{"id":40356,"date":"2017-10-26T13:11:10","date_gmt":"2017-10-26T11:11:10","guid":{"rendered":"http:\/\/camera-austria.at\/?p=40356"},"modified":"2017-10-26T13:11:10","modified_gmt":"2017-10-26T11:11:10","slug":"reopening-photography-and-new-media-department-at-the-museum-fur-kunst-und-gewerbe-hamburg","status":"publish","type":"post","link":"https:\/\/camera-austria.at\/en\/2017\/10\/reopening-photography-and-new-media-department-at-the-museum-fur-kunst-und-gewerbe-hamburg\/","title":{"rendered":"Reopening: Photography and New Media Department at the Museum f\u00fcr Kunst und Gewerbe Hamburg"},"content":{"rendered":"<p><strong>Department Storage\/Study Room\/Exhibition Gallery<\/strong> and <strong>exhibition &#8220;Jochen Lempert \/ Peter Piller Reconsidering Photography: Birds&#8221;<\/strong><\/p>\n<p>26 October 2017<\/p>\n<p>exhibition runtime: 27 October 2017 to 4 February 2018<\/p>\n<p>On 26 October 2017, the Museum fu\u0308r <a href=\"http:\/\/www.mkg-hamburg.de\/en\/home.html\">Kunst und Gewerbe Hamburg (MKG) <\/a>will reopen its Photography and New Media<br \/>\nDepartment. This marks the conclusion of the first phase of the extensive renovations made possible by a grant of<br \/>\n600,000 euros from the Hermann Reemtsma Foundation within the framework of the initiative Kunst auf Lager. MKG<br \/>\nowns one of Germany\u2019s foremost collections of photography, comprising some 75,000 works spanning the entire history<br \/>\nof photography from its invention to the present day. At around 120 square meters, the storage area has been expanded<br \/>\nsubstantially. This means that the museum finally has the necessary space and facilities for proper storage and optimal<br \/>\nclimatic conditions for its precious holdings. In a study room adjoining the storage area, staff and registered guests can<br \/>\nnow examine and work with the original photographs. A new, centrally located 140-square-meter exhibition gallery will<br \/>\nlet MKG present its photographic collection in dialogue with contemporary themes and authors. Kicking off the series are<br \/>\nphotographers Jochen Lempert and Peter Piller with the exhibition Reconsidering Photography: Birds, whose opening<br \/>\nwill coincide with the reopening of the collection on 26 October 2017. Including the grant from the Hermann Reemtsma<br \/>\nFoundation, MKG has been able to raise a total of one million euros to safeguard the future of the Photography and New<br \/>\nMedia Department. The funds were contributed by various sponsors for the restoration and framing of the historical<br \/>\nphotographs, for the scholarly study of the collection, for the survey show ReVision in 2016, for a collection catalogue,<br \/>\nand for work on MKG Sammlung Online, where 9,000 works are already available in digital form.<\/p>\n<p>Prof. Dr. Sabine Schulze, Director of MKG: \u201cThanks to the museum\u2019s progressive collection activities and its great<br \/>\nopenness to contemporary art since its inception, MKG houses today unique testaments to the history of photography. I<br \/>\nam grateful for the generous support of the Hermann Reemtsma Foundation, which helps us to preserve these precious<br \/>\nholdings for subsequent generations. The new study room is a particularly useful addition, substantially improving the<br \/>\naccessibility of the collection and thus the opportunities for scholarly research. And the permanent exhibition gallery we<br \/>\nnow have available to us will give the splendid Photography and New Media Department a stronger presence as visitors<br \/>\nmake their way through MKG.\u201d<\/p>\n<p>Dr. Sebastian Giesen, Managing Director of the Hermann Reemtsma Foundation: \u201cThe two museum fathers<br \/>\nJustus Brinckmann (MKG) and Alfred Lichtwark (Kunsthalle) shared a fondness for photography. MKG reflects the<br \/>\npassion of these two photographic pioneers in its collection. After the foundation was laid circa 1900, the following<br \/>\ndecades saw the growth of one of the leading photography collections in Germany. Thanks to the long-term storage that<br \/>\nhas now been established, the in-depth study of the holdings, their scholarly discussion and especially the improved<br \/>\naccessibility, we are now becoming aware for the first time of the full scope of this unique treasure trove. A wonderful<br \/>\nproject for the Kunst auf Lager alliance. Thank you, MKG, for this marvelous opportunity!