janherdlicka

[janherdlicka]

Mondvogel I, IV & V

modular glazed ceramics

at

ANTENNE&ERDUNG. Skulpturenfestival am Fuchsberg, 14.-20.6.2025

May 28, 2025

—

by

Silvia Lorenz

Renate Hampke, Thea Richter, Wolfgang Krause, WER DA (Werner Kernebeck, David Braithwaite), Thomas Scheibitz, Peter Müller, Yasmin Alt, Silvia Lorenz, Thomas Judisch, Nadja Schütt, Juliane Schmidt, Christin Kaiser, Jan Herdlicka, Sophie Altmann

Skulpturen zu Gast in Vorgärten: Nixenweg – An der Hufe – Holzgrund – Felsenweg – An den Kiefern – in 01108 Dresden Weixdorf

ÖPNV Dresden: Haltestelle “Fuchsberg” (Linie 7, 77, 522)

Vom 14. bis zum 20. Juni 2025 verwandeln sich einige Straßen der Fuchsbergsiedlung für das Skulpturenfestival “Antenne&Erdung” in eine lebendige Ausstellungsfläche. Skulpturen und Objekte treffen auf individuell gestaltete Vorgärten der Anwohner. Sowohl die eingeladenen Künstlerinnen und Künstler als auch die Gastgeberinnen und Gastgeber umfassen mehrere Generationen und sind zwischen 35 und 90 Jahren alt. Das Vertrauen der Anwohner vor Ort „unbekannte“ Objekte auf Zeit zu beherbergen, ist die Grundlage des gesamten Festivals. Die Skulpturen werden so in den Vorgärten platziert, dass sie von der Straße aus für alle einsehbar sind.

Mit den titelgebenden Antennen sind die Skulpturen als bildkünstlerische Wellenmesser gemeint: sie geben ihrer Zeit eine Form und treten in direkten Kontakt – der Erdung – zum Aufstellungsort. Das symbolische Feld der ausgewählten Beiträge spannt sich von Kommunikationswegen, Region und Kosmos, über Fremdheit und Nähe bis hin zu menschlichen und nicht-menschlichen Siedlungen sowie ökologischen und ökonomischen Fragestellungen.

Es wird einen Faltplan mit einem Text von Teresa Ende und ausführlichen Informationen sowie Beschilderungen an den jeweiligen Orten geben.

Alle Veranstaltungen freier Eintritt. Auch für das leibliche Wohl ist gesorgt.

[janherdlicka]

SATURATION XXXIII

film-photography

edition 05+03AP

2025

instagram

For years, my photographic work has been concerned with destabilizing the limits of imageability. Like sponges hitting water the individual pictorial elements seem to absorb each other.

I understand saturation in the sense of Jue/Ruiz, as a way of developing sensibilities for co-presence transformations and/or processual shifts that goes far beyond the hydrological origin of the term.

Sometimes my works show playfully overlapping inner and outer perceptions.

Sometimes these delimit each other in a stormy, almost cannibalistic manner.

Sometimes small details only hint at a seemingly unreal view or perspective.

Sometimes the dissolution of dream and reality is communicated far more superficially and directly in the visual language.

All these visual forms have one thing in common. The will to evade the urge to immediately grasp and objectify what is seen.

[janherdlicka]

Participated at Haute Photographie Rotterdam 2025

as part of the GUP Magazine Fresh Eyes Talent release:)

27. - 30.03.2025

Keilestraat 9 3029 BP, Rotterdam

[janherdlicka]

SATURATION XIV

film-photography

edition 05+03AP

2024

instagram

For years, my photographic work has been concerned with destabilizing the limits of imageability. Like sponges hitting water the individual pictorial elements seem to absorb each other.

I understand saturation in the sense of Jue/Ruiz, as a way of developing sensibilities for co-presence transformations and/or processual shifts that goes far beyond the hydrological origin of the term.

Sometimes my works show playfully overlapping inner and outer perceptions.

Sometimes these delimit each other in a stormy, almost cannibalistic manner.

Sometimes small details only hint at a seemingly unreal view or perspective.

Sometimes the dissolution of dream and reality is communicated far more superficially and directly in the visual language.

All these visual forms have one thing in common. The will to evade the urge to immediately grasp and objectify what is seen.

