| My Name | ||
| Brigitte Lustenberger |
| Address | Born | |
| Ateliergemeinschaft B21 Bahnstrasse 21 CH-3008 Bern |
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| Phone | Fax | |
| +41 79 473 12 93 | ||
| My Website / Links to Friends | ||
| mail@lufo.ch |
http://www.likeyou.com/brigittelustenberger
http://www.lufo.ch http://www.artreview.com/profile/BrigitteLustenberger http://www.ovra-archives.com |
| Education | ||
| 2007 | M.F.A. Parsons School of Design (Photography and Related Media), New York | |
| 1998 | GaF96, Bern | |
| 1997 | Workshops at International Center of Photography and School of Visual Arts, New York | |
| 1996 | Lic. Phil. I, Social History, University of Zürich | |
| Solo Exhibitions | ||
| 2010 | ab August: etagen, Bern | |
| 2009 | "Maloja", Kunstraum Winterthur | |
| 2008 | "Who am I looking at? And ... who is looking at me?", Madonna#Fust Gallery, Bern | |
| "What you see", Chambre à Part, Strasbourg | ||
| 2007 | "Caught", Madonna#Fust Gallery, Project Room, Bern |
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| "Brigitte Lustenberger", Musée de l'Elysée, Lausanne | ||
| 2006 | "I Am Watching You", Gallery Scalo, Zürich | |
| 2004 | "Neue Arbeiten", Photoforum PasquArt, Biel | |
| 2002 | “Maloja”, Torre Belvedere, Maloja | |
| Group Exhibitions | ||
| 2010 | “Inside out– part 2”, Kunsthalle Luzern | |
| “Première de Couv”, Chambre à Part, Strasbourg | ||
| “84th Annual International Photography Competition”, Print Center Gallery, Philadelphia | ||
| “Berner Salon”, PROGR, Bern | ||
| “mehrlebenswert”, Kunsthaus Interlaken, Kornhausforum Bern | ||
| 2009 | Frauenkunstpreis, Galerie ArchivArte, Bern | |
| “Catch of the Year”, Dienstgebäude, Zürich | ||
| “Regionale 09”, Kunsthaus Langenthal | ||
| “Projections”, Atelier de Visu, Marseille | ||
| 2007 | "Face - The New Photographic Portrait", Forma, Milan | |
| "Aeschlimann-Corti Award 2007", Kunsthaus Thun | ||
| "Selected By ...", Centre PasquArt, Biel | ||
| "Voies Off", Arles | ||
| "Weihnachtsausstellung", Kunsthalle Bern | ||
| 2006 | "Weihnachtsausstellung", Kunsthalle Bern | |
| “MFA Thesis Show”, Peer Gallery, New York | ||
| "Aeschlimann Corti Award", Kunsthaus Langenthal | ||
| “After Dark”, The Center of Fine Art Photography, Fort Collins CO | ||
| “How To Love A Ready Made”, 238 S 3rd Street, New York | ||
| 2005 | “Epson Art Photo Award 05“, ART Cologne, Cologne | |
| “FIVE”, Scalo Gallery Space, New York | ||
| “The TPS 14”, Design Center of Austin, Austin and Center of Contemporary Arts, Abilene TX | ||
| “Best of Show”, University of the Arts, Philadelphia | ||
| “SohoPhoto National Photographic Competition”, SohoPhoto Gallery, New York | ||
| Grants & Prizes | ||
| 2008 | Residency in Cairo, Arts Council, City of Bern | |
| 2007 | Project Grant, Arts Council, City of Bern | |
| Project Grant, Arts Council, Canton of Bern | ||
| 2006 | Grand Prize Winner, PDNedu, New York | |
| Golden Light Award, Maine | ||
| IPA (International Photography Awards), Honorable Mention Recipient, New York | ||
| Shots/Corbis Student Photographer of the Year, 4th place, London | ||
| 2005 | Epson Art Photo Award, Best Selected Work, Cologne | |
| Prix de Photoforum, Photoforum PasquArt, Biel | ||
| 2nd prize, The Photo Review Competition, Philadelphia | ||
| 3rd prize, SohoPhoto National Photographic Competition, New York | ||
| 2004 | Project grant, BAK Federal Office of Cultural Affairs, Bern | |
| 2002 | 1st prize, Photo Award of the Canton of Bern | |
| News | ||
| Interview with Télé Alsace about my Solo Show at Strasbourg: ************************************************************************************* Brigitte Lustenberger's images in PURPOSE MAGAZINE: ************************************************************************************* Art Critic Lupe Nunez-Fernandez writes about my show at the Elysée on the Saatchi Gallery Homepage:
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| ************************************************************************************* I cordially invite you to the opening of "inside out, part II" at the Kunsthalle Lucerne. I'll be showing part of my photographic compilation Family Business. The Show has been curated by Alessa Panayiotou and Nadine Wietlisbach Opening: Friday, June 4th 2010, 7pm The artist will be present. Kunsthalle Lucerne Bürgenstrasse 34-36 6005 Lucerne/Switzerland Opening hours Mi - Fr 2 to 7pm Sa - So 2 to 5pm The Show is on from June 5th to July 11th 2010 The artist is guiding through the show on July, 1st, 7.30pm ************************************************************************************* |
| Statements | ||
| The study of the gaze, the interplay between absence and presence in a photographic image, and the fact that the reading of a photograph is most often triggered by a collective memory are the main issues in my work. The gaze in my photographs is an important tool to create a narrative and question the viewer’s notion of looking and watching. There are different kinds of gazes inherent in an image: my gaze as the photographer’s gaze, the gaze of the photographed subject, and the gaze of the viewers of the image and their associated perception. I explore different perceptions of seeing and being seen. In some of my works I invoke the gaze of an implied voyeur or observer. It sets up the structure by which memory and implied narrative operate in my images. Movies and stories enriched my visual vocabulary. I have gained a visual archive, a pool of images I have seen or heard of, and they serve as a reference in my image making. However, it is not so much about recreating these references – film stills or stories, etc. – but about reconstructing my memories of them: I make a photograph of a memory of a fictional image from TV, films, novels or fairy tales. In my figurative work the absent refers to the implied but not visible voyeur. The photographs appear to be somebody’s view, who is clearly absent in the image. The viewer sees what the implied voyeur sees but not who this voyeur is. This absence evokes a narrative in the viewer about the presence of the absent, about who the voyeur is and why he or she observes the scene in the photograph. In my non-figurative work I deal with places where people might have been but have left by the time the image was taken. The photographs are about what might have been yet is no more. The absence in the photograph causes the viewer to construct a narrative about what might have been before the image was taken. |
