EINSTELLUNGSRAUM e. V. Adriane Steckhan: Ereignishorizont

It is an economy with which hunters have to protect themselves from exhaustion even before the actual catch and risk to become incapable to slay an animal. This connection also throws light on the etymological meaning of the word 'Bremsen' (breaking, stopping) which has been derived from the nose peg of the animals for riding and farming. It has been attached to them to subordinate them to the human will. This happened last but not least because the animals could be appointed as helpers in hunting. In order for the hunts to be successful they had to be included in the concept of ambushing. Therefor the potential acceleration of the producers of the speed had to be metered. Speaking for itself for the connection of hunting and photography is the camera that Etienne-Jules Marey used in 1882; because the photographic gun he used to photograph the flight of birds joins aspects of preying animals and making pictures.

The horizon of event in transfer photography
In this exhibition with the title Ereignishorizont we meet "transferierte Fotografie" (transfer photography), presented as print that is covered with a level of synthetic material. The brush traces that stayed visible on it connect the technical medium photography to a traditional art genre. The liquid plastic bonds the printer inc. Because of this all paper can be peeled off with the exception of the surface that sticks to the polymerized layer of plastic.The photograph that is transfered in this way is put on a layer of acrylic glas onto which it sticks along by adhesion. Those levels of different elastic imaterial leaves the impression of skin onto which the image has been inscribed. It gets the character of a trophy, thus a relict, that like the skin of a slain animal reminds of a kill. This aspect is emphazised by the bracing of the individual image parts and subliminally suggests to the viewers that this object has been hunted from reality. The braking action, the time robbing shifting, has changed the photograph to an art work that can be presented as trophy eventually.

The challenge of photography is its presentation, because the images of this technical or documentary medium have to be dealt with so that they become effective through contents, material or

It is an economy with which hunters have to protect themselves from exhaustion even before the actual catch and risk to become incapable to slay an animal. This connection also throws light on the etymological meaning of the word 'Bremsen' (breaking, stopping) which has been derived from the nose peg of the animals for riding and farming. It has been attached to them to subordinate them to the human will. This happened last but not least because the animals could be appointed as helpers in hunting. In order for the hunts to be successful they had to be included in the concept of ambushing. Therefor the potential acceleration of the producers of the speed had to be metered. Speaking for itself for the connection of hunting and photography is the camera that Etienne-Jules Marey used in 1882; because the photographic gun he used to photograph the flight of birds joins aspects of preying animals and making pictures. The horizon of event in transfer photography In this exhibition with the title Ereignishorizont we meet "transferierte Fotografie" (transfer photography), presented as print that is covered with a level of synthetic material. The brush traces that stayed visible on it connect the technical medium photography to a traditional art genre. The liquid plastic bonds the printer inc. Because of this all paper can be peeled off with the exception of the surface that sticks to the polymerized layer of plastic.The photograph that is transfered in this way is put on a layer of acrylic glas onto which it sticks along by adhesion. Those levels of different elastic imaterial leaves the impression of skin onto which the image has been inscribed. It gets the character of a trophy, thus a relict, that like the skin of a slain animal reminds of a kill. This aspect is emphazised by the bracing of the individual image parts and subliminally suggests to the viewers that this object has been hunted from reality. The braking action, the time robbing shifting, has changed the photograph to an art work that can be presented as trophy eventually. The challenge of photography is its presentation, because the images of this technical or documentary medium have to be dealt with so that they become effective through contents, material or	installation in an art context. What conventionally is achieved mostly simply by framing does here the image surface that was developed in a technical process and has connected the image - that was available rather quickly - with the material to make an object. By this, object and content merge in a manner that lets appear something archaic because of the image melding several levels of time: - prehistoric time (hunting) - era of trade - Middle Ages - (technic of transfer) - history or painting (brush traces) - contemporary life (lights of a city) - era of media (photography) The reference to something archaic is a procedure of braking, yes in relation to the actuality of a photograph it is a procedure of reversal. I'd like to recall 'Schubumkehr' (Thrust Reversal) the performance festival of the EINSTELLUNGSRAUM in summer, the titel of which reminded of stopping by changing the propulsion. Here this procedure relates to the case history which has been forwarded into the present by a direction change of the time vector. When I look back from today's viewpoint it seems like an acceleration at first because in the course of time more and more events and material has been left behind. They are forgotten and they pass so that one can skim through the times faster and faster the longer they are gone ("Engel der Geschichte" - angels of history, W.Benjamin)*. Here also braking and accelerating are in a dialectic relation to time and space. One is not thinkable without the other. That is why in physics one speaks of negative acceleration when braking is referred to. This dynamic gains an additional twist with the relativity theory from natural science point of view. Steckhan refers to it in her statement for the exhibition when she writes: ãJe mehr die subjektive Beschleunigung steigt, desto langsamer flie§t von au§en betrachtet die Zeit, bis sie schlie§lich stillsteht.Ò (The more the subjective acceleration gains the slower time flows seen from outside, until it stands still eventually.) This sounds paradoxically at first compared with what was said because mentioned are these phenomena up to the reach of speed of light which lets time come to cessation.
* Walter Benjamin: Gesammelte Schriften I, 691-704. SuhrkampVerlag. Frankfurt am Main, 1974. Translation: Harry Zohn, from Walter Benjamin, Selected Writings, Vol. 4: 1938-1940 (Cambridge: Harvard University Pres, 2003), pg. 392-93	Vernissage
Supported by the cultural department of Freie und Hansestadt Hamburg and district office Wandsbek
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