Tatjana Danneberg

Tatjana Danneberg’s (*1991, Vienna, lives and works in Vienna) practice is eventful. It unravels accidentally and it is determined by media and techniques layered upon each other. The starting point is a candid low-fi photography approach, by using cheap automatic cameras, Danneberg extends casual memories of the everyday depicting friends, acquaintances or her partner, in familiar often intimate shots. These shots purposefully reveal moments where action or the lack of it manifests. The protagonists, which identity is often difficult to recognize, are dismissing or defeating reality. The artist is preoccupied with the nature of images and the possibilities that can unfold through their manipulation and deconstruction; a painterly attitude emerges defined by a deepen material and processual experimentation.

Hanne Lippard

Hanne Lippard (*1984, Milton Keynes/UK, lives and works in Berlin) has been using language as the raw material for her work for the last decade, processing it in the form of texts, vocal performances, sound installations, printed objects and sculpture. The artist has developed a practice that lies at the confluence of spoken and written word, wherein she appropriates content from the public sphere, chiefly from online sources or from the field of advertising, to investigate how the rise in digital communication and mediation is reprogramming our relationship to language. Lippard intertwines found text with her own material, which she then manipulates through a variety of devices, such as repetition, the shifting of intonation, or the exploitation of homonyms, in order to formulate musings on contemporary life.

Katja Mater

Katja Mater’s (*1979 in Hoorn/The Netherlands, lives and works in Brussels and Amsterdam) practice focuses on the parameters of photography and film from a meta-perspective, using them as non-transparent media. By creating hybrids between different optical media, installation and performance she documents something that often is positioned beyond our human ability to see. Interested in revealing a different or alternative (experience of) reality through capturing the areas where optical media hardly behave like the human eye, Mater mediates between time, space, perception and our understanding of them, she records events that simultaneously can and cannot be – holding midway between information and interpretation.

Brilant Milazimi

Brilant Milazimi’s (*1994, Gjilan, lives and works in Prishtina) translates his perception of the world that surrounds him into images that are bitter, funny, tender, and weird all at the same time. Driven by the machinery of the unconscious, and inspired by the imaginaries of fictional universes, he finds expressions both sinister and poetical for an approach to the society he lives in: the exaggerated physiognomies and the highlighted symbolism of the teeth or the features of the animals are visual manifestations that point to the present and its conflicts.

Hana Miletić

Hana Miletić (*1982, Zagreb, lives and works in Brussels) reflects on issues of representation and social reproduction, while giving insights about her use of photography and the linkages between photography and weaving. Miletić models the textiles after photographs she takes in the streets of Brussels and Zagreb, documenting marks of both damage and repair. In order to address the questions of representation and reproduction– an economy inherent to photography– outside its medium, she choses not to exhibit the afore-mentioned photographs.

Emile Rubino

Emile Rubino (*1992, French, lives and works in Brussels) plays with the clumsy and often ambiguous nature of photography’s declarative register, working through the semantics of picture-making. By combining, appropriating or reinterpreting a wide range of photographic discourses and histories, he directs our attention towards the photographic image as both an object and a depiction — a thin yet capacious container whose material, contextual and ideological relationship to labor and creativity is a constant negotiation. His purposefully eclectic and at times collaborative approach to picture-making involves a mix of analogue and digital processes in an attempt to question the notion of ‘the photographic’ and address the complex relationship between the social roles of art and realism.