https://ninaroeder.de ninaroeder Fri, 25 Aug 2023 09:51:01 +0000 https://ninaroeder.de en https://ninaroeder.de/Home Thu, 28 Nov 2019 15:08:26 +0000 ninaroeder https://ninaroeder.de/Home <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/7f773d967fb9efa295a593adf198cf37f8a2b8ded4701999072e6afdb9680139/burster_frontal-70.jpg" data-mid="229518482" border="0" src="https://freight.cargo.site/w/1000/i/7f773d967fb9efa295a593adf198cf37f8a2b8ded4701999072e6afdb9680139/burster_frontal-70.jpg" /> https://ninaroeder.de/Works Thu, 28 Nov 2019 14:38:35 +0000 ninaroeder https://ninaroeder.de/Works https://ninaroeder.de/marienbad-am-meer Mon, 27 Feb 2023 11:49:13 +0000 ninaroeder https://ninaroeder.de/marienbad-am-meer Marienbad am Meer eng. At the end of the 1920s, Röder's great-grandfather Josef Behr worked as a concierge at the hotel then called "Bayrischer Hof" in Marienbad, Czech Republic; his family lived in the neighbouring village of Stokov. Röder's grandparents belonged to the German-speaking minority of the so-called Sudeten Germans in Bohemia - an area in what was then Czechoslovakia. After the end of the Second World War, this population group was resettled in Germany. The family narrative, driven primarily by Röder's grandmother, is that the place Marienbad was longingly called home. &nbsp; Since her childhood, Röder regularly travelled to that spa with her family and is confronted with her grandmother's glorified memories. Accordingly, Marienbad is stylised in Röder's series as a utopian place of longing in allusion to William Shakespeare and Ingeborg Bachmann. Röder thereby alludes to the fictional place in William Shakespeare's comedy A Winter's Tale: Bohemia. A desert country near the sea. She borrows the title of her series from Bachmann's poem "Bohemia lies by the sea", in which, similar to the memories of her grandmother, a utopian ideal state is thematised. With this series, Röder finally ties in with earlier works on family narratives that follow the desire for knowledge about one's own origins. Today's neo-kitsch aesthetic of the city can be seen as "too decadent for today's taste". Röder uses this very place as the backdrop for a game with biographical and fictional identity constructions. In the apparent easiness of Marienbad, Röder repeatedly stages her mother in absurd and bizarre situations alongside erotically connoted motifs. The glamour of the old days is palpable, the melancholy is more evident. dt. Ende der 1920er Jahre war Röders Urgroßvater Josef Behr als Concierge im Hotel mit dem damaligen Namen »Bayrischer Hof« im tschechischen Marienbad tätig; seine Familie lebte im benachbarten Dorf Stokov. Röders Großeltern gehörten zu der deutschsprachigen Minderheit der sogenannten Sudetendeutschen in Böhmen - einem Gebiet in der damaligen Tschechoslowakei. Nach Ende des zweiten Weltkrieges wurde diese Bevölkerungsgruppe nach Deutschland umgesiedelt.Das Familiennarrativ, das vorallem von der Großmutter Röders vorangetrieben war, besagt, dass der Ort Marienbad sehnsüchtig als Heimat bezeichnet wurde. &nbsp;Seit ihrer Kindheit reiste Röder regelmäßig mit ihrer Familie in jenen Kurort und wird mit den verklärten Erinnerungen der Großmutter konfrontiert. Entsprechend wird Marienbad in Röders Serie in Anspielung auf William Shakespeare und Ingeborg Bachmann als utopischer Sehnsuchtsort stilisiert. Röder spielt dabei auf den fiktiven Ort in Shakespeares Komödie »Ein Wintermärchen« an: Bohemia. A desert country near the sea. &nbsp;Den Titel ihrer Serie entlehnt sie dem Gedicht Bachmanns »Böhmen liegt am Meer« in welchem, ähnlich den Erinnerungen der Großmutter, ein utopischer Idealzustand thematisiert wird. Röder knüpft mit dieser Serie schliesslich an frühere Arbeiten über Familiennarrative an, die dem Verlangen nach Wissen über die eigene Herkunft folgen. Die heutige Neokitsch-Ästhetik der Stadt kann als »zu dekadent für den heutigen Geschmack« gesehen werden kann. Röder nutzt eben jenen Ort als Kulisse eines Spiels mit biographischen und fiktiven Identitätskonstruktionen. In der scheinbaren Unbeschwertheit Marienbads inszeniert Röder neben erotisch konnotierten Motiven auch immer wieder ihre Mutter in absurden und skurrilen Situationen. Spürbar ist der Glanz der alten Tage, die Melancholie ist deutlicher.