{"id":4364,"date":"2016-11-02T14:04:15","date_gmt":"2016-11-02T14:04:15","guid":{"rendered":"https:\/\/anjaschlamann.com\/?p=4364"},"modified":"2021-09-23T19:15:17","modified_gmt":"2021-09-23T19:15:17","slug":"venedig","status":"publish","type":"post","link":"https:\/\/anjaschlamann.com\/en\/art-work\/venedig","title":{"rendered":"venedig"},"content":{"rendered":"

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venedig<\/h1>\n

Schichtung – Tectonica<\/p>\n

Die Transformation von dreidimensionaler Architektur zu zweidimensionaler Fotografie folgt seinen eigenen Gesetzen. Sobald Gebautes fotografiert wird, stellt sich aufgrund immanenter Raumtiefe auch in der zweidimensionalen Abbildung eine bildliche Tiefenwirkung ein.<\/p>\n

In der Malerei wurde der untiefe, abstrakte Raum, der die Tiefenwirkung aufhebt, im Kubismus der 1920er Jahre entdeckt. Aus einem Ganzen wurden Elemente separiert, gedreht und geschichtet. Diese neue Art der F\u00fcgung erzeugte dabei eine Zusammenstellung, die die r\u00e4umliche Wirkung negierte.<\/p>\n

\u00dcbertragen auf gebaute Architektur ist dieses Prinzip in der Arbeit “Schichtung – Tectonica” von Anja Schlamann zu sehen: venezianische Fassaden sind in engen Ausschnitten fotografiert. Erhabene und r\u00fcckspringende Wandfragmente f\u00fcgen sich collageartig zueinander, ohne eine Tiefenwirkung erkennen zu lassen.\n<\/p><\/div>\n

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Jede Fassadenschicht bildet dabei ein einzelne Ebene. Aufgrund des gew\u00e4hlten Ausschnitts ist die Reihenfolge der Schichtung nicht mehr erkennbar. R\u00e4umlich kann so von einer Transparenz im \u00fcbertragenen Sinn ( in “Transparenz” von Colin Rowe und Robert Slutzky ) gesprochen werden.<\/p>\n

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entstanden w\u00e4hrend des Stipendiums am
\nCentro Tedesco di Studi Veneziani<\/strong><\/p>\n

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Fotografisches Essay<\/strong>
\n in dem Buch “Wie sonst nirgendwo …”<\/span><\/strong>
\n Hrsg. Barbara Kuhn
\n<\/strong>weitere Informationen<\/a><\/p>\n

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