Skip to content

New print issue • Neue Printausgabe
⤷ PiB Guide Nº55 JULY/AUG 2024

Duo Exhibition

»REMEMBER«

Verena Mörath & Oliver S. Scholten

On Memory Culture and the Meaning of Photographic Images
Two Positions

Verena Mörath was born in Mexico, grew up in Brazil and lives and works in Berlin as a freelance journalist, photographer and anthropologist. In 1989, as part of an ethnological field research project on the topic of family and lineage, she lived for several months in Northwest Ghana among the Dagara, where she was ‘adopted’ by her host father, the Kuuyuour Zinige, and was given the name Nmingmale (translated: God’s work).
After 30 years, the “adopted daughter” travels back to the region and visits the homestead where she once researched, journaled, photographed, and interviewed; she brings back her 1989 research findings in the form of a biography of the extended Kuuyuour family. The joy is great, memories are awakened.

In December 2021, Verena Mörath flies to Ghana again: her adoptive mother Pigr has died, and she wants to say goodbye to her at the funeral ceremony, which lasts three days. During this time she conducts more biographical interviews and new images, texts and videos are created.

The photographs, text passages as well as video sound recordings presented in this exhibition, which Verena Mörath has already partly processed in a blog as the project ROOTS continue the story of the extended family, explore changes and continuities of the last three decades in village everyday life and living together. This exhibition shows an exciting and very personal work about Verenas experiences in Ghana and should also appeal to potential project supporters. The goal is to realize another text-picture-volume. ROOTS was supported by a grant from the Neustarthilfe Kultur of the Verwertungsgesellschaft Wort (VG WORT) and the Federal Government Commissioner for Culture and the Media (BKM).

Oliver S. Scholten was born in Berlin and lives and works in Berlin and Brandenburg as a freelance artist, photographer and lecturer for art and documentary photography – now for more than thirty years. Further fields of activity were and are the organization of exhibition and photo projects, artistic supervision of photography classes as well as jurying of competitions and exhibition management follow. In the photographic works, the spectrum of Oliver S. Scholten’s works ranges from classic documentary photography in black and white to staging, three-dimensional objects and installations. What his diverse, multi-layered works have in common is that they play with both the use and the perception of photography and visual stimuli in the private and social environment, exaggerate them or simply create awareness for the medium of photography. Oliver S. Scholten met Verena Mörath through his teaching in one of his photography classes in 1993. Until the turn of the millennium, the two were frequently on the move together in the burgeoning free and alternative art and culture scene in Berlin. Through their experiences, a professional and constructive dialogue and a friendly bond developed.

© Verena Mörath 2021, Alexis and Baaba
© O. S. Scholten, Fragments WALL
© Verena Mörath 2019, Neighbors
© O. S. Scholten, Garden of Memories
© Verena Mörath 1989, Host family Kuuyuour
© O. S. Scholten, Fragments 1
© Verena Mörath 1989, Host Father Kuuyuor Zinige
© O. S. Scholten, les fleurs de la memoire 1
© Verena Mörath 2021, First Night of the Funeral
© O. S. Scholten, Fragments 4

The joint exhibition REMEMBER is about memory(s) and the role of photography. What place does photography have in this? Memories form the interface between the two artists.

Whereas in Verena Mörath’s work photography is more classically documentary and is supplemented by texts and videos, Oliver S. Scholten’s work WALL/Fragments takes an experimental approach to the medium: Shredded fragments of photographs are reassembled as if in an archaeological process, resulting in an explanatory, sometimes also disturbing image of what (probably) has been. Scholten’s second work les fleurs de la memoire is about the fading and retrieval of memory images in one’s own memory. Here, the garden serves as a symbol and place of longing for a memory that is both ordered and embellished. Like Questionment, this series by Oliver S. Scholten has been lying dormant for some time, but has only been shown once (then published in the book Wall, which was nominated for the German Photo Book Prize in 2011). Here, too, a further publication is planned.

Oliver S. Scholten’s work coincides with Verena Mörath’s time in Africa. The photographs were created almost in parallel. So what could be more obvious than to bring them together in an exhibition and present them to a broad public. An unusual interplay.

