Andreas H. Bitesnich: Deeper Shades. Lisbon And Other Cities
Andreas H. Bitesnich has built up a systematic and coherent body of work around particular cities. He began in 2011 with "New York." This was followed, in 2012, by "Tokyo," and in 2013 "Paris." Then, in 2015, "Vienna." Finally, in 2017, "Berlin." Now, it鈥檚 the turn of Lisbon, a city that is peripheral in Europe but central to the Western mappa mundi.
His gaze is not contemplative or circumstantial; rather, it is critical and transformative. It takes possession of each place in order to reinterpret it. In this sense, Andreas H. Bitesnich鈥檚 photographs are not neutral: they never pretend to be faithful reproductions of the real.
Rather, his work is like the lege artis of a surgeon. He itemises the city in small details, isolating parts of places, moments of human interaction, as though they were pieces of a not-yet assembled jigsaw puzzle that, at some point, will constitute a coherent whole. Indeed, there is no other way of grappling with the city other than in this fragmentary manner better to reveal its dramas and joys, its mysteries and splendours. Bitesnich makes his formal decisions with the aim of sponsoring such an idea: the photographs are mostly in black and white, with no distracting colours. And they are densely eloquent.
The photographs of Andreas H. Bitesnich suggest retreat, a certain melancholy, a large dose of intimacy in which, occasionally, vast metropoles are transformed into small villages that are not always inhabited but, in general, are rich with feeling and emotion.
Andreas H. Bitesnich has built up a systematic and coherent body of work around particular cities. He began in 2011 with "New York." This was followed, in 2012, by "Tokyo," and in 2013 "Paris." Then, in 2015, "Vienna." Finally, in 2017, "Berlin." Now, it鈥檚 the turn of Lisbon, a city that is peripheral in Europe but central to the Western mappa mundi.
His gaze is not contemplative or circumstantial; rather, it is critical and transformative. It takes possession of each place in order to reinterpret it. In this sense, Andreas H. Bitesnich鈥檚 photographs are not neutral: they never pretend to be faithful reproductions of the real.
Rather, his work is like the lege artis of a surgeon. He itemises the city in small details, isolating parts of places, moments of human interaction, as though they were pieces of a not-yet assembled jigsaw puzzle that, at some point, will constitute a coherent whole. Indeed, there is no other way of grappling with the city other than in this fragmentary manner better to reveal its dramas and joys, its mysteries and splendours. Bitesnich makes his formal decisions with the aim of sponsoring such an idea: the photographs are mostly in black and white, with no distracting colours. And they are densely eloquent.
The photographs of Andreas H. Bitesnich suggest retreat, a certain melancholy, a large dose of intimacy in which, occasionally, vast metropoles are transformed into small villages that are not always inhabited but, in general, are rich with feeling and emotion.
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