Works

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SEBASTIAN WEISE: IN THE HOOD

In 19 pho­to­gra­phic works the Thu­rin­gian artist Sebas­tian Weise (born 1975) looks into pla­ces of memory. He embarks upon a search for refe­rence points to the pre­sent moment that have been in part com­bi­ned and super­im­po­sed. Through this, Weise’s con­cept of home is not sta­tic. He con­stantly explo­res new ter­rain, pho­to­gra­phi­cally appro­pria­ting it and depic­ting in such a way that he remains asso­ciate to the loca­tion through the image. The artist uses the term ‘hood’ to mean first and fore­most what is being expo­sed and deci­phe­red from clues of the past. Typi­cal exam­ples of this are seen in the series “Aes­the­tics of Sur­ren­der” as well as in a series fea­turing aban­do­ned swim­ming pools loca­ted in the pre­sent time in cen­tral Ger­many that sati­ri­zes Ed Ruscha’s famous “Nine Swim­ming Pools and a Bro­ken Glass.”.

5 Novem­ber 2015 – 5 Janu­ary 2016

On 5 Novem­ber begin­ning at 7 pm all are invi­ted to the opening recep­tion at the gal­lery. The artist will be present.

The fol­lo­wing works are pre­sen­ted in the show:

SEBASTIAN WEISE: IN THE HOOD

“HOOD = HOME I’m sear­ching for pic­tures that resem­ble my memory of pla­ces. I am also loo­king at loca­ti­ons for pho­tos of the cur­rent moment. I com­pare and weigh them for com­pa­ri­son (“Szis­sio­nesk”, “Seven and More White Bir­ches”, “Silence Is Gol­den” and “Blue Hour”.) I pull toge­ther. I sepa­rate and com­bine to make what is new. Some­ti­mes the result is a new ‘hood’: col­la­ges of land­scapes that — in each instance — are cen­tral Ger­many and the Sude­ten­land super­im­po­sed. (“Old Fol­din’ Chair Got Me”, “St Paul’s Church”, “Bles­sed Are the Sick” and “Broad­side”).
HOOD = NEIGHBORHOOD I quickly find new pla­ces. I wan­der and stay with vehe­mence. I observe wit­hout pre­ju­dice. I por­tray. I make the environ­ment my hood. I accom­pany and illu­mi­nate my hood. And it might be that I stay only for a half day. I remain con­nec­ted to a place wit­hout obli­ga­tion. Those who remain in the image, remain in the hood. (“Cádiz I”, “Cádiz II”, “Max Ernst is Absent”, “En Plein Air” and “Move”).
HOOD = HISTORY & STORIES I’m loo­king for fami­liar and unfa­mi­liar clues in the hood. Tra­ces of life lived. I look around with the per­spec­tive of an outs­ider or with the per­spec­tive of an insi­der. A glim­pse at what has been for­got­ten, the sacri­ficed. The swept-under-the-rug: the series “Aes­the­tics of Sur­ren­der,” “20 clock at the Ron­dell [Sandro’s Last Resort]” and “Nine Swim­ming Pools and a Bro­ken Heart.” (Sebas­tian Weise)