&nbsp; title: Marienbad am Meer year: 2019 - ongoing place: Czech Republic&nbsp; &lt; previous next &gt; https://ninaroeder.de/darkness-in-which-I-swim Fri, 25 Aug 2023 09:51:01 +0000 ninaroeder https://ninaroeder.de/darkness-in-which-I-swim darkness in which I swim engl.&nbsp; The life forms of algae originated around 2.2 billion years ago. Scientists believe that they are among the oldest plant organisms on earth. From a biological point of view, they are essential for our existence: every second breath we take contains oxygen from algae. In the series darkness in which I swim, Nina Röder explores her fascination with algae. While some people find them disgusting, scary or frightening, Röder pursues their personally perceived beauty and decorates them as her and her mother's&nbsp; hair. &nbsp; This series is also a turn towards creatures that live in different depths of the sea, but which are also characterised by historically grown narratives - like the octopus. In films about aliens, it often serves as a phenotypical model and is thus stigmatised as foreign or threatening. Due to its different brain structure, it is also a source of fascination: Scientists published a study in the journal Proceedings of the Royal Society B in 2021, which attributed so-called "episodic-like memory" to octopuses. This is an ability that allows octopuses to remember exactly when and where certain events took place until the last day of their lives. However, due to their reproduction behaviour, they do not pass these memories on to their later generations.&nbsp; The familial transmission of memories and traumas forms another dimension of this series: with the darkness of the photographs, Röder draws on a melancholy that could already be traced in her earlier works about nature. It is a darkness that rests on the transgenerational trauma of fear of loss, which primarily affects the female line of her family and was triggered by the early death of her great-grandmother. dt. Vor circa 2,2 Milliarden Jahren sind die Lebensformen der Algen entstanden. Wissenschaftler*innen gehen davon aus, dass sie zu den ältesten pflanzlichen Organismen der Erde gehören. Aus biologischer Sicht sind sie für unsere Existenz unerlässlich: Jeder zweite Atemzug enthält Sauerstoff aus Algen. In der Serie darkness in which I swim geht Nina Röder ihrer langjährigen Faszination nach Algen nach. Werden sie von einigen Menschen als ekelerregend, unheimlich oder beängstigend empfunden, weil nicht zu sehen, was sich dahinter befindet, geht Röder ihrer persönlich-empfundenen Schönheit nach und dekoriert sie als Haarpracht ihrer Mutter.&nbsp; So ist diese Serie auch eine Hinwendung zu Lebewesen, die in unterschiedlichen Meerestiefen leben, die aber auch aufgrund von historisch gewachsenen Narrativen geprägt sind – wie der Oktopus. In Filmen über Außerirdische dient er häufig als phänotypisches Vorbild und wird somit zum Fremden oder Bedrohlichen stigmatisiert. Aufgrund seiner andersartigen Hirnstruktur&nbsp;stellt er auch ein Faszinosum dar: Wissenschaftler veröffentlichten in der Zeitschrift Proceedings&nbsp;of&nbsp;the&nbsp;Royal Society B&nbsp;im Jahr 2021&nbsp;eine Studie,&nbsp;welche Tintenfische so genannte “episodic-like&nbsp;memory” zusprechen. Eine Fähigkeit, mit welcher sich&nbsp;Tintenfische&nbsp;bis zum letzten Tag ihres Lebens genau&nbsp;erinnern können, wann und wo&nbsp;bestimmte&nbsp;Ereignisse stattgefunden haben.&nbsp;Aufgrund ihres Paarungsverhaltens geben sie diese Erinnerungen allerdings nicht an ihre Nachkommen weiter.