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Guest-Room

Guest Room is a monthly online exhibition with open submissions curated in real-time by personalities from the international photography scene.

Robert Morat

Curator - December 2015

Robert Morat (born 1971) runs a gallery with exhibition spaces in Berlin and Hamburg, Germany. Robert Morat Galerie, founded in Hamburg in 2004, focusses on emerging positions in contemporary photography, but also represents artists such as Hans Christian Schink, Christian Patterson, Robert Voit, Simon Roberts, Peter Bialobrzeski, Jessica Backhaus or Bertien van Manen. For many years now the gallery has been a regular exhibitor at international art fairs such as Paris Photo, UNSEEN in Amsterdam, Photo London or AIPAD in New York.


Selection by Robert Morat

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December 31, 2015

Joseph Desler Costa Forty-Five Forty-FIves, Brooklyn, Ny, 2015

December 30, 2015

Diane Vincent crystal #10, Inside The Pineapple, 2015
Paul Van Vugt Balls, Lucca - Italy, 2015

December 29, 2015

Tobias Lepak Paul, De, 2013
Peter Allen Berserker, Hamburg, 2014

December 28, 2015

Iris Van Vliet A Search Towards the Origins of Movement, Amsterdam, Netherlands, 2015

December 27, 2015

Damaris Wurster Erinnerungen, Ravensburg, 2012

December 26, 2015

Andrii Dostliev 9 of 31 from Occupation series, 2015

December 25, 2015

Daniel Reuter Untitled 4 (From Circle/Square), Undisclosed , 2015

December 24, 2015

Tiziano Doria Cancelled , South Italy / Venosa, 2009

December 23, 2015

Karol Kisiel Plant shadow, Volterra, Itally, 2014
Anastasia Davis Untitled, 2015

December 22, 2015

Andreas Frei GuteNachtMeinHerz2, Osterhever, 2015

December 21, 2015

Stefano Marchionini Untitled, from the series "Regrets", 2015
Lars Heidemann o. T., Greifswald, 2015

December 20, 2015

Dávid Biró Alignment, Budapest, 2015

December 19, 2015

Jiaxi Yang Eggs, threads, New York, 2014

December 18, 2015

Moritz Frei Selbstportrait #03, Berlin, 2014

From the artist statement: "The series "Selfportraits" was created using two large mirrors and public photo boths found in and around Berlin."

December 17, 2015

Peter Watkins Ute, The Unforgetting, 2014
Marta Wlusek Exposition, 2015

December 16, 2015

Hans Buttermilch space_form_color_15, München, 2015

December 15, 2015

Tracie Williams Randy and his ice goggles., Orange Park, Florida, 2015

December 14, 2015

Pedro Guimaraes How to Fly #1, Portugal, 2015

December 13, 2015

Marie Dommenget Jelly Cubes, Germany, 2014
Nickolay Dyadechko Untitled, 2015

December 12, 2015

Martin Essl Le Château Rouge, No 01, Paris, 2013
Ronni Campana Fixed Badly, London, 2015

December 11, 2015

Philip V. Augustin Negative #12-0332-13 from series Vanishing Point, 2012
Erik Gustafsson Not another sunset, Gothenburg, 2015

December 10, 2015

Micori Tänzer, Graz, 2014
Joseph Art TAKE OFF, La Paz, 2013

December 09, 2015

Bobby Davidson Vision Ball, New York City, 2014

From the artist statement: "This project involves the game of baseball, the role of the pitcher, the batter, and the baseball in flight. I'm particularly interested in the trajectory and visual cues that the batter uses to determine where the ball will end up and how we perceive this process. For example, the batter relies on cues such as the blurring pattern the moving ball makes, the posture of the pitchers, the point at which the pitcher releases the ball and expectations derived from previous pitches. In this series I am actively investigating how this can relate to broader understandings of human sight and perception."

December 08, 2015

Bernhard Kahrmann A print, 2015
Lucas Hardonk 365 Sheets of White Paper (Diptych), Amsterdam, 2015

December 07, 2015

If Clapper, London, Uk, 2013
Andreas Schöning rooms_3, Oldenburg Werkstatt, 2010

December 06, 2015

Matthieu Gafsou Traces 2c, from the Ether series, In The Sky, 2015

From the artist statement: "One hour. Near an airport. Mechanical ballet."

December 05, 2015

Magali Duzant Sea : Cyanotype #3 / 2 Weeks , New York, 2015
Louis De Belle Cartography 2, New York, 2015

December 04, 2015

Nik Massey Solar Study, Studio, 2014

From the artist statement: "On a clear day, look to the sky, face the sun and close your eyes. Your eyelid slides over the pupil, environment disappears, but does sight? Unfocused light pours in through a fleshy membrane, creating a gradient blood orange color. Viewing without seeing, looking at the sun through ourselves: an afterimage. I recorded a recreation of this effect, not with an eyelid, but with white latex paint poured onto glass, lit to glow like light through thin flesh. Once the paint settled into a circle, I saw I hadn’t just recreated the color, I’d poured out a small model of the sun. There’s circularity to engaging the cosmos photographically. The camera owes part of its existence to lens technology established centuries before, used to better view space. I made the picture with a view camera using large sheet film that records a tremendous amount of information. It’s an inconvenient, slow process that allows me to meet the pace of the desired encounter."

December 03, 2015

Bastienne Schmidt Records 1, Bridgehampton, 2013

Such a smart image, abstract at first glance and so simple once you know what you are looking at - an old vinyl record half way pulled out of an album sleeve! To me, the image is evocative of different things: personal teenage memories, the mutual tradition of analog reproduction of music and photography and the large non-textual share in communication of both visual and audible arts. When I was a young boy, my father would make me listen to a lot of music - played on vinyl records spinning on a turntable at 33 1/2 rpm. Classical music mostly, but also Neue Musik, Schönberg, Rihm. Whenever I would ask why he thought a specific piece of music was interesting or why he liked it, he would always reply: "It is hard to put in words. It is just like looking at a painting! You simply have to look or listen! Most of what is being said here can not be put into words. If all could be put in words, there would be no need for music or paintings, literature would be enough!" Now, maybe he just didn't want to be bothered or was too lazy to explain, but to me it explained the close relation between the emotional, intuitive sensation of looking at pieces of art and listening to pieces of music. And because words are mostly not enough, this will actually be my only statement throughout my curation of the "Guest Room" this month. In individual cases, if provided by the photographer, I will maybe quote from the artist statement. But I would like to take the opportunity to thank everyone who has submitted work. I was a little overwhelmed by the sheer number of images. I worked through over 4500 pictures and will be able to publish roughly 40 or 50 here. Needless to say that there were many more that would have been worth showing!