Already, the still young photographer Julian Röder has created a considerable overall work in which he is able to get to the bottom of soci...
Already, the still young photographer Julian Röder has created a considerable overall work in which he is able to get to the bottom of societal-relevant phenomena. He uses the photograph to reveal it and strikes it to deal with glow and truth. To be seen until 12 February in the Berlin Haus am Waldsee.
For fifteen years the photo artist Julian Roder (born in 1981), who grew up in East Berlin, is building an impressive work on the subject of power and economy, which has already received international attention and has now been shown for the first time in a larger overview exhibition curated by Dr. Katja Blomberg WALDSEE until February 12th in Berlin.
After studying photography at Timmraut at the Hochschule für Grafik und Buchkunst in Leipzig, Röder, who had previously been trained as a photographer at Ostkreuz in Berlin, developed the artistic attitude of the distant observer in the early 2000s. From the outset, his serial work focuses on the subtle social changes of the globalized present.
At the G8 Summit 2001 in Genoa, Röder was still part of the demonstration scene. More and more, however, he became aware of the fact that he could only find relevant pictures with a view from the outside. He tried to cram it, which was actually in the criticism. Over the course of the years, however, the protest campaigns with every other G8 summit have become increasingly void. The organizers had moved the meeting places to rural areas, where the actions eventually became stupid. Beyond the media, the actions have hardly developed any political effect. Röder watched this process between 2001 and 2008 and recorded it in "The Summits".
In "Human Resources", Röder then went on a consummate diet between 2007 and 2009. He has photographed his customers and sellers unintentionally, and his attention in the artificial situation of a trade fair was directed to the body language of the participants. Röder extinguished all the logos and names that appeared in the background of the paintings, thus releasing the poses of those involved who were talking about artificiality and media conformity. The observers become the staff of an interchangeable merchandise and marketing world.
In 2011, Röder photographed the series "World of Warefare" at the International Defense Exhibition and Conference, IDEX, the world's largest arms fair in Abu Dhabi. In his paintings, he consciously tries to exaggerate the situation to the point of absurdity. Just in a desert, power and economy come closest to this publicly shielded event. In another series, "Mission and Task", Röder works in the open air in outdoor photography, using artificial light. In this way, he introduces the secret infrastructure to secure European external borders, which acts as a barrier to our Western prosperity. Beneath harmless surfaces are hidden in zeppelins or saint chapels, behind fences or on satellites state-of-the-art surveillance systems that observe and assess anyone who comes near them by land, water, air and space
For fifteen years the photo artist Julian Roder (born in 1981), who grew up in East Berlin, is building an impressive work on the subject of power and economy, which has already received international attention and has now been shown for the first time in a larger overview exhibition curated by Dr. Katja Blomberg WALDSEE until February 12th in Berlin.
After studying photography at Timmraut at the Hochschule für Grafik und Buchkunst in Leipzig, Röder, who had previously been trained as a photographer at Ostkreuz in Berlin, developed the artistic attitude of the distant observer in the early 2000s. From the outset, his serial work focuses on the subtle social changes of the globalized present.
At the G8 Summit 2001 in Genoa, Röder was still part of the demonstration scene. More and more, however, he became aware of the fact that he could only find relevant pictures with a view from the outside. He tried to cram it, which was actually in the criticism. Over the course of the years, however, the protest campaigns with every other G8 summit have become increasingly void. The organizers had moved the meeting places to rural areas, where the actions eventually became stupid. Beyond the media, the actions have hardly developed any political effect. Röder watched this process between 2001 and 2008 and recorded it in "The Summits".
In "Human Resources", Röder then went on a consummate diet between 2007 and 2009. He has photographed his customers and sellers unintentionally, and his attention in the artificial situation of a trade fair was directed to the body language of the participants. Röder extinguished all the logos and names that appeared in the background of the paintings, thus releasing the poses of those involved who were talking about artificiality and media conformity. The observers become the staff of an interchangeable merchandise and marketing world.
In 2011, Röder photographed the series "World of Warefare" at the International Defense Exhibition and Conference, IDEX, the world's largest arms fair in Abu Dhabi. In his paintings, he consciously tries to exaggerate the situation to the point of absurdity. Just in a desert, power and economy come closest to this publicly shielded event. In another series, "Mission and Task", Röder works in the open air in outdoor photography, using artificial light. In this way, he introduces the secret infrastructure to secure European external borders, which acts as a barrier to our Western prosperity. Beneath harmless surfaces are hidden in zeppelins or saint chapels, behind fences or on satellites state-of-the-art surveillance systems that observe and assess anyone who comes near them by land, water, air and space
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