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Two exhibitions in Zurich and Cologne present new and unexpected views – of New York, the most photographed city in the world (or so they say), and of reduced imaginary rooms, playing with human perception.

© Christoph Studinka

The Face of New York – unseen vistas of the Big Apple
by Swiss photographer Christoph Studinka

Gallery See 301, Zurich / CH

Christoph Studinka’s Blog

Swiss photographer Christoph Studinka portrayed New York City during the last ten years. Of course, neither is he the first one to do so, nor will he be the last – New York is said to be the most photographed city in the world. But his b/w prints break with many preconceived ideas and clichés on the Big Apple.

© Christoph Studinka

Studinka,  a self-taught photographer who is working intensively in b/w besides his regular work since 2000, is interested in the moment of seeing and framing the image, which is often happening in a matter of seconds. While strolling through the chessboard of New York’s streets with his preloaded camera, – waiting, watching, searching, waiting, wondering, deciding, and instantly shooting – he experiments with photos and motives. Studinka is fascinated by New York’s greed and poetry, its success and failure, the symbols for world power and (like Ground Zero) destruction.

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Stefan Heyne, EINGANG, 140 x 93cm, 2006 © VG Bild-Kunst Bonn

Stefan Heyne
Blind Spot

Kaune, Sudendorf Gallery, Cologne

Until 11. Juli 2009

Berlin artist Stefan Heyne developes imaginary rooms. Working consequently on the “interface” between painting and photography, Heyne’s photos aren’t descriptive, not representing. Thus refusing the reproductive character of photography, Heyne’s works develop a particular autonomy.

His rooms show details not at once recognizable. Precisely calculated and highly reduced and quiet, they invite the viewer to view closely, to penetrate the unknown situation. The viewer realizes how the image becomes  a projection screen for his/her imagination.

The consistent reduction in Heyne’s photos creates a mixture of known and unknown, and raises questions on how photography works, how perception works, how the dialogue between painting and photography works.