“What is essential is invisible to the eye”, as the “Little Prince” from Saint-Exupéry already knew. The challenge of staging something that cannot be seen is particularly great for photographers. “Great, amazing! “, but also: “How is that supposed to work?” was heard in the Grafinger Club “Blende 85567” when the motto “Invisible” was suggested for the first time in 2020. “This is definitely our most difficult topic so far,” explains Ulrike Hohnheiser, who like the hanging of the new exhibition in the Grafing City Museum in previous years.
Burkhard Pietzner, Ulrike Hohnheiser and Johannes Schmieg guide through the photo exhibition in the Grafing City Museum.
(Photo: Christian Endt)
Contrary to the title, there is a lot to see, the implementations found by 19 members are extremely successful and diverse, as can be seen on a tour. The rooms are sorted according to the areas of nature, black and white, people and “experimental”. The bandwidth of the 64 exhibits ranges from the obvious – again and again it is the fog that hides what lies underneath from the eyes of the viewer – to the socially critical question of whether you might not even see what is missing or covered should. Or want.
In “Invisible in the Middle”, Sabine Jordan shows what she encounters on her way to work in downtown Munich early in the morning, before the tourists flood the city.
(Photo: Sabine Jordan/oh)
An impressive example of this is certainly Sabine Jordan’s visually stunning reference to the fact that “Invisible in the middle” people in Munich spend the night under the open sky. Or Ulrike Hohnheiser’s beach photo “Verveilt”: The woman in the picture saw her in Oman. On other occasions, too, she and her husband Franz Hohnheiser take visitors on a journey – to the museum of Kanazawa with its walk-in pool, or to Liguria, where a keyhole allows a glimpse inside a church that is open “only once a month and then on Tuesdays at five”.
The Jökulsárlón glacier lagoon in Iceland is a popular photo motif – also for the meteorologist Burkhard Pietzner.
(Photo: Burkhard Pietzner/oh)
Burkhard Pietzner also invites you to dream away – to Riga, where he saw a “Headless Musician”, to Denmark or with “Tip of the Iceberg” to the Jökulsárlón glacier lagoon in Iceland. He is also fascinated by the play of clouds – no wonder, since the man is a meteorologist. But not only the native East Frieslander was drawn to Iceland: Anke Heinrich’s “window in the grass” was created there, it shows a house in an open-air museum. Carsten Heinelt, on the other hand, brought fascinating impressions from Nairobi National Park and the South Malé Atoll with “Wo bin ich” and “Anpasst”. Not only children will love these hidden objects.
Johannes Schmieg’s “Little Wasp” didn’t fly away because its ovipositor had already penetrated the stalk.
(Photo: Johannes Schmieg/oh)
“Memory” is the name of this powerful image by Annelies Grasenack, which needs no further explanation.
(Photo: Annelies Grasenack/oh)
Alex Pelka didn’t have to drive that far: His “Invisible Tree” with a trunk made of iron and leaves made of porcelain is in the sculpture park at Valley. In Munich, on the other hand, Rainer Hergenröther’s “Rest on the Olympiaberg” was created, the object that Alfons Brückl captured for “Vanishing in the Water” at the Wittelsbach fountain, or Heike Buchborn’s enigmatic movement profile “Where is he gone?” from the courtyard garden.
Johannes Schmieg, on the other hand, prefers his own garden for his macro photography. “If the light is right, I’ll get the camera immediately.” He often only sees what he has captured in post-processing. For example the ovipositor of a “little wasp” just two millimeters in size. Or the signal thread leading to the hiding place of the “cross spider”.
Many of the self-written texts stimulate thought. But there is also no shortage of illustrations to ponder over. Here people (“Separated behind Glass” by Stefan Piontek), there animal companions (Annette Zitzlsperger only left his shadow in homage to her deceased dog in “On the Way”) or situations that need no words – such as the cemetery picture “Remembrance ” by founding member Annelies Grasenack. Although she now lives in Leipzig, she still takes part in the Grafinger club life via Zoom.
But you can also laugh – under the title “Panta Rhei”, Jürgen Gramitzky lets invisible time flow, while Reiner Hulla answers the question “Can a horse fly?” with his short-time exposure shot. By the way, “Anyone home?” by Annette Zitzlsperger (small spoiler) no toilet door shown.
Amazing how what the human eye sees is definitely different from what technology can do. The people photographed by Franz Hohnheiser for “Lochraster” behind a café wall are initially not even recognizable as outlines – until you aim at them with your cell phone and suddenly get clarity. Reiner Hulla (“Transport”) and Cornelia Schmieg (“Under the Wheels”) show how moving objects can be made sharp with the help of tenths of a second exposure with the pictures of an empty motorail train taken from the railway embankment. In “Not alone”, Annelies Grasenack uses long exposure to make the legs of passers-by disappear at Odeonsplatz.
Successful photomontage by Jürgen Gramitzky.
(Photo: Jürgen Gramitzky/oh)
This audience appears shadowy, photographed by Ulrike Hohenheiser.
(Photo: Ulrike Hohenheiser/oh)
And Theresia Lohmeyer not only does “photo painting”, but also brings the dinosaurs to life with her “fantasy picture” for some viewers. Or is it fish? It’s best to ask directly – maybe on one of the weekends when the artists are there.
Regardless, it’s worth a visit www.blende85567.de. From March 12, you can not only see all “Invisible” works there, but also continuously participate in what moves the members. And maybe even join the club – like Ciro Maddaluno did. In February, the Aßlinger sniffed for the first time, stayed with it and now, with the touching image of a lonely woman, conveys what it’s like to feel “invisible” in a world that is running faster and faster.
“Invisible”: exhibition of the photo club “Aperture 85567”. Vernissage on Thursday, March 2nd at 7.30 p.m. After that until March 12 during the regular opening hours of the Grafing City Museum. Tastings and crossfade shows on the weekends. Admission is free.