Lee Revos, August 2022

Sep 3 — 30, 2022
Opening Reception: Friday, Sep 2, 7 – 10 pm
Finissage: Friday, Sep 30, 5 – 9 pm

Pop-Up Gallery

Greifswalder Str. 34/36 · 10405 Berlin
[District: Prenzlauer Berg | Borough: Pankow]

Admission free

Current photography exhibitions/events recommended in…
Berlin

Museum für Fotografie | Michael Wesely »Berlin 1860 – 2023«

CHAUSSEE 36 Photo Foundation | Maisie Cousins »SMORGASBORD«

Galerie im Tempelhof Museum | Miji Ih »Münder · Mouths«

JAEGER ART | Ingar Krauss »This Is Not a Fashion Photograph«

Dokumentationszentrum Flucht, Vertreibung, Versöhnung | Antoine Tardy »Becoming who you are«

Ostkreuzschule für Fotografie c/o Konnekt.Berlin | Abschlussklasse »Jahrgang Achtzehn«

PiB Guide Nº54 MAY/JUNE 2024 © PiB (Photography in Berlin). COVER PHOTO: Untitled, from the series “Love’s Fire Song” © Enda Bowe. Group show »Changing States: Ireland in the 21st Century« at Haus am Kleistpark in Berlin-Schöneberg, read more on page 4 & 5! +++ 5 photos on right double page spread (p. 5, Top left to bottom right): 1) © Jackie Nickerson, „Girl in a Black Top“, 2007, from „Ten Miles Round“. 2) © Enda Bowe, O.T., from „Searching for North“. 3) © Shane Hynan, „Tony’s Footings, No. 2717“, 2018, from „Beneath | Beofhód (2018-2024)“. 4) © Ala Buisir, „PRISONER 454“, from „Survivors of the War on Terror“. 5) © Anthony Haughey, „Lauretta, Mosney Reception Centre, entrance to the former Butlin’s Ballroom“, 2006, from „Citizen“. +++ PiB Guide Editor / V.i.S.d.P. / Art Direction: Julia Schiller & Oliver Schneider · www.ele-studio.de +++ Printed on 100% recycling paper in Berlin-Köpenick by altmann-druck, many thanks!

Current print issue
PiB Guide Nº54
MAY/JUNE 2024

#pibguide

Discover great photography exhibitions in Berlin & beyond in PiB’s bi-monthly print issue, the PiB Guide! The PiB Guide Nº53 MAY/JUNE 2024 has been published as a booklet, A6 format · 44 pages · English & German · worldwide shipping.

Order

Aktuelle Printausgabe
PiB Guide Nº54
MAY/JUNE 2024

#pibguide

Entdecke großartige Fotoausstellungen in Berlin & darüberhinaus in PiBs zweimonatlicher Printausgabe, dem PiB Guide! Der PiB Guide Nº54 MAY/JUNE 2024 ist erschienen als Booklet im DIN A6 Format · 44 Seiten · Deutsch & Englisch · weltweiter Versand.

Bestellen

PiB's E-Newsletter

Sign up for PiB's free, weekly eNewsletter and stay up-to-date in Berlin's vibrant photography scene! Assembled with love once a week in English & German for an international audience of photography enthusiasts, collectors, curators and journalists.

Free sign-up!
#pibnewsletter – the weekly, digital E-Newsletter by PiB Photography in Berlin
»PiB — Photography in Berlin« | PiB’s website, PiB’s weekly E-Newsletter, and the bi-monthly published PiB Guide: page 12 & 13 from the PiB Guide Nº15 Nov/Dec 2017; feat. the exhibition Evelyn Hofer »Cities, Interiors, Still Lifes. Photographs 1962 – 1997« at Galerie Springer Berlin; image credits: Queensboro Bridge, New York, 1964 / Coney Island, New York, 1965 / Girl with Bicycle, Dublin, 1966, all 3 photos © Evelyn Hofer, Estate Evelyn Hofer.
»PiB — Photography in Berlin« | PiB’s website, PiB’s weekly E-Newsletter, and the bi-monthly published PiB Guide: page 12 & 13 from the PiB Guide Nº15 Nov/Dec 2017; feat. the exhibition Evelyn Hofer »Cities, Interiors, Still Lifes. Photographs 1962 – 1997« at Galerie Springer Berlin; image credits: Queensboro Bridge, New York, 1964 / Coney Island, New York, 1965 / Girl with Bicycle, Dublin, 1966, all 3 photos © Evelyn Hofer, Estate Evelyn Hofer.

You & PiB

Reach a dedicated audience of art & photography enthusiasts in Berlin & beyond – by presenting your exhibition/event or institution/product/service with PiB!

Read more
#Tags for this article:
Cart
Back To Top
Search