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Review
Pl roror 3mm W thp vror o GROUP SHOW - THE LEIPZIG LENS 2005
Glasgow School of Art, Podium Gallery, until Sat 17 Dec 0..
The Leipzig Lens 2005 gathers together work by ten photographers and artists working with video and studying at the Academy Of Visual Art, Leipzig. It is not, however, a simple snapshot of activity at the academy, but a careful examination of two thematic preoccupations, sometimes intertwined.
First, space, time and, inevitably, memory: there is much here that examines German reconstruction and the changing urban landscape. Clemens von Wedemeyer‘s video piece, ‘Die Siedlung (New Estate)‘, shows a pair Of men by a riverside. The Older Of the two muses on the nature Of private property, ruefully sipping a beer, while the younger mumbles into his mobile phone. Ulrich Gebert presents five photographs titled ‘Freischneider (Cutting Free)’, two portraits Of groundsmen in hard hats and visors and three views of their handiwork - trimmed hedges, pruned trees and mown lawns. Next to them, high on the wall, are Jiirgen Bergbauer’s digitally manipulated cut-out images Of low mazes.
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CATHY WILKES, JOANNE TATHAM AND TOM O’SULLIVAN - ECHO ECHO
Collective Gallery, Edinburgh, until Sat 21 Jan
Beast by Alex Pollard
Visual Art
Odessa by Johanna Deihl
Wiebe Loeper is more direct, evocatively documenting the architecture, interiors and residents of Mitte, Berlin. Meanwhile, Rebecca Wilton makes cool studies Of abandoned spaces, but attempts tO rescue them, or to remind us of a former function, by placing herself in the frame. She appears, knackered in gym shorts beneath a basketball hoop, or dolled up like a spy at the end Of a corridor, denying the apparently documentary nature of her large format images.
And so to the second thread — a sort Of anti- documentary narrative flair, sometimes bordering on mannered theatricality. Stephanie Kiwitt brings high drama to a dull scene, tracking a couple walking from above, like a private detective. Peter Frey’s ‘Grijnau’ sees a young man perform country ballads in front of chilly tower blocks, singing to himself of a better place. Sven Johne traces the unlikely history of an island, Vinta, drawing together Fritz Land, migratory birds and escapees from the GDP and a failed attempt to build new structures on the site. Frey’s work brings us full circle, tying together the apparent need among these photographers to examine their changing surroundings, and their unwillingness tO do so without investigating new modes of photographic practice. (Jack Mottram)
l l‘o .‘ THE LIST 99