Equivalents 2017 Kunstraum Düsseldorf, curated by Anja Schürmann
The absence of the representation in the representation is also present in the works, which ‘happened’ in the Leipziger printing house: To adjust the printing machine, old print sheets were again placed in the machine, photos of photos: Black, but compressed, thick black, a color that implies anything seen before. These images, as well as the nightly window tapes of the Mies van der Rohe building in Toronto – which recall the negative strips of an analog film – call up an accusation. As in the depthless surfaces of no longer untouched skies that Katja Stuke photographed in her latest series: Were it clouds which structured the scene for Stieglitz, there are in Stuke’s work not only the civilization remnants of contrails and power lines, but also the colors of the light spectrum, which expands between white and black. It is “more a dance, not a march” in this “abstraction game”.
Equivalents 2017 Kunstraum Düsseldorf, curated by Anja Schürmann
Komori, 2017 pigment print, 100 cm x 80 cm in artist’s frame; edition of 3 + 1 AP
Schwarzes Licht 2019, Exhibition at Tina Miyake, Düsseldorf
Oliver Sieber: Mies, Toronto 2004; pigment print, 80 cm x 100 cm in artist’s frame, edition of 8
Katja Stuke: Cry Andy 2019, Xerox, Din A3, framed; unique
