDO MORIYAMA | Stray Dog, 1971 | ©Daido Moriyama

“When we first had the Daido Moriyama exhibition in 2004, nobody was interested,” recalls Cologne gallerist Priska Pasquer of the photographer whose most prized bodies of work from the 1960s and ’70s document the seedy streets of the Shinjuku district in Tokyo. “This changed completely in the past decade.”

Moriyama is but one of several postwar Japanese photographers to be rediscovered by Western markets over the last 10 years. Among the others whom Pasquer herself promoted at Paris Photo in the 2000s are Eikoh Hosoe, whose first book, Killed by Roses, 1963, featured Yukio Mishima as model and muse in psychologically fraught erotic imagery; and Shomei Tomatsu, who collaborated with Ken Domon on the photo book Hiroshima–Nagasaki Document 1961, which explored the lingering effects of the atomic bombs. These three, together with Masahisa Fukase, Yutaka Takanashi, Takuma Nakahira, and Kikuji Kawada, rank among the top tier of photographers gaining recognition in Europe and America under the banner of the Provoke movement, named for a short-lived avant-garde magazine many were affiliated with. (Another key Provoke artist, Nobuyoshi Araki, was already familiar in the West, though principally for his later, sexually explicit works.) In the aftermath of World War II, these artists cast aside the dispassionate observations of the documentary tradition and embraced deeply subjective styles, producing images that are jittery and stark, and often expose erotic machinations.

Western collectors’ newfound curiosity about the Provoke artists follows a concerted campaign by a handful of players that demonstrates both how changing tastes alter markets, and how markets can change tastes.

That campaign’s success so far rests on a confluence of trends. By the turn of the century, dealers and auction houses had successfully established a canon of Western photographers, flushed out most troves of their vintage work, and driven prices for it beyond the reach of new collectors. Dealers set out to find new sources of affordable material, and several Europeans looked to Asia. At the same time, the once marginalized field of photography was becoming more entwined with contemporary art, and young collectors who came to the medium through the work of later American artists like Larry Clark and Nan Goldin were primed for the earlier Japanese photographers’ gritty aesthetic, which soon earned the label are, bure, boke (“rough, blurred, out-of-focus”). Dealers were not alone in rediscovering this work. A number of museum curators, eager to explore new material and attracted to these pieces’ affordability, mounted exhibitions that in turn amplified dealers’ efforts to attract and educate collectors.

While both vintage and new prints now claim prices undreamed of by the photographers 15 years ago, they remain relatively affordable. “We are seeing a unique window in which you can buy masterworks for under $10,000 to $20,000,” says London photo dealer Michael Hoppen, whose gallery deals with many of the photographers or their estates, including Fukase, Kawada, and Miyako Ishiuchi. “If you were to look at masterworks by American or European photographers—even late prints by OK photographers—they are going for much more than that.”

Art markets regularly stage rediscoveries of both individual artists and supposedly undervalued movements—witness the recent rise of Gutai. The Provoke story appears to be a success: Endangered works have been brought to light and preserved, institutional validation of their art historical worth has been established, and prices have increased at a measured pace. But before the full impact of the market-driven resurgence is understood, questions remain, ranging from issues of recontextualization to the balance of supply and demand.

The market growth in the West has not been matched in Japan. This may be chalked up to the relatively small size of the country’s photo collector base. Likely, however, the lack of a surge in Japan stems also from collectors there being more attuned to the photographers’ original intentions, which revolved almost exclusively around the creation of photo books.

Japan’s postwar innovators piqued the interest of American and European curators decades before the dealers took notice. In 1974, Domon and Kawada were among those recognized in the first survey outside the country, “New Japanese Photography,” curated by Yamagishi and John Szarkowski for the Museum of Modern Art in New York. More surveys followed in this first wave, at the Graz Municipal Art Museum in Austria in 1976 and ’77, at Bologna’s Museum of Modern Art in 1978, and at the International Center of Photography in New York in 1979.

The market, in turn, has played a role in driving the museum exposure through the Provoke material’s relative affordability. Tate Modern, for example, never collected photography before curator Simon Baker joined the institution in 2009, immediately facing the challenge of building the collection from scratch while staying within budget. The attractive price point of the Provoke-era photography as well as access to living photographers who were able to make available complete bodies of work—the museum’s preferred method of collecting—helped make the effort feasible. “We don’t collect things because they are cheaper,” says Baker. “But with the Tate starting its collection very late, there are some things we see that are not viable for a museum—that arguably should have been bought when they were at a reasonable value, or that we should wait for as donations. We really have to think about how we use the resources we have.” Having collected work from a range of Provoke photographers in short order, the museum has in recent years mounted two shows with heavy emphasis on the field: “William Klein+Daido Moriyama” in 2012 and “Conflict, Time, Photography” in 2014. A third, “Performing for the Camera,” opens in February 2016, with work by Hosoe and Fukase, among others.

October also saw the unveiling at New York’s Japan Society of “For a New World to Come: Experiments in Japanese Art and Photography, 1968–1979,” running through January 10 and featuring the work of Ishiuchi, Moriyama, Tomatsu, and Jiro Takamatsu. And in January 2016, the Albertina in Vienna will debut a show of Provoke photographs curated by Matthew Witkovsky; it moves to the organizing museum, the Art Institute of Chicago, in July.

The move by auction houses to capitalize on the current moment has not gone unnoticed by the dealers who toiled for years to build the market. “This is virgin market with no actual control yet, which is why I think all the big auction houses are jumping in,” says Hoppen. The dealer cautions that the rush to bring new material to light may attract those interested in the market potential more than the aesthetics. “I don’t think one should be under the illusion that this is going to be driven purely by taste.”

Despite Hoppen’s concerns, the early dealers themselves have played a role in pushing ever more material to market. Most Provoke photographers are now septuagenarians and octogenarians, but many still living continue to work. Once the vintage output inventory became more difficult to find, some dealers in Japan and the West also started working with the photographers to create modern prints of old work on demand. “There is a great demand for the vintage prints,” says Zurich dealer Guye. “However, collectors can also benefit from the availability of modern prints, as Moriyama’s most iconic images are still available, and modern prints hand-proofed by the artist become vintage prints over time.” Gallerist Pasquer insists that the cultural divide still persists, making modern prints issued in open editions an inevitability. “You cannot work with Japanese photographers with this Western idea of editions,” she says.

Full article at: Blouinartinfo