[janherdlicka]

Showing some sculptural work at the inaugural Edition of this new Festival in Dresden featuring:

Silvia Lorenz/Thomas Scheibitz/Yasmin Alt/Christin Kaiser/ Renate Hampke/Thea Richter/Wolfgang Krause/Thomas Judisch/Werner Kernebeck& David Braithwaite/Peter Müller/Nadja Schütt/Juliane Schmidt/Sophie Altmann

[janherdlicka]

Exhibition for Sellerie Weekend (Gallery Weekend) Berlin

At Salon am Moritzplatz

Opening Hours

Friday 2. May 5-10pm

Saturday 3. May 3-8pm

Sunday 4. May 3-8pm

[janherdlicka]

Groupshow for Sellerie Weekend (Gallery Weekend) Berlin

at AFF Galerie

[janherdlicka]

Group show curated by Katya Quel @gr_und, Berlin December 06, 2024 — January 11, 2025

Featuring:

32, Babak Ahteshamipour, Irene Mathilda Alaimo, Anna Alexanina, James Beatham, Claudia Lode & Livia Bertacca, Safia Boulmenadjel, Liza Daisiesgrowfast, Italia Bruno, Xristina Sarli & Augusto Calçada, Pavel Checkulaev, Linus Clostermann, Trevor Coopersmith, Sally Craven, Tristan Cubero, Darina Dash, Glenn De Cock, Lina Deng, Chaney Manshu Diao, Philipp Dollinger, Nick Koppenhagen & Carina Erdmann, Kian Ghassemi, Dimitris Gkikas, Ramona Gomez, Raphaël Moreira Gonçalves, Pedro Gossler, Franziska Harnisch, Nathan Harper, Erika Rustamova & James Bendandi & Lu Hauhia, Jan Herdlicka, Ana Ionescu, Anna Kulik, Agata Lankamer, Jung Min Lee, Mano Leyrado, Lilu, Lola Machabert, Miha Majes, Marlon Nicolaisen, Char O’dair-Gadler, Franziska Ostermann, Carolina Ovando, Jakub Pohludka, Dominik Dragos, Pohludka, Marlene Post, Alexis Puget, Katya Quel, Rizal N Ramadha, Una Raneta, Emanuele Resce, Francesca Rinaldi, Anja Ripoll, Lara Rocho, Maria Romanova, Salt Salome, Raiko Sánchez, Alicia Santamaria, Aisha Ramm & Pauline Sepp, Leon Simonis, Janosch Sinn, Soff, Kuba Stępień, Jody Surfs, Lucca Süss, Johannes Thiel, Pedro Tinôco, Maxim Tur, David Varhegyi, Amy J Wilson, Brennan Wojtyła, Yuehan Yang, Teo Shi Yun, Filippo Zimmermann

[janherdlicka]

SATURATION XXV

film-photography

edition 05+03AP

2025

instagram

For years, my photographic work has been concerned with destabilizing the limits of imageability. Like sponges hitting water the individual pictorial elements seem to absorb each other.

I understand saturation in the sense of Jue/Ruiz, as a way of developing sensibilities for co-presence transformations and/or processual shifts that goes far beyond the hydrological origin of the term.

Sometimes my works show playfully overlapping inner and outer perceptions.

Sometimes these delimit each other in a stormy, almost cannibalistic manner.

Sometimes small details only hint at a seemingly unreal view or perspective.

Sometimes the dissolution of dream and reality is communicated far more superficially and directly in the visual language.

All these visual forms have one thing in common. The will to evade the urge to immediately grasp and objectify what is seen.

[janherdlicka]

SATURATION XXVII

film-photography

edition 05+03AP

2025

instagram

For years, my photographic work has been concerned with destabilizing the limits of imageability. Like sponges hitting water the individual pictorial elements seem to absorb each other.

I understand saturation in the sense of Jue/Ruiz, as a way of developing sensibilities for co-presence transformations and/or processual shifts that goes far beyond the hydrological origin of the term.

Sometimes my works show playfully overlapping inner and outer perceptions.

Sometimes these delimit each other in a stormy, almost cannibalistic manner.

Sometimes small details only hint at a seemingly unreal view or perspective.

Sometimes the dissolution of dream and reality is communicated far more superficially and directly in the visual language.

All these visual forms have one thing in common. The will to evade the urge to immediately grasp and objectify what is seen.

[janherdlicka]

SATURATION XXVI

film-photography

edition 05+03AP

2025

instagram

For years, my photographic work has been concerned with destabilizing the limits of imageability. Like sponges hitting water the individual pictorial elements seem to absorb each other.

I understand saturation in the sense of Jue/Ruiz, as a way of developing sensibilities for co-presence transformations and/or processual shifts that goes far beyond the hydrological origin of the term.

