Exhibition: Yet incomputable. Indetermination Principles in the Age
of Hypervisibility and Algorithmic Control.
Sammlung Falckenberg Deichtorhallen Hamburg
In her work, Eva Castringius deals with the reproducibility of radioactivity, its spatial organization and cultural construction in relation to the former nuclear weapons test site Trinity in the US state of New Mexico. The starting point is the photographic documentation of the world's first atomic bomb test Trinity in 1945. This material allows her to investigate the indexical inscriptions caused by atomic destruction. (...)
Eva Castringius, Joke Janssen, ANna Tautfest
October 21 - November 12, 2017
Kunstverein Harburger Bahnhof, Hamburg
The exhibition by Eva Castringius, Joke Janssen and ANna Tautfest investigates ways of capturing bodies, landscapes and knowledge formations as unstable. In their artistic research, the three artists deal with traces and materialities, their discursive norms and mappings. They encounter these with shifts, distortions and a strategic change between solidification and becoming fluid.
restricted area (2015)
In her artistic work Eva Castringius deals with the industrial use of landscapes. While doing so she focuses on extraction of resources across countries. One fundamental part of her approach of this topic is travelling and the reflection on the different indigenous cultures she is in contact with during her travels. In her photo books she collects her insights and impressions, which she uses to create social-political travel experiences and sensitively told picture stories that dwell on the history of the countries she has travelled. With the compiled materials she creates room installations using different types of presentation media such as photography, painting and object art. (...)
Lungta (installation, 2014)
"(...) For Rohkunstbau, the artist concentrates on the exhibition space itself, spinning colorful threads across the room, where she assembles photographs of her last visit to Tibet, inspired by the prayer flags and suspended wishes in the temple of the Tibetans. The work presents itself like a labyrinth of clotheslines colorful and playful. Visiters have to find their way through the flood of images and are confronted with the simultaneity of the many impressions. On the second glance, thematic-ambivalent strands become visible to point out the complexity of Tibetan culture and its endangerment. (...)" (Catalog text XX. Rohkunstbau. Revolution)
atomic trip (Nagasaki/Hiroshima versus Nevada Test Site*)
In my two artist books „atomic trip “(2013), I have investigated the radioactive past of the cities Nagasaki and Hiroshima in contrast to the Nevada Test Site*. Radioactive radiation is not visible and has a strong destructiveness. Accordingly I picked out the hiding and/or the invisible as the main theme in these books; the unsaid interests me the most. My goal has been to creating visual thought systems by building sequences of pictures in book form, which provoke new references to other content. Part of my research combined both prints of materials like postcards, flyers and historical photo illustrations with my own photographs of memorials, historical places and museums.
*The Nevada Test Site is a 3,500 km² large restricted area within Nellis-Range north of Las Vegas in the US Federal State Nevada. In this area were carried out 119 aboveground nuclear weapon tests and 1000 underground atomic bomb tests. Until today numerous physical attempts are accomplished there.
GerryCanMoreGerryCanMore is the title of an installation with a chair, a table, a whiteboard and 12 photographs. A voice is heard reading an article from the local newspaper Rocky Mountain Outlook: it tells the story of mining engineer Gerry Stephenson who gives guided tours in the former coal mining area in the vicinity of the small town of Canmore (Southern Alberta/Canada). With his own photographs and drawings, Stephenson illustrates the history of former local coal mining operations. Some of them were under his direction for almost a decade. A highlight of his tour is a reclaimed coal strip mining landscape, Quarry Lake Park, which he helped to re-cultivate.
User note: Please click the image to see additional images. You can read the article visible in the photograph (with the newspaper on the table) or use the audio controls to listen to the voice reading the article.
soft water - hard water
"The windscreen separates interior and exterior space. When we sit in a car it is directly in our gaze and we watch whatever is going on behind it. A picture hence takes shape and the windscreen serves quasi as a blank screen on which an absurd reality is ‘projected’: a trip through an automatic car wash."(EC)
The Golden Thread
(space installation), 2012
(space installation), 2012
(photo projections on a cube), 2010/2012
NIGHT FOR DAY
Night photographs, titled NIGHT FOR DAY, are featured in this exhibition. The subject is the Los Angeles River, a river nearly fifty-one miles long that runs through Los Angeles and flows into the Pacific Ocean. Its usually empty, concrete-lined riverbed is part of L.A.’s industrial infrastructure, along with highways, railroads, and electrical substations. The title is a reference to a film by the director François Truffaut, LA NUIT AMÉRCAINE, known in English as DAY FOR NIGHT.
Liquid Sky. Super Imposed.
In her new photographs Eva Castringius has redefined the relationship of painting to photography on the basis of her painting, which is characterized by the interaction of different spaces. "Landscapes emerge as a projection screen for my visual concepts”, says Castringius. "I’m interested in the combination of architecture and landscape, in the sense of a fusion of interior and exterior space. I create depth in the visual field, interweave various pictorial elements and counter solidity with fluidity."
