PERMANENT DAYLIGHT
Digital pigment prints on Photo Archive Paper, 76 x 50 cm, framed, presented in fixed constellations ('Groups'), 2013 - ongoing
460 Digital pigment prints on Photo Archive Paper, 120 x 80 cm, framed, presented individually ('Singles'), 2013 - ongoing
Exhibition view: “Actually, the Dead Are Not Dead. Techniques of Becoming”, Württembergischer Kunstverein Stuttgart, 10/2021
Initiated in 2013, Permanent Daylight is an ongoing photographic series of architectural sites and landmarks around the world. Until today, the series consists of more than 260* photographs. Photographed with a 50mm standard focal length in various places around the world, the series examines the concept of a growing global interconnectivity: the selected sites were either created or defined by human culture — yet they conspicuously lack any evidence of human presence. The photographs of this series are presented in individually titled and fixed constellations ("groups") which form new essayistic contexts and narrative associations between the images. The title of the series refers to the phrase "the empire on which the sun never sets”: variations of it have been used through history to describe global empires that were so extensive that at least one part of their territory was always in daylight.
Exhibition Text "Niklas Goldbach: TRUST", Museum Technische Sammlungen Dresden", 2017, curated by Dr. Andreas Krase
2013 begann Niklas Goldbach die Arbeit an Permanent Daylight, einem fotografischen Langzeitprojekt, das mittlerweile über 240* Fotogafien umfasst. Die Arbeit untersucht das Phänomen der zunehmenden globalen Interkonnektivität von konkretem Raum: Fotografiert mit einer 50mm Standardbrennweite, verweisen die weltweit fotografierten und menschenleeren Orte und Architekturen implizit auf die Absichten und Gesellschaftssysteme ihrer Erbauer. Durch die Präsentation der Fotografien in Gruppen ergeben sich neue essayistische Narrative und Bedeutungszusammenhänge zwischen den Bildern - das einzelne fotografische Bild tritt in den Hintergrund.
Der Titel der Serie bezieht sich auf die geläufige Phrase “das Reich in dem die Sonne niemals untergeht”: Variationen dieses stolzen Ausspruchs wurden immer wieder durch die Jahrhunderte benutzt, um Weltreiche zu beschreiben, deren Ausdehnung über mehrere Kontinente dazu führte, dass immer irgendwo die Sonne schien.
Ausstellungstext „Niklas Goldbach: TRUST", Museum Technische Sammlungen Dresden", 2017, kuratiert von Dr. Andreas Krase
[…] Niklas Goldbach’s photographic and video works also deal with towers and building pits – both literally and figuratively. They look at architecture as a paradise machine, at projects that reach for the stars or at least hold the promise of a small paradise on Earth, at their mass production – and their dystopian downsides. The buildings and structures they document always attempt to create a secular, often (petty) bourgeois yet never socialist paradise and demonstrate how quickly such attempts can turn into their opposite. The paradise machines they depict are diverse in nature: uncompleted housing developments in sprawling new neighbourhoods straight from the drawing board, artificial islands as failed investment properties, architectural remnants of model cities in the desert (California City), socialist prefabricated buildings in Berlin-Lichtenberg, the AIDA cruise ship, the huge underground train station Stuttgart21 or the village-swallowing pit of the open-cast lignite mine in Garzweiler. Another photograph from the Permanent Daylight series (ongoing since 2013) shows the Vietnamese island of Côn Đảo, which served as a prison and torture chamber until 1975 and is now a popular holiday destination […].