&nbsp; Die familiäre Weitergabe von Erinnerungen und Traumata bildet eine andere Dimension dieser Serie: Mit der Dunkelheit der Fotografien knüpft Röder an eine Melancholie an, die schon in ihren früheren Arbeiten im Naturraum nachzuvollziehen war. Es ist&nbsp;eine Dunkelheit, die&nbsp;auf dem&nbsp;transgenerationalen Trauma&nbsp;der Verlustangst ruht, die&nbsp;vor allem&nbsp;die weibliche Linie ihrer Familie betrifft und ausgelöst wurde durch den frühen Tod ihrer Urgroßmutter.&nbsp; title: darkness in which I swim year: since 2022&nbsp; places: Germany &lt; previous next &gt; https://ninaroeder.de/champagner-im-keller Mon, 31 Aug 2020 11:55:06 +0000 ninaroeder https://ninaroeder.de/champagner-im-keller Champagner im Keller eng. When my grandparents died in 2017, my family had to clear out their house within a week and eventually sell it. Most of the grandparents' belongings were packed away randomly - only a few mementos were deliberately selected and stored in a basement room in my mother's house in Windsbach, Bavaria. At the beginning of 2020, the door of this room was opened again for the first time. With an ambivalence of astonishment and melancholy, all the objects, furnishings and above all the clothes of my grandmother were examined. It was in this same basement room that my mother and I staged portraits, self-portraits and still lifes for the camera during the first Corona Lockdown, using the objects we had picked up to create a stage for a theatre of the absurd. The series CHAMPAGNER IM KELLER joins my works about my family, in which I encounter loss and grief in a performative and humorous way. The series was created with the kind support of LEICA CAMERA DEUTSCHLAND. dt. Als Nina Röders Großeltern im Jahr 2017 starben, musste die Familie deren Haus innerhalb einer Woche ausräumen und schliesslich verkaufen. Die meisten Habseligkeiten der Großeltern wurden auf die Schnelle willkürlich eingepackt – nur einige Erinnerungsstücke&nbsp;wurden bewusst ausgewählt und in einem Kellerraum im Haus von&nbsp;Röders Mutter im bayrischen Windsbach eingelagert. Anfang des Jahres 2020 wurde die Türe dieses Raumes zum ersten Mal wieder&nbsp;geöffnet. Mit einer Ambivalenz aus Verwunderung und Melancholie&nbsp;wurden alle Objekte, Einrichtungsgegenstände und vorallem die&nbsp;Kleidungsstücke der Großmutter begutachtet. In eben diesem Kellerraum haben Nina Röder und ihre Mutter während&nbsp;des Corona-Lockdowns Portraits, Selbstportraits und Stillleben mit den aufgehobenen Gegenständen für die Kamera inszeniert und so eine Bühne für ein Absurdes Theater&nbsp;geschaffen. Die Serie CHAMPAGNER IM KELLER reiht sich in Röders Arbeiten über ihre Familie ein, in welchen sie Verlust und Trauer auf eine performative&nbsp;und humorvolle Weise begegnet. Wie bereits in ihren vergangenen&nbsp;Serien setzt sich Röder mit individuellen Handlungsfähigkeiten&nbsp;auseinander und geht Fragen nach, welchen Einfluss unsere&nbsp;Familie und unsere Herkunft, sowie Verluste und vererbte Traumata&nbsp;auf unser Denken und Handeln haben können. Mit dem Potential&nbsp;der fotografischen Inszenierung wird der Prozess des Loslassens&nbsp;von Familienmitgliedern in Röders Arbeiten somit als veränderbare&nbsp;Konstruktion der gegenwärtigen Wirklichkeit erfahrbar gemacht. In Anlehnung an ein Zitat von Röders Großvater entstand der Titel&nbsp;der Serie. Anlässlich seines 90.Geburstages bekam dieser mehrere&nbsp;Flaschen Champagner geschenkt. Als bescheidener Mann brachte er&nbsp;eben jene in seinen Keller und sagte: »Wenn das Bier leer ist, trinken&nbsp;wir halt den Champagner im Keller.«&nbsp; Die Serie entstand mit freundlicher Unterstüztung von LEICA CAMERA DEUTSCHLAND. title: Champagner im Keller year: 2020 place: Germany&nbsp; &lt; previous next &gt; https://ninaroeder.de/wenn-du-gehen-musst-willst-du-doch-auch-bleiben Thu, 28 Nov 2019 14:37:23 +0000 ninaroeder https://ninaroeder.de/wenn-du-gehen-musst-willst-du-doch-auch-bleiben wenn du gehen musst willst du doch auch bleiben My grandparents, Franz &amp; Theresia Protschka, once lived in Bohemia, a historically Czech region with large concentrations of German-speaking people. The area was one of the first to be absorbed by Nazi Germany during its expansion in the 