The photo series, ‘alpine glow’ was completed in winter, 2005. It was produced in Cottbus Nord and Welzow Sued, in the eastern German state of Niederlausitz, an area still dominated by strip mining. The photographer saw similarities between this region and the Californian landscapes that have preoccupied her since she first spent time in Los Angeles in 2001. The natural resources of Owens Valley, which lies north of LA, have been similarly ravaged, with equally disastrous effects on the environment. (...)
At the heart of this work is a small gondola, built by Eva Castringius, who steers it through the canals of Berlin's ‘Little Venice,’ a neighborhood in the Spandau district. This is a place where well-heeled West Berliners relax from the hectic pace of city life, in ‘their own waterside home.’ Desire for ‘gracious living’ is manifest in the heavy scent of geraniums that fills the air, in traditional half-timbered houses complete with garden gnomes. The result is an artificial idyll that is lovingly celebrated, down to the smallest detail. (...)
The Great Thirst (Der Große Durst)
In ‘The Great Thirst,’ a series comprising ten photographs, Eva Castringius addresses the issue of water supply to the desert city of Los Angeles specifically the Los Angeles Aqueduct. She depicts the aqueduct, which stretches almost 240 miles along the eastern Sierra Nevada north of LA and transports water from the Owens River to the city. “Carrying a handful of plastic pine trees and my camera equipment, I head out into Owens Valley in order to add a new touch of greenery to this desert area,“ explains the artist. Draping the aqueduct with pines is her reference to the area’s former lush vegetation.
The series, ‘Harry-Go-Round!,’ produced by Eva Castringius in 2002, consists of a letter and seven staged photographs. The latter depict a small flock of artificial sheep being herded through public parks and squares in Berlin by their shepherd, Harry. The figures appear convincingly real and, set amidst high-rise prefab housing projects they present a baffling idyllic motif. The projects Gropiusstadt, Maerkisches Viertel and Marzahn that once epitomized Utopian vision of new housing here present a bizarre gray concrete backdrop. It is here that the Bavarian sheep, Dagmar, writing to her Californian friend, Betty Lou, makes the following observations: (...)
The Big Sky. Los Angeles - Berlin
The sky over Berlin and the Los Angeles horizon both have become famous in art, literature and film. They are motifs of longing, a contrast to the pedestrian urban trot. In her photo series, ‘The Big Sky,’ Eva Castringius has extended the horizon line from Europe to America, bringing the airy spheres of both cities together. The result is neither a romantic ballad, nor a weighty discourse, nor mere prosaic urban photography, but a very personal trip through two cities in a vehicle that is as unusual as it is obvious: the artist’s car. In these two photo stories, which were begun in LA and unfold on both sides of the Atlantic, an automobile is a protagonist and not merely a prop. Los Angeles is where the artist spent the summer of 2001, on a grant awarded her by the Villa Aurora. It was here that she photographed the first series, now complemented by photographs of Berlin, where she lives. (...)
The twenty-part photo series ‘Chernobyl’ owes its title to the city, where on the night of April 26th, 1986 the nuclear power station of the series RBMK-1000 exploded. After thoroughly researching the topic and taking numerous documentary reference material into consideration, Eva Castringius designed a model of the plant and restaged the MCA (maximum credible accident). (...)
„In meiner neuen Malerei arbeite ich mit reduzierten Bildelementen und setze architektonische Formen auf leuchtende Untergründe. Im Wechselspiel von Farbtransparenz und Farbdichte wird das Bild zur Projektionsfläche eines unendlichen Raumes.“ (Eva Castringius, 2009)
Roller coaster rides through complex visual spaces
(...) THORSTEN PLATZ Your paintings create the impression that giant florescent tubes are breaking through the visual space. Powerful perspectival elements produce an extreme sense of depth that is reinforced by the motif of landscape. Viewers find themselves at enormous heights or in great expanses, looking down into the depths from a bird’seye view with a kind of high-altitude euphoria. (...)
In her series of large format paintings, ‘Point Break’ Eva Castringius takes issue with the so-called Flood Control Channels near Los Angeles. These concrete channels, designed to protect the city from flooding, were the brainchild of ambitious engineers and pragmatists, who didn’t give a thought to the project’s environmental repercussions. Inspired by this dense network of concrete ‘water freeways,’ the artist combines architectonic elements with cursive backgrounds of color. (...)
In her series of drawings, ‘Suckers!,’ Eva Castringius addresses the blind faith in progress displayed by America in the 1950s. Inspired by graphics created for the era’s advertising, she projects its economic optimism onto the present day. (...)
In the ‘super galactica’ series by Eva Castringius huge areas of color vault through the imagery, creating a stark contrast to the silhouettes of the protagonists in their narratives. These figures’ visions summon paradisiacal idylls and cosmic actors. A diversity of pictorial elements interweaves various levels of meaning and temporal dimensions, whose ultimate composition is reminiscent of a dream sequence.