Catalogue d‘exposition
Exhibition Catalog
Panography Mareen Fischinger
perspective and distortion, while the apparent
of its effect is the replication of natural ocular
an image that amazes the viewer. The secret
high-angle, low-angle, and side views add to
The supposedly ÂťfalseÂŤ photographs, such as
The photographs
2 Potsdamer Platz, Berlin (2008) 180 x 85 cm / 100 x 47 cm Edition de 10 tous formats confondus
a medium.
bond: composing into a mental image onto
perceived experience through an associative
as it records visual phenomena and filters our
shortening demonstrates how the eye works
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4 Summer Fair, D端sseldorf (2009) 180 x 87 x 100 x 49 cm Edition de 10 tous formats confondus
phosis of the moment.
or triple, capturing the ephemeral metamor-
providing a time sequence. Objects double
suggesting the super perspective, while also
shot from one position and furthermore
the juxtaposition and joining of perspectives,
into a reliable resource of objective vision:
and no right. The instrument is being turned
wrong with the right, where there is no wrong
Mareen Fischinger’s panographs connect the
Le public pose alors un regard com-plètement nouveau sur le monde. Les résultats sont de vrais prouesses techniques, sorte de mosaïques de centaines de photographies, dévoilant une des panographies riches en détails.
Cependant, à la différence des cubistesdu début du siècle dernier, Mareen Fischinger assemble pour construire une vision objective fiable: la juxtaposition des différents points de vue suggère un système d’hyper-perspectives présentant un ensemble d’instants différents. L’éphémère métamorphose du temps est alors capturée.
Par la fragmentation des images et l’analyse suggérée ainsi que dans la démarche de proposer des angles d’approches multiples, les panographies peuvent rappeler la période cubiste analytique, en peinture.
Ces photographies prétendument irréelles, aux prises de vue latérales, en plongée et en contre plongées créent des images surprenantes. Le secret de cet effet réside dans la reproduction d’une réalité sous tous ses angles et la déformation née de l’assemblage. À ceci s’adjoint un raccourci qui démontre le fonctionnement de l’œil et sa mémorisation optique. La paanographie est donc le support réel d’une image mentale.
Les photographies
resolution detail.
individual photos, each showing high-
photography consisting of hundreds of
results are technical masterpieces: mosaic
world with completely different eyes. The
The viewer can see and experience the
St채ndehaus, D체sseldorf (2009) 180 x 142 cm / 100 x 79 cm Edition de 10 tous formats confondus
linked to industrial architecture.
the Becher School, »The School of Perception«,
studio in the city which saw the creation of
studied, Mareen Fischinger set up her
New York. Loyal to Düsseldorf, where she
world but focuses most often on Berlin and
The young photographer works all over the
The artist
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Centre Pompidou, Paris (2009) 180 x 131 cm / 100 x 73 cm Edition de 10 tous formats confondus
4-question interview, February 2010 Miss Fischinger, when visiting your online portfolio, one can find a variety of photos created for corporate and editorial projects. In addition, you expose your weakness for fashion photography. What was the appeal to engage yourself in this artistic area, which seems to act as a direct contrast to your other work? I do not call engaging myself in the artistic, documenting or scientific areas a conflict of interest with my commercial assignments. Whenever I work on photographic projects, I plan everything from the concept to its actual realisation, be it for a client, or myself. Naturally, fashion photography allows me to try out more experimental lighting setups
and abstract poses than any annual report would! I can use fashion photography to try new ideas and play with shapes and colors, too. Of course, the clothing designer also needs to be satisfied, and I have to make some compromises. Then there are my personal projects. Be it people being captured as they are hanging upside down, empty shopping temples, blurry shots of crowded places – or my Panographs. Most of these projects have been ongoing for years, as has Panography. I have been working on Panography for almost four years now, but it wasn’t until early 2009, that Galerie Bailly contacted me about a possible
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exhibition. It felt good to experience how the project has become interesting and complex enough for a solo exhibition; which also encouraged me to create more from my current standpoint. Meaning, I set the standards that I had established before and created more Panographs from that basis in order to exhibit the concept in visual form. I am lucky because being treated like an artist gives me even more freedom. The gallery lets me decide many things concerning this exhibition because they trust my intuition and will to experiment.
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media and tried several artistic fields.
munication in 2004. She handled all types of
education, she turned toward design & com-
raphy. Bound to the necessity of a university
wasn’t yet 15 when she discovered photog-
At the end of the ’90s, Mareen Fischinger
Medienhafen, Düsseldorf (2009) 180 x 78 cm / 100 x 44 cm Edition de 10 tous formats confondus
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Landschaftspark, Duisburg (2009) 180 x 117 cm / 100 x 65 cm Edition de 10 tous formats confondus
her to develop her passion and creativity.
Today, her first and only profession enables
brings skilled retouching and editing.
describe her photographs to which she
of her studies, a voluntary term to
imagesÂŤ that she chose at the end
It is, however, the Âťcreation of
consider it in the global context.
approach the subject with detachment and
the digital portion. Her training allows her to
the creative process of her projects, including
She loves to involve herself in all aspects of
Notre Dame, Paris (2009) 180 x 85 cm / 100 x 47 cm Edition de 10 tous formats confondus
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Similar forms of photo collage were created by renowned artists such as David Hockney in his »Pictures«. Roughly speaking, does this form of art reinvent itself in your Panographs?
