Anton Markus Pasing

Ghost / cape 001, 2022
ink jet print on aluminum
120 x 150cm

Pasing, Markus_Ghost_cape 001

Ghost / cape 001, 2022
ink jet print on aluminum
120 x 150cm

White Horse, 2022
ink jet print on aluminum
155 x 250cm

Pasing, Markus_White Horse

White Horse, 2022
ink jet print on aluminum
155 x 250cm

Niemandes Land, 2022
ink jet print on aluminum
150 x 260cm

Pasing, Markus_Niemandes Land

Niemandes Land, 2022
ink jet print on aluminum
150 x 260cm

Ghosts

Photography in the Age of Forgetting

Digital space is full of images of a reality, and in the realm of photography they always portray the past. Digital space is just one part of that reality which we regard as physical reality. By no means is it the opposite of reality. Nowadays millions of cameras scan our faces and bodies almost autonomously, compare and archive them – and we will never see any of this. Mobile cameras on vehicles generate a sense of belonging to a physical-geographic position.

Google Street View produces artefacts of a reality the may it may have happened in part at some time. We meet people from our past or even from our future. The faces are carefully made unreadable, but they still yield information. Only for a moment are these mask-like images of our presence an original on the street. What we see is our shadowy alter ego, the mirror image of a digital storage of life, which looks frozen, but still does not completely discard its identity. The next scan is needed to generate a temporal differentiation within the medium and thus its own past. The future of these photos is indeterminate. It can happen that we see the same person twice on one picture or six times in succession on the same street from different perspectives.

Nothing seems impossible in the mix of algorithms. Thanks to the environmental context, it is possible for us to let the faces take effect as objects in our internal images. Façades, vehicles, clothing and so on make it easier for us to apply these abilities. The compression artefacts that are sometimes visible make the link to a technical reality, which is the last bridge to a construction of realty. Their number and ostensible similarity only seem to produce a system of indistinguishable particles. When we zoom in closer, recognizability is reduced at first until it becomes a new, specific dimension of the surface and its expression. New creatures, hybrids of the past and the future. Perhaps long dead and forgotten, but still present. Sometimes we recognize mask-like or distorted identities, sometimes it seems to be an old friend.

When the juxtaposition of faces is liberated from the context, no place can be recognized, there is no hint of the street, we have no idea of the country in which the photo was made. All are equal here, beyond race and religion. And despite all this, every fragment of a portrait constitutes a visual character distinct from all others. We do not know whether the true expression of this life becomes manifest here for the first time, or whether it has always been and still remains inscrutably existent. We are looking into a two-dimensional world-in-between in which we can lose ourselves as bodies until we, too, are forgotten. Ghosts. Faces without a face. Or with a new face for a new future with a two-dimensional existence.

Anton Markus Pasing


Photography in the Age of Forgetting

Digital space is full of images of a reality, and in the realm of photography they always portray the past. Digital space is just one part of that reality which we regard as physical reality. By no means is it the opposite of reality. Nowadays millions of cameras scan our faces and bodies almost autonomously, compare and archive them – and we will never see any of this. Mobile cameras on vehicles generate a sense of belonging to a physical-geographic position.

Google Street View produces artefacts of a reality the may it may have happened in part at some time. We meet people from our past or even from our future. The faces are carefully made unreadable, but they still yield information. Only for a moment are these mask-like images of our presence an original on the street. What we see is our shadowy alter ego, the mirror image of a digital storage of life, which looks frozen, but still does not completely discard its identity. The next scan is needed to generate a temporal differentiation within the medium and thus its own past. The future of these photos is indeterminate. It can happen that we see the same person twice on one picture or six times in succession on the same street from different perspectives.

Nothing seems impossible in the mix of algorithms. Thanks to the environmental context, it is possible for us to let the faces take effect as objects in our internal images. Façades, vehicles, clothing and so on make it easier for us to apply these abilities. The compression artefacts that are sometimes visible make the link to a technical reality, which is the last bridge to a construction of realty. Their number and ostensible similarity only seem to produce a system of indistinguishable particles. When we zoom in closer, recognizability is reduced at first until it becomes a new, specific dimension of the surface and its expression. New creatures, hybrids of the past and the future. Perhaps long dead and forgotten, but still present. Sometimes we recognize mask-like or distorted identities, sometimes it seems to be an old friend.

When the juxtaposition of faces is liberated from the context, no place can be recognized, there is no hint of the street, we have no idea of the country in which the photo was made. All are equal here, beyond race and religion. And despite all this, every fragment of a portrait constitutes a visual character distinct from all others. We do not know whether the true expression of this life becomes manifest here for the first time, or whether it has always been and still remains inscrutably existent. We are looking into a two-dimensional world-in-between in which we can lose ourselves as bodies until we, too, are forgotten. Ghosts. Faces without a face. Or with a new face for a new future with a two-dimensional existence.