\u201d<\/p>\n<p>MKG was the first museum in Germany to begin toward the end of the 19th century to acquire photography as an<br \/>\nindependent medium, presenting it in exhibitions starting in 1911. The museum thus played a pioneering role in this<br \/>\nfield. Since those early years, the holdings have grown in quality and scope to comprise a unique assortment of<br \/>\nphotographs, including an unrivaled collection of daguerreotypes as well as the Juhl Collection of gum bichromate prints<br \/>\nfrom the era of Pictorialism still in their original frames. From the 1950s onward, MKG acquired key examples of classical<br \/>\nmodernism, among them works by Erich Andres, Herbert Bayer, Willi Beutler, Alfred Ehrhardt, Hugo Erfurth, Andreas<br \/>\nFeininger, Heinz Hajek-Halke, Walter Hege, Fritz Henle, Lotte Jacobi, Peter Keetmann, Erna Lenvai-Dircksen, Helmar<br \/>\nLerski, Madame d\u2019Ora, Albert Renger-Patzsch, August Sander, Franz Schensky, Otto Steinert, Alfred Tritschler, Edward<br \/>\nWeston, and Paul Wolff.<\/p>\n<p>In early 2014, fourteen partners (primarily foundations) joined forces to form the nationwide initiative Kunst auf Lager.<br \/>\nBu\u0308ndnis zur Erschlie\u00dfung und Sicherung von Museumsdepots, with the aim of supporting museums in preserving and<br \/>\nresearching their valuable cultural assets. In a unique pilot project initiated by this group, the Hermann Reemtsma<br \/>\nFoundation, the Kulturstiftung der L\u00e4nder, the Wu\u0308stenrot Foundation, and the ZEIT-Stiftung Ebelin und Gerd Bucerius<br \/>\nare working together to ensure the lasting conservation of the endangered photographic collection of MKG. In addition to<br \/>\nsetting up new storage facilities, a study room, and an exhibition gallery, the measures also include restoring selected<br \/>\nhistorical core holdings and the step-by-step scholarly investigation of the extensive collection with the aim of providing<br \/>\nbetter public accessibility. For further information on the alliance, see www.kunst-auf-lager.de.<\/p>\n<p>The Hermann Reemtsma Foundation financed the new storage facilities, study room, and exhibition gallery. The<br \/>\nobjects are still located in different parts of the building, on crowded shelves and in drawers in largely non-climatecontrolled<br \/>\nstorage areas. In order to store the exhibits professionally and under optimal conservation conditions, the new<br \/>\nstorage area was renovated and equipped with the necessary furnishings and climate control systems. Now the objects<br \/>\ncan be moved to their new home. In the future, the photographs will be stored at a constant temperature of 18 degrees<br \/>\nand 40 percent humidity. The study room enables employees of MKG, visitors, and professionals to view the original<br \/>\nobjects for research purposes independent of exhibitions. The provision of a central exhibition gallery on the second floor<br \/>\noffers the opportunity to present the holdings in the Photography and New Media Department in changing shows that<br \/>\naddress current issues.<\/p>\n<p>The construction measures were flanked by two restoration projects. The Kulturstiftung der L\u00e4nder (Cultural<br \/>\nFoundation of the German States) sponsored the restoration of 280 daguerreotypes from the 1840s and 50s in the MKG<br \/>\ncollection. These early photographs were affected by \u201cglass disease,\u201d a process of decay in which copper carbonate leaches<br \/>\nout and clouds the glass plates. Besides detracting from the brilliance of the objects, the disease threatened to spread<br \/>\nfrom the glass to the framed photographs. Now that the plates have been cleaned and the glass replaced, this large group<br \/>\nof objects of exceptional value can be moved to the new storage rooms.<\/p>\n<p>The funds provided by the Wu\u0308stenrot Foundation are being used mainly to restore a premier collection of 35 original<br \/>\nframed gum bichromate art photography prints dating from around 1900 that MKG acquired from the Juhl Collection in<br \/>\n1916\/17. The restoration included the historical frames and in some cases also the conservation of loose layers of paint.<br \/>\nThe wooden rear panels, whose emissions endanger the gum bichromate prints, were replaced as well.<br \/>\nTo enable scholarly research into the collection, the ZEIT-Stiftung Ebelin und Gerd Bucerius is sponsoring a<br \/>\nresearch assistant until 2018. This has made it possible to publish more than 9,000 important works on MKG Sammlung<br \/>\nOnline. MKG is thus the first museum in Germany to make its photographic collection available online. Since lightsensitive<br \/>\nphotographic works must for the most part be stored in the dark, it is all the more important to make the<br \/>\nholdings available for research on the internet.<\/p>\n<p>In the new exhibition series Reconsidering Photography, the Museum fu\u0308r Kunst und Gewerbe Hamburg (MKG) invites<br \/>\ncontemporary photographers to relate their own work to examples from the Photography and New Media Collection.<br \/>\nKicking off the series are Jochen Lempert (b. 1958) and Peter Piller (b. 1968), two photographers whose methods could<br \/>\nhardly be more different. Lempert&#8217;s motifs from everyday nature and culture meet up with images of unintentional origin<br \/>\ncontributed by Piller. In Reconsidering Photography: Birds, Lempert and Piller collaborate as artists and curators.