CROSSING THE LINE

Written by ilsehaider on 15. June 2023. Posted in Exhibitions.

Exhibition view: John Cassavetes, Gina Rowlands and film scene from A Woman under the Influence, 2023
video credits: ©Ilse Haider
>press release
Gena Rowlands, 2023, Gena Rowlands, 2023
40 x 30 x 25cm, 140 x 90 x 25cm, photographic emulsion on wood / acrylic paint
Original (l): G. Rowlands in FACES, Impress/United Archives/APA-PictureDesk, Original (r): G. Rowlands in GLORIA, Columbia/Everett Collection/APA-PictureDesk, photo credits: ©Ilse Haider
>press release
John Cassavetes, 2023
70 x 71 x 40cm, photographic emulsion on wood
Original: J. Cassavetes, Juan Cortes/Camera Press/APA-PictureDesk, photo credits: ©Ilse Haider
>press release
Film scene from A Woman under the Influence, 2023
40 x 60 x 6cm, photographic emulsion on wood / acrylic paint
Original: Gena Rowlands and Peter Falk in A WOMAN UNDER THE INFLUENCE, 1974, directed by: John Cassevetes, Everett Collection/APA-PictureDesk, photo credits: ©Ilse Haider
>press release
Exhibition view: Jean Seberg, 2023
50 x 40 x 31cm, photographic emulsion on wood / acrylic paint
Original/side 1: J. Seberg in BONJOUR TRISTESSE, 1959, Columbia/mptv/APA-PictureDesk, Original/side 2: J. Seberg in A FINE MADNESS, 1978, Warner Brothers©/David Sutton/mptv/APA-PictureDesk, video credits: ©Ilse Haider
>press release
Lauren Bacall, 2023, Claire Trevor, 2023
85 x 60 x 20cm, 42 x 37 x 15cm, photographic emulsion on wood / acrylic paint
Original (l): L. Bacall, Friedrich/Interfoto/APA-PictureDesk, Original (r): C. Trevor in RAW DEAL, 1948, Everett Collection/APA-PictureDesk, photo credits: ©Ilse Haider
>press release
Film scene from Key Largo, 2023
45 x 60 x 10cm, photographic emulsion on wood / acrylic paint
Original: Humphrey Bogart, Claire Trevor and Lauren Bacall in KEY LARGO, 1948, directed by: John Huston, Everett Collection/CONTRA/APA-PictureDesk, photo credits: ©Ilse Haider
>press release
Film scene from Teorema, 2023
40 x 60 x 6cm, photographic emulsion on wood / acrylic paint
Original: Silvana Mangano and Carlo de Mejo in TEOREMA, 1968, directed by: Pier Paolo Pasolini, Ronald Grant Archive/Mary Evans/APA-PictureDesk, photo credits: ©Ilse Haider
>press release
Exhibition view: Teorema, Silvana Mangano, Pier Paolo Pasolini, 2023
140 x 90 x 20cm, photographic emulsion on wood / acrylic paint
Original (m): S. Mangano in BARABBAS, 1962, Everett Collection/APA-PictureDesk, photo credits: ©Ilse Haider
>press release
Pier Paolo Pasolini, 2023
47 x 34 x 11cm, photographic emulsion on wood / acrylic paint
Original: P. P. Pasolini in IL DECAMERON, 1971, Artemis Film/Mary Evans/APA-PictureDesk, photo credits: ©Ilse Haider
>press release
Film scene from Il deserto rosso, 2023, Silvana Mangano, 2023
60 x 78 x 12cm, 85 x 60 x 20cm, photographic emulsion on wood / acrylic paint
Original (l): Monica Vitti and others in IL DESERTO ROSSO, 1964, Original (r): S. Mangano in MAMBO, 1954, both: Everett Collection/APA-PictureDesk, photo credits: ©Ilse Haider
>press release
Film scene from Il deserto rosso, 2023
60 x 78 x 12cm, photographic emulsion on wood / acrylic paint
Original: Monica Vitti and others in IL DESERTO ROSSO, 1964, directed by: Michelangelo Antonioni, Everett Collection/APA-PictureDesk, photo credits: ©Ilse Haider
>press release
Monica Vitti, 2023 (both)
85 x 60 x 20cm, photographic emulsion on wood / acrylic paint
Original: M. Vitti in MODESTY BLAISE, 1966, Everett Collection/APA-PictureDesk, photo credits: ©Ilse Haider
>press release
Monica Vitti, 2023
85 x 60 x 20cm, photographic emulsion on wood / acrylic paint
Original: M. Vitti, Roger-Viollet/APA-PictureDesk, photo credits: ©Ilse Haider
>press release
Monica Vitti, 2023
85 x 60 x 20cm, photographic emulsion on wood / acrylic paint
Original: M. Vitti, Roger-Viollet/APA-PictureDesk, photo credits: ©Ilse Haider
>press release

