»WYSIWYG« 2017, lampda print, 23 x 28 cm

Steffen Junghans

works info bio
»WYSIWYG« 2017, lampda print, 23 x 28 cm
»WYSIWYG« 2017, lampda print, 23 x 28 cm
»Synkope Form III« (detail) 2018, steel, glass, electronics, 23.5 carat rose noble double gold, 202 x 175 x 30 cm
»Synkope Form III« (detail) 2018, steel, glass, electronics, 23.5 carat rose noble double gold, 202 x 175 x 30 cm
»Legende« exhibition view 2018
»Legende« exhibition view 2018
»Relief ohne Präludium« 2017, lambda print, 70 x 100 cm
»Relief ohne Präludium« 2017, lambda print, 70 x 100 cm
»Glaube und Macht« 2016, diapositive, 6 x 9 cm
»Glaube und Macht« 2016, diapositive, 6 x 9 cm
»Bildnis mit Gebet« 2017 . lambda print . 125 x 155 cm
»Bildnis mit Gebet« 2017 . lambda print . 125 x 155 cm
»Toulouse« 2017, Lightjet photography, 30 x 41cm
»Toulouse« 2017, Lightjet photography, 30 x 41cm
exhibition view »It's me« R E I T E R | Leipzig
exhibition view »It's me« R E I T E R | Leipzig
»It's me.« 2016, Lightjetprint, 155 x 130 cm
»It's me.« 2016, Lightjetprint, 155 x 130 cm
»Synkope Form III« 2018, steel, glass, electronics, 23.5 carat rose noble double gold, 202 x 175 x 30 cm
»Synkope Form III« 2018, steel, glass, electronics, 23.5 carat rose noble double gold, 202 x 175 x 30 cm
»Synkope - Form I« 2013, Laserchrome Print, 110 x 95 cm
»Synkope - Form I« 2013, Laserchrome Print, 110 x 95 cm
»Verweile doch! / Die Fotografie ist ein Bild« 2011, laserchrome print, 44 x 55 cm
»Verweile doch! / Die Fotografie ist ein Bild« 2011, laserchrome print, 44 x 55 cm
»Echo« 2013, Laserchrome Print, 155 x 125 cm
»Echo« 2013, Laserchrome Print, 155 x 125 cm
»Bildnis mit Imker« 2013, laserchrome print, 125 x 155 cm
»Bildnis mit Imker« 2013, laserchrome print, 125 x 155 cm
»Oblivion« 2013, Laserchrome Print, 100 x 140 cm
»Oblivion« 2013, Laserchrome Print, 100 x 140 cm
»Schwärzung IV - seit« 2013, Laserchrome Print, 70 x 60 cm
»Schwärzung IV - seit« 2013, Laserchrome Print, 70 x 60 cm
»Schwärzung II - Pyramide« 2013, Laserchrome Print, 100 x 90 cm
»Schwärzung II - Pyramide« 2013, Laserchrome Print, 100 x 90 cm
»Synkope - Form II« 2013, Laserchrome Print, 90 x 140 cm
»Synkope - Form II« 2013, Laserchrome Print, 90 x 140 cm
»Memory« 2012, handproof on baryta paper, 30 x 40 cm
»Memory« 2012, handproof on baryta paper, 30 x 40 cm
»Erinnerung« 2012 exhibition view with backlit photo slide
»Erinnerung« 2012 exhibition view with backlit photo slide
»Zum Augenblicke sagen...« 2011, C-print, 50 x 60 cm
»Zum Augenblicke sagen...« 2011, C-print, 50 x 60 cm
»Bildnis mit Diakonisse« 2006, C-print, 125 x 155 cm
»Bildnis mit Diakonisse« 2006, C-print, 125 x 155 cm
»Bildnis mit Dirigent« 2010, c-print, 125 x 155 cm
»Bildnis mit Dirigent« 2010, c-print, 125 x 155 cm
»Bildnis mit Richter« 2009, c-print, 125 x 155 cm
»Bildnis mit Richter« 2009, c-print, 125 x 155 cm
untitled 2010, laserchromeprint, 125 x 155
untitled 2010, laserchromeprint, 125 x 155
»Die grüne Tür« 2010, laserchromeprint, 125 x 155
»Die grüne Tür« 2010, laserchromeprint, 125 x 155

Steffen Junghans info

With his photographic work, Steffen Junghans has always worked against the blinding work of clarity. By doing so, he offers to admit the sensory anxiety of uncertainties. He rapidly searches for new materials and objects to present in large format photographs (in analogue technique) that at first glance may be a lie.
Through the medium of photography Junghans captures a reality that only exists for a short period of time. Countless attempts are required in order to truely represent the fiction of the picture. Location, light, props, models – everything that we see in the photograph is a manifestation of an idea.
Many things happen when Junghans directs his work in line with the traditions from the early artists who used light: the picture becomes determined by the moment its recorded – the inscription of the light onto the negative is final and it is irreversible, thus making it a unique process. Finally, the comparable mode of work is important because it stereotypes the later reading of the images, although on the other hand the picture has already fallen into oblivion when it became a new thought.
The highly self-reflective mode of operation mainly refers to the inventiveness and the limits of artistic photography. We may find ourselves asking: what is fiction? What are the limits of the imagination? And it leads to question the difference between (aesthetic) photography and (photorealistic) painting – Is it gradual or is it fundamental?
Junghans’ motives are not real images. They describe attempts to approach reality and test out possible ways to meditate visual thoughts. In contrast to this, they negotiate the impossibility of an encyclopedic documentation of reality. A final and valid representation of the present is not possible. This is where the »Kapitulation« (»Capitulation«) series (I, II, III) begins. So what is the goal of a contemporary photographers work? In turn, the attempts to answer this open up new opportunities for photography.
The series of »Bildnisse« (»Portraits«) present both different experiences and fictions. In order to escape the »Realitätsfalle« (»Reality Trap«), Jungians’ motifs are created in a way that breaks through conceptions of reality. The tension between the real and the staged starts provoking the assumption based on contemporary photography when it becomes art.

Steffen Junghans bio

1963
born in Leipzig
1980 - 1983
apprenticeship
1992 - 1995
freelance reporter
1994 - 2001
studies photography under supervision of Prof. Timm Rautert and Prof. Dr. Christoph Türcke at the Academy of Visual Arts. Leipzig
2001
diploma
Steffen Junghans lives and works in Leipzig.