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>> Deutsche Bank Art at Art Frankfurt / Deutsche Bank is sponsoring Frieze Art Fair
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Deutsche Bank Art at Art Frankfurt

From experimental photography to installation and new painting: each year, Art Frankfurt provides a comprehensive overview of the current tendencies in art production. Among the approximately 180 international galleries represented are names as renowned as the galleries Henze & Ketterer from Bern, Lahumiere from Paris, or James Rubin from Milan, who have been closely involved with the developments in contemporary art for many years. A special feature of the Frankfurt fair is also, however, an increased presence of new galleries which are often presenting their promising programs to a wider public for the first time.

Art Forum Berlin Messestand 2003

Following its successful presentations at Art Forum Berlin 2003, Art Cologne 2003, and the TEFAF in Maastricht 2004, Deutsche Bank Art will again be taking part in this year's Art Frankfurt with their own press stand. In keeping with the fair's open concept, the press stands will be intermingling with the gallery booths and spread out over the entire exhibition area. Deutsche Bank Art's 28-square meter stand will once again be appearing with a design conceived especially for the event. Here, the visitor will have the opportunity to obtain a new version of the coveted press portfolios including the last limited poster editions of artists from the Deutsche Bank Collection Franz Ackermann, Marc Brandenburg, and Miwa Yanagi.

On the Poster Edition

Franz Ackermann: Birthday 2003

Nature is tilting, and civilization follows. In Franz Ackermann's paintings, an avalanche of cliffs, high-rise architecture, and green lawns collapses into a seemingly apocalyptic landscape. Not even the sun can be relied on here, which is burning through the canvas in countless spots of acidic orange. For the Berlin-based painter, the title piece Birthday that Ackerman contributed to our poster edition encapsulates that moment "when one can't decide if the world is in construction or a state of complete ruin." The visual chaos corresponds to the antagonism between economics and politics, whose aggressive interplay of forces the viewer is constantly confronted with in reality. In his painting, Ackermann isn't searching for memories of places and faraway cartographies. Instead, he dissolves the narrative logic, "because deception has become an everyday matter" - no image can comprehend or reconcile the conflicts of globalization. This is why, to Ackermann's mind, every general survey ultimately leads to abstraction. Not as a rescue, but an expansion of the color zone.

Marc Brandenburg: Ohne Titel (2003)

Organic turns into the inorganic, plastic into skin, bizarre landscapes melt into glittering trails of graphite: Marc Brandenburg's works always have something abysmal about them. The Berlin-based artist calls his pencil drawings "snapshots"; based on semi-documentary photographs and pages taken from magazines, he has been presenting them in psychedelic installations since the late nineties, in darkened rooms lit by black lights. Marked by personal mythologies and the iconography of popular culture, his image series are reminiscent of film stills composed of single images distorted in perspective and reversed into negatives.

Miwa Yanagi: Mikiko (2001)

The work Mikiko from Miwa Yanagi's extensive series My Grandmothers forms the third part of the press portfolio. Yanagi has already counted among the most prominent representatives of the young Japanese art scene for several years, and her photographic works are part of the Deutsche Bank Collection. For My Grandmothers, Yanagi interviewed young women about how they imagined their life would be in 50 years' time. The artist then took the future visions that arose in these dialogues and captured them in elaborately staged photographs. In nearly supernatural clarity and brilliance, Yanagi's portraits of women confront traditional Japanese gender roles with an ambience of technology and progress. Her works are accompanied by short, poetically suggestive texts taken from the talks she had with her protagonists and create an additional plane parallel to the photography itself. Like a voice from off-stage, the text adds a temporal component to the moment arrested in the photograph, leading the sequence of images to become a film that unfolds in the mind of the viewer.

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