Augenspiel

Written by ilsehaider on 28. March 2018. Posted in Exhibitions.

Augenspiel

Galerie Schloss Wiespach, 2018

Simone de Beauvoir, 2017, Simone de Beauvoir versetzt, 2018
200 x 130 x 25cm (l), 78 x 76 x 30cm (r), photographic emulsion on wood / acrylic paint
Original (l/r): S. de Beauvoir, 1957, Jack Nilsberg/Roger Violet/APA-PictureDesk, photo credits: ©Ilse Haider
> text
Simone de Beauvoir, 2017
200 x 130 x 25cm, backside
photo credits: ©Ilse Haider
> text
Jean Paul Sartre, 2018
62 x 31 x 45cm, photographic emulsion on wood / acrylic paint
Original: J. P. Sartre, 1947, Henri Martinie/Roger Violet/APA-PictureDesk, photo credits: ©Ilse Haider
> text
Simone de Beauvoir, 2017
200 x 130 x 25cm, photographic emulsion on wood / acrylic paint
Original: S. de Beauvoir, 1957, Jack Nilsberg/Roger Violet/APA-PictureDesk, photo credits: ©Ilse Haider
> text
Marshall McLuhan, Theodor W. Adorno and Walter Benjamin, 2017/18
Photographic emulsion on wood / acrylic paint
photo credits: ©Ilse Haider
> text
Walter Benjamin, 2018
100 x 80 x 10cm, photographic emulsion on wood
Original: W. Benjamin, 1925, Imagno/Austrian Archives, photo credits: ©Ilse Haider
> text
Siegfried Kracauer, Elias Canetti and Augenspiel, 2018
70 x 50 x 10cm (l), 70 x 50 x 10cm (m), 40 x 50 x 20cm (r), photographic emulsion on wood / acrylic paint
Original (l): S. Krakauer, Jack Nilsberg/Roger Violet/APA-PictureDesk, Original (m): E. Canetti, 1975, Horst Tappe/Ullstein Bild/APA-PictureDesk, photo credits: ©Ilse Haider
> text
Augenspiel, 2018
40 x 50 x 20cm, photographic emulsion on wood / acrylic paint
photo credits: ©Ilse Haider
> text
Jean Genet, 2017
70 x 50 x 10cm, photographic emulsion on wood
Original: J. Genet, 1959, Ullstein Bild/APA-PictureDesk, photo credits: ©Ilse Haider
> text
Ava Gardner, 2017
70 x 50 x 10cm, photographic emulsion on wood / acrylic paint
Original: A. Gardner, 1950s, Everett Collection/APA-PictureDesk, photo credits: ©Ilse Haider
> text
Ingrid Bergman, 2018, Marlene Dietrich, 2013/15
140 x 90 x 20cm, 100 x 70 x 30cm, photographic emulsion on wood / acrylic paint
Original (l): I. Bergman, 1946, Everett Collection/APA-PictureDesk, Original (r): M. Dietrich, 1933, Scherl/Süddeutsche Zeitung, photo credits: ©Ilse Haider
> text
Hedy Lamarr, 2018, Ella Fitzgerald, 2017
140 x 90 x 25cm, 85 x 60 x 15cm, photographic emulsion on wood / acrylic paint
Original (l): H. Lamarr, Clarence Bull/Everett Collection/APA-PictureDesk, Original (r): E. Fitzgerald, SZ Photo/APA-PictureDesk, photo credits: ©Ilse Haider
> text

