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MULTIMEDIA ART MUSEUM, MOSCOW
MUSEUM "MOSCOW HOUSE OF PHOTOGRAPHY"
16+
RuEngl

The Great Unreal
Taiyo Onorato, Nico Krebs

Taiyo Onorato&Nico Krebs.
From ‘The Great Unreal’ series. 2005-2008.
Silver-gelatin and C-print.
Courtesy of the artists Taiyo Onorato&Nico Krebs.
From ‘The Great Unreal’ series. 2005-2008.
Silver-gelatin and C-print.
Courtesy of the artists Taiyo Onorato&Nico Krebs.
From ‘The Great Unreal’ series. 2005-2008.
Silver-gelatin and C-print.
Courtesy of the artists Taiyo Onorato&Nico Krebs.
From ‘The Great Unreal’ series. 2005-2008.
Silver-gelatin and C-print.
Courtesy of the artists

Taiyo Onorato&Nico Krebs. From ‘The Great Unreal’ series. 2005-2008. Silver-gelatin and C-print. Courtesy of the artists

Taiyo Onorato&Nico Krebs. From ‘The Great Unreal’ series. 2005-2008. Silver-gelatin and C-print. Courtesy of the artists

Taiyo Onorato&Nico Krebs. From ‘The Great Unreal’ series. 2005-2008. Silver-gelatin and C-print. Courtesy of the artists

Taiyo Onorato&Nico Krebs. From ‘The Great Unreal’ series. 2005-2008. Silver-gelatin and C-print. Courtesy of the artists

Moscow, 22.03.2012—15.04.2012

exhibition is over

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What to do as a young photographer, trained in, enamored of, yet burdened by the weight of certain American photographic icons: Robert Frank, Stephen Shore, William Eggleston, William Christenberry, Robert Adams, Joel Sternfeld?

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What to do as a young photographer, trained in, enamored of, yet burdened by the weight of certain American photographic icons: Robert Frank, Stephen Shore, William Eggleston, William Christenberry, Robert Adams, Joel Sternfeld?

Team up, go on a road trip across America, and take the piss. Taiyo Onorato and Nico Krebs (both Swiss and born in 1979) made a series of trips between 2005 and 2008, during which they photographed the clichés: desert landscapes, tract houses, funny signs, motel rooms, and the road itself. Yet instead of generating a subjective vision of America through documentary photographs, honoring that sacrosanct tension in art photography, the Salingerian duo has desecrated their own work, manipulating, splicing, puncturing, montaging, spattering, and rephotographing the original prints, as if in an effort to make the photographs emote more, to insert (or doubt?) the romantic loneliness of that other Swiss roadster Robert Frank; to enhance (or make fun of?) the deadpan humor of Stephen Shore; to augment (because maybe one just couldn’t quite feel it at the time?) the sense of revelation of William Eggleston.

The Great Unreal asks how true photography is and goes further: are we—were we ever—capable of authentic experience?

Kevin Moore, Independent Curator, NYC

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A residency grant from the City of Zurich brought us to New York City in the summer of 2005. Everything was loud and exciting, but also quickly became narrow and only met a small part of the America of our imagination. The tradition of American Landscape Photography and the cultural punctum of the Road Trip was always an important reference while we were studying. Soon we were drawn out to the streets towards the west.

On our first journey across the country, we were perplexed and photographically overstrained. Everything seemed fascinating, the vast horizons, the repetition in the patterns of consumerist architecture, the endless beauty of the nature and the sheer size of all things, uncomparable to anything we had seen before. Still, making pictures seemed very difficult. The simultaneity of the new discovery and the feeling of having seen everything already, in movies, photographs, books, narrations, was too confusing. Slowly we found ways of dealing with this confusion. We developed the idea of taking this grand imagery and twist it around and build up on it. By creating props and tools on the way, we were able to interfere in the moment of exposure itself, to manipulate, but still remain in the time and space restriction of the photographic medium.

In Fall of 2006 we started a second journey, this time with clearer concepts and expectations. We began to create large collections of pictures and the examination of the country and its culture became more extensive. Also on this journey, intuition and coincidence remained an important guidance. After having shown the works in three shows (PS1 in New York, Rencontres d’Arles and Wartesaal in Zurich), we decided to make a third trip in the winter of 2008. This time we stayed in a small town in Northern California and photographed new images. At the same time we also began to make collage-like reproductions and deconstructed photographs taken on the previous journeys.

After 3 years, we began to form sequences of constructed and ‚straight’ images and the boarders of the imagined and the real oddly blurred. The disparate parts started to come together to form our own vision of the America we had seen and felt.

Taiyo Onorato (b. 1979 in Zurich) and Nico Krebs (b. 1979 in Winterthur) studied photography at the School of Art and Design in Zurich (HGKZ) and have worked together since 2003. They live in Zurich and Berlin.

Numerous solo and group exhibitions: The Casting, Suzie Q project space, Zurich (2009); The Whole Shebang, Swiss Institute, New York (2008); Factoiden, Wartesaal Perla, Zurich (2007); Twilight Switch, P.S.1 MoMA, New York (2006); Getflat, Fokus Switzerland, EGO Gallery, Barcelona (2005); The Language of Humour, SOGA Gallery, Bratislava (2008); Journées photographiques de Bienne, Biel / Bienne (2008); ART Bingo, Atelier Leimbach, Zurich (2008); Watermill Benefit, New York (2008); New York Studio Grant of the city of Zurich (2005).

With the support of

American seasons in Russia

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Арт Хроника

General information partner

TimeOut от 11.03

Information partners

Первый канал 13.03.12 Эхо Москвы Коммерсант FM The Village 13.03.12 Look at me 11.03 Digital Photo 13.03.12 ФотоМастерская 13.03.12 Foto-Video 13.03.12 Winzavod art review 13.03.12 Menu magazine 13.03.12 Искусство the art magazine 13.03.12 ДИ 13.03.12 Foto.ru 13.03.12

Official guide of the "Photobiennale 2012"

Арт-Гид 13.03.12

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