Solo show : Claudia Larcher
|Claudia Larcher, ARAKAWA-KU, 2012/ 2013, C-Prints on aluminium, 57 x 30 cm|
|Claudia Larcher, ARAKAWA-KU, 2012/ 2013, C-Prints on aluminium, various dimensions.|
Claudia Larcher’s work is mainly about architecture. She is interested in places that are connected to history, intimacy and memory, questioning the meaning of “home” and “identity”. Over the last few years she has been working in the field of photo collage, in situ video animation and media installations. Claudia Larcher has also been part of the artistic community PLINQUE since 2008.The video HEIM and the photographs ARAKAWA-KU have the notion of “heim” in common. It is a German word that describes the country where you were born, the village where you grew up, but also the house where you spent your childhood and the one you actually live in.
In HEIM Claudia Larcher shows the paternal house: spaces that according to her are linked to feelings of intimacy, familiarity and memories. The spaces she deals with are on the one hand topographic realities and on the other hand, spaces of projection, imagination and memory. The visual constructions combine fixed and moving images and create a technical incertitude that our eyes cannot discern.
Dubbed with whirring soundtracks, these video animations meticulously reveal fragments of daily life, they emphasise what is familiar and simultaneously, these images evoke their own contrary and build a panoramic perspective of an imaginary whole that reveals an upsetting strangeness.
The work ARAKAWA-KU is a series of pictures taken in the district Arakawaku in the north of Tokyo, Japan, an area, where Claudia Larcher was working and living for six month. Unlike the urban structures on finds in Europe, Tokyo consists of an assemblage of inependent buildings. What you see on the pictures are family houses, everyone built individually. The individual prints differ in size to emphasize the singularity of each house.
In Claudia Larcher’s work, reality always amalgamates with a poetic and surreal excess. Between reality and fiction, we don’t know what’s right or wrong. The transitions between the fixed and moving images are too smooth and too little palpable and always make us stagger between revelation and secret and between idyll and horror.