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Anja Hitzenberger
Wendeltreppe - 21st Century Still Life Color Figurative Photography Edition

2016

About the Item

Wendeltreppe - 21st Century Still Life Color Figurative Photography Edition 5+2 AP Anja Hitzenberger photo series "von Haus aus" sends us on a walk through the rooms of the former butcher shop “Fleischerei Sterkl”, which was located in Vienna’s Ottakring neighborhood and closed in 2014. These images are not just a documentary depiction of a shut-down family business, but are rather a journey through the past. Hitzenberger selects intimate visual details of the former retail store, the “Wurschtzimmer” where sausages were made, as well as the former apartment of the family. The viewer wonders about how people used to live and work in those days. In the living room one can still see the imprint of picture frames that have been removed from the walls. Only a few objects have been left behind. Sharp meat hooks trigger uncomfortable feelings. As well, the ominous sausage-slicer, with its red-brownish marks on the floor don’t quite invite us to linger. Such motives evoke an imaginary story within the viewer's mind. Compositionally, the depicted objects are often cropped, geometrically evenly distributed or centered. Hitzenberger intensifies the object’s visual presence and its relationship to the individual space. The color palette of white, red and brown recurs throughout this series. These “beautiful” photographs are in contrast with regard to the content and depiction of dissolution and isolation. Born in Salzburg, Austria. Lives and works in New York and Vienna. Studied at the International Center of Photography in New York. Solo and group exhibitions in Europe, the United States, South America and Asia. Numerous participations at film festivals, performances and video installations. Numerous artist in residencies and project grants. Media artist Anja Hitzenberger does not rely on genre-specific classifications. She is a photographer and filmmaker, she works with intervention and installation, she immerses herself in a world of terpsichorean movement, in spaces of architecture and urban structure and population; she investigates the world around her and portrays it as it is - or as it is not. The discrepancy between general condition and specific desideration is the border area in which she finds her themes and motifs. She sees people, situations, places, and thinks beyond these: what is it that we see, that is presented - and what actually lurks behind it?
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