Inke Arns, excerpt from "The Paradise Machine - Of Towers and Foundation Pits in the Works of Niklas Goldbach"
Introductory text to the exhibition publication "The Paradise Machine", HMKV Dortmund, 16 March - 11 August 2024
[…] In Niklas Goldbachs Foto- und Videoarbeiten geht es ebenfalls um Türme und Baugruben – im konkreten wie im übertragenen Sinne. Es geht um Architektur als Paradiesmaschine, um Projekte, die nach den Sternen greifen oder zumindest ein kleines Paradies auf Erden versprechen, um ihre massenweise Fabrikation – und um ihre dystopischen Kehrseiten. Die von Goldbach dokumentierten Architekturen versuchen sich dabei immer an der Erschaffung eines diesseitigen (oft [klein]bürgerlichen, jedoch nie sozialistischen) Paradieses – und zeigen, wie schnell solche Versuche in ihr Gegenteil umkippen können. Die dargestellten Paradiesmaschinen sind dabei vielfältiger Natur: Es kann sich um nicht fertiggestellte Wohnbebauungen in riesigen, am Reißbrett geplanten neuen Stadtvierteln handeln, um künstliche Inseln als gescheiterte Anlageobjekte, um architektonische Überreste von Modellstädten in der Wüste (California City), sozialistische Plattenbauten in Berlin-Lichtenberg, das Kreuzfahrtschiff AIDA, den riesigen unterirdischen Bahnhof Stuttgart 21 oder die Dörfer verschlingende Grube des Braunkohletagebaus in Garzweiler. Ein weiteres Foto aus der Serie Permanent Daylight (seit 2013) zeigt ein Gefängnisgebäude unter Palmen auf der vietnamesischen Insel Côn Đảo. Diese war bis 1975 eine reine Gefängnis- bzw. Folterinsel und ist heute eine beliebte Urlaubsdestination […].
Inke Arns, Auszug aus „Die Paradiesmaschine - Von Türmen und Baugruben in den Arbeiten von Niklas Goldbach",
Einleitungstext zur Ausstellungspublikation „The Paradise Machine", HMKV Dortmund, 16.3.- 11.8.2024
In Niklas Goldbach’s exhibition The Paradise Machine, the reflections on the structures and contexts of Center Parcs outlined here are negotiated in various ways in and between the works on display. Besides works that refer directly to the Center Parcs, such as the video Into the Paradise Machine, the photographs from his series Permanent Daylight also relate to aspects of, and entanglements between, mass tourism, colonialism and the standardisation and disciplining of space and bodies: for instance, the globe in the 1980s-built Tropicarium in Frankfurt’s Botanical Gardens, the floating hotel and experience machine AIDA, a holiday resort on the former Vietnamese prison and torture island of Côn Đảo or the headquarters of Frontex – in counterpart, so to speak, to the low-cost mass tourism of a supposedly global world that is by no means open to all and where boat trips are synonymous with pleasure for some but with death for others. The photographs are shown alongside other objects – including excerpts of the Derksen-funded Lumen TV programme – in ‘bungalows’ inspired by the Center Parcs architecture.
Iris Dressler, Excerpt from "Soft Cops",
Essay of the exhibition publication "The Paradise Machine", HMKV Dortmund, 16 March - 11 August 2024
[…] Die von mir skizzierten Überlegungen zu Strukturen und Kontexten der Center Parcs werden in Niklas Goldbachs Ausstellung The Paradise Machine auf verschiedene Weise in und zwischen den hier gezeigten Werken verhandelt. Neben Arbeiten, die sich direkt auf die Center Parcs beziehen, wie das Video Into the Paradise Machine, verweisen auch die Fotografien aus seiner Serie Permanent Daylight auf Aspekte von und Verschränkungen zwischen Massentourismus, Kolonialismus und der Normierung und Disziplinierung von Raum und Körpern: etwa der Globus des in den 1980er Jahren im Frankfurter Palmengarten errichteten Tropicariums, die schwimmende Hotel- und Erlebnismaschinerie AIDA, ein auf der ehemaligen vietnamesischen Gefängnis- und Folterinsel Côn Đảo etablierter Urlaubsort oder das Headquarter von Frontex – quasi als Gegenpart zum erschwinglichen Massentourismus einer angeblich globalen Welt, die längst nicht allen offensteht und in der Schiffsfahrten für die einen ein Vergnügen darstellen, anderen dagegen den Tod bringen. Die Fotografien werden, neben anderen Objekten, in der Ausstellung in „Bungalows“ gezeigt, die von der Architektur der Center Parcs inspiriert sind […].