| Choice of Work | Title of Work | |
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Family Business, 2008: Baroque meets the present time. The modern soap opera draws from Baroque sources. … |
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Ausstellungsansicht Kunsthalle Luzern 2010 |
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Ausstellungsansicht Kunsthalle Luzern 2010 |
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Ausstellungsansicht Kunsthalle Luzern 2010 |
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The two dyptichs (The Parents and The Lovers) are inspired by images of Jan de Bray and Frans Hals. In both images the gaze of the represented people point outside the frame and inspire stories. … |
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Due to longstanding experience with TV-series the viewer will guess and make up stories that lie behind the images. … |
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Gazes, gestures and symbols inherent in portraits, family pictures and still lives give a hint of an insight to a clan or some part of society. The photographs provoke the viewer to visualize the single episodes and to cross reference among the family mem |
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Unlike baroque portraits I am not interested in the status or the identity of the portrayed person but to confront the viewer with the daring and straight forward gaze of the photographed people. … |
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The viewer is forced to ask himself: “Who am I looking at? And … who is looking at me?” … |
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The word portrait descends from the latin word protahere which can be translated as to pull out sth, to bring sth forward, to bring sth to light. … |
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The black spaces from where the faces appear leave room for the viewer’s interpretation. … |
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All the lighting in all the photographs is natural daylight coming in through a window. I found reference and inspiration in the works of Rembrandt and Caravaggio. … |
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The flower stills follow a baroque tradition to evoke meaning by showing and choosing certain objects. … |
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They are very much about the transitoriness of being and the constant human involvement in it - and its resulting changes of fates. … |
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Scenes, 2006: Signs of use on objects depicted in the photograph indicate that something might have happened before the image was taken. The subject that might have caused the traces is absent. Looking at was has been left in the photograph we start to … |
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… look for evidence to picture what could have happened. Looking at a photograph we still have the notion that what we see must have happened – but it might not have happened at all. The subtitles of the photographs are different quotes from fictional … |
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… sex scenes taken from romance novels. The quotes are taken out of context - the before and after is missing. The absence triggers the presence of the absent. Photographs and subtitles are ambiguous, heightening the anticipation of what is going on. |
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Ort des Geschehens, 2005: What looks like a particular scene - maybe a crime scene - questions the viewer's perception of watching and seeing. In “Ort des Geschehens” (engl. Place of Events) the images are a deceit, … |
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… as there has no crime been committed, nothing has happened at all - even when the image suggests so. The viewer falls back on memories of film scenes in order to read the image. … |
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… The main subject of this series is not what we see in a photograph but what we make out of it. … |
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… Every photograph has an individual, very fragmented subtitle suggesting a possible reading, alluding to each scene a fictional narrative. (Series of 11 photographs) |
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I Am Watching You, 2005: The title addresses both the implied voyeur in the images/the viewer of the images who looks at the women and the woman who is about to catch the implied voyeur/viewer. (Series of 3 photographs) |
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Caught, 2006: The viewer sees a group of women in different situations. One of the women appears to start to be aware of something or somebody and seems to gaze at the camera/the viewer - the intruder of the scene. The camera's point of view shows … |
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… that the position of the camera is either too high or too low to be a human's point of view. The viewer can't tell who or what may be watching the women, or, conversely, who or what might the women be looking at. (Series of 4 photographs) |
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Watching, 2004: A dark, square-shaped image gives way to a view of a woman. Her heightened alertness is expressed by a subtle gesture, caused by something we don't see, generating a reminiscent atmosphere of suspense. … |
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… The different gazes inherent in the image are used as tools to create a narrative and question the viewer's notion of looking and watching. My images are not so much about the reconstruction of “real” film stills … |
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… but about the depiction of my memories of films and their uncanny scenes. (Series of 7 photographs) |
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