<br \/>\nDrawing on the photographic collection of MKG as a resource, they have compiled from the historical material a selection<br \/>\nof bird pictures that they combine with their own photographs. On view from 27 October 2017, the exhibition features<br \/>\naround 100 exhibits. Birds are a recurring motif in Jochen Lempert&#8217;s work, and for the show at MKG he has arranged his<br \/>\nmotion studies and observations of birds in a new room installation. Peter Piller has worked to date primarily with found<br \/>\nimages, which he subjects to shifts in meaning. In his new series behind time (2017), which debuts at MKG, he himself<br \/>\ntakes camera in hand to deliberately capture moments when a bird cannot be optimally seen and which would be<br \/>\nconsidered a failure in wildlife photography.<\/p>\n<p>Jochen Lempert presents works in which birds are the central theme. Anschu\u0308tz (2005) takes its title from Ottomar<br \/>\nAnschu\u0308tz, who conducted motion studies of storks in flight. For Ptaki-Birds (1997\u20132005), Lempert photographed stuffed<br \/>\nbirds displayed in natural history museums in profile, thus establishing new kinship relationships. Lempert studied biology<br \/>\nand pursues the tensions between culture and nature. Since the early 1990s, he has been investigating the ties between<br \/>\nphotography and biology. He calls into question the objectivity of photography as a documentary medium and at the same<br \/>\ntime underlines the poetry of scientific terminology with his image titles. His photographs appear random and incidental,<br \/>\nfeaturing creatures we often overlook: snails, aphids, fireflies, or the city pigeon Martha (2002). Lempert&#8217;s black-andwhite<br \/>\nphotographs bear the traces of the unintended. He makes the materiality of his works palpable by installing them<br \/>\nunframed on the wall.<\/p>\n<p>Peter Piller&#8217;s high-resolution C-prints by contrast seem like a testament to the technical possibilities of photography. Bird<br \/>\nwatching was already a hobby in his youth, and now he has outfitted himself with high-tech equipment with which he lays<br \/>\nin wait for his feathered subjects. The waiting and boredom are a constitutive part of the artistic process. In behind time<br \/>\n(2017), Piller captures in this way moments that a wildlife photographer would describe as \u2018too late\u2019: the moment when the<br \/>\nbird flies away and all hopes of a sharp, detailed image are dashed. Piller has worked thus far mainly with found images,<br \/>\nwhich he arranges together in new ways to produce shifts in meaning, for example in the series In L\u00f6cher blicken, in which<br \/>\nmen stare into holes in the ground. As a collector of imagery, Piller is intrigued by the myriad possibilities and associations<br \/>\nthat can be evoked by a picture \u2013 whether in constellation with others or as the one crucial photographic moment.<\/p>\n<p>What the two photographers share is their penchant for a new and creative combinationing of images into new<br \/>\ncompositions that convey meanings that are more than the sum of the individual parts. While Lempert associatively groups<br \/>\nhis pictures, combining them in different ways and thus encouraging comparisons, Piller appropriates existing material<br \/>\nand arranges it as a tableau or series.<\/p>\n<p>The selection made by the artists gives only an inkling of the almost infinite possibilities of the archive. In the presentation,<br \/>\na table uses bird pictures to give viewers an idea of the some 75,000 photographs in the MKG collection. The works chosen<br \/>\nby Lempert and Piller range in date from the turn of the last century to the 1960s. Photos of a Manchurian crane, a wattled<br \/>\ncrane, an eagle owl, and a tawny owl originated in the Hamburg studio of J. Hamann. Taken circa 1905, the colorized<br \/>\nphotographs show stuffed birds displayed in dioramas. Walter Hege&#8217;s bird images were featured in 1933 in the Nazi<br \/>\npublication Deutsche Raubv\u00f6gel (German Birds of Prey). Hege also produced a number of bird documentaries, for example<br \/>\nAm Horst der wilden Adler (Aerie of the Wild Eagle, 1932) and Uhu als Jagdhilfe (The Eagle Owl as Hunting Companion,<br \/>\n1934), from which he extracted photographic stills. Karl Stu\u0308lcken in turn published his photos in scientific photo series for<br \/>\nscholarly publications, and his photos became known to the general public through his book Der kleine Vogel Greif (The<br \/>\nLittle Raptor,1958).<\/p>\n<p>Photographs: The exhibition shows recent works by Jochen Lempert and Peter Piller as well as historical photographs by<br \/>\nHarold Egerton, Johann H. W. Hamann, Walter Hege, Karl Stu\u0308lcken, Hedda Walther, and others.