Iris Dressler, Auszug aus „Soft Cops", Essay der Ausstellungspublikation „The Paradise Machine", HMKV Dortmund, 16.3.- 11.8.2024
The first words uttered in Joseph Conrad’s Heart of Darkness (1899) were those of the protagonist speaking about the place where his journey originated: “‘And this also,’ said Marlow suddenly, °‘has been one of the dark places of the earth.’” One might venture so far as to say that Niklas Goldbach has not taken a single photograph of a human being in his works. Which, considering his background in sociology and a photography practice spanning nearly two decades, testifies to a persistence and a sense of observation focused not on our interactions, but on what comes before and structures our existence: space, architecture, and social engineering […]. The desolate landscape in which Goldbach’s photographs […] is pristine. It lacks any trace of past human presence and feels like a social experiment in the making. Indeed, it is structured after Goldbach’s series Permanent Daylight (2013–ongoing) which includes some 450 images to date, featuring locations around the globe: crumbling, disused interiors; building sites, alluring with their symmetry and nauseating with their scale; places of wealth and places for people with little means and choice. “The dreams of men, the seed of commonwealths, the germs of empires,” (Joseph Conrad, Heart of Darkness, 1899) depicted by the artist in the same size […]. Goldbach examines how human desire can propel our actions, while rarely adopting a direct moral stance. His readings of modernity, identity, the colonial and decolonial in their complexity, the exotic and self-exoticization, as well as the unconditional implication of both the viewers and himself in the narratives we are invited to experience, are never one-sided: at the verge of permanent daylight there is invariably a brooding darkness.
Krzysztof Kosciuczuk, excerpt from "Niklas Goldbach: The Paradise Machine", Exhibition Review, Camera Austria No.166, p 76
This long-term photographic project, begun in 2013, currently consists of more than 450 photographs taken at various locations around the world. The images show places shaped by people, their historical traces or the first signs of their future materialisation/dematerialisation. However, they are resolutely devoid of human presence and emphasise the bedrocks of our societal formations. The photographs are presented in fixed sequential groups, which produce essayistic associations among them. Photographs from Permanent Daylight are presented as series in the bungalows of the exhibition The Paradise Machine. The project’s title refers to the expression ‘the kingdom on which the sun never sets’, which has been used in various iterations throughout history to describe global empires so big that there was always at least a part of their territory that was in daylight.
Inke Arns, short text from the exhibition publication "The Paradise Machine", HMKV Dortmund, HMKV Dortmund, 16 March - 11 August 2024
[…] Das 2013 begonnene fotografische Langzeitprojekt besteht aktuell aus mehr als 450 Fotografien, die an verschiedenen Orten auf der ganzen Welt aufgenommen wurden. Alle Motive zeigen von Menschen geformte Orte, ihre historischen Spuren oder die ersten Anzeichen ihrer zukünftigen Materialisierung/Dematerialisierung. Sie sind jedoch dezidiert frei von menschlicher Präsenz und heben die Grundlagen unserer gesellschaftlichen Formationen hervor. Die Fotografien werden in festen sequenziellen Gruppen präsentiert, welche essayistische Assoziationen untereinander herstellen. In der Ausstellung The Paradise Machine werden Fotografien aus Permanent Daylight in Serien in den Bungalows präsentiert. Der Titel der Arbeit bezieht sich auf die Redewendung „das Reich, in dem die Sonne nie untergeht“: Abwandlungen davon wurden im Laufe der Geschichte verwendet, um globale Reiche zu beschreiben, die so groß waren, dass immer zumindest ein Teil ihres Territoriums im Tageslicht lag […].
Inke Arns, Kurztext zur Ausstellungspublikation „The Paradise Machine", HMKV Dortmund, 16.3.- 11.8.2024
Niklas Goldbach negotiates the relationship between architecture and ethics in their modernist traditions and postmodern manifestations. Predominantly working with video and photography, Goldbach dissects architectural elements and concepts that serve both as backdrops and catalysts of (neo)liberal and (neo)colonial subject construction.
