| Hellenic Club, Canberra, Australia |
| This project investigates visually interior spaces that define themselves as clubs, mostly membership clubs.
I started the Club series in 2003 in Australia, during an artist-in-residency at the Australian National University in Canberra. Meanwhile, I photographed clubs in
China (2005), the U.S. (2006/07), Spain (2006) and England (2004).
My interest in clubs was sparked by the attitude of Australians towards these entities ? many of the citizens belong to at least one, but more commonly to several clubs. After my 4 months stay in Canberra I belonged to 4 clubs. Clubs appeared to be institutions of great significance within the social landscape. I never have been a big enthusiast of organized ?togetherness?, which I always contributed to my upbringing in former East Germany, where a schedule of memberships was awaiting since the day one was born.
Thinking about the notions the concept club has to offer has been fascinating and extremely intriguing to me To me, Clubs are the nexus of homogeny and heterogeny. It is that space where ?like? comes together and ?unlike? stays apart. The club manifests the accomplishment of a unified ?taste? a harmony, a bringing together of certain personal elements, which could, quite possibly otherwise have been kept apart. However, what remains apart is just as important as what comes together to constitute the club. That is, it is not only due to the nature of union that the club is defined and takes on a meaning but also due to the nature of exclusion. Exclusion becomes a main attribute of a club but more importantly it is what it excludes that becomes the defining characteristic of the club in question. All these notions have visual manifestations, which became the focus of this body of work.
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| Dimensions: 30x38 & 20x24;
Medium: c-print |
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| Pathfinder Hunting and Gun Club, Fulton, NY |
| This project investigates visually interior spaces that define themselves as clubs, mostly membership clubs.
I started the Club series in 2003 in Australia, during an artist-in-residency at the Australian National University in Canberra. Meanwhile, I photographed clubs in
China (2005), the U.S. (2006/07), Spain (2006) and England (2004).
My interest in clubs was sparked by the attitude of Australians towards these entities ? many of the citizens belong to at least one, but more commonly to several clubs. After my 4 months stay in Canberra I belonged to 4 clubs. Clubs appeared to be institutions of great significance within the social landscape. I never have been a big enthusiast of organized ?togetherness?, which I always contributed to my upbringing in former East Germany, where a schedule of memberships was awaiting since the day one was born.
Thinking about the notions the concept club has to offer has been fascinating and extremely intriguing to me To me, Clubs are the nexus of homogeny and heterogeny. It is that space where ?like? comes together and ?unlike? stays apart. The club manifests the accomplishment of a unified ?taste? a harmony, a bringing together of certain personal elements, which could, quite possibly otherwise have been kept apart. However, what remains apart is just as important as what comes together to constitute the club. That is, it is not only due to the nature of union that the club is defined and takes on a meaning but also due to the nature of exclusion. Exclusion becomes a main attribute of a club but more importantly it is what it excludes that becomes the defining characteristic of the club in question. All these notions have visual manifestations, which became the focus of this body of work.
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| Dimensions: 30x38 & 20x24;
Medium: c-print |
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| Sahara Social Club, London, UK |
| This project investigates visually interior spaces that define themselves as clubs, mostly membership clubs.
I started the Club series in 2003 in Australia, during an artist-in-residency at the Australian National University in Canberra. Meanwhile, I photographed clubs in
China (2005), the U.S. (2006/07), Spain (2006) and England (2004).
My interest in clubs was sparked by the attitude of Australians towards these entities ? many of the citizens belong to at least one, but more commonly to several clubs. After my 4 months stay in Canberra I belonged to 4 clubs. Clubs appeared to be institutions of great significance within the social landscape. I never have been a big enthusiast of organized ?togetherness?, which I always contributed to my upbringing in former East Germany, where a schedule of memberships was awaiting since the day one was born.
Thinking about the notions the concept club has to offer has been fascinating and extremely intriguing to me To me, Clubs are the nexus of homogeny and heterogeny. It is that space where ?like? comes together and ?unlike? stays apart. The club manifests the accomplishment of a unified ?taste? a harmony, a bringing together of certain personal elements, which could, quite possibly otherwise have been kept apart. However, what remains apart is just as important as what comes together to constitute the club. That is, it is not only due to the nature of union that the club is defined and takes on a meaning but also due to the nature of exclusion. Exclusion becomes a main attribute of a club but more importantly it is what it excludes that becomes the defining characteristic of the club in question. All these notions have visual manifestations, which became the focus of this body of work.
