From "The Book of Soundings"

On abandoned planets and lost posts, on orbits around nothing: the giant green head and snowmen, the backpack and wheel people, the algae-covered, golden, sweating figures, the snaillike, insect-like, tightly-wound creatures from Marc Aschenbrenner's (born in Linz, Austria 1971) cosmos move within unstoried spaces. They are lonely. They feel, but their feelings are often unrecognizable. Every moment is a condition. Either they blindly fight against the violent acts that tear at them, or they surrender to the elements and float, swim, completely die in them. And sometimes, there is only breathing - as the sole sign of life and the expression of ultimate abandonment. Like an astronaut who glides through space and can only hear himself inhale and exhale in the all-encompassing silence. Marc Aschenbrenner studied painting; then experimented quite early with Super 8 film techniques and increasingly turned to video. Whether in film, performance or drawing, the artist asks first and foremost how a person becomes an image and a figure, i.e how a figure is created and disintegrates, how a symbiosis occurs with the space. "Formally, I try to work as simply as possible and remove the inessential" says the artist. The world as a creation of fools, the body as a marionette, claustrophobia and loneliness: Aschenbrenner's work expresses much more than simply a regressive, anti-modern impulse, more than mere existential philosophy. Here is a hint of the heretical life attitude of gnosis that already destroyed the original Christian church: the fundamental-dissident knowledge that one is in the world but not of it. The polemical claim that no loving god could have made the universe, but rather a demon. But that there is something of light in the human soul that has the stuff to take a stand against the world. Something that could spark the world. (Daniel Völzke)

Exhibited in a series of forty-eight, each identically formatted image bears a striking similarity to the others while revealing the differences particular to each one. By presenting the lobbies of apartments visible behind glass entrances, variations in décor, lighting, colour and ‘personality’ emerge from banal mid-century architecture, becoming metaphorical of human beings’ simultaneous unity and individuality, while the large windows, for Gergley, ‘offer a complete exchange of visual information from the subject’s illuminated room into the camera’s “darkened room”’. Gergley’s work centers around the role of the photographer in relation to various methods ranging from the classical still-life to the snap shot, and this series is at once an application of typological photography and a refinement of the analytical device of framing found in such work. It is also reminiscent of filmic framing devices, giving the work a Hitchcockian appeal, which is reflected in the film-strip style of installation in the gallery. As Gergley says: ‘It is the camera’s inherent “framing” requirement that has become the analytical tool that assists in recovering knowledge from the subject’. Throughout the history of photography and indeed the natural sciences, typology has been used to clarify thinking. From the oceanic and plant studies of Ernst Haeckel and Karl Blossfeldt through to photographer August Sander and the work of pioneering conceptual photographers Berndt and Hilla Becher, classification of forms has been used to define how relationships work and has been instrumental in documenting the oneness of the world in its most diversified forms.

Photgraph mounted on aluminium

V-Mann mit X-Beinen im D-Zug, 2009

Untitled (Fontainebleau) van Ann Lislegaard, vrij naar het wonderlijke schilderij Gabrielle d'Estrees and One of Her Sisters in the Bath (1599) uit de school van Fontainebleau

Multiple vom Künstler nach dem Original von 1920; ausgestellt 1922 in Leningrad / Malewitsch

Landscape

a unique piece, photo but without title you are lost.

Exhibition Print: “America, we love having you here” Bruce Silverstein Gallery, 11/18/2008 - 01/10/2009

From the series fakes: Motive exhibited at 2010 Photo Museum, Antwerpen: Boris Becker Photographien 1984 - 2009 and 2009 SK Stiftung Kultur, Cologne and Linz: Boris Becker. Motive exhibited at 2010 Photo Museum, Antwerpen: Boris Becker Literatue: Boris Becker Photographs 1984-2009, Boris Becker Fakes Darling Publications by Lim & Asmuth

Bonnie #2 Photography 12inch x 18 inch A Collaboration between supermodel Joni Harbeck & Photographer Neil Krug. Signed Photography no. 002 / 100