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Hans Hollein in the focus of contemporary photography
Austrian Cultural Forum/Austrian Embassy Berlin, 2020/21

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Gregor Eggenberger
Alles ist Fotografie 

Photography beyond Photography
With Thomas Demand, Ólafur Elíasson, Joan Fontcuberta,
Felicity Hammond, Timm Rautert, Eva Stenram,
Hito Steyerl, Snapchat, Google et al.

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Palm Springs (PS 881 CAD), 2017/2020

Language of Architecture

Project on the formal language of sketched,
built and reproduced architecture

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FRAGILE
An experimental approach to an exhibition

In this show, without a doubt, art is being showcased. But not in the conventional way. In “FRAGILE” the presentation merges into the practice of art installation. The exhibited works are transformed into something like minimalist objects. This intervention could well conceal a witty commentary on the role of the curator as crown prince of the art market’s operating system. Certainly, in any case, with the result that all artworks, under their new off-the-peg clothes, can no longer be so easily recognized and identified. And this results, in turn, in the artefacts suddenly presenting themselves to the viewer as extremely profane objects of speculation, which call out for investment. For here art, so disdainful, can be bought, and under conditions that would be seen, according to the rules normally controlling the art market, as clearly fragile, indeed dubious. The potential buyer will need to ponder such questions as, “How does art actually come to be priced? And how at just this price? Who decides what it will be?”

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FRAGILE
An experimental approach to an exhibition

In this show, without a doubt, art is being showcased. But not in the conventional way. In “FRAGILE” the presentation merges into the practice of art installation. The exhibited works are transformed into something like minimalist objects. This intervention could well conceal a witty commentary on the role of the curator as crown prince of the art market’s operating system. Certainly, in any case, with the result that all artworks, under their new off-the-peg clothes, can no longer be so easily recognized and identified. And this results, in turn, in the artefacts suddenly presenting themselves to the viewer as extremely profane objects of speculation, which call out for investment. For here art, so disdainful, can be bought, and under conditions that would be seen, according to the rules normally controlling the art market, as clearly fragile, indeed dubious. The potential buyer will need to ponder such questions as, “How does art actually come to be priced? And how at just this price? Who decides what it will be?”

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Set (Up), 2019

Can both parameters, the two- and three-dimensional, actually be interwoven with each other—is there, consequently, some form of in-between? Or can the process of an image’s becoming even be reversed?

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LSW (Blue), 2016

Gregor Eggenberger
LSW (Blue), 2016

Acute-Matte

Vita, 2020
from the series Acute-Matte

Gregor Eggenberger
Vita, 2020
from the series Acute-Matte
gelatine silver print on baryta paper
118 x 90 cm
Staircase, 2020

Gregor Eggenberger
Staircase, 2020
Austrian Embassy Berlin
LSW (Blue), 2016

Gregor Eggenberger
LSW (Blue), 2016

Acute-Matte

Vita, 2020
from the series Acute-Matte

Gregor Eggenberger
Vita, 2020
from the series Acute-Matte
gelatine silver print on baryta paper
118 x 90 cm
Staircase, 2020

Gregor Eggenberger
Staircase, 2020
Austrian Embassy Berlin

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