Photography on photography - by Martin Zellerhoff
Martin Zellerhoff
Martin Zellerhoff
In the exhibition 'Photography is no longer, what it used to be', Martin Zellerhoff reflects on the extent to which our technical equipment - the photography device, the development, the automation, etc. - determines what the photographer focuses on and ultimately what he really sees of the outside world.

Zellerhoff's exhibition is made up of works with subjects from the photographic / photographer's world. There are photos of photo laboratories, film rolls, photographic technology and obsolete cameras. The pictures are photographed in the aesthetics of different genres. You perceive the aesthetics of criminal scenes, advertising photographs or technical documentaries. Immediately, the exhibition stands as a historical documentary of the world of analog photography and technical possibilities. But the pictures of the complete useless spy camera mounted on a homing pigeon, the technologically antiquated dark chamber furniture in modernist design and the film roll photographed as a relic all contribute to the documentation that technology is always limiting to the photographers' action and determining what subjects are being photographed.

Martin Zellerhoff (* 1964) was for many years Thomas Struth's assistant and photographer. This means that many of Thomas Struth's works have been photographed with Zellerhoff behind the camera, and it is also him who has subsequently processed the artworks. During this period, Zellerhoff began reflection on the connection between the technology that you have available , and the aartworks and motives you choose and photograph. Zellerhoff has exhibited internationally and has received many accolades. The exhibition in collaboration with Grundstof is his first solo exhibition in Denmark.


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OHNE TITEL (AGFAMATIC 100)
C print - Framed in oak frame with passepartout
60x66cm (28x34cm) - 1.520 EUR
From the series Fotogeschichte
Oplag max: 10+2AP
OHNE TITEL (KODACHROME 64, KB 24 EXP)
C print - Framed in oak frame with passepartout
60x66cm (25x31cm) - 1.520 EUR
From the series Fotogeschichte
Oplag max: 10+2AP
OHNE TITEL (OBJEKTIVHERSTELLUNG III)
C print - Framed in oak frame with passepartout
94x83cm (54x43cm) - 2.020 EUR
From the series Fotogeschichte
Oplag max: 10+2AP
OHNE TITEL (LABOR)
C print - Framed in oak frame with passepartout
88x78cm (45x35cm) - 1.520 EUR
From the series Fotogeschichte
Oplag max: 10+2AP
OHNE TITEL (DIA ABEND)
C print - Framed in oak frame with passepartout
81x93cm (36x48cm) - 2.020 EUR
From the series Fotogeschichte
Oplag max: 10+2AP
OHNE TITEL (PATENTAMT BERLIN, GEBRAUCHSMUSTERKARTEI)
C print - Framed in oak frame with passepartout
53x67cm (23x34cm) - 1.520 EUR
From the series Fotogeschichte
Oplag max: 10+2AP
OHNE TITEL (POLAVISION)
C print - Framed in oak frame with passepartout
92x80cm (47x37cm) - 2.020 EUR
From the series Fotogeschichte
Oplag max: 10+2AP
OHNE TITEL (AGFA ISOPAN)
C print - Framed in oak frame with passepartout
70x64cm (40x34cm) - 1.520 EUR
From the series Fotogeschichte
Oplag max: 10+2AP
OHNE TITEL (TABLETOP)
C print - Framed in oak frame with passepartout
64x76cm (34x46cm) - 2.020 EUR
From the series Fotogeschichte
Oplag max: 10+2AP
OHNE TITEL (TAUBEN KAMERA)
C print - Framed in oak frame with passepartout
110x85cm (100x75cm) - 3.780 EUR
From the series Fotogeschichte
Oplag max: 10+2AP
OHNE TITEL (IN THE STUDIO)
C print - Framed in oak frame with passepartout
67x80cm (37x50cm) - 2.020 EUR
From the series Fotogeschichte
Oplag max: 10+2AP
OHNE TITEL (REPRO)
C print - Framed in oak frame with passepartout
34x40cm (24x30cm) - 2.020 EUR
From the series Fotogeschichte
Oplag max: 10+2AP
Martin Zellerhoff
In the exhibition 'Photography is no longer, what it used to be', Martin Zellerhoff reflects on the extent to which our technical equipment - the photography device, the development, the automation, etc. - determines what the photographer focuses on and ultimately what he really sees of the outside world.

Zellerhoff's exhibition is made up of works with subjects from the photographic / photographer's world. There are photos of photo laboratories, film rolls, photographic technology and obsolete cameras. The pictures are photographed in the aesthetics of different genres. You perceive the aesthetics of criminal scenes, advertising photographs or technical documentaries. Immediately, the exhibition stands as a historical documentary of the world of analog photography and technical possibilities. But the pictures of the complete useless spy camera mounted on a homing pigeon, the technologically antiquated dark chamber furniture in modernist design and the film roll photographed as a relic all contribute to the documentation that technology is always limiting to the photographers' action and determining what subjects are being photographed.

Martin Zellerhoff (* 1964) was for many years Thomas Struth's assistant and photographer. This means that many of Thomas Struth's works have been photographed with Zellerhoff behind the camera, and it is also him who has subsequently processed the artworks. During this period, Zellerhoff began reflection on the connection between the technology that you have available , and the aartworks and motives you choose and photograph. Zellerhoff has exhibited internationally and has received many accolades. The exhibition in collaboration with Grundstof is his first solo exhibition in Denmark.


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