Lysann Buschbeck
02 Apr - 31 May 2015
LYSANN BUSCHBECK
Someone Is Always Missing
2 April – 31 May 2015
The interplay of closeness and distance is a central theme of the works by Lysann Buschbeck. Her photographs, drawings and spatial installations deal with relationships, with people in her immediate surroundings. Personal sympathy, but also embarrassment, affection or cool distance are sentiments triggered by her pictures, without crossing the thin line to voyeurism. Like diary entries, her works are both documents and mises-en-scène. With the photographic stocktaking titled “Hecht”, which the artist began with in 1998 and continues until today, Lysann Buschbeck accompanies a group of youths she got to know as neighbors in the part of Dresden called the Hechtviertel. The comprehensive photo archive resulting from the long-term relationship between the children, and then young adults, and the artist visualizes the group’s wishes, hopes and fears. As members of the first generation after German unification, they appear to left alone alone with their questions in occupied apartments and temporary clubs, in board and care homes or detention centers. Lysann Buschbeck’s most recent works, created in Berlin and elsewhere, use hair clippings that appear to have been heedlessly swept together or a huge pile of embers to show the consequences of past events and address photography’s capability, and also incapability, of creating an adequate image of the lively unfolding of events.
Someone Is Always Missing
2 April – 31 May 2015
The interplay of closeness and distance is a central theme of the works by Lysann Buschbeck. Her photographs, drawings and spatial installations deal with relationships, with people in her immediate surroundings. Personal sympathy, but also embarrassment, affection or cool distance are sentiments triggered by her pictures, without crossing the thin line to voyeurism. Like diary entries, her works are both documents and mises-en-scène. With the photographic stocktaking titled “Hecht”, which the artist began with in 1998 and continues until today, Lysann Buschbeck accompanies a group of youths she got to know as neighbors in the part of Dresden called the Hechtviertel. The comprehensive photo archive resulting from the long-term relationship between the children, and then young adults, and the artist visualizes the group’s wishes, hopes and fears. As members of the first generation after German unification, they appear to left alone alone with their questions in occupied apartments and temporary clubs, in board and care homes or detention centers. Lysann Buschbeck’s most recent works, created in Berlin and elsewhere, use hair clippings that appear to have been heedlessly swept together or a huge pile of embers to show the consequences of past events and address photography’s capability, and also incapability, of creating an adequate image of the lively unfolding of events.