For Bergen Assembly 2019, Goldbach presents a selection from his long-term, ongoing photographic series Permanent Daylight. Initiated in 2013, the series consists of more than 300* photographs taken at various sites around the world. All motifs depict human-made or human-shaped sites, their historic traces, or the first signs of their future materialisation/ dematerialisation. Yet they determinedly lack any human presence, accentuating the fundaments of our societal formations. The photographs are presented either individually (‘Singles’) or in fixed sequential constellations, the latter drawing upon essayistic associations between each other. In the exhibition, Goldbach presents two new sequences that have been specifically conceived for the conceptual framework of Actually, the Dead Are Not Dead.
Text: "Bergen Assembly 2019: Actually, the Dead Are Not Dead", Guidebook
[…] Ein neuer ist Niklas Goldbach, Jahrgang 1973, dessen fotografische Tiefenblicke in die Vergänglichkeit irdischer Orte eine tiefe Melancholie verraten und eher als Rückblicke einzuordnen wären. Am Tempelhof Feld etwa interessiert ihn einzig ein frei stehender Stromkasten, neben dem schüchtern ein karger Strauch seine Zweige ins fahle Licht reckt. Das freie Feld, das die Bildfläche ausfüllt, assoziiert Leere und Vergessen. Leer stand 2017 auch die einstige Residenz Thomas Manns in Los Angeles. Durch dichtes Gestrüpp blickt die Kamera auf das Fenster, hinter dem einst der Schreibtisch des Schriftstellers stand. Permanent Daylight hat Goldbach die Serie genannt, zu der die fünf Aufnahmen gehören, ein ironischer Titel vielleicht, denn das Licht scheint an all diesen Orten unterzugehen. Ein neuer Außenbezirk von Teheran, „Pardis Town“, verheißt den Bewohnern nichts weniger als das Paradies in trist nüchternen Hochhausbauten, der Weg dorthin dürfte lang und beschwerlich werden. Doch welcher Ausblick, wie ihn die Galerie eröffnen will, käme ohne einen Glauben, ohne Hoffnung aus? Goldbachs work in progress ist bislang auf 350* Arbeiten angewachsen. Man möchte sie alle sehen, jetzt oder wenn der Zyklus vollendet ist […].
Auszug aus: Hans-Jörg Rother, „Melancholie im Quadrat", Der Tagesspiegel, 13.Juni 2020
[…] Das findet sich auch in seinen noch gezeigten Fotoserien, deren Titel alle mit dem Verschwinden zu tun haben: „How it fades“, „For all the dark things“, „The lost take“, „Leave them all behind“. Darin koppelt er Nicht-Orte, und zwar weltweit. Ob das die Stadt Pardis im Iran ist, ein Bauklotz-alptraum vor felsigem Hintergrund; das California City Correctional Center, ein Gefängnis in der Pampa, das bei Nacht so hell erleuchtet ist, dass man glaubt, einen Brandherd zu sehen; oder der Dresdner Fernsehturm, den Goldbach nur als Ausriss zeigt: Es sind Stätten des Funktionalen, wo das Ästhetische meist durch Abwesenheit glänzt. Womit sich der Kreis wieder schließt. Goldbachs Stärke ist die Unbedingtheit. Er reduziert seine Bilder, das macht sie aussagekräftiger als die meisten Fotos menschenleerer Kulissen, die gern mit dem Thema Entfremdung flirten. Er vergrößert auch, wie schon andere Fotografen in den Technischen Sammlungen, den Kontext. Goldbachs Horizont ist zweifellos ein globaler. Hier ist Dresden nicht der Bauchnabel, sondern lediglich der Teil einer Welt, die nicht immer, vielleicht gar immer weniger zu verstehen ist […].
