Category: Text

Marmor II

Seaport / Cyclades, GR, 2016
82 x 103 cm

381 Unknown / Athens, 2017
50 x 40 cm

550 Artemis / Athens, 2017
50 x 40 cm

o.T. / Hammersbach, 2017
83 x 90 cm

Land / Mediterranean, 2016
60 x 70 cm

adit, Mo 42 / Wetterstein Mountains, 2017
60 x 90 cm

3292 Menander / Athens, 2017
50 x 40 cm

close to `Brett´ / Wetterstein Mountains, 2017
60 x 90 cm

// in progress

Marmor I

 

 

 

 

 

 

 

 

 

 

 

Marmor / Mármaros
07, 02, 03, 04, 05, 01
Cyclades, GR
04. 2016 – 06.2017
50 cm x 40 cm

Portrait 2017

 

 

 

 

 

 

 

 

 

Dani / Portrait 2017
90 cm x 65 cm

Leo / Portrait 2017
90 cm x 65 cm

Jadir / Portrait 2017
90 cm x 65 cm

Dickicht

“The secret life of plants” makes reference to a song by Stevie Wonder. It was part of a soundtrack for a movie of the same name from the 1970s. The movie as well as the publication it was based on advocate the theory of a “primary perception” by plants.

ML: I am less interested in the postulated theory than in the attempt at demonstrating it. I don’t know whether it can be assigned any scientific relevance, but it provides sufficient material for speculation and narratives of supposed realities. This is also precisely what interests me about photography. A medium that is often used as evidence of an apparent reality. I’m generally concerned with a photographic image, the question regarding the narrative element. Regarding the reflection of what has been seen, the possibility of speculating about things, what occurs at the beginning, the irritation in the image. The beginning of a narrative that can be developed from vision. …
The chosen view into the undergrowth shows the coexistence, juxtaposition, and confusion of different things. A shimmering, ornamental chaos. Initially a world that lacks orientation, that changes by the minute, becomes another world with each change in the incidence of light. An unsettling disorder that evades any direct description. Without a focus on anything specific. In this sense, this work, torn out of its spatial context, constitutes a counterpoint to the designatable individual blossoms. …
The work deals with seeing, with the mechanisms of one’s own perception. Reflecting on what is visible by means of describing it. After the tree, the leaf, the branch, the trunk, the foliage, there is initially a lack of words for the complexity. With the approximation, with the progression of the description, as the photographer as well as the viewer of an image I weave one or any number of my own stories, see the hidden fragments of a plot, references in pictorial composition in art history, …
Excerpt from a conversation about the exhibition “the secret life of plants” with Pk. Odessa Co

o.T./
Brasilia, DF / Goiás, BR
2013 / in progress
80,0 x 57,0 cm / 100,0 x 71,3 cm / 120,0 x 85,6 cm

Theodor Fischer

How can a city be depicted in its characteristic spatial structure beyond dominant atmospheres and iconographic architecture? How does the spatial structure of the context present itself, a context in a framed detail? The photograph is part and the result of research on Theodor Fischer’s urban planning in Munich.

The plans that the architect drew up between 1893 and 1902 laid the foundation for the future urban development of the city of Munich, and in many neighborhoods they continue to have an impact on the characteristic image of the city to this day. From preexisting problems he develops typologies of space that in their structural alignment influence the overall fabric of Munich. The principles of urban design develop site-specific form. The sequence of different spaces is enlivening and at the same time enables overall orientation in the city. When moving through Munich, this continuum visibly comes into its own. The photographic documentation of the building alignment plans thus requires the extensive study of individual plans and a comparative spatial investigation in situ.

2012
4c / with Pk. Odessa Co
120 x 90 cm

2011/12
sw / for the publication „Theodor Fischer Atlas, Städtebauliche Planungen München“

Blossom

Pk: We see a collection of blossom-hung, I venture to claim exotic branches in the pictorial language of early botanic watercolors and drawings that illustrate the discovery and subsequent classification of individual plants into species.