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| Dimensions: 30x38 $ 20x24;
Medium: c-print |
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| ChangAn Club, Beijing, China |
| This project investigates visually interior spaces that define themselves as clubs, mostly membership clubs.
I started the Club series in 2003 in Australia, during an artist-in-residency at the Australian National University in Canberra. Meanwhile, I photographed clubs in
China (2005), the U.S. (2006/07), Spain (2006) and England (2004).
My interest in clubs was sparked by the attitude of Australians towards these entities ? many of the citizens belong to at least one, but more commonly to several clubs. After my 4 months stay in Canberra I belonged to 4 clubs. Clubs appeared to be institutions of great significance within the social landscape. I never have been a big enthusiast of organized ?togetherness?, which I always contributed to my upbringing in former East Germany, where a schedule of memberships was awaiting since the day one was born.
Thinking about the notions the concept club has to offer has been fascinating and extremely intriguing to me To me, Clubs are the nexus of homogeny and heterogeny. It is that space where ?like? comes together and ?unlike? stays apart. The club manifests the accomplishment of a unified ?taste? a harmony, a bringing together of certain personal elements, which could, quite possibly otherwise have been kept apart. However, what remains apart is just as important as what comes together to constitute the club. That is, it is not only due to the nature of union that the club is defined and takes on a meaning but also due to the nature of exclusion. Exclusion becomes a main attribute of a club but more importantly it is what it excludes that becomes the defining characteristic of the club in question. All these notions have visual manifestations, which became the focus of this body of work.
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| Dimensions: 30x38 & 20x24;
Medium: c-print |
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| Gobden Club, London, UK |
| This project investigates visually interior spaces that define themselves as clubs, mostly membership clubs.
I started the Club series in 2003 in Australia, during an artist-in-residency at the Australian National University in Canberra. Meanwhile, I photographed clubs in
China (2005), the U.S. (2006/07), Spain (2006) and England (2004).
My interest in clubs was sparked by the attitude of Australians towards these entities ? many of the citizens belong to at least one, but more commonly to several clubs. After my 4 months stay in Canberra I belonged to 4 clubs. Clubs appeared to be institutions of great significance within the social landscape. I never have been a big enthusiast of organized ?togetherness?, which I always contributed to my upbringing in former East Germany, where a schedule of memberships was awaiting since the day one was born.
Thinking about the notions the concept club has to offer has been fascinating and extremely intriguing to me To me, Clubs are the nexus of homogeny and heterogeny. It is that space where ?like? comes together and ?unlike? stays apart. The club manifests the accomplishment of a unified ?taste? a harmony, a bringing together of certain personal elements, which could, quite possibly otherwise have been kept apart. However, what remains apart is just as important as what comes together to constitute the club. That is, it is not only due to the nature of union that the club is defined and takes on a meaning but also due to the nature of exclusion. Exclusion becomes a main attribute of a club but more importantly it is what it excludes that becomes the defining characteristic of the club in question. All these notions have visual manifestations, which became the focus of this body of work.
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| Dimensions: 30x38 & 20x24;
Medium: c-print |
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| Pasttime Athletic Club, Syracuse, NY |
| This project investigates visually interior spaces that define themselves as clubs, mostly membership clubs.
I started the Club series in 2003 in Australia, during an artist-in-residency at the Australian National University in Canberra. Meanwhile, I photographed clubs in
China (2005), the U.S. (2006/07), Spain (2006) and England (2004).
My interest in clubs was sparked by the attitude of Australians towards these entities ? many of the citizens belong to at least one, but more commonly to several clubs. After my 4 months stay in Canberra I belonged to 4 clubs. Clubs appeared to be institutions of great significance within the social landscape. I never have been a big enthusiast of organized ?togetherness?, which I always contributed to my upbringing in former East Germany, where a schedule of memberships was awaiting since the day one was born.
Thinking about the notions the concept club has to offer has been fascinating and extremely intriguing to me To me, Clubs are the nexus of homogeny and heterogeny. It is that space where ?like? comes together and ?unlike? stays apart. The club manifests the accomplishment of a unified ?taste? a harmony, a bringing together of certain personal elements, which could, quite possibly otherwise have been kept apart. However, what remains apart is just as important as what comes together to constitute the club. That is, it is not only due to the nature of union that the club is defined and takes on a meaning but also due to the nature of exclusion. Exclusion becomes a main attribute of a club but more importantly it is what it excludes that becomes the defining characteristic of the club in question. All these notions have visual manifestations, which became the focus of this body of work.
