Ausstellung Biografie Text
In 1971 American avant-garde filmmaker Hollis Frampton shot Nostalgia, a 16mm black and white film of twelve static images. Each image was accompanied by voice over commentary. However, sound and image did not match up. As the camera filmed one of Framptonís private images slowly crinkling and burning above the flame of a gas burner, the narration describes the following image. As such each image is also an echo of the past narration. It represents and embodies a space simultanously between nostalgia and anticipation.

In her video Diaoptric (2003), Lisa Oppenheim takes up Frapton’s structural separation of sound and image, in order to thematize the relations between photography, film and biographical awareness anew. In ten chronologically organised episodes separated by breaks in image and sound, she recounts moments of individual importance in her life based on photographs taken from family photo-albums and found imagery. For each image she finds the photographed sites, capturing and revitalising each for a second time on film. Each image presents a common and empty site to the advantage of the autobiographical narratives. Oppenheim’s first image purports to be the hospital bed in which she was born; another, a reflective store-front window of a bookstore; and yet another, the mailbox of her neighbour and prominent underground director, Kenneth Anger. The tenth image ends sibylistically with the image of a non-existent image: "I found two films in a German basement and brought them back to New York to get developed. The films seemed to belong to an architect’s home movie collection of buildings and birds. I tried to develop them in my sink with a noxious recipe found on the internet. But everything came out black".

In the photo series, Year in Pictures, 1975 (2004) Lisa Oppenheim engages again with relationships between individual and collective memory. She cuts up photogrpahs of early childhood into little photo-fragments and collages them into produce publicly known news images from Time-Life Magazine’s Year in Pictures issue from 1975, the year of her birth. Oppenheim, places layers of subjective history over the photo-journalistic compression of the spectacular and unrepeatable events of a entire year: the image of a helicopter on the roof of the US embassy in Saigon in which the last members of the US government fled at eight o’clock on the morning of April the 30 1975, which serves as the icon of the end of the Vietnam War; or the highly effective media image of the docking of the American Apollo spacecapsule and the Soviet Soyuz 19 on July 15, 1975 as the international rendezvous of cold-war powers. At the cost of her individuality to a visual whole, Oppenheim re-photographs the image, returning it to its original medium. (R.B.)
(Translation: Brian O’Connell)
Deutsche Fassung

Marcus Kaiser
Achim Lengerer

Shannon Bool
Hartwig Schwarz

Lisa Oppenheim
Andreas Zybach

Andreas Gehlen
Sascha Pohle