Ziellos zielgerichtet

They have been digitally created since 2007, before that also in analogue form, but that is not so important for Carmen Berdux's photographs. Your pictures are only superficially understandable on and through the optical technology. Rather, their relationship to the depicted reality, in short, the view of what is represented is important. More precisely: the togetherness of the photographer and the subject, from which a torn, stolen, borrowed, passed or unintentionally awaited image emerges or remains.

 

Whether abandoned houses, legs, forests, seas or just things; Just as the photographic mechanics do not open up their images, just as little do they happen for the sake of the motif alone. Carmen Berdux's motifs are not sought-after, but found motifs that neither ingratiate themselves nor resist, they are there voluntarily and, as it were, encounter their photographer by chance. The word "serendipity", a term first used in the 18th century by Horace Walpole, fits best with this form of (accidental) finding, an idea that not only found its way into the planning of English gardens, but is still significant today . For example, when we leaf through a magazine, we often do so because we can find something we are not looking for. The media makers know this and are planning this "serendipity".

 

The image not sought, but found, genuinely opposes what is staged. There is therefore always something imperfect or provisional about it. But it is precisely in this that a form of instantaneous realism arises, which corresponds to thinking and feeling looking when experiencing. In the series, for example, of the abandoned houses in the divided old town of Nicosia, the images condense into a melancholy accusation of civilization. The beauty of the abandoned lies in the finding of the absent, in the silence, comparable to a musical pause in which the notes before and after deepen without being heard and still audible. Just like the Cypriot civil war that preceded the abandoned neighborhoods.

 

The other series of pictures by Carmen Berdux, such as the one about legs or trees, work with the same aimlessly targeted image finding that in the series becomes thought walks about nature, the body, war, time, ....

 

Erik Schmid

Biographical data

Born in Port Elizabeth (South Africa)
Studied art history in Saarbrücken and Heidelberg
Studied media art at the Karlsruhe University of Design

Exhibitions (selection)

2021

2019

2017

2013

2011

2009

2007

2006

2002

2001

1999

1996

1995

Radiale - Kunst im Kreis, Kommandantenhaus, Dilsberg

 

details, Galerie Bildschön, Siebeldingen und Heidelberg
 

shift, A44A, Heidelberg
 

Einblicke, Kurpfälzisches Museum, Heidelberg
 

King Kong Contemporary Art Project, Herzogenried, Mannheim
 

Subkultureller Fortschritt, Schmitthelm-Halle und Landfried-    

Komplex, Heidelberg
 

Picknick mit Bildern, Heidelberg
 

Fotografischer Austausch zwischen Deutschland und Frankreich, Montpellierhaus, Heidelberg
 

Leben, Atelier Backstube, Heidelberg
 

details, Kunst am Theaterplatz, Heidelberg


 

Juke-Box, Videoinstallation zum Internationalen                Frauentag, Karlstorbahnhof, Heidelberg
 

Kunstankäufe der Stadt Heidelberg, Kurpfälzisches                     Museum, Heidelberg    
 

Terms of Love, Happening und Workshop, Kurpfälzisches        Museum, Heidelberg


 

 

Popcorn und Room Number Nine, Dia-Projektionen in            Musikclubs und auf Events, Berlin, Köln, Mannheim