The film maker, photographer, draughtsman and sculptor chooses sports grounds as objects of investigation in his recent exhibition at Kunsthaus Graz. All photos courtesy: Courtesy of the artist, Galerie Andreas Huber und Wilfried Lentz.
Small shifts, irritations, different forms of vegetation, light conditions and decoration turn into props of a moving perception of culturally influenced places.
Panorama (Jogging), 1999. The "Panorama" theme has appeared in Josef Dabernig's work since 1989. A ritual that has turned into somewhat of an obsession over the years, it serves the artist to question analogies of film and photography.
There is no other cultural structure like sports grounds which are so similar in form and size all over the world.
These venues are also synonymous with leisure time.
But then, sport fields are also charged with location of congregation, of victory and defeat and sometimes even demagogy.
In Dabernig's photographs, people are not integrated into the place itself.
Dabernig addresses the empty centers, pointing at their charged atmosphere that is increased by the invisible. "...The centers are empty and a potential dramaturgy is shifted to its margins. ..."
Standing on the sideline he takes six shots that provide a panoramic view spanning 180゜.
Like the investigations undertaken by Bernd and Hilla Becher or Hans Peter Feldmann, he traces the typologies of these places.