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| Daniel Knorr | |
Rumänska kulturinstitutet 25 okt–9 jan |
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 Daniel Knorr: Arhitecture, Bucuresti, 2005 "The way politics influences art and vice versa" (2007) Wall, DVD, drawings When invited to make an exhibition at Fondazione March in Padua, Daniel Knorr discovered that the wall separating the office area from the exhibition space in the gallery, was going to be lent to the City to delimit the space of the voting booths at the Italian presidential election 2008. The artist decided to make this wall the subject of his project by following the route it took, from it’s being dismantled, following it’s itinerary to the electoral office, and it’s subsequent return to the gallery. In many of his projects, Daniel Knorr filters events and situations through another person’s eyes and practice. In this case he employed Karma Gava, a professional cameraman from one of the local TV stations, to film the entire process. The artist made a storyboard and the cameraman was asked to direct the film according to the drawings. The documentation was also to include the final stage of the process when the wall was assimilated as a work of art at the opening of the exhibition. By then the wall, the cameraman and his film, the gallery staff and the viewing public themselves had become part of the project. For Between the Images Knorr has made an installation consisting of the imagined film (the artist’s drawings), the cameraman’s filmed and edited material and the actual wall from Fondazione March. Materialisation is a concept that permeates Daniel Knorr’s practice. By directing or triggering a certain situation, Knorr’s works come into being in the confrontation of and interplay with their audience. Arhitecture, Bucuresti" (2005) 26 photographs In "Arhitecture, Bucuresti" Daniel Knorr hired Nea Costia, a portrait photographer, to do a photo shoot of the new institutional buildings of the city with his wet-plate camera from the 1920s. The photographer had been taking pictures of tourists and passers-by in one of the Romanian capital’s central public gardens for decades, but was now asked to go for a walk with the artist in the city. The piece shows images of buildings like the Romanian World Trade Center, Marriott Hotel, Chamber of Commerce, etc, and describes a society’s transition from socialism to capitalism. Nea Costia’s aesthetic canon was formed by shooting portraits in the public park Cismigiu through the course of three political eras (from 1939 to the present day). The photographic technique required no film as the negatives are made directly on paper and need to be re-photographed to produce the positives. Therefore the series exists only as originals, and unlike other photography, is not reproducible. This old-fashioned camera technique combined with the photographer’s cautious approach to his motifs (behaving almost like a spy) lend the buildings from the socialist era of the late ‘80s and the capitalist era of the early ‘90s a historical and almost fictional character. |
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