“…Ein Werk, das im „Freiraum“ übrigens auf der überquellenden „Inspirationswand“ der Niederländerin Hester L Scheurwater aufscheint. Inspirationen zu einer Serie auf ungewohnte Art sexualisierter Selbstporträts – kopflos meist. Sie hat sie täglich auf ihrer „Facebook“-Seite veröffentlicht. Womit wir bei dem Medium der Stunde wären. …”
See some of the best in contemporary photography from Australia and beyond
17 August – 15 September 2013
Ballarat Victoria Australia
The Core Program is a curated exhibition of Australian and International artists representing some of the best and most innovative contemporary photographic practice. With a focus on new work and a diverse curatorial approach the Core Program is a prestigious exhibition program staged across eight unique heritage buildings in Ballarat, Victoria. Twenty-one Artists from Australia, New Zealand, Netherlands, Germany, Israel, United States of America, South Korea, United Kingdom, Columbia and Sweden will be presenting exhibitions.
The Core Program is a flagship event for photographers in this country, with a reputation for profiling new talent. Selection is by invitation only.
All Core Program exhibitions are free to attend and open seven days a week for the biennial’s month-long duration.
more info: http://ballaratfoto.org/core-program/
Marina Abramović (SRB/USA), Martin Backes (GER), Thorsten Brinkmann (GER), Asger Carlsen (DEN/USA), Paul DeFlorian (AUT/GER), D+M (Dora Budor & Maja Cule) (CRO/USA), Caron Geary (GBR), Harem Royal (SRB), David Haines (GBR/NED), Stefan Hechenberger (AUT), Sabi van Hemert (NED), Peter William Holden (GBR/GER), Ute Klein (GER), Nienke Klunder (GBR), Zachari Logan (CAN), Maison Martin Margiela (BEL), Ismaël Moumin (BEL), Ana Rajcevic (SRB/GBR), Mustafa Sabbagh (ITA), Daniel Sannwald (GER), Frank Schallmaier (NED), Hester Scheurwater (NED), Levi van Veluw (NED), Viktor & Rolf (NED), Anne de Vries (NED), Addie Wagenknecht (USA), Bernhard Willhelm (GER), WOODKID (FRA). Some of the artists will prepare their works as artists-in-residence at the MuseumsQuartier.”
The exhibition FACELESS at freiraum quartier21 INTERNATIONAL explores the phenomenon of inescapable recognizability in the media and the resulting strategies of media users to become virtually faceless. FACELESS takes a radical look at this fairly recent phenomenon of everyday media culture and shows how it manifests in visual art, fashion, photography, advertising, and dance. The show features works by artists like Marina Abramović, Thorsten Brinkmann, Peter William Holden, and Maison Martin Margiela as well as projects created by unknown Internet dwellers. Opening: June 27, 19:00
Broelmuseum Kortrijk Belgium presents
You are invited to the opening of Hester Scheurwater’ s solo at
De Paardenstallen Broelmuseum Kortrijk Belgium at 25 may 16.00 .
Opening by Sacha Bronwasser.
Sacha Bronwasser (born 1968) is an art-historian who writes and speaks on contemporary art and film. She is a regular contributor to the daily newspaper De Volkskrant, works for the International Filmfestival Rotterdam and is co-director of Cinema Zuid. In 2011 her first book was published, Zo Werken Wij (This is How We Work), ten portraits of influential Dutch artists.
Korte Kapucijnenstraat Kortrijk Belgium
thursday till friday 14.00 – 18.00
saturday & sunday 11.00 – 18.00
De PAARDENSTALLEN BROELMUSEUM
26/05/13 tot 23/06/13
opening Saturday 25 may, 16.00
Korte Kapucijnenstraat 10, 8500 Kortrijk
+32 56 27 77 80, +32 56 27 77 89
Opening speech by Frits Gierstberg, head of exhibitions at the Nederlands Fotomuseum, at the Hester Scheurwater exhibition Shooting Back at Frank Taal Galerie on Saturday 13 October 2012.Ladies and gentlemen,
Shooting Back is the name of this exhibition and of the remarkable book of photographs presented here today, wich was published by our mutual friend Walter Keller in Zurich. The publisher has written an epilogue to this book, in which he addresses a number of potential buyers. Admirers of beauty, lovers of fine art photography, art historians, psychologists, wankers, fashion victims, macho men, feminists, and fairy tale frogs that might like to be kissed by this very special princess who made the photographs. All of them be warned: don’t be tempted to jump to conclusions – the work of the artist is not what it might seem at first glance.
