New Coordinates for a New Image

My work is mainly about the search for new coordinates. I find a visual stance at a certain location. That location is both a place of desire and a real place at the same time. Although it is only one place, it stands for many places. 

Searching for and finding that new place with new coordinates leads to new visual solutions too. 

A surface is a solution for an image. I mark a place, but at the same time I'm also marking a surface. The nothingness of the surface has a color. The nothingness has a color. Next to it is an image. These planes move. 

In the same way that I used to work with superimposition, I now work with placing colors, images and signs next to one another. All that yields the new coordinates I'm after, the new position of the place of desire.

What role does that place play when we are not there? We begin to perceive it. And I record it in my images. 

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The Baltic Sea Project (Part I)

"The Smile of Gray"

The wind has sanded down the sky, and fine gray is floating down on all sides. The atmosphere takes on soft, shifting shades of green, blue and red. Lots of good things can be said about the colors of the Baltic Sea, but don’t think the sun made them so faint and bleached out. On the contrary, it just brings this pastel palette to life.

The aesthetics of Romanticism play an integral role in Nadine Ethner’s long-term multimedia project Baltic Sea. The sensory perception that the viewer has while looking at the photographs creates an inner image that condenses into a kind of synthetic perception. We encounter an impressionistic gesture that rests on a large number of singular conceptual nuances. Put another way, Baltic Sea takes the diverse colors of the countries, people and cultures surrounding this small gray-blue sea in the north and puts them into an aesthetic context.

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Vendredi Treize

Eva Brunner "Vendredi treize", 2012

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Señales Rojas


L’Arte contro la proliferazione della barbarie Un progetto dell’IILA in collaborazione con Fondazione Volume!

Al giorno d’oggi, mentre la società dello spettacolo convive tacitamente con l’immagine dell’orrore — quando in realtà siamo stati resi insensibili all’orrore da quelle stesse immagini che lo rendono un fenomeno mediatico — la funzione civile e di denuncia dell’arte sembra essere sottomessa ad una nuova esigenza. Un’esigenza alla quale alcuni artisti hanno risposto consolidando il proprio legame con l’azione sociale e interpretando alcune forze che emergono dall’oscurità dell’inconscio collettivo, complicità che sta dando vita ad una lingua politica sempre più potente e propositiva. Il ciclo “Señales Rojas” vuole essere un atto di risposta e raccolta di questi segnali dell’arte. Il suo obiettivo è quello di costituire un terreno di scambio per progetti d’arte che esprimano una forza di trasformazione nata in seno alla polis mondiale nella quale, progressivamente, stiamo entrando a far parte.

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Retake – “Modern life, new images”

"Modern life, new images"



'Modern life, new images' are presented by Verena Blank, Eva Brunner, Dorothee Deiss, Mark de Longueville, Oona Eberle, Nadine Ethner, Olle Fischer, Birgit Krause, Claire Laude, Anna Meschiari, Susanne Schneider und Nicole Woischwill. Those 12 freshly produced new pictures on the basis of their own or other inspiring work. Once 'caught in time'-places, people and moods form a pool of pictorial memories and experiences, from which the photographers could now fish latest ideas. In the end, the past meets up with the present. This opposition makes dynamics transparent, so those behind the lens are able to reflect their methods. Meaningful familiar, emotional, moving and stirring, almost forgotten images are discovered again and re-enacted. Inevitable clear structures and thoughts, technical and conceptional finishing touch, are to be seen in the exhibited works. In an almost poetic manner the topic gets the artists to face their inner visions and wishes.

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An Inner Song

"An Inner Song . 12 Portraits"

Das Lied klingt im Bild. In den 12 Portraits von Nadine Ethner klingt der Blick der Fotografin ins Innere der Portraitierten an. Die konstruktive Interferenz der Begegnung von Künstlerin und Modell im Raum wird in den Portraits spürbar und entfaltet als Triptychon vor dem Auge der Rezipienten die Menschmagie, die ihr Inneres, ihre Mitte, zwiefach geschützt hatte. Dreigefaltet verborgen, schirmt sich die Mitte ab, gewinnt sie Zuflucht. Dreiansichtig geöffnet, gibt sie die Obhut auf, bleibt aber geschützt. Denn mit der Akzentuierung der Mittelachse durch die flankierenden Ansichten erhebt sich die zentrale Darstellung ins repräsentativ Überhöhte. Wie bei einem Vogel, der seine Flügel ausbreitet, entfalten sich die Portraits, zeigen Einheit und Vielheit in unauflösbarer Spannung und werden zum Bild der Trinität. In der göttlichen Trinität aus dem Vater, dem Sohn und dem Heiligen Geist ist ER drei und sie sind EINER. In jeder Dreierfolge der fotografischen Portraits ist SIE drei und sie sind EINE.