Anton Markus Pasing


Mirko Mayer
Download PDF
2022

daniela brahm / biography

 
  
  
1966*Düsseldorf / DE
1988Studies Hochschule der Künste, Berlin
1991ERASMUS-Stipendium, Beaux Arts Marseilles / FR
1993Diploma
1994Master Class (with Valile Export)
1999co-founder of soup (collective studio of architects, designers, visual artists)
2003Residency at Delfina Studios London / UK (financed by the Berlin Senat)
2004Conception for a redevelopment of the former Rotaprint manufacturing plant by the tenants already on site (with Les Schliesser)
2005Grant from the North Rhine-Westphalian Art Foundation
 co-founder of ExRotaprint www.exrotaprint.de (socio-political initiative on the former Rotaprint factory site)
2007ExRotaprint Planning Team (with artist Les Schliesser, and architects Oliver Clemens and Bernhard Hummel)
 Foundation of the ExRotaprint GmbH (the non-profit Ltd.) by on-site tenants; purchase of the premises; signing of a 99-year heritable building right
2010gradual renovation of the premises which is a registered historic landmark
2012Member of "Initiative Stadt Neudenken" (civic initiative to change real estate politics in Berlin)
2016ExRotaprint was awarded the Julius Berger Prize for Urban Development
2018Gastprofessur an der Weißensee Kunshochschule Berlin, Fachbereich Raumstrategien / Spacial Strategies
2019ExRotaprint was awarded the Ferdinant-von-Quast-Medaille for the preservation of the architectural monument
  
  

einzelausstellungen | solo shows

 
  
2018Die Tour als Skulptur: Property Matters Zentrum für Kunst und öffentlichen Raum / ZKR Berlin, DE
2009the big argument Museum of Modern Art in Warsaw, site-specific installation in front of the Palace of Culture, satelite of „Warsaw Under Construction", PL
 my city Galerie Mirko Mayer, Köln / DE
2007Art is so small / Consider the opposite Art Forum Berlin, DE
 OPEN SPACE, Art Cologne, DE
2006Community Galerie Mirko Mayer Köln, DE
2005Highrise Künstlerhaus Bethanien Berlin, DE
 London Series (modern (no bricks)) Galerie Barbara Thumm Berlin, DE
2002Relocation Container Art Position, Art Basel / Miami Beach, Miami, USA
 Hinterland Galerie Mirko Mayer, Köln, DE
 Participation City Galerie Barbara Thumm, Berlin, DE
2001NIMBY - Not In My Backyard" Galerie Mirko Mayer, Köln, DE
2000our place Galerie Barbara Thumm, Berlin, DE
1996die kommunikation auf der erde ist erstaunlich gut exhibtion in two shipping containers, lacated at Unter den Linden / Friedrichstraße, Berlin, DE
  
  

gruppenausstellungen | group shows

 
  
2020Uferhallen Manifest, eine Ausstellung auf dem Gelände der Uferhallen Berlin/Wedding, DE
2019ExRotaprint goes statistics, Haus der Statistik, Berlin, DE
2017WARSAW UNDER CONSTRUCTION #9 Museum of Modern Art in Warsaw, PL
 Fokus Papier, Raumdenken - Denkräume Kunstmuseum Basel, CH
2016Community.based An Archive of Berlin Projects, Decad project space, Berlin, DE
2015Die Tour als Skulptur: Satteldach City Dinslaken geführte Tagestouren im Rahmen von "Reisen im Kreis", Urbane Künste Ruhr, DE
2014Our Place / ExRotaprint Berlin - Urban Activism as Artistic Practice (with Les Schliesser), 0047 Oslo, NOR
 HLYSNAN: The Notion and Politics of Listening (with Les Schliesser), Casino Luxembourg, LUX
 Ästhetik des Widerstands (with Les Schliesser) IG Bildende Kunst Wien, AT and Galerie im Turm Berlin, DE
2013Ich versteh´ nur Nordbahnhof! (with Les Schliesser) Künstlerhaus Stuttgart, DE
 Ereignispanorama und andere Verwicklungen (with Les Schliesser) Kunstverein Nürtingen, DE
 Verhandlungssache (with Les Schliesser) Galerie Mirko Mayer, Köln, DE
2012Kirstenpläne Project Space ExRotaprint, Berlin
2011Other Possible Worlds Neue Gesellschaft für Bildende Kunst, Berlin, DE
2010Linie - Fläche - Raum: Bildarchitekturen Plan 10, Cologne, Forum aktueller Architektur, Kunsthaus Lempertz, Köln, DE
 mapping my mind Galerie Mirko Mayer Köln / DE
2009Warsaw Under Construction Museum of Modern Art in Warsaw PL
 Building Berlin Kitchener-Waterloo Art Gallery, CAN
2008on the edge of painting: sublime-construction-reality Mirko Mayer Gallery, Cologne, DE
2007 Art is so small / Consider the opposite Art Forum Berlin, DE
2006Ideal City / Invisible Cities Potsdam, DE
 Ideal City / Invisible Cities Zamosc PL
 Asterism. Artists living in Berlin Museo Tamayo Mexico D.F.
 Painting as Presence Künstlerhaus Bethanien Berlin, DE
2004EASTinternational 04 Norwich School of Art & Design / UK
2003 brand the image Mirko Mayer Gallery, Cologne
2002Bilder aus Berlin Christopher Grimes Gallery, Santa Monica, USA
2000MALKUNST Fondazione Mudima, Milano, IT

Anton Markus Pasing/ biography