Auszug aus: Torsten Klaus, „Keine Romantik, bitte", Dresdner Neueste Nachrichten, 14. November 2017
*460 in 06/2024 |
DAY 7
"Day 7”, Group from the series “Permanent Daylight”, 76,4 x 176,6 cm, 2024
3 Digital Pigment Prints on Photo Archive Paper, 75 x 50 cm, individually framed
1. Bank Of Korea HQ, 2022
2. Tropicarium Frankfurt, 2023
3. Għasri Cliffs, 2021
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LANDSLIDE
"Landslide”, Group from the series “Permanent Daylight”, 76,4 x 367,2 cm, 2024
6 Digital Pigment Prints on Photo Archive Paper, 75 x 50 cm, individually framed
1. Public Restroom Hammerteich Witten, 2020
2. Complesso dell’ex Ospedale Pediatrico Umberto I, 2022
3. Internationales Congress Centrum Berlin, 2021
4. Venice Beach Squash Courts, 2017
5. Wild Wild West Casino, 2016
6. Schwarzer Diamant, Duisburg-Bruckhausen, 2014
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THE KILLING MOON
"The Killing Moon”, Group from the series “Permanent Daylight”, 76,4 x 367,2 cm, 2024
6 Digital Pigment Prints on Photo Archive Paper, 75 x 50 cm, individually framed
1. KT Gwanghwamun West Building, 2022
2. Berliner Schloss, 2021
3. Côn Đảo Prison, 2024
4. 1933 Old Millfun, 2014
5. Gaskugel Wengern, 2018
6. The Spire, 2022
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POSTERITY
"Posterity”, Group from the series “Permanent Daylight”, 76,4 x 304 cm, 2024
5 Digital Pigment Prints on Photo Archive Paper, 75 x 50 cm, individually framed
1. Cadillac Blvd, California City, 2014
2. Hoover Dam, 2017
3. Pesch (Erkelenz), 2014
4. Long Biên Bridge, 2023
5. Stuttgart 21, 2023
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GREETINGS FROM
"Greetings from”, Group from the series “Permanent Daylight”, 76,4 x 176,6 cm, 2024
3 Digital Pigment Prints on Photo Archive Paper, 75 x 50 cm, individually framed
1. AIDAnova (Bergen), 2019
2. Regenbogenhäuser Lichtenberg, 2017
3. Greetings from Atlantic City, 2016
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IN BETWEEN DAYS
"In Between Days”, Group from the series “Permanent Daylight”, 76,4 cm x 113,6 cm, 2024
2 Digital Pigment Prints on Photo Archive Paper, 75 x 50 cm, individually framed
1. Sun (London), 2013
2. Moon (Porertes), 2014
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THE NEXT DAY
"The Next Day”, Group from the series “Permanent Daylight”, 76,4 x 430,4 cm, 2019
7 Digital Pigment Prints on Photo Archive Paper, 75 x 50 cm, individually framed
Conceived for and co-produced by Bergen Assembly 2019: Actually, the Dead Are Not Dead
1. Rheinische Bahn Mülheim, 2014
2. Isola di San Michele, 2019
3. Stammheim, 2019
4. Hongkou District, 2014
5. Amoreiras Shopping Center, 2018
6. Toftestallen, 2019
7. Pardis Town, 2017
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NO STARS
"No Stars”, Group from the series “Permanent Daylight”, 76,4 x 556,8 cm, 2019
9 Digital Pigment Prints on Photo Archive Paper, 75 x 50 cm, individually framed
Conceived for and co-produced by Bergen Assembly 2019: Actually, the Dead Are Not Dead
1. Paranet Care Dome Moabit, 2015
2. Pomnik Chrystusa Króla, 2018
3. St. Peter and St. Paul Bastion, 2014
4. Qarani Street, 201
5. Garzweiler, 2014
6. Altmarkt Dresden, 2016
7. Los Angeles Reservoir, 2017
8. Stadio di Polo di Giarre, 2019
9. Llano Del Rio, 2014
THIS MUST BE THE PLACE
“This must be the place”, Group from the series “Permanent Daylight”, 76,4 x 176,6 cm, 2018