1930s. Under the German occupation, Czech resistance was brutally suppressed. After the war ended, reprisals were swift: the vast majority of remaining Germans were expelled by force under order of the re-established Czechoslovak central government. My grandparents were one of the families caught up in this movement of people; they lost everything they had. Eventually, they settled in Germany, but one element of their traumatic experience never left them: even as they built a new life, it was almost impossible for them to throw anything away.They inhabited the same house in the town of Windsbach for more than 60 years; this place in the Franconia region of Germany became the center and meeting point for our family. They were both around 90 years old when they died in 2018. Unfortunately, given the circumstances in which all the descendants were living, we weren’t able to keep the house. Together with my mother, brother, and cousin, we went to clean it out before the sale. These pictures were taken in the house during this cathartic, though difficult process. In particular, I focused on the endless decisions we had to make about whether to keep or give away historical or emotionally-charged objects. As taxing as this was, one way for us to not be too sad about losing the house –and all the associated memories – was to do absurd things in the photographs. By performing and acting for the camera, we found a way to deal with our loss and express our grief. The title is a quote of nephew Luis, who was 9 years old at the time.&nbsp;He said this to me when he was my photo-assistant during a shoot in the house. Photonews 10/2018Text von Anna Gripp Ende 2017 wurde das Haus der Großeltern im fränkischen Windsbach geräumt. Eine Entscheidung für die ganze Familie schließlich hatten Franz und Theresia Protschka nach der Flucht aus dem Sudetenland fast sechzig Jahre ihres Lebens hier verbracht. Kinder und Enkel lebten in der Nachbarschaft. Als die Großeltern im Alter von ca. 90 Jahren innerhalb eines Jahres starben, war im Haus alles wie immer. Diese Kriegsgeneration schmiss nichts weg. Möbel, Kleidung, Mode – hier schien die Welt stehen geblieben zu sein. Für die Enkelin und Fotografien Nina Röder, geb. 1983 war dieses Haus nicht nur ein vertrauter Mittelpunkt der Familie, sondern auch passende Bühne für ihre fotografischen Inszenierungen. Bereits 2008 entstand hier ihre Arbeit »Mutters Schuhe« mit Portraittryptichen der drei Frauengenerationen (Großmutter, Mutter, Tochter Nina) Später folgten die Serie »Laura« sowie »m und p«. Und so lag es nahe, zum Abschied von Großeltern und Haus nochmals eine Arbeit zu fotografieren. Der surreal-charmante Titel der Serie stammt von Röders neunjährigem Neffen. Bei den Fotografien wirkten mit: Mutter Dagmar, Cousine Laura und die Fotografin selbst. Wer möchte was als Erinnerung behalten? Welche Dinge werden »entsorgt«? Die Fotografien entstanden während dieses Entscheidungsprozesses kurz vor dem Verkauf des Hauses. Nina Röder schreibt »Diese Arbeit untersucht also nicht nur die ästhetische Pluralität von gesammelten Objekten meiner Großeltern, sondern zeigt mit dem Stilmittel der Absurdität eine mögliche Herangehensweise mit Verlust, Trauer und Erinnerung umzugehen.«&nbsp;Genau diese Mischung von sentimentalem Festhalten und humorvoller Inszenierung macht den Reiz der Serie aus. Nina Röder, die aktuell an der Bauhaus-Univerisät Weimar über performative Strategien in zeitgenössischer Fotografie promoviert und vor ihrem Master Theaterwissenschaften in Bayreuth studierte, schafft es gekonnt, sich von der braven Dokumentation zu lösen, ohne in übertriebenenm Klamauk zu landen. Ihre »Modelle« agieren aus der Situation heraus – sie wollen doch auch bleiben. title: Wenn du gehen musst willst du doch auch bleiben year: 2018 place: Windsbach / Germany &lt; previous next &gt; https://ninaroeder.de/uber-das-verschwinden Fri, 27 Dec 2019 09:50:15 +0000 ninaroeder https://ninaroeder.de/uber-das-verschwinden über das verschwinden engl.Against the backdrop