Overview

Simone de Beauvoir, 2017, Simone de Beauvoir versetzt, 2018
200 x 130 x 25cm (l), 78 x 76 x 30cm (r), photographic emulsion on wood / acrylic paint
Original (l, r): S. de Beauvoir, 1957, Jack Nilsberg/Roger Violet/APA-PictureDesk, photo credits: ©Ilse Haider
> text
Simone de Beauvoir, 2017
200 x 130 x 25cm, backside
photo credits: ©Ilse Haider
> text
Jean Paul Sartre, 2018
62 x 31 x 45cm, photographic emulsion on wood / acrylic paint
Original: J. P. Sartre, 1947, Henri Martinie/Roger Violet/APA-PictureDesk, photo credits: ©Ilse Haider
> text
Simone de Beauvoir, 2017
200 x 130 x 25cm, photographic emulsion on wood / acrylic paint
Original: S. de Beauvoir, 1957, Jack Nilsberg/Roger Violet/APA-PictureDesk, photo credits: ©Ilse Haider
> text
Marshall McLuhan, Theodor W. Adorno and Walter Benjamin, 2017/18
Photographic emulsion on wood / acrylic paint
photo credits: ©Ilse Haider
> text
Walter Benjamin, 2018
100 x 80 x 10cm, photographic emulsion on wood
Original: W. Benjamin, 1925, Imagno/Austrian Archives, photo credits: ©Ilse Haider
> text
Siegfried Kracauer, Elias Canetti, Augenspiel, 2018
70 x 50 x 10cm (l), 70 x 50 x 10cm (m), 40 x 50 x 20cm (r), photographic emulsion on wood / acrylic paint
Original (l): S. Krakauer, Jack Nilsberg/Roger Violet/APA-PictureDesk, Original (m): E. Canetti, 1975, Horst Tappe/Ullstein Bild/APA-PictureDesk, photo credits: ©Ilse Haider
> text
Augenspiel, 2018
40 x 50 x 20cm, photographic emulsion on wood / acrylic paint
photo credits: ©Ilse Haider
> text
Jean Genet, 2017
70 x 50 x 10cm, photographic emulsion on wood
Original: J. Genet, 1959, Ullstein Bild/APA-PictureDesk, photo credits: ©Ilse Haider
> text
Ava Gardner, 2017
70 x 50 x 10cm, photographic emulsion on wood / acrylic paint
Original: A. Gardner, 1950s, Everett Collection/APA-PictureDesk, photo credits: ©Ilse Haider
> text
Ingrid Bergman, 2018, Marlene Dietrich, 2013/15
140 x 90 x 20cm, 100 x 70 x 30cm, photographic emulsion on wood / acrylic paint
Original (l): I. Bergman, 1946, Everett Collection/APA-PictureDesk, Original (r): M. Dietrich, 1933, Scherl/Süddeutsche Zeitung, photo credits: ©Ilse Haider
> text
Hedy Lamarr, 2018, Ella Fitzgerald, 2017
140 x 90 x 25cm, 85 x 60 x 15cm, photographic emulsion on wood / acrylic paint
Original (l): H. Lamarr, Clarence Bull/Everett Collection/APA-PictureDesk, Original (r): E. Fitzgerald, SZ Photo/APA-PictureDesk, photo credits: ©Ilse Haider
> text

Open Monuments

Written by Andreas Wastian on 23. January 2018. Posted in Exhibitions.