Keller raises a good point here. It’s no doubt true that Hester’s work can without any effort be embedded into a long historical tradition of the arts. References can be found in it to sixties and seventies feminist art, or to the performance and body art which followed, and before we know it we will be thinking of the omnipresent eroticism and porno on the internet. That, however, is NOT what it is AT ALL.
So what is it? Is interpretation required? Should a genre be specified? I am not going to answer these questions here.
What I will do is give an answer to the question: Shooting back: but at whom or what? The title basically refers to a tradition in photography with a phrase which was, I think, coined by Susan Sontag. She once compared the camera to a gun or a rifle, and photography to an act of aggression pointed against the world: not one leading to understanding and conciliation, but one which registers, freezes, Kaltstellt, imposing a distorted picture on the subject photographed, which in reality is alive and dynamic, constantly changing in an ever changing world. Photography, therefore, does not register truth but is a medium which contributes to an ever expanding lie.
It is exactly this lie that Hester addresses.
I call it a lie because that image world, or that world of the image, derives its shape and significance from the way all of us together deal with it, driven by desire and repression, fear and lust, the hunger for power. How we constantly want to make sense of a world that often is – or will become for that reason – a vicious reflection of the random bunch of totems and taboos created and maintained by society, and used by people to exploit each other to the point of perversion.
And that is what Hester Scheurwater is pitted against with her images. As a visual artist she understands that by attacking the apparently neutral world of the image, social, political and ideological issues are touched upon. And above all she understands that the battle must be fought in the field of aesthetics, of visual language.
By being disruptive, precisely there, through agitation, confrontation, deception and challenge, the lie becomes apparent. The texture of our social life is bared. It is demonstrated that the personal – that which is private – is still political, despite the emergence and popularity of the social media, signifying that it is part of a power game with the body at stake, and specifically – or should I say still, because it has been like that for ages – the female body.
How very courageous it is therefore that she, as a woman, puts her own body at stake in fighting this battle. That she pinpoints exactly those limits of social tolerance which are preferably left unseen, also in those places where it is feigned that limits between private and public no longer exist. That everything is possible. Where an ideology that attributes social characteristics to technology reigns supreme, as if that is the way in which humanity can be freed from the big lie.
Other great female artists have preceded her and have also inspired her. Marina Abramovic, Elke Krystufek, Sanja Ivecovic, Martha Rosler, perhaps Cindy Sherman and others have, each in their own way, shot back, have obstinately and provocatively burst the bubble of the overeroticised, objectified, ostensibly marketable and interchangeable female body. Hester Scheurwater carries on the fight in a contemporary manner, with seemingly minimum resources – using live ammunition.
You have been warned.
SHOOTING BACK is also on display in the new gallery of the Nederlands Fotomuseum Rotterdam. The gallery specializes in editions and displays both historical classics as well as contemporary books and multiples.
SHOOTING BACK is available exclusively through Galerie Walter Keller, Zurich Switzerland, Galerie Frank Taal Rotterdam, Nederlands Fotomuseum Rotterdam.
Book information: Hardcover with linen, 120 pages, 20 x 30 cm, appr. 115 color and b/w full page photos, Limited Edition 250 copies (no reprint will be made). All copies come with a signed and numbered inkjet print in the size of the book, printed with archival pigment print on Hahnemühle paper. Published by Gerber & Keller, Zurich.
“Liefhebbers van schoonheid, kunsthistorici, psychologen, rukkers, fashion victims, macho’s en feministen en sprookjeskikkers die misschien gekust willen worden” opgelet. Uit de Openingsspeech van Frits Gierstberg, Hoofd Tentoonstellingen Nederlands Fotomuseum, bij de opening van Hester’s solo bij Frank Taal. Het is Walter Keller’s tekst bondig samengevat.
Trendbeheer verslaat Hester Scheurwater @ Frank Taal http://trendbeheer.com/2012/10/26/hester-scheurwater-frank-taal/