3 Digital Pigment Prints on Photo Archive Paper, 75 x 50 cm, individually framed
1. Caixa Geral de Depósitos' Headquarters, 2018
2. U.S. Bank Tower, 2017
3. Abo Atash Skate Park, 2017
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I WALKED ALONE (UNTIL WE MET)
“I walked alone (until we met)”, Group from the series “Permanent Daylight”, 76,4 x 367,2 cm, 2017
6 Digital Pigment Prints on Photo Archive Paper, 75 x 50 cm, individually framed
1. Sprockhöveler Strasse 111, 2014
2. Haus der Kulturen der Welt, 2014
3. Wien Westbahnhof, 2012
4. Death of Dirce, 2013
5. Broken Obelisk, 2016
6. S Cochran Ave, 2017
FOR ALL THE DARK THINGS
“For All The Dark Things”, Group from the series “Permanent Daylight”, 76,4 x 556,8 cm, 2017
9 Digital Pigment Prints on Photo Archive Paper, 75 x 50 cm, individually framed
1. Waldsiedlung Krumme Lanke, 2015
2. CCTV Headquarters, 2014
3. Cathedral of St. John the Divine, 2016
4. BND, 2016
5. California City Correctional Center, 2014
6. Israeli West Bank barrier, 2015
7. Apple Store 5th Ave, 2015
8. Rechenzentrum Robotron, 2016
9. Westin Bonaventure Hotel, 2017
THE BEST OF TIMES
“The Best of Times”, Group from the series “Permanent Daylight”, 76,4 x 240,8 cm, 2017
4 Digital Pigment Prints on Photo Archive Paper, 75 x 50 cm, individually framed
1. The Sphere, 2016
2. 432 Park Avenue, 2016
3. Century Sports Club & Day Spa, 2017
4. Chung's, 2017
THE LOST TAKE
“The Lost Take”, Group from the series “Permanent Daylight”, 76,4 x 304 cm, 2017
5 Digital Pigment Prints on Photo Archive Paper, 75 x 50 cm, individually framed
1. Revel (Metropolitan Avenue), 2016
2. Thomas Mann House (Study), 2017
3. Barker Dam, 2017
4. Tempelhofer Feld, 2016
5. Pardis
Town, 2017
HOW IT FADES
"How it fades”, Group from the series “Permanent Daylight”, 76,4 x 430,4 cm, 2017
7 Digital Pigment Prints on Photo Archive Paper, 75 x 50 cm, individually framed
1. Jungle, 2015
2. Avdi Square, 2017
3. The Panorama Museum of the Sacred Defense, 2017
4. Los Angeles Reservoir, 2017
5. Hongkou District, 2014
6. San Cataldo Cemetary, 2014
7. Garzweiler, 2014
LEAVE THEM ALL BEHIND
“Leave Them All Behind”, Group from the series “Permanent Daylight”, 76,4 x 176,6 cm, 2015
3 Digital Pigment Prints on Photo Archive Paper, 75 x 50 cm, individually framed
1. Unisphere, 2015
2. Sea of Galilee, 2015
3. Care Dome Moabit, 2015
PERMANENT DAYLIGHT: SINGLES
460 Digital pigment prints on Photo Archive Paper
120 x 80 cm, framed, presented individually ("Singles"), 2013 - ongoing
Please contact the studio for high-res pdf.
EXHIBITION VIEWS
Exhibion views:
"Day 7”, Group from the series “Permanent Daylight”, 76,4 x 176,6 cm, 2024
3 Digital Pigment Prints on Photo Archive Paper, 75 x 50 cm, individually framed
"Niklas Goldbach: The Paradise Machine", HMKV Hartware MedienKunstVerein Dortmund, 16.3. - 11.8.2024
Curated by Inke Arns
Photos 1-3: Roland Baege
Exhibition views:
"Posterity”, Group from the series “Permanent Daylight”, 76,4 x 304 cm, 2024
5 Digital Pigment Prints on Photo Archive Paper, 75 x 50 cm, individually framed
"Niklas Goldbach: The Paradise Machine", HMKV Hartware MedienKunstVerein Dortmund, 16.3. - 11.8.2024
Curated by Inke Arns
Exhibition views:
"Greetings from”, Group from the series “Permanent Daylight”, 76,4 x 176,6 cm, 2024
3 Digital Pigment Prints on Photo Archive Paper, 75 x 50 cm, individually framed