Exhibition view: Film boards (Neorealism) and Anna Magnani, 2018
photo credits: ©Ilse Haider
> text
Anna Magnani, 2018
123 x 130 x 30cm, photographic emulsion on wood / acrylic paint
Original: A. Magnani, 1950s, Everett Collection/APA-PictureDesk, video credits: ©Ilse Haider
> text
Film-boards (Neorealism), 2018
30 x 40cm, photographic emulsion on wood
Original: OSSESSIONE/L. Visconti, ROMA CITTÀ APERTA/R. Rossellini, DER VERLORENE/P. Lorre, PAISÀ/R. Rossellini, LADRI DI BICICLETTE/V. de Sica, STROMBOLI/R. Rossellini, RISO AMARO/G. de Santis, LA PAURA/R. Rossellini, GERMANIA ANNO ZERO/R. Rossellini, photo credits: ©Ilse Haider
> text
Siegfried Kracauer and Elias Canetti, 2018
each 70 x 50 x 10cm, photographic emulsion on wood / acrylic paint
Original (l): S. Krakauer, Jack Nilsberg/Roger Violet/APA-PictureDesk, Original (r): E. Canetti, 1975, Horst Tappe/Ullstein Bild/APA-PictureDesk, photo credits: ©Ilse Haider
> text
Exhibition view, 2018
photo credits: ©Ilse Haider
> text
Ingrid Bergman, Peter Lorre and Marlene Dietrich, 2013/2015
100 x 70 x 33cm, photographic emulsion on wood / acrylic paint
Original: M. Dietrich, 1933, Scherl/Süddeutsche Zeitung Photo, photo credits: ©Ilse Haider
> text
Ingrid Bergman and Peter Lorre, 2018
143 x 108 x 25cm, photographic emulsion on wood / acrylic paint
Original (l): I. Bergman in LA PAURA, 1954, ullstein bild/APA-PictureDesk, photo credits: ©Ilse Haider
> text
Peter Lorre, 2018
143 x 108 x 25cm, photographic emulsion on wood / acrylic paint
Original: P. Lorre in DER VERLORENE, 1951, Everett Collection/APA-PictureDesk, video credits: ©Ilse Haider
> text
Simone Signoret and Lamberto Maggiorani, 2018
140 x 90 x 25cm, photographic emulsion on wood / acrylic paint
Original: L. Maggiorani in LADRI DI BICICLETTE, 1948, Friedrich/Interfoto/APA-PictureDesk, photo credits: ©Ilse Haider
> text
Anna Magnani, 2017
80 x 60 x 15cm, photographic emulsion on wood / acrylic paint
Original: A. Magnani, 1952, SZ Photo/APA-PictureDesk, photo credits: ©Ilse Haider
> text

le circuit héroesque

Written by ilsehaider on 24. January 2015. Posted in Exhibitions.

Josephine, 2015, Marilyn, 2014, Marlene, 2013, Lou, Paul and Friedrich, 2015, Raised Arms, 2014
Photographic emulsion on wood
photo credits: ©Ilse Haider
> press release
Balad of Mankind, 2014, Scéne Héroesque, 2015
Photographic emulsion on wood
photo credits: ©Ilse Haider
> press release
The Pleasure of Art, its Spectators and Creators, 2014, Ballad of Mankind, 2014
Photographic emulsion on wood
photo credits: ©Ilse Haider
>press release
The Pleasure of Art, its Spectators and Creators, 2014
155 x 270 x 10cm, photographic emulsion on wood
photo credits: ©Ilse Haider
> press release
The Pleasure of Art, its Spectators and Creators, 2014, Balad of Mankind, 2014
Photographic emulsion on wood
photo credits: ©Ilse Haider
> press release
Balad of Mankind, 2014
155 x 270 x 10cm, photographic emulsion on wood
photo credits: ©Ilse Haider
> press release
Mr. Big refurnished, 2015
Shelfs, kitchen: 4,2 x 2 x 2m, digital print on wood
photo credits: ©Ilse Haider
> press release
Mr. Big refurnished, 2015
Shelfs, kitchen: 4,2 x 2 x 2m, digital print on wood
photo credits: ©Ilse Haider
> press release

facebook_Ns

Written by ilsehaider on 15. January 2013. Posted in Exhibitions.

