In terms of their form, Joachim Bandau’s bunker drawings are both surprising and fascinating. Conceived as a „survival machine“, as both foxhole and firing range, the bunker in Bandau’s drawings is more than a prototype of instrumental architecture. It appears as a contradictory hybrid, archaic and yet modern. In reality a kind of fortification, Bandau’s bunkers are like sculptures with strange anthropomorphic features.
Perforythme sets the material in motion. Structures, surfaces and creases overlap, become intertwined and finally yield sculptural arrangements. Vanishing points appear only to disappear again. Surface and space permeate each other in a constructively playful process from which the image emerges.
In his new works Sebastian Stumpf explores the continental border that marks the end of the mainland and the beginning of the Atlantic. The shoreline cliff, water and horizon make up the coordinate system according to which he orients his body. These natural elements serve as composition lines as well as the stage on which he completes the act of disappearing from the image.
Seiichi Furuya crosses back and forth between the borders of systems, cultures and epochs. One of the last masters of the ephemeral, with his project Gravitation he re-examines the sum of his photographic work. Gravitation is a distillation of his photographic memory, taken from four decades of his surveying and exploration, a body of work that continues to grow and expand. Image for image, the black and white photographs – memories extracted from silver salts – cover the entire horizon of his photographic world from the inside out. This horizon seldom brightens (black is the dominant shade), continually forcing the viewer’s glance towards the ground, the earth – from which everything begins and to which everything returns again. In this way Gravitation proves to be a different kind of retrospective, a poetic meditation on that which remains behind and only becomes recognizable when it’s all over.