relative works

Michle wesely

www.wesely.org

master of long exposer. 

2.4. - 9.4.2004

Tulpen

2006

The long-exposure photographs document the blossoming, growth and finally the slow fading of bouquets of tulips. The length of exposure was determined according to the relative bouquet. If one had faded after five days, the exposure was ended. If it lasted for seven days, so did the exposure. The motif took over the control from Michael Wesely by determining the length of exposure. Although the process of blossoming and fading seems to remain the same, the photos differ surprisingly from each other. In one case, the tulip`s blossoming may dominate, but in another, it might be the fading stage that is recorded in the photograph. The natural process of blossom and decay retains its individual significance, which would not be as evident in reality. The photographs actually show us more than we would be able to see in nature.

9.8.2001 - 2.5.2003 The Museum of Modern Art, New York

Open Shutter Projekt 2001 - 2004

Weselys Langzeitbelichtungen gehören zu einer Fotografie, die ein neues Bild des Urbanen entwirft, in dem Unschärfe eine bedeutende Rolle spielt. Seine Langzeitbelichtung widerspricht der herkömmlichen Vorstellung des Fotografischen. Denn sie setzt den Gedanken des Fotos als festgestelltem Augenblick der Bedeutsamkeit ausser Kraft Sie stellt sich der Aufgabe zu visualisieren, was keinen Augenblick hat und nicht gesehen, sondern nur im Bild durch räumliche Überlagerung von vielen Augenblicken sichtbar gemacht werden kann. Diese Langzeitfotos sind kreativer Formalismus, der den Anspruch auf Dokumentation gar nicht aufkommen lässt. Ihre Kombination aus realistischen räumlichen Details und phantastischer temporaler Konstruktion lässt die Banalitt des Realismus nach einer Geschichte von 150 Jahren realistischer Fotografie empfinden. Benutzen die Serien von Llorens eine ungewöhnliche Fototechnik als Mittel der dokumentarischen Fotografie, um Zeugnis vom Verlust abzulegen, ist Weselys Langzeitfotografie radikaler: sie macht die Zeit als Medium des Verschwindens sowie das Verschwinden der linearen Zeit selbst sichtbar. Sie schafft keine Bilder einer moralischen Klage oder Anklage, sondern gehört in ein anthropologisches Projekt, das in weiteren Zeitrumen denkt und der Moral die Fundamente liefert. Denken wir an den Rahmen der Stadtfotografie, so lässt sie sich als eine Technik verstehen, einen Zusammenhang des Urbanen zu entwerfen, der sich nicht von Identitätspolitik und Sinnsuche einfangen lässt.

5.4.1997 - 3.6.1999 Potsdamer Platz, Berlin Potsdamer Platz 1997 - 1999 With up to two-year long exposures Michael Wesely documented the construction being done at Potsdamer Platz in Berlin between 1997 and 1999. The project was commissioned by DaimlerChrysler. The images were taken from five different camera positions and transform the chronological sequences of the construction activity into one simultaneous action, whereby an infinite number of individual moments overlap until they form a complex structure of fragments of reality. Before and after fuse together in that the previously, undeveloped horizon is still visible through the newly constructed buildings. This confuses our visual understanding. The massive constructions seem almost transparent, yet the rays of sun in the sky documenting the various seasonal positions of the sun, gain a surprising level of materiality.These fascinating and detailed documents of the events at Europes most prominent construction site were presented together with New York Verticals under the motto Iconografias Metropolitanas at the XXV. So Paulo Biennial in 2002.

window blind

UNTITLED 42x29 In, digital print, Processing, 2008

UNTITLED 42x29 In, digital print, Processing, 2008

Candy?

• Untitled (portrait of Ross in LA), 1991 - Felix Gonzalez-Torres

• 175 lbs Fruit Flasher Candy, size variable

stories

• personal experience

• space, location

• data

2. personal statement

A window blind reflects my personality. I'm not a socialized person. I prefer to stay alone and spend time thinking by myself. When I stay behind the window blind, I feel comfortable because it gives me a feeling of hiding from the outside while it allows me to see what is happening out there without being recognized by others. It makes me feel safe.

 Blinds can be opened and shuttered. It also shows my personality in the sense that I easily shutter down my mind when I don’t want to be involved in certain situations or relationships.

The actual size of the blind is 23.0" W x 15.0" H although the final image is portrayed in a larger size. I intentionally chose a relatively small size window blind which is actually about the size of my computer monitor. It represents my subjective view toward the world since my computer monitor is my window to society where I spend most of my private time. I always look at the world with my unique perception as window blind also filters out the light as much as it allows.

 From technical point of view, the small blinds reinforce a short focusing range which creates the abstract images of my project. It also leads to move the focus from outside view of window to the colors of light.

1. thesis abstract

"window_contemlative" is the image reflecting my subjective perception of beauty of time by using blind as a symbol of my eyes. During the time frame of three days, pictures were taken every minute which produced 4324 pieces of images. The final image is composed of compressed pixel lines that are extracted from each image by the order of time. Depending on the color variation of light, the number of pictures that are going to be extracted to create one final image varies. Also, the number of pixels is calculated based on the total number of pictures composing the final image. The final image reflects the idea of perception of beauty since the final outcome is based on images I decided to put as parts

of the image I want to show.