FACEBOOK_NS

MUSEUMSPAVILLION SALZBURG, 2011 / KUNSTVEREIN ASCHAFFENBURG, 2013

facebook_NS_actors_hit singers / Marlene Dietrich, 2011
32 x 24cm, watercolour
> press release I
Exhibition view: facebook_NS_hit singers _cloud / Fritzi Massary, Renate Müller, Gitta Alpàr, Lilian Harvey, 2011
Photographic emulsion on wood, watercolour and marker on paper
photo credits: ©Ilse Haider
> press release I
facebook_NS_actors_hit singers / Lida Baarová and Gustav Fröhlich, 2010/2011
32 x 24cm, watercolour
> press release I
facebook_NS_protagonists / Joseph and Magda Goebbels, 2011
32 x 24cm, watercolour
> press release I
facebook_NS_actors / Ana Mae Wong and Leni Riefenstahl, 2011
32 x 24cm, watercolour
> press release I
facebook_NS_actors_hit singers / Marlene Dietrich, Ana Mae Wong and Leni Riefenstahl, 2011
24 x 32cm, marker on paper
> press release I
Marlene Dietrich, 2013
102 x 70 x 33cm, photographic emulsion on wood
Original/side 1: M. Dietrich, 1930s, Scherl/SZ-Photo/APA-PictureDesk, Original/side 2: M. Dietrich in DER BLAUER ENGEL, 1930, film poster, photo credits: ©Ilse Haider
> press release I
> press release I
> press release I
>press release II
>press release II
Exhibition view: facebook_NS_revue, 2013, Germany / Austria / 1930s / 1940s / protagonists
Film: concept/realisation: Ilse Haider, editing: Claudia Nussbaumer and Heike Nösslböck
The portraits of one or more people in different poses are brought to life through their juxtaposition. The rhythmic sound of the mouse click refers to both the hit singers and the archival viewing of photos. The selection of images was random. photo credits: ©Ilse Haider
>press release II
Exhibition view: Crazy at any price!, 2013
Picture montages, digital prints / drawings on paper
Picture montages with photos from the photo archive of the anonymous photographer and copies of masterpieces of art. The original masterpieces of art were confiscated by the Nazis at the time and were shown at the exhibition “Degenerate Art / Crazy at any price” in Munich, 1937. photo credits: ©Ilse Haider
>press release II
After Dompteuse (Animal trainer) by Otto Dix, 2013
Picture montage, 42 x 30cm, digital print / drawing on paper
Picture montage of photo no. 35489 from the photo archive combined with a copy of the drawing no. 17789-E by Otto Dix: Dompteuse (Animal trainer), 1922
>press release II
After Nackttanz (Nude dance) by George Grosz, 2013
Picture montage, 42 x 30cm, digital print / drawing on paper
Picture montage of photos no. 39996, 36451, 37319, 36114, 35321, 45896, 32543, 36005, 38546 from the photo archive combined with a copy of the drawing no. 16314 by George Grosz: Nackttanz (Nude dance), 1922
>press release II
After Entkleidung (Disrobing) by George Grosz, 2013
Picture montage, 42 x 30cm, digital print / drawing on paper
Picture montage of photos no. 38514 and 38421 combined with a copy of the drawing by George Grosz: Entkleidung (Disrobing), 1921
>press release II
>press release II
>press release

facebook_NS_revue, 2013 (clip from film)
Germany / Austria / 1930s / 1940s / protagonists

The photos were taken from the photo archive of an anonymous studio photographer. The archive consists of 2,500 glass plate negatives — all professional portrait shots of women and men, and wedding photos from the 1930s and 1940s. Some were damaged by environmental influences. The archive was digitized, examined, and indexed according to the criteria available. No reference to the portrait photographer was found, nor were there any references to the persons depicted. The portraits of one or more people in different poses are brought to life through their juxtaposition. The rhythmic sound of the mouse click refers to both the hit singers and the archival viewing of photos. The selection of images was random.

If you recognize someone, please let us know!

