Ute Schendel
Landschaft
Installation Views
Installation view: Ute Schendel at Galerie Gilla Loercher 2012
Photo: Ute Schendel, coutesy Galerie Gilla Loercher
Installation view: Ute Schendel at Galerie Gilla Loercher 2012
Photo: Ute Schendel, coutesy Galerie Gilla Loercher
Installation view: Ute Schendel at Galerie Gilla Loercher 2012
Photo: Ute Schendel, coutesy Galerie Gilla Loercher
Installation view: Ute Schendel at Galerie Gilla Loercher 2012
Photo: Ute Schendel, coutesy Galerie Gilla Loercher
Installation view: Ute Schendel at Galerie Gilla Loercher 2012
Photo: Ute Schendel, coutesy Galerie Gilla Loercher
Works
Huang Shan (China), 1987
Gelatinsilverprint
Vintageprint (Unique)
24x30 cm
Photo: Ute Schendel
Turfan (China), 1993
Pigmentprint on Hahnemühle
Foto RAG
(Edition 3+EA)
40x50 cm
Photo: Ute Schendel
Karakorum (Pakistan, Nangaparbat), 1993
Gelatinsilverprint
Barythabased, Selenium toned
(Edition 3+EA)
24x30cm
Photo: Ute Schendel
Karimabad (Pakistan), 1993
(Rakaposhi, Heiliger Berg der Hunzas)
Pigmentprint on Hahnemühle
Foto RAG
(Edition 3+EA)
76x51 cm
Photo: Ute Schendel
Frankfurt (Taunus), 1998
Gelatinsilverprint
Barythabased, Selenium toned (Edition 5+EA)
24x30cm
Photo: Ute Schendel
Huang Shan (China), 1987
Gelatinsilverprint
Barythabased, Selenium toned (Edition 5+EA)
40x50 cm
Photo: Ute Schendel
Huang Shan (China), 1987
Gelatinsilverprint
Barythabased, Selenium toned
(Aufl. 5+EA)
24x30cm
Photo: Ute Schendel
Nenzing (A), 2011
Digital photography, unmanipulated
Lambdaprint
On aluminium plate, under glass
(Edition 3+EA)
130x44cm
Photo: Ute Schendel
Press Release
/Birgit Möckel about Ute Schendels landscape photography:
„Landscapes appear in the Ute Schendel’s photographs as projection spaces in which natural light acts as the director. To capture this light in its sweeping impact and use it to steer our view of landscape as a continuum over times, spaces and cultures in an unpretentious, almost casual manner is the starting point and core of the series of landscape motifs presented here. Each light sets its own accents, lets structures and surfaces appear that emphasise detail and tell of the history or cultivation of a landscape, or fade them out almost completely in shadowy darkness. Whether moonlight, sunshine, diffuse lights, murky or garish light: even the lightest gradual difference is subtly regulated and precisely balanced in all light-dark tones and grey shadings in the black and white photographs, which now and again remind one of drawings or monochrome painting.“
Text: Dr. Birgit Möckel. Translated by Heather Allen
A catalogue companies the exhibition. With a text by art historian Dr. Birgit Möckel. Edition Galerie Gilla Loercher.