WOLFGANG ZURBORN

 

Wolfgang Zurborn (1956) fotografeerde aanvankelijk in de traditie van de pure straatfotografie, eerst in zwart-wit later in kleur. Sinds het einde van de jaren ’90 neemt hij meer en meer een unieke plaats in de straatfotografie.  Zijn kleurrijke beelden lijken collages. Hij maakt echter goed doordachte one-shots waarin hij diverse aspecten van de waarneembare complexiteit in verschillende lagen ‘monteert’. Dit levert grafisch boeiende foto’s op, met een ambigue,  surreële inslag.  Zurborn probeert telkens weer de waarneming van de kijker te prikkelen en het kijken zelf als experiment in de meest oorspronkelijke zin te activeren. Kijken naar Zurborn ’s foto ’s is een fascinerende, visuele ervaring. We vinden facetten van zijn benadering terug bij Lee Friedlander, Robert Walker en Tokio Ito. – Luc Rabaey, 44 Gallery

For Wolfgang Zurborn photography is representing a way of seeing the fractured modern world in its overlapping images and contexts. He is interested in finding the sublime in the ridiculous condition of modern life with a Dadaist awareness of the found object. With a surrealist sense of humour, Zurborn creates a fascinating collision montage of juxtaposed, multi-layered images combined on a single picture plane. Disconnected from the purely functional sense of our every-day life, the presented surroundings appear in a much more sensual way. – Peter V. Brinkemper

Somewhere in the back of my mind were some pictures I had seen in a book shown in an exhibition of about 500 recent photography volumes, which concluded the Arles festival. One example in the book, from German photographer Wolfgang Zurborn, appealed to me. His image seemed to drift off course, sliding from one subject to another and combining different, sometimes wildly disjunctive planes of experience and aesthetic reality within the same shot, rather than singling them out and making the world seem consistent and coherent, as photographs often do.
Since then, I have bought a copy of the book, and Zurborn’s pictures, taken between 1999 and 2005, strike me as genuinely original: they capture something essential about contemporary experience in a new way. They show how, despite our best efforts to design, style, and regulate the visual environment, it stubbornly fails to cooperate, perhaps because people actually prefer its disorder. This is how we see things for much of the time, too, except we usually take it for granted. It is smoothness, rather than discontinuity, that catches the eye. – Rick Poynor, Print Magzine