ML: … The series is oriented toward familiar botanic watercolors and drawings. Toward herbaria. Those collections and depictions of discovering, exploring, designating, and classifying our natural environment. Things are isolated for the purpose of being able to be examined more closely. The individual specimen is removed from its context. Embedded in a new order to facilitate understanding it. Compared with others to better designate it. A practice that constitutes the basis of our sciences and not only significantly influences our perception, but rather any understanding of thought in terms of civilization. Our access to things, to the world. The work is oriented toward this, not only in its portrayal but in its method as well. …

The photographs feature parts of plants that have been taken out of their spatial context, numbered, and classified. They remain in the temporal context of decay only, which is captured photographically day after day. I am less interested in the process itself than in individual moments during the process. This fraction of a second of momentary pause. The photographs show the fragility of the blossoms as they continue to hang on the plants and the convulsively enveloping petal, the waning color, the searching intertwining of dry branches and stems. …
And furthermore the irritation over the decaying blossoms striving upward as if in defiance of gravity. It is here at the latest that the work leaves the documentary format. …

Excerpt from a conversation about the exhibition “the secret life of plants” with Pk. Odessa Co

o.T. /
Brasilia, DF
2013
35,0 x 50,0 cm

Cardboard

CARDBOARD
Abandoned minimal arrangements for a temporary purpose

The outspread cardboard is the expression of a desire to organize one’s own sphere. The minimal, initial intervention is the claim to a site. It seeks a specific location in space, proximity to an occupied building, at the border to a protected interior, under the protective cover of trees … The way the cardboard is arranged, the traces of its use lends its former user the appearance of vulnerability. Relate something about the current state of a society.

cardboard
2013 / in progress
17 x 14 cm
on DINA4

São Paulo

DÉRIVE
The beginning of the work is the inquiring exploration of a city by means of extensive, aimless rambling. It’s all there.

THE RELEVANCE OF APPEARANCE
A photograph depicts the visible areas of space only. The detail of a real situation at a specific time in the past. How do the levels of the space present themselves? The concreteness, the concept, the complex situation? I want to learn to read what appears. By taking photographs. The thing itself. For an understanding of space and the conditions of space production.
Phenomenological reduction.

Integrated into a culturally coded perceptual pattern, the photograph is readable as a symbolic depiction of a space. At the same time, it establishes a connection to an individual perception and experience. Photographs contain a specific attitude toward things.

People in photographs of architecture. Where am I, where are the others? What am I doing here, and what can any of us do here? Architecture, enduring pithiness in its form, yet at the same time offering a wealth of experience in terms of its versatility. Possibilities of interacting in space. This is where space and the quality of architectural spaces becomes visible. Working with people on the spot is part of my work.

Watson

IN SPACE WE READ
Watson´s Hotel, Esplanade Mansion, Kala Ghoda / Mumbai

in collaboration with Simon Schels

The first cast iron structure building in India (1867-1869) was pre-fabricated in England, shipped into Bombay and assembled on site. Located in the former Fort Precinct of the City, the Watson´s Hotel forms an important corner in the center of the Kala Ghoda Art District. The “whites-only” luxury hotel with its 130 rooms and the glamorous central atrium was closed in 1960. The new owner subdivided the building into individual spaces used for residences and offices. The building has a multi-tenanted and multi-user space pattern. In the absence of any common care therefore, the cast iron structure is now failing. Worn out due to years of neglect, inappropriate additions and physical modifications.

since 2010 / sketches

Marine Drive

The architectural ensemble of Marine Drive was built in the 1930s as one of the largest collections of Art Deco buildings in the world. The Art Deco style was the formulated expression of a newly emerging Indian elite implicitly rejecting the architectural ethos of the grand Gothic and Indo-Saracenic imperial buildings.
The ensemble is well protected and highly endangered in the same moment.
Faced to the sea and well located in the greater area, Marine Drive was and still is a preferred liberal quarter in Mumbai with a high investment pressure.
The Bombay Rent Control Act, passed in 1947, froze some rents at a low level and thus impedes refurbishment, renovation or even painting of the buildings.
Nowadays the ensemble at Marine Drive is strictly monitored by the World Heritage Committee.

Visibility of production conditions of space. Architectural photography.
The known view is the view with the buildings in the back faced to the sea.
/ eat the breeze

2010

Mumbai

MUMBAI. DISCLOSING CITY
Megacities illustrate urbanist phenomena and social problems of worldwide relevance, beyond media-related clichés that are dominated by photographs of apocalyptic scenarios.
Based on the dimensions of the city proper, Mumbai is the largest city in the world.

2010
* exhibition MUMBAI. DISCLOSING CITY
Architekturgalerie München, director, in cooperation with stb,TU München and Pk.Odessa Co.