Objekte und Fotografien, Otto Breicha-Prize for Photography

Written by ilsehaider on 22. January 2011. Posted in Exhibitions.

The Bungled Wedding Night, 1995
120 x 160 x 90cm, cotton buds, silicone, electric motor
photo credits: ©Kai Kuss, MdM
> text
The Bungled Wedding Night, 1995
120 x 160 x 90cm, cotton buds, silicone, electric motor
photo credits: ©Ilse Haider
> text
Prickel-Peter, 1995
Photomontage, digital print on paper
Edition published by Galerie Fotohof, photo credits: ©Ilse Haider
> text
Head with Mushrooms and Tubes, 1990
50 x 50 x 22cm, photographic emulsion on wood
photo credits: ©Kai Kuss, MdM
> text
A Head Containing only One Man, 1990
45 x 45 x 22cm, photographic emulsion on wood
photo credits: ©Kai Kuss, MdM
> text
Des Jambes descendents les Escaliers, 2002
190 x 120cm, colour photograph behind plexiglas
photo credits: ©Kai Kuss, MdM
> text
Standing male Nude, 1999, No, 1999, Mr. Big, 2006
Artificial stamen in silicone, digital print on chipboard
photo credits: ©Kai Kuss, MdM
> text
Michel Foucault, 2003, L’artiste et Son Modèle, 2005, Jesús Rafael Soto, 2010
Photographic emulsion on wood
photo credits: ©Kai Kuss, MdM
> text

Die tröstende Camera

Written by ilsehaider on 29. March 2002. Posted in Exhibitions.

Display details: THE CONSOLING CAMERA 001 (12min), 2002
The possibility of structuring an awkward situation with the video medium’s rules, dissolving it, and transforming it into an artistic product.
photo credits: ©Ilse Haider
Display details: THE CONSOLING CAMERA 001 (12min), 2002
The possibility of structuring an awkward situation with the video medium’s rules, dissolving it, and transforming it into an artistic product.
photo credits: ©Ilse Haider
Exhibition view: SMALL TALK ART (l), THE CONSOLING CAMERA 002 (m), THE CONSOLING CAMERA 003 (r), 2002
photo credits: ©Ilse Haider
>press release
Display details: THE CONSOLING CAMERA 003 (15min), 2002
The video camera as an imaginary listener, documenting the situation.
photo credits: ©Ilse Haider
»How nice that you have come, we were speaking about you just yesterday.«, 2002
Performance at the opening of the exhibition (20min), camera: Momo Pröll
video credits: ©Ilse Haider
>text
»You are looking so good, do you perhaps have a new boyfriend?«, 2002
Performance at the opening of the exhibition (20min), camera: Momo Pröll
video credits: ©Ilse Haider
> text
»We recently saw your large exhibition at the museum.«, 2002
Performance at the opening of the exhibition (20 min), camera: Momo Pröll
video credits: ©Ilse Haider
> text
»I quite liked the presentation, although I don’t think the new works have turned out very well.«, 2002
Performance at the opening of the exhibition (20min), camera: Momo Pröll
video credits: ©Ilse Haider
>text
»We have to talk about that again!«, 2002
Performance at the opening of the exhibition (20min), camera: Momo Pröll
video credits: ©Ilse Haider
> text
»And why are you here? Are you looking for a sex partner? No problem, I can introduce you!«, 2002
Performance at the opening of the exhibition (20min), camera: Momo Pröll
video credits: ©Ilse Haider
> text

CROSSING THE LINE

Exhibition view: John Cassavetes, Gina Rowlands and film scene from A Woman under the Influence, 2023

Gena Rowlands, 2023, Gena Rowlands, 2023

John Cassavetes, 2023

Film scene from A Woman under the Influence, 2023

Exhibition view: Jean Seberg, 2023

Lauren Bacall, 2023, Claire Trevor, 2023

Film scene from Key Largo, 2023

Film scene from Teorema, 2023

Exhibition view: Teorema, Silvana Mangano, Pier Paolo Pasolini, 2023

Pier Paolo Pasolini, 2023

Film scene from Il deserto rosso, 2023, Silvana Mangano, 2023

Film scene from Il deserto rosso, 2023

Monica Vitti, 2023 (both)

