Origin and vision of the Photographic Collection | Schloss Kummerow

Origin and vision of the
Photographic Collection

Dialogue between exhibition and architecture

The exhibition of the Photographic Collection at Schloss Kummerow opened Pentecost 2016. Since then, it has been part of the renovation concept of the mansion. The general time reference of the medium of photography meets the careful restoration of the historically architectural existence.

Thus, the collection does not present itself in the usual white rooms, but is in dialogue with the intentionally preserved traces of the house’s past and its history.

Works of the exhibition

Centerpiece and Focus

The heart of the iventory are photographs taken by today’s renowned representatives of Eastern photography. They document past and subsequent life worlds of the people in the territory of the former GDR. A public attraction is the density of large-format works, which, with its more than 3,500 square meters, lends back to the castle its formerly hailed tapestry. An expansion of the exhibition situation with multimedia rooms will enable the presentation of time-based works such as film and video.

Current collection of the exhibition

The exhibition of the Photographic Collection at Schloss Kummerow opened Pentecost 2016. Since then, it has been part of the renovation concept of the mansion. The general time reference of the medium of photography meets the careful restoration of the historically architectural existence. Thus, the collection does not present itself in the usual white rooms, but is in dialogue with the intentionally preserved traces of the house’s past and its history.

Vision and pieces of the Photographic Collection

The vision for the exhibition follows the collector’s preference for the visual power of large-format works that have grown out of presentation in private rooms. ‘Because the Night’ by Richard Mosse with its over 5 meters, Michael Wesely’s 6 meter space-taking water lily painting, Werner Mahler’s extensive chronology of an high school graduation class since 1977 and Adrian Sauer’s museum painting ‘16,777,216 colours’ with a width of over 4.7 meters form the cornerstones of the exhibition.

The alienated landscape of Mosse comes from the series ‘Infra’ and shows the expansive view into a chain of hills of unreal beauty. We look directly into a Congolese hill chain affected by the civil war, which colours are exchanged from green to pink by the use of an infrared film. If Mosse’s theme is the impossible image of war, we look at Wesely’s water lilies through long exposure at the contemplation itself.

Sauer’s hybrid of painting and photography faces Werner Mahler’s study on the same floor as a high school class, whose students have been individually portrayed every five years to continue their personal chronology through the turn to the present.

The traces of the time trials and the time itself are a consistent motif in all the exhibits in the exhibition. The theme of the photographs also touches on the worlds of a contemporary society, which is attached to the mystification of its images. Thomas Demands and Viktoria Binschtok’s handling of the reproduction and repetition of emotional images also stands for this.