<br \/>\nThe exhibition accompanies the inauguration of new facilities for the Photography and New Media Department, made<br \/>\npossible by the Hermann Reemtsma Foundation within the framework of the Kunst auf Lager alliance. In addition to new<br \/>\nclimate-controlled storage and a study room, an exhibition area has now been created for the regular presentation of the<br \/>\nphotographic department. The exhibition on the subject of Birds curated by Jochen Lempert and Peter Piller is the first in<br \/>\nthe new series Reconsidering Photography.<\/p>\n<p><strong>Artist talk<\/strong><br \/>\n10 December 2017, 3 pm, with Jochen Lempert and Peter Piller<\/p>\n<p><strong>Curator-guided tours<\/strong><br \/>\n7 December 2017, 7 pm, Dr. Esther Ruelfs, Head of the Photography and New Media Department<br \/>\n21 January 2018, 3 pm, Dr. Cathrin Hauswald, Photography and New Media Department<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Department Storage\/Study Room\/Exhibition Gallery and exhibition &#8220;Jochen Lempert \/ Peter Piller Reconsidering Photography: Birds&#8221; 26 October 2017 exhibition runtime: 27 October 2017 to 4 February 2018 On 26 October 2017, the Museum fu\u0308r Kunst und Gewerbe Hamburg (MKG) will reopen its Photography and New Media Department. This marks the conclusion of the first phase of [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[32],"tags":[],"class_list":["post-40356","post","type-post","status-publish","format-standard","hentry","category-redaktion-en"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Reopening: Photography and New Media Department at the Museum f\u00fcr Kunst und Gewerbe Hamburg - Camera Austria<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/camera-austria.at\/en\/2017\/10\/reopening-photography-and-new-media-department-at-the-museum-fur-kunst-und-gewerbe-hamburg\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Reopening: Photography and New Media Department at the Museum f\u00fcr Kunst und Gewerbe Hamburg - Camera Austria\" \/>\n<meta property=\"og:description\" content=\"Department Storage\/Study Room\/Exhibition Gallery and exhibition &#8220;Jochen Lempert \/ Peter Piller Reconsidering Photography: Birds&#8221; 26 October 2017 exhibition runtime: 27 October 2017 to 4 February 2018 On 26 October 2017, the Museum fu\u0308r Kunst und Gewerbe Hamburg (MKG) will reopen its Photography and New Media Department. This marks the conclusion of the first phase of [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/camera-austria.at\/en\/2017\/10\/reopening-photography-and-new-media-department-at-the-museum-fur-kunst-und-gewerbe-hamburg\/\" \/>\n<meta property=\"og:site_name\" content=\"Camera Austria\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/Camera.Austria\" \/>\n<meta property=\"article:published_time\" content=\"2017-10-26T11:11:10+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/camera-austria.at\/wp-content\/uploads\/2012\/11\/ca_ueber-uns_aussenansicht_spiluttini.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"629\" \/>\n\t<meta property=\"og:image:height\" content=\"491\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"CameraAustria\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"CameraAustria\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"10 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/camera-austria.at\\\/en\\\/2017\\\/10\\\/reopening-photography-and-new-media-department-at-the-museum-fur-kunst-und-gewerbe-hamburg\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/camera-austria.at\\\/en\\\/2017\\\/10\\\/reopening-photography-and-new-media-department-at-the-museum-fur-kunst-und-gewerbe-hamburg\\\/\"},\"author\":{\"name\":\"CameraAustria\",\"@id\":\"https:\\\/\\\/camera-austria.at\\\/en\\\/#\\\/schema\\\/person\\\/79fbd5c5423c329fd8aa6512a8f8cf7c\"},\"headline\":\"Reopening: Photography and New Media Department at the Museum f\u00fcr Kunst und Gewerbe Hamburg\",\"datePublished\":\"2017-10-26T11:11:10+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/camera-austria.at\\\/en\\\/2017\\\/10\\\/reopening-photography-and-new-media-department-at-the-museum-fur-kunst-und-gewerbe-hamburg\\\/\"},\"wordCount\":2100,\"publisher\":{\"@id\":\"https:\\\/\\\/camera-austria.at\\\/en\\\/#organization\"},\"articleSection\":[\"Redaktion\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/camera-austria.at\\\/en\\\/2017\\\/10\\\/reopening-photography-and-new-media-department-at-the-museum-fur-kunst-und-gewerbe-hamburg\\\/\",\"url\":\"https:\\\/\\\/camera-austria.at\\\/en\\\/2017\\\/10\\\/reopening-photography-and-new-media-department-at-the-museum-fur-kunst-und-gewerbe-hamburg\\\/\",\"name\":\"Reopening: Photography and New Media Department at the Museum f\u00fcr Kunst und Gewerbe Hamburg - 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