Darren Almond, Carl Blechen
Galerie Max Hetzler Berlin | Paris / Holzwarth Publications, Berlin 2015
With texts by Peter Pakesch and Anna Schultz
Carl Blechen is considered one of the major exponents of German Romanticism and a pioneer of later artistic movements. For his new body of photographs, part of his Fullmoon series of works, Darren Almond decided to visit the sites and landscapes that Blechen portrayed at the beginning of the 19th century. Almond photographed these places at night, under a full moon, using only natural light and a long exposure time, allowing details usually undetectable to the human eye to be revealed.
In both Almond and Blechen’s works, the theme of time and our experience of it, is foregrounded. Almond's Fullmoon photographs encapsulate the relationship between light, space and time, visualizing these components. His use of a long exposure time creates a lyrical atmosphere that suggests key aspects of Romanticism such as the sublimity of nature, transience and solitude while translating them into a contemporary representation.
Publisher: Galerie Max Hetzler Berlin | Paris / Holzwarth Publications
Texts: Peter Pakesch and Anna Schultz
Publication date: 2015
Dimensions: 30.5 x 30.5 x 1.4 cm
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British artist Darren Almond (b. 1971) works in a variety of media including photography, film, installation, sculpture and painting. His diverse subjects deal with abstract ideas of time, space, history and memory and how these concepts relate and intersect. He examines the symbolic and emotional potential of objects, places and situations to produce works that have historical as well as personal resonance.
Almond’s work often begins with travel to remote locations that are motivated by specific political, cultural or geographical investigations. In the ‘Fullmoon’ photographs, a series that the artist begun in 1998, he photographed diverse landscapes in every continent of the world under moonlight, using long exposures, to create images that seem to uncannily replace night with day. Almond’s films deal with personal and political subjects. In Bearing, for example, he follows the daily trek of a sulphur miner in Indonesia, while in In the Between, he films the controversial high-altitude train line built from China to Tibet. In his sculptural work, Almond often materialises notions of time as both a real and imagined construction. His large-scale, wall-mounted flip clocks, for example, emphasise the passing of time with their amplified sound as well as the impossibility of its mechanical quantification.
‘In practice, the allure of Almond’s artwork transcends the overt splendour of the views. It transpires in the artist’s underlying method, which is aesthetically fuelled by the exploration of time. How might an artist, in this day and age, depict temporality? What are the methods and means for visually representing the notion and experience of time? The answer resides in Almond’s distinct and complementary practices, which involve time in various guises: retransmitted, distorted, delayed, real, subjective or frozen.’
V. Souben in Darren Almond: ...between here and the surface of the moon, FRAC Auvergne, 2011
Artist page on maxhetzler.com
An exhibition with loans from the Kunstsammlung der Akademie der Künste, Berlin
Bleibtreustraße 45, Berlin
Exhibition page on maxhetzler.com