"Niklas Goldbach: The Paradise Machine", HMKV Hartware MedienKunstVerein Dortmund, 16.3. - 11.8.2024
Curated by Inke Arns
Photos 1 & 3: Roland Baege
Exhibition views:
"The Killing Moon”, Group from the series “Permanent Daylight”, 76,4 x 367,2 cm, 2024
6 Digital Pigment Prints on Photo Archive Paper, 75 x 50 cm, individually framed
"Niklas Goldbach: The Paradise Machine", HMKV Hartware MedienKunstVerein Dortmund, 16.3. - 11.8.2024
Curated by Inke Arns
Photo 1: Roland Baege
Exhibition views:
"In Between Days”, Group from the series “Permanent Daylight”, 76,4 cm x 113,6 cm, 2024
2 Digital Pigment Prints on Photo Archive Paper, 75 x 50 cm, individually framed
Niklas Goldbach: The Paradise Machine", HMKV Hartware MedienKunstVerein Dortmund, 16.3. - 11.8.2024
Curated by Inke Arns
Photos: Roland Baege
Exhibition views:
“Landslide”, Group from the series “Permanent Daylight”, 76,4 x 367,2 cm, 2024
6 Digital Pigment Prints on Photo Archive Paper, 75 x 50 cm, individually framed
Kunstpreis
der Stadt Nordhorn, Städtische Galerie Nordhorn, 2/2024
Curated by Thomas Niemeyer
Exhibition views:
“This Must Be The Place”, Group from the series “Permanent Daylight”, 76,4 x 176,6 cm, 2018
3 Digital Pigment Prints on Photo Archive Paper, 75 x 50 cm, individually framed
Kunstpreis
der Stadt Nordhorn, Städtische Galerie Nordhorn, 2/2024
Curated by Thomas Niemeyer
Exhibition views:
"The Next Day”, Group from the series “Permanent Daylight”, 76,4 x 430,4 cm, 2019
7 Digital Pigment Prints on Photo Archive Paper, 75 x 50 cm, individually framed
Kunstpreis
der Stadt Nordhorn, Städtische Galerie Nordhorn, 2/2024
Curated by Thomas Niemeyer
Exhibition views:
“Leave Them All Behind”, Group from the series “Permanent Daylight”, 76,4 x 176,6 cm, 2015
3 Digital Pigment Prints on Photo Archive Paper, 75 x 50 cm, individually framed
“Where Are We Now?”, Wilhelm Hallen, Berlin, 9/2023 (Picture 2 with Konrad Mühe)
Curated by HHarald F. Theiss
Exhibition views:
“Actually, the Dead Are Not Dead. Techniques of Becoming”, Württembergischer Kunstverein Stuttgart, 10/2021 - 2/2022
Curated by Hans D. Christ, Iris Dressler & Viktor Neumann
Picture 1: Exhibition view with Banu Cennetoğlu
Picture 3:
"No Stars”, Group from the series “Permanent Daylight”, 76,4 x 556,8 cm, 2019
9 iDgital Pigment Prints on Photo Archive Paper, 75 x 50 cm, individually framed
Conceived for and co-produced by Bergen Assembly 2019: Actually, the Dead Are Not Dead
Picture 4: "The Next Day”, Group from the series “Permanent Daylight”, 76,4 x 430,4 cm, 2019
7 Digital Pigment Prints on Photo Archive Paper, 75 x 50 cm, individually framed
Conceived for and co-produced by Bergen Assembly 2019: Actually, the Dead Are Not Dead
"No Stars”, Group from the series “Permanent Daylight” ,76,4 x 556,8 cm, 2019
9 Digital Pigment Prints on Photo Archive Paper, 75 x 50 cm, individually framed
Conceived for and co-produced by Bergen Assembly 2019: Actually, the Dead Are Not Dead
Exhibition views with Banu Cennetoğlu
Exhibition views:
Bergen Assembly 2019: Actually, the Dead Are Not Dead
Kode 1 Permanenten, September 5th - November 10th 2019
Bergen Assembly 2019 is conceived by conveners Hans D. Christ and Iris Dressler
in collaboration with Murat Deha Boduroğlu, Banu Cennetoğlu, María García, Hiwa K, Katia Krupennikova, Viktor Neumann, Paul B. Preciado,
Pedro G. Romero, Simon Sheikh, and Emma Wolukau-Wanambwa
"The Next Day”, Group from the series “Permanent Daylight”, 76,4 x 430,4 cm, 2019
