十一号 No. 11 策展人 curated by Anna Hofbauer

Hannes Boeck / Anja Ronacher

十一号 No. 11
To take a photograph of an object or a specific site confirms not only the existence of itself, but also of its maker/s. In that way photography seems to be a practice of self-affirmation of the human kind. Something comforting lies in the idea of us having been here before, being here now and going to be here in the future. Photography can calm us down through providing evidence of our being by images.
The 3 vessels photographed in black and white by Anja Ronacher are white-ground Lekythoi. They are a special kind of pottery that had been used in funerary rites in antique Greece. The photograph of the Lekythoi is taken in today’s arrangement of display at the Art History Museum of Vienna.
The street-views of Avenida Bolivar photographed in colour by Hannes Boeck show houses representative for the building activity in Lima in a modified style of European Modernist Architecture practiced as from the 1950ies.
Both artists work in analogue techniques and handle the procedure of the enlargements in the darkroom themselves. In charge of all aspects of the reproduction process they are providing evidence in the utmost individual perspective and interpretation of course. Existence is proofed as well as that there is no inherent truth in an object or architectural style itself, but a meaning and purpose in the way of using them - or photographing them. Thus exposing practices of self-affirmation of the human kind at different times and places.

拍摄一个对象或一个特定地点时确定的不仅仅是它的存在,也包括它们的制作者。在这个方面摄影似乎是人类自我肯定的一种做法。这似是某种善意的谎 言,好像我们曾来过此处,或者现在正于此处,亦或像是将要去往此处。摄影通过影像提供我们存在的证据颇能宽慰我们的内心。”
安佳·罗娜赫(Anja Ronacher)拍摄的黑白色三个容器均是白底希腊细颈油瓶。它们是专用以丧葬礼仪的古代希腊陶器。这个希腊油瓶的摄影作品拍摄于日前维也纳艺术史博物馆的陈列展示。汉 内斯·波克的彩照作品玻利瓦尔大道的街景拍摄的是上世纪50年代以来在利马建设活动中建造的一些带有欧洲现代主义色彩装饰风格的代表性建筑。两位 艺术家本身均致力于模拟技术和暗室放大冲印操作。通过介入复制过程的全部细节,他们便可提供最个人化的视角及阐释。存在或者物体还有建筑风格被证 明了自身并不存在任何内在的真理,但是其意义和目的通过对它们的使用或者拍摄彰显了出来。他们的工作也揭示了人们在不同的时间和地点进行自我肯定 的方法。