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| Dimensions: 30x38 & 20x24;
Medium: c-print |
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| Curling Club, St Paul, MN |
| This project investigates visually interior spaces that define themselves as clubs, mostly membership clubs.
I started the Club series in 2003 in Australia, during an artist-in-residency at the Australian National University in Canberra. Meanwhile, I photographed clubs in
China (2005), the U.S. (2006/07), Spain (2006) and England (2004).
My interest in clubs was sparked by the attitude of Australians towards these entities ? many of the citizens belong to at least one, but more commonly to several clubs. After my 4 months stay in Canberra I belonged to 4 clubs. Clubs appeared to be institutions of great significance within the social landscape. I never have been a big enthusiast of organized ?togetherness?, which I always contributed to my upbringing in former East Germany, where a schedule of memberships was awaiting since the day one was born.
Thinking about the notions the concept club has to offer has been fascinating and extremely intriguing to me To me, Clubs are the nexus of homogeny and heterogeny. It is that space where ?like? comes together and ?unlike? stays apart. The club manifests the accomplishment of a unified ?taste? a harmony, a bringing together of certain personal elements, which could, quite possibly otherwise have been kept apart. However, what remains apart is just as important as what comes together to constitute the club. That is, it is not only due to the nature of union that the club is defined and takes on a meaning but also due to the nature of exclusion. Exclusion becomes a main attribute of a club but more importantly it is what it excludes that becomes the defining characteristic of the club in question. All these notions have visual manifestations, which became the focus of this body of work.
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| Dimensions: 30x38 & 20x24;
Medium: c-print |
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| Tantra Club, London, UK |
| This project investigates visually interior spaces that define themselves as clubs, mostly membership clubs.
I started the Club series in 2003 in Australia, during an artist-in-residency at the Australian National University in Canberra. Meanwhile, I photographed clubs in
China (2005), the U.S. (2006/07), Spain (2006) and England (2004).
My interest in clubs was sparked by the attitude of Australians towards these entities ? many of the citizens belong to at least one, but more commonly to several clubs. After my 4 months stay in Canberra I belonged to 4 clubs. Clubs appeared to be institutions of great significance within the social landscape. I never have been a big enthusiast of organized ?togetherness?, which I always contributed to my upbringing in former East Germany, where a schedule of memberships was awaiting since the day one was born.
Thinking about the notions the concept club has to offer has been fascinating and extremely intriguing to me To me, Clubs are the nexus of homogeny and heterogeny. It is that space where ?like? comes together and ?unlike? stays apart. The club manifests the accomplishment of a unified ?taste? a harmony, a bringing together of certain personal elements, which could, quite possibly otherwise have been kept apart. However, what remains apart is just as important as what comes together to constitute the club. That is, it is not only due to the nature of union that the club is defined and takes on a meaning but also due to the nature of exclusion. Exclusion becomes a main attribute of a club but more importantly it is what it excludes that becomes the defining characteristic of the club in question. All these notions have visual manifestations, which became the focus of this body of work.
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| Dimensions: 30x38 & 20x24;
Medium: c-print |
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| Club 13 Punk Club, Beijing, China |
| This project investigates visually interior spaces that define themselves as clubs, mostly membership clubs.
I started the Club series in 2003 in Australia, during an artist-in-residency at the Australian National University in Canberra. Meanwhile, I photographed clubs in
China (2005), the U.S. (2006/07), Spain (2006) and England (2004).
My interest in clubs was sparked by the attitude of Australians towards these entities ? many of the citizens belong to at least one, but more commonly to several clubs. After my 4 months stay in Canberra I belonged to 4 clubs. Clubs appeared to be institutions of great significance within the social landscape. I never have been a big enthusiast of organized ?togetherness?, which I always contributed to my upbringing in former East Germany, where a schedule of memberships was awaiting since the day one was born.
Thinking about the notions the concept club has to offer has been fascinating and extremely intriguing to me To me, Clubs are the nexus of homogeny and heterogeny. It is that space where ?like? comes together and ?unlike? stays apart. The club manifests the accomplishment of a unified ?taste? a harmony, a bringing together of certain personal elements, which could, quite possibly otherwise have been kept apart. However, what remains apart is just as important as what comes together to constitute the club. That is, it is not only due to the nature of union that the club is defined and takes on a meaning but also due to the nature of exclusion. Exclusion becomes a main attribute of a club but more importantly it is what it excludes that becomes the defining characteristic of the club in question. All these notions have visual manifestations, which became the focus of this body of work.