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I would like to disconnect David Hockney’s »Pictures« and my Panographs, because I never saw it as me picking up where he finished off. I am
Underground Station Oberbilker Markt, D端sseldorf (2007) 180 x 111 cm / 100 x 61 cm Edition de 10 tous formats confondus
aware that Hockney took several little photos and later joined them as a composite or collage. He often used various exposures which were correct for certain frames, which gave the final composite a high-dynamic-range look. Overall, his pieces all differ from one another, as he experimented with different styles in 1982-83. David Hockney also went around his subjects to highlight them from different angles, making them cubistic, whereas I stand in one place and take in the atmosphere and space around me. I am a little person in the large scene, not freezing time, but highlighting passages of change within the environment as it happens. Be it two people meeting up, them arguing, somebody I document at work
or just a passing train that shows in some frames and is gone in the next. You can zoom into my finished Panographs and find interesting details or developments in every frame, most of them could be printed out as singles and are able to stand by themselves. Sometimes I do not use every frame I shoot because certain parts change a lot and are being photographed so often, they would overlap and become blurry.
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But, as much as I highlight the differences, I do not want to say too much of what I don‘t do, as I am already looking forward to trying something new with my Panographs soon. Just haven’t executed it yet.
Times Square, NYC (2007) 180 x 87 cm / 100 x 48 cm Edition de 10 tous formats confondus
Dans une époque où l’industrialisation appartient aux archives (et notamment celles du couple Becher), Mareen Fischinger pose un regard nouveau sur ses contemporains, l’architecture ou espaces du quotidien qu’elle fragmente, met en lumière ou déshumanise.
Aujourd’hui, sa première et unique profession, lui permet de développer sa passion et sa créativité. Elle aime s’investir dans tout le processus de création de ses projets incluant la partie numérique. Sa formation lui permet d’approcher le sujet avec recul et en considérant le contexte global.
À la fin des années quatre-vingt dix, Mareen Fischinger n’a qu’une quinzaine d’années lorsqu’elle découvre la photographie. Attachée à la nécessité d’une éducation universitaire, elle se tourne vers le design et la communication en 2004. Elle manie alors tout type de supports et s’essaye à plusieurs domaines artistiques. C’est pourtant la création d’images qu’elle choisi à l’issue de ses études, un terme volontairement choisi pour qualifier ses photographies auxquelles elle apporte d’habiles retouches et montages.
La jeune photographe travaille dans le monde entier et se focalise le plus souvent sur Berlin et New York. Fidèle à Dusseldorf, où elle a étudié, Mareen Fischinger a installé son studio dans la ville qui a vu naître l’école Becher, «école du regard», attachée à l’architecture industrielle.
L’artiste
Many of your pictures show places in your chosen hometown, D端sseldorf, Germany. Do you try to confuse the perceptions we have gotten used to, in order for us to experience our own environment in a brand-new way? I have always been told that I have the ability to capture objects in a different way than how people would normally perceive them. When I was younger, I never understood why the viewer felt that way. Today, I know that this has to do with a different approach I take to my environment. Naturally, instead of taking everything for granted, I want to know why and how things came to be; how everything interacts and develops. Additionally, taken out of the context and function of everyday life, things appear stronger or weaker, and I can support that by making them my subjects.
You call your Panographs »false« photography. Why is that? I do call my Panographs »false« photographs for a reason. It is a matter of my pieces not being how one would normally describe a photograph. We expect photographs to have a set frame and composition, to freeze a moment in time – whereas here, by the arrangement of parts, I create shapes and shifts, lines become round and crooked, as the eyes would actually see them when they wander in rooms or on surfaces. It is the brain that corrects and puts everything in perspective. My panoramic graphics are supposed to highlight that bridge between eye and brain.
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This means the image is already a super perspective, a temporal and spherical image laid out in two dimensions, large enough to immerse yourself in.
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H么tel de Ville, Paris (2009) 180 x 101 cm / 100 x 56 cm Edition de 10 tous formats confondus
she breaks apart, illuminates or dehumanizes.
architecture or spaces of everyday life that
is taking a new look at her contemporaries,
(the Bechers in particular), Mareen Fischinger
In a time when industrialization is in the past
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Sevens, D端sseldorf (2006) 180 x 172 cm / 100 x 95 cm Edition de 10 tous formats confondus
Galerie Bailly Contemporain and Flash present
from 19/02/2010 to 20/03/2010
»Panography« Photography of Mareen Fischinger
Vernissage Thursday 18/02/2010 18h00 – 21h00
Hélène Bailly helene@galeriebaillycontemporain.com
Business hours for Côté Quai Jours et horaires d’ouverture
In association with Flash Aurélie Francin aurelie.francin@hotmail.fr
Monday to Friday Du mardi au vendredi 10h00 – 13h00 / 14h00 – 19h00
Information info @ galeriebaillycontemporain.com Galerie Bailly Contemporain 25, quai Voltaire – 75007 Paris Tel: +33 (0) 1 42 60 36 47 Fax: +33 (0) 1 42 60 54 92 www.galeriebaillycontemporain.com
Saturday samedi 14h00 – 19h00