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Leo Zogmayer: Basel

EIKON #55 (September 2006)

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A miracle or a catastrophe? The one lies concealed within the other, and it is up to us to decide which one to bring to the surface. How the world looks depends on our point of view.

Every day we read and hear of worlds that collapse, from the world of a single individual whose family is annihilated in a single bomb attack, or the fall of an entire culture, destroyed by nature or torn apart by human violence. We see images that leave us speechless. We feel paralyzed, powerless to fight off our dizziness. Maybe we shouldn't open the newspaper in the morning, may be should leave the television off and keep the radio silent. Then our senses and our point of view have a chance to recover, and suddenly we become aware of the miracles that take place among the shrapnel, like plants growing in the cracked asphalt.

Why pictures now? This question is not just the title of the current photography exhibition of an important Vienna museum: in a time of worldwide unrest, it looks down on us from huge posters, like a call to reflection.

But it is precisely now that the power of images is truly palpable, and the power of artists capable of directing our attention to the strange and wonderful has its greatest impact.
Independently of one another, each in their own languages, SONJA BRAAS and BARBARA SOPHIE NÄGLE treat in their subtle images the subject of natural catastrophes. Their images show scenes of nature free of people, but often this nature has been destroyed by humanity, but in which all the same, as if due to a miracle, an eerie beauty inheres.
HARALD GSALLER frees in his portraits empty insect shells from the hand of death, poetically returning to these shells—which themselves give way to life—a life of their own.

ERWIN WURM attempts to break through the external and representative aspects of the portrait, following the usual parameters of the genre. Again they are One Minute Sculptures, but with this group of pictures, until now unpublished, Wurm penetrates the inside of the figures; he turns what society would call weaknesses towards to outside, making them strengths that reveal the courage of the persons represented.

The Siberian artist group BLUE NOSES owes their name to the blue bottle caps that they wore during a protest action against the hysteria around Y2K in an air raid shelter, like clown masks. Their video works are full of biting and cynical humor, and know no taboos. They reflect with ironic black humor humanity's insanity, triggering in us a hearty, panicked laughter.
LEO ZOGMAYER speaks with Carl Aigner about image-like flyers and about whether knowledge makes us more blind than sighted. Less interested in the framing of the world, than in unframing and setting free, his photography attests to this, giving us the courage to become timeless.

"Because we forget ourselves and the world around us, when we look into a face that fascinates us, gives us a whole world, and decide to capture this unique moment with our camera." Francois-Marie Banier explains the title of his new book Perdre la Tête, which we would like to present to you in this fifty-fifth edition of EIKON.

In this sense, we hope you enjoy many unique moments in your reading of EIKON, and look forward to seeing you at one of the several art fairs this fall where EIKON is represented: Art Forum Berlin (September 30–4. October 4), die Art Cologne (November 1–5) und die Paris Photo (November 16–19). This time, we present three brand new editions, two by Leo Zogmayer and one by Elfie Semontan, whose artistic work is currently on show in an extensive exhibition (See our report on p. ….)

With the next issue, EIKON celebrates its fifteenth birthday. Look forward along wih us to our special upcoming issue this December to mark the occasion, 15 Years of Photography and Media Art in Austria.

Elisabeth M. Gottfried, for EIKON

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