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"ZWÖLF WELTEN exposure twelve — zeitgenössische Fotografie"

Wo sich zwölf zusammen zeigen, wird der Betrachter der dreizehnte sein. Den einen Standpunkt der zwölf zu nennen, ist schwer, unnötig auch. Möglich, daß es ihn gibt — wenn, stellt er sich im Auge des Betrachters her. Wir sind es, die den Fotografen über ihre Schulter schauen, wir sind der verlängerte Blick, der sieht, was sie gesehen haben und mehr. Das Mehr ist, was ein Foto ausmacht für uns. Was die Verschiedenheiten bündelt, ist der sichtbare Versuch der zwölf, an Unberührbares zu rühren: an verdeckte Welt zu rühren, eine Welt unter der Welt, etwas, das lebt unter dem, was wir leichthin als wirklich bezeichnen, sichtbar nur im Augenblick, den der Fotograf mit dem Auslöser aus dem Flüchtigen schneidet wie die letzte Parze, Morta mit der Schere, den Schnitt macht, wann sie es will. Der Ausschnitt ist das Bild, das bleibt, die eine Wirklichkeit für sich. Er ist die Welt, die gegen die Welt zu halten ist, sobald der Fotograf sie freigibt. Die Freigabe ist die Positionsbestimmung. Sie ist als das Anliegen der zwölf Bildproduzenten zu sehen: ihre Arbeit, die sie als gemeinsame verstehen, als fotografische Positionen bezeichnen, deren Schnittmenge immer neu und wieder neu zu finden sein wird.

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Nell’ambito del ciclo di conferenze Il Mediterraneo Cambia Volto: CREATIVITÀ E CONFINI DELLE DONNE MIGRANTI. Un dialogo interculturale sulle donne e la migrazione nel Mediterraneo contemporaneo in collaborazione con Loyola University Chicago, La Magnolia presenta una collettiva delle sue giovani artiste. In occasione della IV edizione di TransEuropaExpress, La Magnolia diventa protagonista con la giovane creatività femminile, proponendo una collettiva che riunisce le artiste selezionate dal settembre 2007 ad oggi. L’evento di quest’anno, organizzato dalla Casa delle Letterature, dall’Assessorato alle Politiche Culturali di Roma, dalla Fondazione Antonio Ratti di Como e dalla Rappresentanza in Italia della Commissione Europea, ha come titolo Europa Femminile Plurale, e come linee guida le pari opportunità ed il multiculturalismo.

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Nadine Ethner´s work is the fruit of a process of free artistic development. Unfolding over the past several years, it was born out of experiences gained while working, discoveries made while traveling — particularly in the Orient — as well as through emotional experiences, combined with her great sensitivity as an artist and a woman. She has spent considerable time exploring the world´s great cities, including Berlin, Osaka, Mumbai and Istanbul … Her newest work, Land – Waking the Inside, offers a very different view.

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Tree Island

Tree Island

In this exhibition Nadine Ethner makes a clear departure from her earlier, concentrated quest to decode and reprocess urban signs. She has discarded the abstract signs of the urban calligraphy seen in her last exhibition to make room for what is an almost poetic reflection on nature. Her source of inspiration is no longer the city, but nature; no longer the wanderings of her soul and her person, but a confirmation of being rooted in a space that exists first and foremost as a place for her soul and then as a place that one can point to in the physical world. At their core, what these works do is confirm Nadine Ethner´s bond with a cultural and emotional legacy that she has now chosen to reproduce — the delicate poetry that emanates from her photos is a manifestation of the German Romanticism that surely had some influence on her schooling. By choosing a tree as an archetype, she reveres its special status in nature as the only organism that reaches its roots deep into the soil to soak up water, the ancient symbol of life.

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Urban Calligraphy


In her first-ever solo exhibition in Rome, nomadic young German photographer Nadine Ethner uncovers the urban textures of Berlin, Mumbai, Osaka and Istanbul. Seen through the lens of her Rolleiflex, these cities transform into geographical locations and mysterious maps with lost identities. In doing so, she changes photography from an instrument for recording reality to one that can abstract a vision of a city. 

The physical substance of Mumbai, Osaka and Istanbul, with their markets, squares, mosques and throngs of people, is captured in the vibrancy of a few characteristic signs, suggesting another level of interpretation for the series. Ethner uses photography to reconstruct the extraordinary features of each place so that they take on the shape of a new vision composed of linear networks and bright loops of light. In a sense, the artist is attempting to record a retrieval of the soul of the city, remaining fully aware of the speed and unruliness of urban development — the two forces that have quickly led to the loss of both its unique, enduring signs and its identity. What remains of those strong spiritual cultures that brought people and nature together in a single entity? 

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