Andrzej Steinbach's (*1983 in Czarnkow, PL, lives and works in Berlin) photographic portraits and still lifes negotiate social and media inscriptions and codes in order to deconstruct them in the tradition of staged photography. In doing so, he often confronts viewers with learned imprints and ideas.
The exclusive edition Ohne Titel (Backpapier) shows a used piece of baking paper on which the contours and greasy remains of the last baking process emerge. For his still life composition, Steinbach uses a banal household object as a vanitas motif instead of elaborately arranged fruits or flowers. The arrangement is set by the artist with the utmost precision, as can be seen, among other things, from the accurately symmetrical cutting lines on the paper. Steinbach's work is not only an actualization of a historical art genre, but also a negotiation of theoretical considerations about the medium. The outlines on the baking paper become representatives of the often invoked and much-discussed indexicality of photography. They are the physical traces of a snapshot that has burned itself into the paper and the film. At the same time, the obvious moments of staging contradict this form of a "promise of truth”. As is so often the case in Steinbach's works, the artist brings an imaginary fact against the obviousness of the per se unreal studio production in position.
- Klassenverhältnisse – Phantoms of Perception, Kunstverein in Hamburg (G)
New Photography 2018, The Museum of Modern Art, New York (G)
Äußere Unordnung, Coalmine, Raum für zeitgenössische Fotografie, Winterthur (G)
Antarktika. Eine Ausstellung über Entfremdung, Kunsthalle Wien (G)
Stillleben in der Fotografie der Gegenwart, Kunsthaus Wien (G)
Zerrissene Gesellschaft. Ereignisse von langer Dauer, Centre de la Photographie Genève (G)
- Bundespreis für Kunststudierende, Bundeskunsthalle Bonn (G)
Wüstenrot Stiftung Dokumentarfotografie Förderpreis 11, Museum Folkwang Essen (G)
- Figur I, Figur II, Sprengel Museum Hannover (S)