2020.09.25 - 2020.10.07

2020上海国际摄影节·第十五届上海国际摄影艺术展览 2020 Shanghai International Photography Festival· The 15th Shanghai International Photography Art Exhibition

旨在作为基于我在德国西部童年时的回忆的电影的故事板图像，来自破碎的系列SUBSTITUTES（父亲-图片，2001-2004）的图像,如今是原计划中但尚未实现的电影项目中存在的图像。该系列作品来自记忆，想象力和研究，融合了记忆，重构和幻化的过去，包括一个人出生之前的各个方面（根据犹太人的说法，只有探索自己的根源和时间，我们才能发展成为真正的人类。那早在我们出现在地球上之前）。我决定与硅偶和替身/真实人物混在一起的原因有很多。没有得到家人的许可，我无法使用自己家庭档案中的照片进行该项目，所以我发现自己面临着创建自己的家庭相册的需求，从而导致了父亲，叔叔和自己的真人大小替代品的创造。这种艺术策略使我能够展示父亲，就像我想起他，钦佩他，在超越他时害怕他一样，试图使其他人在情感上更容易接近。我并不是是购物狂，但我特别指出要自己去二手购物，以找到最适合他的合适面料和衣服。我与叔叔的距离甚至更大，可以通过较不详细的表示看出。对我自己的年轻自我不满意。（《楼梯》），我决定用稍微麻烦一些的版本（《合同》）代替我的替代产品。）德国疤痕，是一部连续16小时的不间断电影动作的压缩版本，持续了100分钟，紧随德国前内陆边界（2009-2014年），它是对分裂后果的沉思，同时将替代品置于背景之中通过将德语／私人与集体联系起来。

Intended as storyboard images for a film based on memories from my childhood in West-Germany, the images from the fragmented series SUBSTITUTES (Father-Pictures, 2001-2004) are what exists today from the intended but never (not yet) realised film project. The series drew from memories, imagination and research, creating a mix of a remembered and reconstructed, phantasized past, including aspects that preceded one’s own birth (according to a Jewish saying we only develop into true human beings when we explore our roots and the time that went before our appearance on earth). There are several reasons why I decided to work with a mix of silicon puppets and stand-ins / real people. Not given permission by my family to use photographs from our family archive for this project I saw myself confronted with the need to create my own sort of family photo album, leading to the creation of life size substitutes of my father, my uncle and myself. This artistic strategy allowed me to show my father as I remembered him, admired him, feared him while transcending him, trying to make the situations emotionally more accessible to others. No fan of shopping, I made a point of going second-hand shopping myself to find the right fabrics and clothes most typical for him. The even larger distance I felt towards my uncle can be seen in a less detailed representation. Unsatisfied with my own younger self (The Staircase), I decided to replace my substitute with a slightly more troubled version (The Contract). NARBE DEUTSCHLAND (SCAR GERMANY), 100 minutes, as compressed version of an uninterrupted 16 hour long film movement, following the former inner- German border in its entirety (2009-2014), is a meditation on the consequences of division while contextualising the SUBSTITUTES Series by connecting the (German) private with the collective.