of (Icelandic) nature, Nina Röder reveals herself not only as a sensitive observer of her environment—valuing thoughtful conceptualization and technical perfection in execution—but also as a connoisseur of theatrical means, which enter into her art through staged settings and performative strategies. A central point of her artistic and ideological reflection is the alienation of modern individuals from their natural conditions and social circumstances, as well as its counterpart: the longing for home and security. It is the program of the Romantics around 1800 that finds an effective contemporary expression in her art through poetic and melancholic images of loss and powerlessness. In the age of the Anthropocene, the Icelandic landscape becomes a seismograph for climate change and global warming. Nina Röder confronts the longing for untouched places with associative arrangements of self-portraits, landscapes, and still lifes. dt. Vor dem Hintergrund der (isländischen) Natur offenbart sich Nina Röder nicht nur als sensible Beobachterin ihrer Umwelt, der reflektierte Konzeptionen und technische Perfektion in der Ausführung wichtig sind, sondern auch als Kennerin theatralischer Mittel, die in Form von inszenierten Settings und performativen Strategien in ihre Kunst eingehen. Ein zentraler Punkt ihrer künstlerisch-weltanschaulichen Reflexion ist die Entfremdung der modernen Individuen von ihren natürlichen Voraussetzunge und ihren sozialen Lebensumständen sowie dessen Gegenstück: die Sehnsucht nach Heimat und Geborgenheit. Es ist das Programm der Romantiker um 1800, das in ihrer Kunst eine wirkungsvolle Aktualisierung in poetisch-melancholischen Bildern von Verlust und Ohnmacht erfährt. &nbsp; Im Zeitalter des Anthropozäns zeigt sich die isländische Landschaft als Seismograph für den Klimawandel und die Erderwärmung. Nina Röder tritt der Sehnsucht nach vermeintlich unberührten Orten mit assoziative Arrangements von Selbstporträts Landschaften und Stillleben gegenüber.von Dr. Kai Uwe Schierz title: über das verschwinden year: 2014 - 2020 place: Iceland / Italy&nbsp; &lt; previous next &gt; https://ninaroeder.de/bath-in-brilliant-green Wed, 04 Dec 2019 17:37:03 +0000 ninaroeder https://ninaroeder.de/bath-in-brilliant-green bath in brilliant green With its melancholic visual language, Nina Röder’s series »bath in brilliant green« presents a poetic perspective on different forms of helplessness and loss. In associative arrangements of portraits, landscapes, and still life motifs – often created in darkness – she approaches metaphors of letting go. Staged images of marble-like bodies, often in a performative correlation with the surrounding nature, question the meaning of human existence. Her works frequently depict natural structures and vegetal artifacts, such as bits of algae or thistles in an absurd form. The book of the same name is published by Kehrer Verlag in winter 2018 and also includes the series »a little deeper than you thought« &amp; »always beyond«. Imagining Imagestext by Nicolas Oxen »If anyone had asked me what existence was, I would have answered, in good faith, that it was nothing, simply an empty form which was added to external things without changing anything in their nature. And then all of a sudden, there it was, clear as day: existence had suddenly unveiled itself. It had lost the harmless look of an abstract category: it was the very paste of things, this root was kneaded into existence. Or rather the root, the park gates, the bench, the sparse grass, all that had vanished: the diversity of things, their individuality, were only an appearance, a veneer. This veneer had melted, leaving soft, monstrous masses, all in disorder—naked, in a frightful, obscene nakedness.