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christine bachmann











christine bachmann
























christine bachmann















































































































 

















        
Undine leaves (2009 - today) - Selection

         30 x 45 cm and 67,5 x 45 cm
         C-Prints, Edition of 5 + 1AP

         With reference to the account of “Undine geht” by Austrian writer Ingeborg Bachmann, I portray women and girls of various ages.
         This creates a metaphorical female portrait.
         It's my intention to develope a counterpoint to the literary template and to generate a view from my own perspective reaching
         beyond private relationships between men and women. My focus lies with the diversities of the biographies of women in different
         aspects of life. Through this, various stages are entered and experienced; hope, despair, escape and new beginning.

         Undine (lat. Unda = wave) gained its literary recognition in the romantic period (Friedrich de la Motte Fouqué's novella Undine).
         It wasn't until the 1960's when thanks to Ingeborg Bachmann, this figure went through a transformation, turning Undine into
         a self confident and freedom striving character.
         In the romantic period however, Undine is still considered to be a slight, emphatic, almost ethereal creature. She is depicted as a person
         who devotes herself to her own destiny and it is only through total commitment to a man that she is turned into an actual woman,
         passively surrendering unconditionally to the adversities of marriage. Bearing resemblance with Shakespeare’s Ophelia,
         she also ends up betrayed, outcast and left to drown. Portrayed as such, she doesn’t act on anything out of free will.
         She comes across helpless and as if from the moment she was born, her emotions and circumstances have ruled every part of her life.
         In Ingeborg Bachmanns account of Undine she is very conscious of her own destiny, despises marriage and finds rescue in the water
         using it as means for regeneration. Before her final farewell, she strongly accuses all men in a powerfully worded monologue.
         She describes her circumstances and the role she has continuously found herself in in order to bring about change.
         It is also to be considered an attempt to pass the blame. Since the symbolic beginning of mankind -in paradise- this kind of blame has
         always been directed at the woman, who while looking for self-awareness rocks the pre-existing order and thereby disrupts it deeply.
         And yet, this accusation is not entirely successful. The loving part of Undine, unable to exist in separation, forces her time and again
         to return to this vicious cycle.



























 






























































































































      
      Das Antlitz!, Württembergischer Kunstverein Stuttgart, Germany, 2013
               
               


      neu/e/zugänge, GEDOK Gallery Berlin, 2015

      line.light.signs,
4 Positions of Israeli and German Contemporary Art, Kunstzentrum Karlskaserne, Ludwigsburg, Germany, 2014

      New York Photo Awards 2011, Photographic Centre Peri, Turku, Finland, 2011  (© photo: Christina Felschen)


      Bachmann/Eckert/Grüß, Grafischer Hof Leipzig, Germany, 2012   (© photo: Swen Reichold)

      (© photo: Swen Reichold)

      Endeneu 01102010, Forum Neue Schule für Fotografie, 2010





 

 

 

 



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