Sometimes my works show playfully overlapping inner and outer perceptions.

Sometimes these delimit each other in a stormy, almost cannibalistic manner.

Sometimes small details only hint at a seemingly unreal view or perspective.

Sometimes the dissolution of dream and reality is communicated far more superficially and directly in the visual language.

All these visual forms have one thing in common. The will to evade the urge to immediately grasp and objectify what is seen.

[janherdlicka]

Zentralgestirne (…des letzten Menschen) Pt.I/V

film-photograph on baryte print

60x40cm

Edition 05+03AP

2022

„ suddenly the three mock suns united in one, and plunged into the sea. A few seconds afterwards, a deafening watery sound came up with awful peal from the spot where they had disappeared. (…) it appeared as if suddenly the motion of earth was revealed to us–as if no longer we were ruled by ancient laws, but were turned adrift in an unknown region of space. Many cried aloud, that these were no meteors, but globes of burning matter, which had set fire to the earth, and caused the vast cauldron at our feet to bubble up with its measureless waves.“

(Mary Shelley The Last Man 1826 p. 487)

The body of work „Zentralgestirne“  is a photographic reflection of Mary Shelleys novel „The last man“ which was released in 1826 representing late romanticism while at the same time pioneering apocalyptic science-fiction. The story of Verney as last living human being on an earth shaken by plagues and natural catastrophes can also be interpreted as literary anticipation of current thought models regarding posthumanity. In midst the description of rising apocalypse as result of a gigantic mesh of nonhuman rejections lies the general questionning of human sovereignty. The motif of collective loss of human control is central to the three part novel and uncovers the absurdity of romantic discourses and conceptions of dominating nature in the early 19th century. While in the scenery above Verney as a human spectator is watching three sunlike meteors from top of the dover cliffs the series „Zentralgestirne“ is multiplying the sun itself.

On the one hand the photographic result of multiple central stars at the sky seemingly accompanying each other in total equality and harmony is mimicking this specific section quoted above. On the other hand it can be seen as a demonstration of alternative thinking apart from what is humanly imaginable. Decomposing the one and only reality of a central and often godlike described star in our solar system can also lead to reevaluating the concept of humanity as one and only force dominating on a planetary scale. In the multiplicity of the three central stars lies a symbol of equality, cooperation and interrelation in the sense of for example polytheistic religion. This way „Zentralgestirne“ takes Shelleys Last man and transformes him into becoming the last man as representative of a human self image which in the 21. century seems to be more and more outdated.

[janherdlicka]

MONDVOGEL II

at

Erratum Gallery

Kaugummi im Motherboard 2.0

06.12.24 - 11.01.2025

Berlin

[janherdlicka]

SATURATION XV

film-photography

edition 05+03AP

2024

instagram

For years, my photographic work has been concerned with destabilizing the limits of imageability. Like sponges hitting water the individual pictorial elements seem to absorb each other.

I understand saturation in the sense of Jue/Ruiz, as a way of developing sensibilities for co-presence transformations and/or processual shifts that goes far beyond the hydrological origin of the term.

Sometimes my works show playfully overlapping inner and outer perceptions.

Sometimes these delimit each other in a stormy, almost cannibalistic manner.

Sometimes small details only hint at a seemingly unreal view or perspective.

Sometimes the dissolution of dream and reality is communicated far more superficially and directly in the visual language.

All these visual forms have one thing in common. The will to evade the urge to immediately grasp and objectify what is seen.

[janherdlicka]

SATURATION X

film-photography

edition 05+03AP

2024

instagram

For years, my photographic work has been concerned with destabilizing the limits of imageability. Like sponges hitting water, the individual pictorial elements seem to absorb each other.

I understand saturation, in the sense of Jue/Ruiz, as a way of developing sensibilities for co-presence, transformations and/or processual shifts that goes far beyond the hydrological origin of the term.

Sometimes my works show playfully overlapping inner and outer perceptions.

Sometimes these delimit each other in a stormy, almost cannibalistic manner.

Sometimes small details only hint at a seemingly unreal view or perspective.

Sometimes the dissolution of dream and reality is communicated far more superficially and directly in the visual language.

All these visual forms have one thing in common. The will to evade the urge to immediately grasp and objectify what is seen. As an accessory to these developments, it is not only the access to supposed visual realities that becomes blurred, but also the comprehensibility of the photographic techniques used.

[janherdlicka]

SATURATION IX

film-photography

edition 05+03AP

2024

instagram

[janherdlicka]

SATURATION VIII

film-photography

edition 05+03AP

2024

instagram