«Jean-Paul Sartre, Nausea Antoine Roquentin loses the world because it is too close to him. He can barely bear it, the thick black chestnut root that burrows under the park bench. Also, he is not able to bear the sweating faces of the people he meets in cafes.These things of the everyday world are normally just there. But the root is not simply there: With Roquentin's disgust, she begins to exist like “kneaded”, diffuse in a sensual overflow of brittle blackness, bulging surface and dark smell. Disgust is an aesthetic feeling, because disgust brings a difference in the world from self-evident perceptions and creates an ambivalence between being attracted and being pushed off. In Sartre, the disgust is suitable for his literary-philosophical experiment, because he reveals the network of relationships - sensual as well as social - in which people and objects are not simply »there«, but »do exist«. Two dead animals are lying rigid between bright stones on the forest floor. Moss covers trees and stones with a damp, green fur. An inconspicuous pond swallows a mamorous body. Everywhere bodies, covered with thistles, buds, and seed capsules. One of them has laid himself in the narrow ditch along a meadow. Another one curves over a stream of black stones. Such images can quickly become too much, too much dark natural romance, too much enigmatic poetry of the organic, too deep and profound. Nina Röder’s photos series »a little deeper than you thought« and »bath in brilliant green« do not want to go so deep, but only »a little deeper«. These are photographic works along a minimal difference. It is about small shifts and framings. The great strength of Nina Röder's photographic work lies in the arrangement of objects and the composition of the picture, which can be traced back to her first staged photographs. Fortunately, her series are not lost in too much depth, but are committed to the surfaces, forms and contingencies, and are as sensuous and organic as they are formalistic and concrete. Of course, there is romance, but never without the skilful break through of the performance and the concept. In any case, it is about forms of feeling, but always in connection with somewhat crazy ideas, such as the hairy man with a fluffy dry growth stuck to his shoulder or to approach the silver thistle with pointed tongue. Things arise, images imagine, form themselves and fit together, seemingly as if from their own strength. There is no deep or dark underneath or darkness. And the photographs are always synonymous, hard rectangular frames, in which aesthetic forces gather - neither difficult to grasp moods nor conceptual thoughts. »bath in brilliant green« – it needs only the green, the quality, no deeper meaning, only a richly shining gum tree leaf, in its entire beauty and slant. The same thing happens with the »humans« or, in fact, one would have to speak of »bodies«, which are nestling to nature quite sensuous, human in the literal sense and yet again act in it like statues or foreign bodies. Nina Röder's photographs are reminiscent of the performances and installations of the French artist Pierre Huyghe, whose art aims at similarly aesthetic shifts along the difference between nature and art. Antoine Roquentin, who experiences the world loss quite existentially on his bench in the intoxication of the disgusting abundance, sensitively impelled by a chestnut tree root – this scene is as impressive as laughable. And just like this ambivalent moment of meaning also causes disgust – so terrible and so beautiful, that one must laugh, enjoyably and frightened. Nina Röder's photographs take advantage of this unstable moment of meaning and keep the irritated glance of the viewer in motion. title: bath in brilliant greenyear: 2015 – 2017 place: Spain / Italy / France &lt; previous next &gt; https://ninaroeder.de/m-und-p Mon, 23 Dec 2019 15:07:10 +0000 ninaroeder https://ninaroeder.de/m-und-p m und p Using evocative portraiture as a way to preserve the lives of those closest to her, Nina Röder explores the passage of time through the eyes of several generations in her family. For Röder, photography is a way to stop time and capture the people around her as they are, as well as recreate moments in their past. Her family’s homes serve as the settings for her photographs. By