7 Digital Pigment Prints on Photo Archive Paper, 75 x 50 cm, individually framed
Conceived for and co-produced by Bergen Assembly 2019: Actually, the Dead Are Not Dead
Exhibition views:
Bergen Assembly 2019: Actually, the Dead Are Not Dead
Bergen Kjøtt, September 5th - November 10th 2019
Bergen Assembly 2019 is conceived by conveners Hans D. Christ and Iris Dressler
in collaboration with Murat Deha Boduroğlu, Banu Cennetoğlu, María García, Hiwa K, Katia Krupennikova, Viktor Neumann, Paul B. Preciado,
Pedro G. Romero, Simon Sheikh, and Emma Wolukau-Wanambwa
“The Lost Take”, Group from the series “Permanent Daylight”, 76,4 x 304 cm, 2017
5 Digital Pigment Prints on Photo Archive Paper, 75 x 50 cm, individually framed
Exhibition views:
AUSBLICKE
Galerie Albrecht, Berlin
May 29th - July 25th 2020
Curated by Harald F. Theiss
“The Lost Take”, Group from the series “Permanent Daylight”, 76,4 x 304 cm, 2017
5 Digital Pigment Prints on Photo Archive Paper, 75 x 50 cm, individually framed
Exhibition views:
GEFÄHRTEN
Schau Fenster, Berlin, April 6th - April 30, 2018
Curated by Nasan Tur
“For All The Dark Things”, Group from the series “Permanent Daylight”, 2017
9 Digital Pigment Prints on Photo Archive Paper, 253,2 x 176,6 cm cm, individually framed
Exhibition views:
The Mobile House Turns With The Sun
House of Egorn, Berlin, November 24th - December 22nd, 2018
Curated by Carola Uehlken
Exhibition views: TRUST
Technische Sammlungen Dresden, September 14th - November 26th 2017
Curated by Dr. Andreas Krase
“For All The Dark Things”, Group from the series “Permanent Daylight”, 76,4 x 556,8 cm, 2017
Exhibition view: TRUST, Technische Sammlungen Dresden, September 14th - November 26th 2017, Curated by Dr. Andreas Krase
"How it fades”, Group from the series “Permanent Daylight”, 76,4 x 430,4 cm, 2017
Exhibition view: TRUST, Technische Sammlungen Dresden, September 14th - November 26th 2017, Curated by Dr. Andreas Krase
"The Lost Take (Dresden Edition)”, Group from the series “Permanent Daylight”, 76,4 x 367,2 cm, 2017
Exhibition view: TRUST, Technische Sammlungen Dresden, September 14th - November 26th 2017, Curated by Dr. Andreas Krase
“Leave Them All Behind”, Group from the series “Permanent Daylight”, 76,4 x 176,6 cm, 2015
Exhibition view: TRUST, Technische Sammlungen Dresden, September 14th - November 26th 2017, Curated by Dr. Andreas Krase
“Leave Them All Behind”, Group from the series “Permanent Daylight”, 76,4 x 176,6 cm, 2015
Exhibition view (with Geerten Verheus): TRANSIT, Kunsthaus ACUD, Berlin, 4/2016, Curated by Ulrike Grelck
SITE-SPECIFICS (2015)
2 Figures
from the series "Permanent Daylight", 2 x 168 x 165 cm, 2015
From left to right:
West Bank Barrier, 2015
JW Marriott Shanghai, 2014
Instituto Tecnico Economico Statale J. Barozzi, 2015
Unité d'Habitation / Belvedere, 2014
Hongkou District, 2014
Sea of Galilee, 2015
Punkthaus Bartningallee 7, 2015
Death of Dirce, 2013
Exhibition view:
"Re(Set)"
Thomas Erben Gallery, New York, USA
November 12 - December 19, 2015
5 Singles from the series "Permanent Daylight", selected by Alireza Labeshka
Digital Pigment Prints on Photo Archive Paper, 120 x 80 cm, framed
From left to right:
Spring Street Salt Shed, 2015
Shanghai 1933, 2014
Atarim Square, 2015
River Mall, 2014
IAC Building, 2015
Exhibition view:
"Membrane", KAAF Institute, Tehran, Iran, 6/2017
Curated by Alireza Labeshka |