Monica Vitti, 2023

Monica Vitti, 2023

Augenspiel

Augenspiel

Galerie Schloss Wiespach, 2018

Simone de Beauvoir, 2017, Simone de Beauvoir versetzt, 2018

Simone de Beauvoir, 2017

Jean Paul Sartre, 2018

Simone de Beauvoir, 2017

Marshall McLuhan, Theodor W. Adorno and Walter Benjamin, 2017/18

Walter Benjamin, 2018

Siegfried Kracauer, Elias Canetti and Augenspiel, 2018

Augenspiel, 2018

Jean Genet, 2017

Ava Gardner, 2017

Ingrid Bergman, 2018, Marlene Dietrich, 2013/15

Hedy Lamarr, 2018, Ella Fitzgerald, 2017

Overview

Simone de Beauvoir, 2017, Simone de Beauvoir versetzt, 2018

Simone de Beauvoir, 2017

Jean Paul Sartre, 2018

Simone de Beauvoir, 2017

Marshall McLuhan, Theodor W. Adorno and Walter Benjamin, 2017/18

Walter Benjamin, 2018

Siegfried Kracauer, Elias Canetti, Augenspiel, 2018

Augenspiel, 2018

Jean Genet, 2017

Ava Gardner, 2017

Ingrid Bergman, 2018, Marlene Dietrich, 2013/15

Hedy Lamarr, 2018, Ella Fitzgerald, 2017

Open Monuments

Exhibition view: Film boards (Neorealism) and Anna Magnani, 2018

Anna Magnani, 2018

Film-boards (Neorealism), 2018

Siegfried Kracauer and Elias Canetti, 2018

Exhibition view, 2018

Ingrid Bergman, Peter Lorre and Marlene Dietrich, 2013/2015

Ingrid Bergman and Peter Lorre, 2018

Peter Lorre, 2018

Simone Signoret and Lamberto Maggiorani, 2018

Anna Magnani, 2017

le circuit héroesque

Josephine, 2015, Marilyn, 2014, Marlene, 2013, Lou, Paul and Friedrich, 2015, Raised Arms, 2014

Balad of Mankind, 2014, Scéne Héroesque, 2015

The Pleasure of Art, its Spectators and Creators, 2014, Ballad of Mankind, 2014

The Pleasure of Art, its Spectators and Creators, 2014

The Pleasure of Art, its Spectators and Creators, 2014, Balad of Mankind, 2014

Balad of Mankind, 2014

Mr. Big refurnished, 2015

Mr. Big refurnished, 2015

facebook_Ns

FACEBOOK_NS

MUSEUMSPAVILLION SALZBURG, 2011 / KUNSTVEREIN ASCHAFFENBURG, 2013

facebook_NS_actors_hit singers / Marlene Dietrich, 2011

Exhibition view: facebook_NS_hit singers _cloud / Fritzi Massary, Renate Müller, Gitta Alpàr, Lilian Harvey, 2011

facebook_NS_actors_hit singers / Lida Baarová and Gustav Fröhlich, 2010/2011

facebook_NS_protagonists / Joseph and Magda Goebbels, 2011

facebook_NS_actors / Ana Mae Wong and Leni Riefenstahl, 2011

facebook_NS_actors_hit singers / Marlene Dietrich, Ana Mae Wong and Leni Riefenstahl, 2011

Marlene Dietrich, 2013

Exhibition view: facebook_NS_revue, 2013, Germany / Austria / 1930s / 1940s / protagonists

Exhibition view: Crazy at any price!, 2013

After Dompteuse (Animal trainer) by Otto Dix, 2013

After Nackttanz (Nude dance) by George Grosz, 2013

After Entkleidung (Disrobing) by George Grosz, 2013

Objekte und Fotografien, Otto Breicha-Prize for Photography