utilizing these intimate spaces, she provides a connecting thread between the images she produces here. While her photographs read as deeply personal because of the familiar domestic setting, her style of photographing feels distant and oddly surreal. Her portraits are brightly-lit and clear so that both the subject and their surroundings are clearly visible. The subject rarely makes eye contact with the camera and when they do, their gaze is intense and stony. This withdrawn feeling recalls the dream-like nature of far-off memories, perhaps an allusion to her aging subjects as they look back on their life. Röder’s series »m und p« (meaning Mama and Papa) is an experiment in which her family members were able to photograph each other. This series takes into consideration the effects of gender, age, and personal relationships without slapping the viewer in the face with the outcome. The differences in tone between the images are subtle, just as the differences between her subjects are. All come from the same family, but all interact with each other in different ways. »m und p« however, reveals Röder’s older relatives to be more sure of themselves; capable of commanding a presence. Röder’s work shows the aging process as less of a physical event and more as a series of changes and consequential acts to hold on to memories. By presenting her subjects in their homes that have changed very little over the years in an attempt to preserve not only the freedom of youth but also the memories of an entire lived life, she tells their stories in a way that only someone as close to them could. She has a clear respect for the lives lived before her. She views old age not as a tragedy, by any means, but as a triumph and an accomplishment. by Jenna Opsahl title: m und p year: 2014 place: Windsbach /&nbsp;Germany &lt; previous next &gt; https://ninaroeder.de/a-little-deeper-than-you-thought Thu, 28 Nov 2019 15:33:24 +0000 ninaroeder https://ninaroeder.de/a-little-deeper-than-you-thought a little deeper than you thought The series »a little deeper than you thought« shows a poetic photographic collection which deals with different discourses about the uncanny and unconscious, metaphors of death, absurd biological phenomena and an ambivalent image of the male and female body. »I feel death upon me like a torrent, such as the immediate strike of lightning whose charge I can not imagine. I feel death as something that is full of delights in a circling maze. My dreams are a special liqueur, a kind of dirty water in which I dissapear – and then flows with bloody glimmer.«&nbsp;Antonin Artaud Nina Röder’s series »a little deeper than you thought« has been created in the spare landscapes of Iceland, Ireland, Italy and the German Harz region. Young bodies are inserted into untamed wilderness – naked and subtle. Uncertain whether they emerge from the land like mythical creatures – nymphs, who are born from it –or disappear in it; being swallowed by nature. Röders figures are always related to forms of water – the origin of life though dually visualising death within Röders morbid aesthetic. The physical interaction with the natural environment presents a performance and is inscribed in the photographs as an act of occupation. The open visuality of Röder’s work is enhanced in an associative and poetic installation. Dimensions and height of her photographs are varying and – depending on the combination – bring new plots and meanings in transition. Röder’s images show a space in between, wherefore narrations and actions are indicated, but are never completely legible. In their ambiguity - the photographs reveal a certain kind of poetry and mystery– a mood which can be found in German romanticism - in their longing for distance and escapism. The enigmatic states of mind in Röder’s photographs indicate moods which are present, but never concrete. by Sarah Frost title: a little deeper than you thought year: 2012 – 2017 places: Ireland / Iceland / USA / Germany / Italy &lt; previous next &gt;