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=== Fotoaufnahmen - [[Georgios Koumanidis]]=== | === Fotoaufnahmen - [[Georgios Koumanidis]]=== | ||
The following photographs, resulted after a systematic documentation of the Fachmodul meetings ''(Inventory & Display: Mnemosyne)'' | The following photographs, resulted after a systematic documentation of the Fachmodul meetings ''(Inventory & Display: Mnemosyne)'' | ||
<br>during the semester | <br>during the semester | ||
[[File:kamera.jpg| | [[File:kamera.jpg|270px|right]] | ||
Using two cameras, I have documentated every meeting, the camera a´ was attached to a tripod, in this case using normal lens and always from the same position, i have tooked wide shots, pictures of the general area. With the camera b´, which I held in hand, I wandered and photographed from different angles, having the opportunity for close-ups. After each meeting I archived the photo material in the computer by date and in relation to each camera. By the end of the documentation process, I chose some pictures, which I printed and rephotographed , focusing on points of interest, such as colour, or even light and shadow, contrasts. | |||
The following photos, which I present here, are a selection of these. | |||
<gallery widths=280px heights=280px perrow=3 caption=> | |||
File:Mnemosyne_foto_01.jpg | |||
File:Mnemosyne_foto_02.jpg | |||
File:Mnemosyne_foto_03.jpg | |||
File:Mnemosyne_foto_04.jpg | |||
File:Mnemosyne_foto_05.jpg | |||
File:Mnemosyne_foto_06.jpg | |||
</gallery> | |||
For a further approach to the nature of this work I refer to Alleida Assman who writes: <blockquote>"In particular, the individual, but generalizable artistic creation has an important part in the renewal of memory, by questioning the tightly drawn boundary between the Reminded and the Forgotten, which through surprising configurations repeatedly shifts."</blockquote> | For a further approach to the nature of this work I refer to Alleida Assman who writes: <blockquote>"In particular, the individual, but generalizable artistic creation has an important part in the renewal of memory, by questioning the tightly drawn boundary between the Reminded and the Forgotten, which through surprising configurations repeatedly shifts."</blockquote> | ||
''Assman Alleida, Individuelles und kollektives Gedächtnis-Formen, Funktionen und Medien, in: "Das Gedächtnis der Kunst, Geschichte und Erinnerung in der Kunst der Gegenwart", Hatje Cantz, Ostfildern-Ruit, 2000, p. 27.'' | ''Assman Alleida, Individuelles und kollektives Gedächtnis-Formen, Funktionen und Medien, in: "Das Gedächtnis der Kunst, Geschichte und Erinnerung in der Kunst der Gegenwart", Hatje Cantz, Ostfildern-Ruit, 2000, p. 27.'' | ||
Revision as of 18:33, 29 July 2010
Dear visitor,
you'll find the works here soon.
Mnemosyne class
Fotoaufnahmen - Georgios Koumanidis
The following photographs, resulted after a systematic documentation of the Fachmodul meetings (Inventory & Display: Mnemosyne)
during the semester
Using two cameras, I have documentated every meeting, the camera a´ was attached to a tripod, in this case using normal lens and always from the same position, i have tooked wide shots, pictures of the general area. With the camera b´, which I held in hand, I wandered and photographed from different angles, having the opportunity for close-ups. After each meeting I archived the photo material in the computer by date and in relation to each camera. By the end of the documentation process, I chose some pictures, which I printed and rephotographed , focusing on points of interest, such as colour, or even light and shadow, contrasts.
The following photos, which I present here, are a selection of these.
For a further approach to the nature of this work I refer to Alleida Assman who writes:
"In particular, the individual, but generalizable artistic creation has an important part in the renewal of memory, by questioning the tightly drawn boundary between the Reminded and the Forgotten, which through surprising configurations repeatedly shifts."
Assman Alleida, Individuelles und kollektives Gedächtnis-Formen, Funktionen und Medien, in: "Das Gedächtnis der Kunst, Geschichte und Erinnerung in der Kunst der Gegenwart", Hatje Cantz, Ostfildern-Ruit, 2000, p. 27.