Brasília

BRASÍLIA. BEYOND URBAN IMAGE
Attempt at a dense description. Text and photographs.

Brasília, one of the most spectacular urban development projects of the modern era, went from drawing board to reality within a period of only four years, and thus the myth of the planned city was born. For half a century now, never-ending, identical images have shown us Brasília as a cold utopia. Brasília’s reality has since changed significantly. Despite the fact that essential components of the urban structure were reshaped, negated, or neglected, we are now getting a spatial idea of all of the dimensions on which the city’s master plan is based and thus of possible scenarios that may be developed from them. (…)

Against the background of the prevailing European critique of modernity and the associated revitalization of planning dogmas, the work ventures a second, an open view of the planned city of Brasília and everyday life as it is lived there beyond the images that preserve the myth. The gaze is not directed toward a city that claims to provide a solution to coexistence in an urban society, but rather toward its inherent potential. It seeks the specific spatial qualities, their appropriation and overlay. The work scrutinizes the mechanisms of image formation as generated and consistently validated by photography.

In progress.

Big Munich

Network City. Munich Region
What urban spaces do we produce? Through planning. Through use. A narrative.

2008

Multiple City

To the extent that urban structures constantly reproduce themselves in multiple ways, so does perception change as well as the visibility of urban phenomena.
Thus the development of urban photography always exhibits parallels with urban planning and development. It is in this field of tension that I seek to photographically capture the themes and concepts of the city in formed and lived urban space, here and now.

Garden City | Urban Landscape

Functional City | Patchwork City

Region as City | Network City

Tessuto Urbano | City as Collective Memory

Urban Regeneration | Urban Renewal

Urban Design | Architecture of the City

Genius Loci | Place and Atmospheres

Situational Urbanism | Performative Urbanism

Mobile City | Telepolis

Healthy City | Sustainable City

Social Housing | Lifestyle Urbanism

Pleasure City | City of Perfection

City as Image | Urban Icon

New Towns | New Capitalist City

Territory City | City as Prize

The Myth of Metropolis | The Myth of Megacity

* topics of the exhibition MULTIPLE CITY
2008 / in progress
publication, exhibition: MULTIPLE CITY. CITY CONCEPTS 1908/2008
in Architecture Museum of the TU, Pinakothek der Moderne, Munich

Josef Wiedemann

MATERIALITY IN ARCHITECTURE

Architecture is the separation of two spheres. My clothing is my closest own space. The initial perception of space is the reception of an atmosphere, followed by understanding and describing form and materiality.

I see architecture photography as documentary photography. For the depiction of a work, for reflecting on a design, in a general architectural and social discourse. Photography as the foundation of a learning profession.

Three buildings designed by the Munich-based architect Josef Wiedemann

Allianz Hauptverwaltung, Königinstrasse, Munich
Landesbausparkasse, Karolinenplatz, Munich
Erweiterung der Dresdner Bank, Promenadenplatz, Munich

2014
with Pk. Odessa Co
publication Josef Wiedemann, “Die Wirkung der Dinge”

Lina Bo Bardi

Lina Bo Bardi’s built oeuvre reveals an approach to architecture that timelessly enriches the architectural discourse at all levels of scale. In its process-oriented manner of design, conceptual complexity, and at the same time the direct simplicity of its implementation. Despite or precisely because of its formal pithiness, her built spaces open up manifold possibilities of appropriation and use. They formulate and protect spheres for experimentation by society.

LIVED SPACE

Lina Bo Bardi’s attitude toward architecture approaches that of my photographic work. In the perception of space as a complex situation. In the consideration of people in space. In the quest for a narrative moment in space. In order to appreciate the architectural quality by way of the preexisting potential to experience and act in everyday lived space. The photographs are the result of a phenomenological investigation of buildings. Some of them developed out of the spontaneous spatial interaction between participants on the spot.

2014

publication „lina bo bardi 100“
exhibition: Pinakothek der Moderne, Munich / Watari-Um Museum of Contemporary Art, Tokyo

+
film series: Trabalhar com Lina Bo Bardi
cooperation with: Ana Gabriela Castello Branco dos Santos
interview with:
Danilo Santos de Miranda. Diretor do SESC no Estado de São Paulo
Zé Celso Martinez Corrêa. Dramaturgo, ator e diretor do Teatro Oficina
Suzuki. Arquiteto, Dr. Prof. Universidade de São Paulo
Edmar de Almeida. Artista plástico