You don't have to go Home
but You can't stay here (2017)
250 x 110 x 85 cm
C-print, strip lights, wood, wiring
You don't have to go home but You can't stay here (2017)
Über den (theoretischen/künstlerischen) Aspekt der Fotografie wurde ein bezeichnendes Konglomerat an Arbeiten produziert, das eine unendlich weitgefächerte Möglichkeit bietet, sich dem Feld zu nähern, es zu analysieren, sich verständlich zu machen. Bildbände, Magazine, Theorien, Essays, Ausstellungen, etcetera.
Das sich wiederholende ›warum-Paradigma‹ im konzeptuellen Moment, der provozierte Erklärungs-Moment, der Rückgriff auf das geschriebene Wort bleibt inhärent Notwendig.
Die Arbeit von Veit Hüter will sich dieser Erklärung entziehen, will den Besucher provozieren sich selbst einzubringen, durch seine Bewegung Teil der Arbeit zu werden, da nur durch seine Bewegung die Arbeit komplementiert wird. Durch das provozierte Einbringen beginnt das Medium eine eigene Sprache mit dem Besucher zu formulieren. Das ›eigentliche‹ Medium, nur ersichtlich in der Materialisierung des Gegenübers, produziert eine eigene, physische wie psychische Auseinandersetzung mit Licht und Reflexion, Abbildung und Perzeption.
Es gilt, sich in den Zwischenraum der vielfachen Auseinandersetzungen über Fotografie zu stellen, sich des Zwischenraums der tausenden Augen, die das Medium provoziert, gewahr zu werden, um durch die Mobilisierung seiner Selbst ein eigenes Reflektieren zu erfahren. Die Erfahrung einer Fotografie, die sich eines Wunschdenkens über Fotografie entzieht, die Konzeption einer Auflösung des fotografischen Aspekts im installativen Zwischenraum – no photography.
Moritz Simons — Februar 2017
blck_frst_rght_bw (2015)
250 cm x 190 cm
(34x 30 cm x 40 cm)
Baryt prints
Piece for RGB (2016)
2nd installation
90 cm x 140 cm
Striplights, c-prints, epoxy resin
Piece for RGB (2016)
1st installation
RGB (2015, 2016)
RGB is the first part to a much larger body of work, that deals with the material in photography. This work – RGB – deals with the question if light might be that material and compares it to the properties of other materials of artistic expression.
Can it be found, harvested, refined? Can it – like a pigment – be used up in creating an image? Does it hold the potential – like a block of marble – to be shaped into any artwork that's conceivable? Does it form an irreversible connection with the resulting image?
Those are a few of the questions this work deals with. The answer however cannot be given without looking at other candidates for the material in photography like for instance reality, the negative/file or even the paper to be printed on.
Untitled (Reality )(2016) detail
100 cm x 80 cm
Digital c-print
blck_frst_rght_c (2015)
250 cm x 190 cm
(34x 30 cm x 40 cm)
C-prints
Just You and Me now... Promise! (2016)
Power to the Beholder, 2016
Installation
Power to the Beholder is an installation in two parts that was realised for an exhibition about the time of the so-called cabinets (of wonder) and the practice of uncurated collecting. It reflects on the ever-present taking of ones personal image, knowingly/willingly or not.
The first part – Just You and Me now… promise! – consists of a pitch-black room, wherein the viewer only sees two little spots of light, that upon inspection turn out to be peep boxes. One showing the viewer's own eye in a mirror's reflection the other showing a cctv-pictogram. Depending on the order in which the images are seen the viewer will see the work in a different way.
All the while the room is indeed filmed by an infrared camera that transfers a video stream of the room – with a lag of several minutes – to the second part of the installation – Beholder – where the viewers might see themselves in the previous room. That way the initial suspicion of being filmed as well as the discovery of the viewers own image in the stream becomes coincidental.
Beholder (2016)
About Research, 2016
65 x 86 x 30 cm
Books, paper, vacuum bag, plate glass
About research was installed on the occasion of the opening of KASKL, a gallery-project in Berlin I am part of. Since we, the KASKL Collective, thought the gallery to be the latest addition to our artistic tool-kit all the pieces in the exhibition were to be about the pre-existing tools every member already had.
About Research is a piece about gathering information and inspiration from all sorts of different sources while at the same time transforming this information into an artwork that does not simply translate previous information, but that adds something to this information or even exceeds it.
Untitled, 2015
200 x 130 x 44 cm
plywood, whitewash, plastic foil
These 9 pieces made up my bachelor project in 2015. They deal with different forms of abstraction in photography and the apparent contradiction of the creation of an image on the one hand and photography, an inherently reproductive medium, on the other hand.
The pieces vary in their form of abstraction. Some are simply photographs and do not seem abstract at all. But through recontextualization they are abstracted from their reference. They no longer stand for the circumstances of their origin but for themselves in the context of other pieces they are combined with. Others seem very abstract even at the first glance. Those are usually produced without the use of a camera or even without the use of any photographic material at all. What the pieces have in common is that they all refer to themes of and questions about photography.
Untitled, 2015
84,5 x 59,5 cm
cardboard, c-print, luminous foil, electronics
Untitled, 2015
25 x 81 (4x 25 x 18) cm
silver gelatin prints, thread, paint
Untitled, 2015
73 x 123 (2x 73 x 60) cm
c-prints
Untitled, 2015
2x 41,5 x 50,5 cm
c-prints, framed
Untitled, 2015
21,5 x 27,5 cm
c-print
Untitled, 2015
9 x 9 x 9 cm
plywood, mirror, paper, luminous foil, electronics
Untitled, 2015
150 x 123 cm
c-print
Untitled, 2015
150 x 123 cm
c-print
Exit, 2013
44 Pages, 24 Images
inkjet print
With a decaying suburbia and people huddling together in the greater metropolitan areas the need for private space becomes greater and greater. At the same time that space is hard to come by when individuals live in shared apartments well after graduating from college or couples share a flat far smaller than they would need.
This is a series about techniques to carve out some private room and the devices people use to do so. There are some who really take a step back from the ever-present noise and turmoil to have a place for themselves and to really put their mind to something. Others seem to always have some sort of entertainment at the ready to even fill the tiniest holes in their day. One might almost think they are not shielding themselves from their surroundings, but try to avoid any risk of contemplation.
With this thought the borders between the two categories become somewhat blurry. Is someone who stares into his phone during a smoke brake avoiding the city or himself?
Untitled, 2014
80 x 100 cm
c-print
Sqare x Glow, 2014
125 x 72 cm
c-print
Just Visiting, since 2012
In 2012 I started taking photographs without any predetermined concept. These images exist only as an end in themselves and not, because they are needed for anything else. That way an archive of photographs for further use is created.
Just Visiting collects works that I create from this archive utilizing a very experimental approach to printing and the use of the images themselves. The themes of the individual pieces is as open as the use of the images, but they have in common that I detach the photographs from their origin to use them only as themselves - as a material for those new pieces I create.
That way I work on statements on thoughts I might have had or phenomena. Brief visits that represent something that triggered my thoughts in a playful way.
Untitled, 2014
83 x 59,5 cm
cardboard, c-prints
Untitled, 2014
83 x 59,5 cm
cardboard, c-prints
Every Story Ever Told, 2014
c-print, silver gelatin prints, cardboard, frame, glass
Untitled, 2012
70 x 90 cm
c-print