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| Dimensions: 30x38 & 20x24;
Medium: c-print |
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| American Club, Beijing, China |
| This project investigates visually interior spaces that define themselves as clubs, mostly membership clubs.
I started the Club series in 2003 in Australia, during an artist-in-residency at the Australian National University in Canberra. Meanwhile, I photographed clubs in
China (2005), the U.S. (2006/07), Spain (2006) and England (2004).
My interest in clubs was sparked by the attitude of Australians towards these entities ? many of the citizens belong to at least one, but more commonly to several clubs. After my 4 months stay in Canberra I belonged to 4 clubs. Clubs appeared to be institutions of great significance within the social landscape. I never have been a big enthusiast of organized ?togetherness?, which I always contributed to my upbringing in former East Germany, where a schedule of memberships was awaiting since the day one was born.
Thinking about the notions the concept club has to offer has been fascinating and extremely intriguing to me To me, Clubs are the nexus of homogeny and heterogeny. It is that space where ?like? comes together and ?unlike? stays apart. The club manifests the accomplishment of a unified ?taste? a harmony, a bringing together of certain personal elements, which could, quite possibly otherwise have been kept apart. However, what remains apart is just as important as what comes together to constitute the club. That is, it is not only due to the nature of union that the club is defined and takes on a meaning but also due to the nature of exclusion. Exclusion becomes a main attribute of a club but more importantly it is what it excludes that becomes the defining characteristic of the club in question. All these notions have visual manifestations, which became the focus of this body of work.
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| Dimensions: 30x38 & 20x24;
Medium: c-print |
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| Cretan Club, Astoria, NY |
| This project investigates visually interior spaces that define themselves as clubs, mostly membership clubs.
I started the Club series in 2003 in Australia, during an artist-in-residency at the Australian National University in Canberra. Meanwhile, I photographed clubs in
China (2005), the U.S. (2006/07), Spain (2006) and England (2004).
My interest in clubs was sparked by the attitude of Australians towards these entities ? many of the citizens belong to at least one, but more commonly to several clubs. After my 4 months stay in Canberra I belonged to 4 clubs. Clubs appeared to be institutions of great significance within the social landscape. I never have been a big enthusiast of organized ?togetherness?, which I always contributed to my upbringing in former East Germany, where a schedule of memberships was awaiting since the day one was born.
Thinking about the notions the concept club has to offer has been fascinating and extremely intriguing to me To me, Clubs are the nexus of homogeny and heterogeny. It is that space where ?like? comes together and ?unlike? stays apart. The club manifests the accomplishment of a unified ?taste? a harmony, a bringing together of certain personal elements, which could, quite possibly otherwise have been kept apart. However, what remains apart is just as important as what comes together to constitute the club. That is, it is not only due to the nature of union that the club is defined and takes on a meaning but also due to the nature of exclusion. Exclusion becomes a main attribute of a club but more importantly it is what it excludes that becomes the defining characteristic of the club in question. All these notions have visual manifestations, which became the focus of this body of work.
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| Dimensions: 30x38 & 20x24;
Medium: c-print |
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| Conservative Club, London, NY |
| This project investigates visually interior spaces that define themselves as clubs, mostly membership clubs.
I started the Club series in 2003 in Australia, during an artist-in-residency at the Australian National University in Canberra. Meanwhile, I photographed clubs in
China (2005), the U.S. (2006/07), Spain (2006) and England (2004).
My interest in clubs was sparked by the attitude of Australians towards these entities ? many of the citizens belong to at least one, but more commonly to several clubs. After my 4 months stay in Canberra I belonged to 4 clubs. Clubs appeared to be institutions of great significance within the social landscape. I never have been a big enthusiast of organized ?togetherness?, which I always contributed to my upbringing in former East Germany, where a schedule of memberships was awaiting since the day one was born.
Thinking about the notions the concept club has to offer has been fascinating and extremely intriguing to me To me, Clubs are the nexus of homogeny and heterogeny. It is that space where ?like? comes together and ?unlike? stays apart. The club manifests the accomplishment of a unified ?taste? a harmony, a bringing together of certain personal elements, which could, quite possibly otherwise have been kept apart. However, what remains apart is just as important as what comes together to constitute the club. That is, it is not only due to the nature of union that the club is defined and takes on a meaning but also due to the nature of exclusion. Exclusion becomes a main attribute of a club but more importantly it is what it excludes that becomes the defining characteristic of the club in question. All these notions have visual manifestations, which became the focus of this body of work.
