For many years the photographer and filmmaker Armin Linke has been analyzing and documenting spaces that surround people, spaces they have created or adapted themselves to—his archive meanwhile contains over 100,000 photographs.
In most cases, architecture plays the main role in his images, not in the sense of classic architectural photography, but rather as a medium for depicting the change of ideologies, cultural conditions and political tensions.
raumbilderfolgen. Armin Linke
A photographic and cinematic cartography
of various spaces people move within and between
March 4 – June 18 2016
aut. architektur und tirol
lois welzenbacher platz 1
6020 innsbruck. austria
Farocki’s documentary short film Schnittstelle (Interface) serves as the starting point of the exhibition raumbilderfolgen (sequences of spatial images)—originally conceived as a personal interaction with the filmmaker Harun Farocki, who died in 2014.
Standing in the film’s focus is the question of which statements and ideas sequences of pictures can solidify into—an aspect that is also essential for Armin Linke’s cinematic and pho- tographic work. For him it is not solely a matter of creating individual images that stand for themselves, but particularly of developing a space of meaning between the single images, of settling this new whole into the interstice of the images.
ABOUT THE EXHIBITION
CURATORS TEXT. raumbilderfolgen (sequences of spatial images) was originally conceived as an interaction, as an inter-reaction of the artists Harun Farocki and Armin Linke. However, the possibility of a direct, personal exchange was lost when Farocki died in July 2014.
Farocki’s 1995 documentary short film Schnittstelle (Interface) now serves as the starting point of Armin Linke’s exhibition. The installation is a reflection of an individual artistic way of working in which Farocki drew upon already existing images.
Standing in the film’s focus is the question of which contexts of meaning result from the combination of different film recordings, of which statements and ideas sequences of images can solidify into. The title Schnittstelle (Interface) not only alludes to the artist’s workspace, but also to the connection between man and machine; a critical reflection upon this is a constant component of Harun Farocki’s films.
This aspect also has a crucial meaning for Armin Linke’s cinematic and photographic work: on the basis of the interface between the physical and digital world he pursues the economic, ecological and anthropological transformations of our time. Linke analyzes and documents spaces that surround people, spaces they have created or adapted themselves to, and searches for the connection of these various areas.
What emerges is a cartography of different spaces that people move within and between. In most cases, architecture plays the main role in his photographs, not in the sense of classic architectural photography, but rather as a medium for depicting the change of ideologies, cultural conditions and political tensions.
Armin Linke’s archive, which meanwhile includes more than 100,000 photographs, acts as a departure point for seeking out new ways of dealing with his images. By means of contrasting and categorizing the photos, for instance, according to typological or anthropological criteria, the ostensibly documentary material solidifies into a scenography of spaces that functions at different discursive levels.
The film Alpi is the result of an exploration of an Alpine area spanning several countries and language regions. By observing this specific Alpine space, he illustrates the global transformations that are currently taking place or have already been carried out and the complexity of social, economic and political contexts. After having been screened at numerous festivals, Alpi, which was also shot in Innsbruck, is being shown for the first time in its final form at the raumbilderfolgen (sequences of spatial images) exhibition.
Likewise to be seen at the exhibition is a cinematic sketch by Armin Linke, which is the result of initial research carried out at the Institute for Quantum Optics and Quantum Information of the Austrian Academy of Sciences in Innsbruck. At the focus of this spatial exploration is the tension between the laboratory rooms, the infrastructure, the practice of research, as well as the object of research, which is invisible to the naked eye.
In Armin Linke’s work, which often has an essayistic character, the creation of individual images that stand alone is not of sole importance, but above all the creation of a space of meaning between the single images. Like Farocki’s Schnittstelle (Interface), it is about the question of the new whole that settles into the interstice of the images. An excerpt from the film Schnittstelle (Interface) can thus be understood as an overall principle of the way both artists work, as well as of the exhibition.
Explaining the method of mounting and combining various shots, Harun Farocki says: “What is special, however, is that two images can be seen at the same time. One image in relation to the other.”