Totale Erinnerung, curated by vvork at the 3rd Foto-Festival

with:
Mathieu Bernard-Reymond, Broc Blegen, Catrin Bolt , Luchezar Boyadjiev, Candice Breitz, Olaf Breuning, Mauren Brodbeck, The Bruce High Quality Foundation, Paolo Chiasera, Citizens Association “Rocky Balboa” Žitište, Lenka Clayton, Gerad Coles, Dainis Derics, Marjolijn Dijkman, Harm van den Dorpel , Michael Elmgreen & Ingar Dragset, Amel Emric, Leo Fabrizio, Lise Gagne, Cyprien Gaillard, Hayley Grimes, Simon Hardy, Pablo Hare, Joel Holmberg, William Hundley, Iman Issa, Mandy Lee Jandrell, Pete Johns, Jan Kempenaers, Kernbeißer, Lanica Klein, Shaan Kokin, Timur Kulgarin, Tomaz Levstek, Miguel Luciano, Ives Maes, Kelly Mark, Brett Matthews, Juan Monino, Mark Ollerenshaw, Christodoulos Panayiotou, Lauris Paulus, Kevin Phelan, Sarah Pickering, Wang Qingsong, Bernadette Rafferty, Karla Vanessa Redor, Amanda Richards, Thomas Ruellan, Pascual Sisto, Simon Smyth, Mohammed Tawfeeq, Anetta Mona Chisa & Lucia Tkacova, Guy Tillim, Rijel Violet, Drazen Vukelic, Chris Wiley

curated by:
VVORK

Aleksandra Domanović:
*1981 in Novi Sad (Serbia), lives and works in Berlin.
Oliver Laric:
*1981 in Sofia (Bulgaria), lives and works in Berlin.
Christoph Priglinger:
*1979 in Linz (Austria), lives and works in London.
Georg Schnitzer:
*1977 in Graz (Austria), lives and works in Vienna and Hartberg.

Exhibition places:
Alter Meßplatz, Mannheim

The labyrinth functions as an analogy to the world of images in the age of Flickr, YouTube, and cell-phone cameras, where there exist endless variations of an image one beside the other. The frequency of duplicates, copies, conversions, and reinterpretations demands a new way of dealing with the notion that we can orient ourselves toward images.
The labyrinth is a site of confusion and at the same time memory. Similar repetitive impressions lead to a loss of orientation.
The installation Totale Erinnerung (Total Recall) makes reference to the environment of the labyrinth. The Alte Meßplatz in Mannheim is characterized by a wide variety of architectural styles from the last two centuries, yet is does without any kind of memorials or monuments. Our selection of works that examine monumentality uses this site of emptiness. The comparison of similar monuments allows the viewer to recognize heterogeneity in an ostensibly homogenous series.
Alongside works by contemporary artists, indiscriminate stock photography, vacation pictures from Flickr, photos from auction houses, as well as works by photographers for the photo agencies Reuters and the Associated Press will be shown.
There is no clear path through the labyrinth. The visitor defines his or her own path and thus constructs a dramaturgy of the images.

Foto-Festival
vvork