8th Triennial of Photography Hamburg COMING SOON! May – September 2021

Die Singularität Des Jetzt

07.06. – 31.08.2018

Mo–Fr 10 –18 Uhr

Siller Contemporary Längengrad 10 | Interpol +-

 

Photographs by Gerd George and Thomas Spring
Curated by Kristina von Bülow

 

The Now is an ongoing linking of singular breaking points: At no other time, things are truly influenceable – neither in the past, nor in the future. As a continuously renewing Breaking Point, the Now is a fluid sequence of the only point in time at which we can actually make things happen, because only the Now grants access to real freedom to act. 

The Singularity of the Nowbrings together two perspectives of this unique time unit: as a fractal of endless eternity and as a point on the vector of time. In Gerd George’s works, the Now shows itself in centred contemplation and meditative quietness, while in Thomas Spring’s works, it manifests in vectoral dynamics and intoxicating motion. The Now appears from the future and has already slipped into the past. It is imperative not to miss this moment under any circumstances.  

The photographs from the series Mareby Gerd George are monolithic ocean surfaces that merge into the sky in seamless horizons. Infinite space, detached from time, in which the Now seems to expand into endlessness while fully staying with itself as the centre and breaking point between the past and the future. Even the eternal constancy of the timeless sea is never the same, as it continually changes and is always in the flow. The unique, singular moment of the capture is a tiny temporal extract from spatial infinity. The pictures without beginning and end tell of the past and the future in present tense. 

Thomas Spring’s view of the Now is of vectoral nature. His photographs from the Series Delirious Landscapesare irretrievable points on the line between the past and the future, on a horizontal axis through space. The Now as a random excerpt from time, distilled from a state of motion and conserved for the future. More like paintings rather than photographs, form and colour dissolve into one another dynamically. But always one coincidental, fractally small point in the depth of the picture is focused, which makes the entire pictorial space appear to be in motion ever more. Just like the singular Now as a focus point on the line of slipping time.