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| Dimensions: 30x38 & 20x24;
Medium: c-print |
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| Pushkin Club, London, NY |
| This project investigates visually interior spaces that define themselves as clubs, mostly membership clubs.
I started the Club series in 2003 in Australia, during an artist-in-residency at the Australian National University in Canberra. Meanwhile, I photographed clubs in
China (2005), the U.S. (2006/07), Spain (2006) and England (2004).
My interest in clubs was sparked by the attitude of Australians towards these entities ? many of the citizens belong to at least one, but more commonly to several clubs. After my 4 months stay in Canberra I belonged to 4 clubs. Clubs appeared to be institutions of great significance within the social landscape. I never have been a big enthusiast of organized ?togetherness?, which I always contributed to my upbringing in former East Germany, where a schedule of memberships was awaiting since the day one was born.
Thinking about the notions the concept club has to offer has been fascinating and extremely intriguing to me To me, Clubs are the nexus of homogeny and heterogeny. It is that space where ?like? comes together and ?unlike? stays apart. The club manifests the accomplishment of a unified ?taste? a harmony, a bringing together of certain personal elements, which could, quite possibly otherwise have been kept apart. However, what remains apart is just as important as what comes together to constitute the club. That is, it is not only due to the nature of union that the club is defined and takes on a meaning but also due to the nature of exclusion. Exclusion becomes a main attribute of a club but more importantly it is what it excludes that becomes the defining characteristic of the club in question. All these notions have visual manifestations, which became the focus of this body of work.
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| Dimensions: 30x38 & 20x24;
Medium: c-print |
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| Candy Club, Beijing, China |
| This project investigates visually interior spaces that define themselves as clubs, mostly membership clubs.
I started the Club series in 2003 in Australia, during an artist-in-residency at the Australian National University in Canberra. Meanwhile, I photographed clubs in
China (2005), the U.S. (2006/07), Spain (2006) and England (2004).
My interest in clubs was sparked by the attitude of Australians towards these entities ? many of the citizens belong to at least one, but more commonly to several clubs. After my 4 months stay in Canberra I belonged to 4 clubs. Clubs appeared to be institutions of great significance within the social landscape. I never have been a big enthusiast of organized ?togetherness?, which I always contributed to my upbringing in former East Germany, where a schedule of memberships was awaiting since the day one was born.
Thinking about the notions the concept club has to offer has been fascinating and extremely intriguing to me To me, Clubs are the nexus of homogeny and heterogeny. It is that space where ?like? comes together and ?unlike? stays apart. The club manifests the accomplishment of a unified ?taste? a harmony, a bringing together of certain personal elements, which could, quite possibly otherwise have been kept apart. However, what remains apart is just as important as what comes together to constitute the club. That is, it is not only due to the nature of union that the club is defined and takes on a meaning but also due to the nature of exclusion. Exclusion becomes a main attribute of a club but more importantly it is what it excludes that becomes the defining characteristic of the club in question. All these notions have visual manifestations, which became the focus of this body of work.
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| Dimensions: 30x38 & 20x24;
Medium: c-print |
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| Veterans Club, Canberra, Australia |
| This project investigates visually interior spaces that define themselves as clubs, mostly membership clubs.
I started the Club series in 2003 in Australia, during an artist-in-residency at the Australian National University in Canberra. Meanwhile, I photographed clubs in
China (2005), the U.S. (2006/07), Spain (2006) and England (2004).
My interest in clubs was sparked by the attitude of Australians towards these entities ? many of the citizens belong to at least one, but more commonly to several clubs. After my 4 months stay in Canberra I belonged to 4 clubs. Clubs appeared to be institutions of great significance within the social landscape. I never have been a big enthusiast of organized ?togetherness?, which I always contributed to my upbringing in former East Germany, where a schedule of memberships was awaiting since the day one was born.
Thinking about the notions the concept club has to offer has been fascinating and extremely intriguing to me To me, Clubs are the nexus of homogeny and heterogeny. It is that space where ?like? comes together and ?unlike? stays apart. The club manifests the accomplishment of a unified ?taste? a harmony, a bringing together of certain personal elements, which could, quite possibly otherwise have been kept apart. However, what remains apart is just as important as what comes together to constitute the club. That is, it is not only due to the nature of union that the club is defined and takes on a meaning but also due to the nature of exclusion. Exclusion becomes a main attribute of a club but more importantly it is what it excludes that becomes the defining characteristic of the club in question. All these notions have visual manifestations, which became the focus of this body of work.
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| Dimensions: 30x38 & 20x24;
Medium: c-print |
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