STUDIO | SELF | REFLECTION

The presentation explores the artist's studio and archive as interwoven spaces of production, reflection, and self-construc-tion. The studio is a site of making, but also of thinking - a spatial and mental framework where intuition, experiment, experience and doubt coexist. The archive, as the studio's echo, holds traces, notes, images, and fragments that shape artistic identity over time.

Spanning a 30-year career, Clare Strand has explored the photographic medium in its many capacities and forms. Since 2012 she has largely set aside the camera. Yet she has never abandoned her central questions: what is photography? At the center of the exhibition is the Entropy Pendulum (2015), a specially constructed apparatus that continuously sets a pendulum in motion. As it swings, the pendulum's abrasive weight scrapes across 36 individual photographs from the artist’s archive, gradually wearing them down. This slow erosion inscribes itself into the image surface as both presence and loss. On each day of the exhibition, one photo from the set is placed beneath the pendulum. At a time determined by the gallerist, the image is removed and placed into one of 36 empty frames on the gallery wall. Once all 36 images are framed, the process is complete. Clare Strand succeeds in capturing the immaterial logic of the digital through tactile, analog means.

Susanne M. Winterling is an internationally active artist whose practice moves fluidly between art, science, and ecology. Through photography, film, installation and sculpture, she explores the entanglements of humans, animals, and environments, creating poetic and political spaces where sensory perception and critical thought intertwine. Her works render the invisible tangible – microorganisms, digital processes, and atmospheric resonances become actors in a polyphonic network of life, technology, and emotion. In her photo collage Piles of Shade, portraits of actress Tilda Swinton, singer Brigitte Fontaine, and Winterling herself merge into a translucent, shimmering composite figure. Layer upon layer overlaps in a "crossfading of identity" (Josef Strau), where gender and selfhood appear as fluid, processual, and multiple. Susa Templin uses analogue means to explore how photography can not only document but also create spaces. She focuses on architectural elements, often inhabited yet deserted spaces, and uses overlays and cuts in the photograph to create a new reality permeated by memory and the very present. The expansion of her multi-layered photography into three-dimensional space is a logical and consistent development, opening up a new and exciting field for photography — one that builds upon the singular skills of one of the last masters of analogue color photography.