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Sascha Weidner Celebrates the Beauty of the Perfect Moment at C/O Berlin Gallery
People walk past the art installation "Last Song" by Sascha Weidner at the entrance to the C/O Berlin gallery in Berlin. REUTERS/Thomas Peter.

BERLIN.- It’s the moment that counts. It’s the source of everything—every perception, longing, dream, and remembrance. Sascha Weidner celebrates the beauty of the perfect moment and takes hold of it, turning an unflinching eye toward himself and his environment. His radically subjective cosmos of images is the poetic film of life, in which every shot is a statement of either life-affirming exuberance or hushed melancholy. Whether in photographs of rumpled white sheets, in macro shots of veined skin, or in images of mysteriously overturned cars or of the tender intimacy of lovers—every passing nuance is critical. And although each photograph seems almost hermetically sealed within itself, in combination, his images give rise to a dramatic dialog among the individual events. The cumulative visual chaos shows how fragile reality and perception are, yet without collapsing in upon itself. Instead, his pictures oscillate between lightness, vulnerability, intimacy, and fear, posing essential questions of human existence and creating delicate structures and connections between images. In the arrangement of his photographs, a life story gradually emerges. It is a story of many people, one that is new and individual each time it is viewed.

With this exhibition, Sascha Weidner offers a deep, personal glimpse into his life, reaching from childhood photographs up to current pictures from diverse contexts. The method of plumbing the depths of his personal archive defines his artistic practice. Again and again, he draws anew from his pool of images, changing the arrangements and, in so doing, shifting the point of view. This process of successively adding and taking away themes and temporal layers produces new narratives, associations, and interpretations. Weidner arranges the photographs of various formats to fill entire walls, creating nonlinear and asymmetrical installations in which the autonomous elements—like tracks in an epic DJ set—pick up the rhythm of the images before them, interweaving themselves into a larger whole. The meaning is revealed in the whole. It is here that the photographer’s characteristic style becomes clearly evident.

With his emotional close-up perspective, Sascha Weidner can be associated with photographers like Nan Goldin, Wolfgang Tillmans, and Ryan McGinley—in terms of both his subject matter and his methods. He draws no distinction between photography and life; his color pictures are not hastily taken snapshots but carefully constructed compositions. The images blur the line between mise-en-scene and authenticity, between the posed and the natural. Light and shadow, too, are deliberately placed to accentuate the often unreal, sometimes deeply evocative atmosphere of reality.

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