"Untitled", 2017
Filtergrams on analogue photo paper, unique works
1
For the “filtergrams”, as Djourina calls them, the artist place various conventional everyday objects, self-made negatives, 3-dimensional collages, paper objects etc. in the enlarger instead of a film negative. The term derives from the well-known “photograms” which describe an immediate touch between an object and it’s shadow casted onto the photo paper.
As is the case in photograms, the real distance between the photographic paper and the object is what indirectly causes the individual item to touch the photographic paper. In the case of the “filtergrams” "only the light touches the object"*.
*(Babette Marie Werner, Marta Djourina – The Dematerialization of the Everyday, 2016 - ENG | DE)
2
7
8
9
Image index
1 - 2 Untitled, 2019, filtergram on analogue photo paper, unique works, 127 x 76 cm
Exhibition views: SONDERLAGE 4/5 feat. BACKBONEBOOKS, Claudia De La Torre, Marta Djourina, Ce Jian, curated by Pierre Granoux, LAGE EGAL [GW34/35], exhibition photos: CHROMA
3 - 6 Untitled, 2019, filtergram on analogue photo paper, unique works, 38 x 29 cm
7 - 8 Untitled, 2019, filtergram on analogue photo paper, unique works, 127 x 76 cm
Exhibition views: SONDERLAGE 4/5 feat. BACKBONEBOOKS, Claudia De La Torre, Marta Djourina, Ce Jian, curated by Pierre Granoux, LAGE EGAL [GW34/35], exhibition photos: CHROMA
9 Untitled, 2019, filtergram on analogue photo paper, unique works, 127 x 76 cm
Exhibition views: The Show, organised by RAM Berlin, 2019, exhibition photo: Andreas Baudisch
10 - 12 Untitled, 2019, filtergram on analogue photo paper, unique works, 127 x 76 cm
"Untitled", 2017
Filtergrams on analogue photo paper, unique works
1
For the “filtergrams”, as Djourina calls them, the artist place various conventional everyday objects, self-made negatives, 3-dimensional collages, paper objects etc. in the enlarger instead of a film negative. The term derives from the well-known “photograms” which describe an immediate touch between an object and it’s shadow casted onto the photo paper.
As is the case in photograms, the real distance between the photographic paper and the object is what indirectly causes the individual item to touch the photographic paper. In the case of the “filtergrams” "only the light touches the object"*.
*(Babette Marie Werner, Marta Djourina – The Dematerialization of the Everyday, 2016 - ENG | DE)
2
7
8
9
Image index
1 - 2 Untitled, 2019, filtergram on analogue photo paper, unique works, 127 x 76 cm
Exhibition views: SONDERLAGE 4/5 feat. BACKBONEBOOKS, Claudia De La Torre, Marta Djourina, Ce Jian, curated by Pierre Granoux, LAGE EGAL [GW34/35], exhibition photos: CHROMA
3 - 6 Untitled, 2019, filtergram on analogue photo paper, unique works, 38 x 29 cm
7 - 8 Untitled, 2019, filtergram on analogue photo paper, unique works, 127 x 76 cm
Exhibition views: SONDERLAGE 4/5 feat. BACKBONEBOOKS, Claudia De La Torre, Marta Djourina, Ce Jian, curated by Pierre Granoux, LAGE EGAL [GW34/35], exhibition photos: CHROMA
9 Untitled, 2019, filtergram on analogue photo paper, unique works, 127 x 76 cm
Exhibition views: The Show, organised by RAM Berlin, 2019, exhibition photo: Andreas Baudisch
10 - 12 Untitled, 2019, filtergram on analogue photo paper, unique works, 127 x 76 cm