»TAKE ME WITH YOU (NIMM MICH MIT)«
Ostkreuzschule für Fotografie / Seminar Sibylle Fendt
Alexandra Grünbaum, Heike Günther, Melanie Haefner, Jenny Hasselbach, Saskia Kyas, Nadja Maßmann, Max Moldau, Friedhard Neumann, Marlene Pfau, Eva von Schirach, Judith Weber
Take me with you … Take me home. Into your heart. To the Park. Shopping. To the cinema. To cross over. Under the Skin. On your way.
Take me with you unites eleven portrait series. Eleven confrontations. Eleven positions.
Take me with you means … take eleven.
Take me with you … and take me away.
Alexandra Grünbaum | Fischwasser
A home that stays a home during adolescence as well as at the beginning of university studies – a home that offers support as well as leaving room for personal growth. That is how I got to know a young adult who follows his individual wishes and dreams calmly, thoughtfully and humorously, all the while pursuing his own path. He does not need the greatest possible distance from the place of his childhood and family. He expresses himself freely – maybe precisely because he preserves his home for himself.
Heike Günther | My name is Luca
Luca has come a long way. The sense of alienation and uneasiness with his own body have finally been given a name and new opportunities have arisen. He will carry on living his life in a male body – because that is what feels right for him.
This work accompanies him for the six-month period during which he waited for various assessments and the decision by the court which needs to authorise his operation.
It is a period of impatience, of waiting, of fear and of hope.
Melanie Haefner | Blooming
In nature we find everything. That which we seek and what we long for and desire. Life, Transience, Beauty, Tranquility. In nature we find ourselves. We feel love and not think it.
This desire, an elemental force. We realize the bond between men and nature. The closeness and familiarity of the mother to the child. The love of the daughter for the mother.
I see you. I see myself.
Jenny Hasselbach | Teenspirit
Teenage girls experience the most exciting period of their lives. They are moody, their idea of who they are changes from one day to the next. All the while, they enjoy the attention they receive – and then they withdraw themselves again. They are only just getting to know themselves.
I know. I was there.
Saskia Kyas | Extracorporeal
Having finally decided to have children, one finally finds oneself – after some toing and froing – on a labyrinthine path littered with bureaucracy and medical jargon. And in the end, it’s all about the female body.
Nadja Maßmann | The way of the circle
“Our elders have taught us that everything in the universe is sacred. Everything is necessary and therefore has a meaning. That is why we must respect everything. The Earth, her creatures, human beings. In a circle we respect one another as well as the circle as the way. When someone is speaking we pay that person our respect and our attention.” Manitonquat
I am part of it.
Max Moldau | I am not the image of me
We are constantly changing. Images stay.
I do not want to tie myself to self-portraits.
My work should not hide that fact. That is why I was looking for possibilities of a visual representation that could reflect my continuous change. In a world where our digital traces are endlessly being evaluated by algorithms, thus gradually constituting our public identity, one strives for protection from automatic categorisation. To that end, I used familiar symbols and codes from the internet as well as protectively designed self-portraits. But does garlic protect against algorithms?
Friedhard Neumann | At the window in front of the box-office
“The old cinema should have existed forever,
forever a window to the world,
which never promised more than here,
at the edge of the dark red curtains,
and when you tried to reach for the images,
your shadow grabbed you.” (Jürgen Theobaldy)
David is a multifaceted person. On the weekend he works as a cashier at the cinema. I am a friend of his. He is open to my camera. I accompanied David over a period of almost a year, trying to capture him in front of and behind the scenes and to portray him in different ways. The cinema is both a place of everyday routine and a promising place of projection in the illusion of which our self casts shadows.
Marlene Pfau | Bright but drifted
Danuta Banasiak comes from Poland and works as a live-in care worker in a small village in Germany. She looks after a woman with severe dementia. The series describes the migration situation of the care worker, as well as the condition of the demented woman. As the title implies, both women’s circumstances can be understood as a drift away, a shift into a world, isolated from their social environment, in which they have to find each other again and again.
Eva von Schirach | Aufhocker-Demon
DThe aufhocker-demon lurks. He is here and there. He knows his way around our home. I throw him against the wall and he laughs. He waits. He jumps. He is the one with the non-strength. Anti-OP i.e. the opposite of overpowered. The weakling puts me down. Does he want to trade me something for my strength? Get lost. Join in. And then he is gone. A pity, you ass.
Aufhocker-demon is a dangerous shape-shifter who comes straight out of German mythology.
Judith Weber | The Rough Hide
JULIE. Do you believe in me?
DANTON. How should I know? We know damn all about each other. Thick-skinned elephants, that’s what we are; we stretch out our hands to each other, but it’s a waste of time, hide grating on hide, that’s all – we’re on our own, completely on our own.
JULIE. You know me, Danton!
DANTON. Yes, what they call ‘knowing’. You’ve dark eyes and curly hair and a delicate complexion and you never stop saying ‘dear Georges!’ But [he points at her eyes and forehead] there, there: what lies behind there? Let’s face it, our senses are pretty crude. Know one another? We’d have to smash our skulls open and tear the thoughts from the very fibres of each other’s brain.
— Georg Büchner: Danton’s Death, Act One, Scene One —
My work ‘Das grobe Leder’ [‘The Rough Hide’] raises the question of how well we can know another human being and to what extent we can transfer what we perceive into something pictorial.