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PiB Guide Nº56 Sep/Oct 2024
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Solo Exhibition

»In the forest and on its edges«

Photographs in color and black and white

Martin Zellerhoff

In his exhibition entitled “In the forest and on its edges” Martin Zellerhoff presents his images of woodland and other landscapes. This show contains the result of the artist delving into the apparent discrepancy between a yearning for nature and the awareness that, if humanity continues to behave the way it presently does, only a romanticised notion thereof will remain.

Having a look around not only alters the way we see things; it also changes what we are gazing at itself. It becomes a surface on to which we project our ideas.
Martin Zellerhoff not only captures depictions of shrubs and trees that he encounters; he works with the colours, surfaces, compositions and is able to construct some semblance of meaning therein. His works are not mere depictions of nature,; they deal with how humans treat depictions of nature. This is then but one example of how a situation depends on how it is perceived.

Forests are a good example of the gap between perception and reality: people see them as unspoilt nature although they are largely man-made. Human beings shape forests, first taking care of and then clearing them. The forest is constantly in flux, producing new biomass material. Yet from our limited human perspective, woodlands are seen as where nature overcomes human encroachment. In and on the margins of a forest, this divergence is evident: Zellerhof’s images are not primarily studies of nature as much as a continuation of his examination into how human perception changes through the ways that people deal with imagery. From this perspective, these pictures are about pictures themselves.

Martin Zellerhoff’s work is both a critical examination of the medium of photography itself and on the impact that it has on perception. Through personal history and developments in the medium, the artist presents how changes that have occurred in how we deal with technical images have an effect on our perception of reality.

Framework program

Sunday, April 22, 12 noon
Concert by Katrin Dasch u. Peter Dasch

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March 17 — May 2 extended until May 9, 2018
Opening Reception: Friday, March 16, 7 pm
+ Framework program: please see above

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Südstern 6, 10961 Berlin
[Kreuzberg | Friedrichshain-Kreuzberg]

Opening hours: Wed – Sat 12 – 6 pm, and by appointment

Admission free

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PiB Guide Nº56 SEP/OCT 2024 © PiB (Photography in Berlin). COVER PHOTO: Lia Darjes, Plate XXXI, 2023 © Lia Darjes. Solo show »Plates I-XXXI« at Robert Morat Galerie in Berlin-Mitte, read more on page 4 & 5! +++ 2 photos on right double page spread (p. 5): Plate VI, 2022 2 Plate VII, 2022 © Lia Darjes. +++ 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!

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PiB Guide Nº56
SEP/OCT 2024

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PiB Guide Nº56
SEP/OCT 2024

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»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.

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