Eva Maria Ocherbauer
The core of Eva’s teaching is image-making. Students get trained how to gain a conscious and intuitive understanding of the visual language of photography. They learn how to overcome visual and psychological preconceptions and conditioning in order to find their particular photographic signature. The training covers conceptual project-based thinking through sequences of critiques, a major focus lies on developing ideas, using contemporary practices and the process of editing towards the production of a consistent and compelling narrative to enable the students to move into professional discourses.
Eva Maria Ocherbauer is an Austrian born photographer, curator and lecturer living in Berlin. She studied Scenery at the „Hochschule für Musik und Darstellende Kunst“ in Graz, Austria and performed at the „Serapionstheater“ in Vienna before joining the „Werkstatt für Photography VHS Kreuzberg“ in Berlin, Germany to get trained as a photographer.
Coming from a theatrical background, performing as an actress, dancer and stage-designer, she is accustomed to interdisciplinary processes, integrating sculpture, painting and performance into her photographic practise. Her work had been featured internationally in numerous solo and group exhibitions, including:
“BERLIN WEST” Goethe-Institute Yaoundé, 2019 / “ONE FINE DAY SOON” Fotohof, Salzburg, 2018 / “The Family of No Man” Cosmos Books, Arles, 2018 / “Geniale Dilletanten – Subkultur der 1980er Jahre in Deutschland“, Haus der Kunst München and Albertinum Dresden, 2017 / “Kreuzberg – Amerika“ CIO Berlin, 2016 / Schrill Bizarr Brachial – Bröhan Museum, Berlin, 2014 / “Röcke Tragen” Museum der Moderne, Salzburg, 2012 / “Milk Drop Coronet” Camera Austria, Graz, 2010 / “THE PARK” Galerie September, Berlin, 2010 / “BauhausBarokoko” Chartgallery Art Basel, 2007 / “SIMULTAN – zwei Sammlungen österreichischer Fotografie” Museum der Moderne, Salzburg and Fotomuseum Winterthur, 2005 / “City Pity” DAAD Galerie Berlin, 2000 / “DIE EIER” Galerie Fotohof, Salzburg, 1999 / “INTORNO ALLA FOTOGRAFIA” Galerie Bruno Danese et Jacqueline Vodoz, Milano, 1998 / “Fotografie Des Unsichtbaren” Museum Abteiberg Mönchengladbach – Kunsthalle Krems – Fotomuseum Winterthur, 1997 / “StadtPark Eins” Photofestival Houston, USA, 1993 / “Fotografie hat Sonntag“ NGBK Berlin, 1991 / “Pollunderbeermädchenwege” Künstlerhaus Bethanien, Berlin 1989 / “trigon 87” st. herbst, Neue Galerie, Graz, 1987.
Publications include “Ten Cities” Spector Books, Leipzig, 2020 / “OLORISA” FotoFactory.Lagos, Berlin, 2020 / “Berlin West” self-published, 2016 / “FICTION” Superlabo, Japan, 2013 / “One Day – Ten Photographers” Kehrer Verlag, Heidelberg, 2010 / “la vie et la mort” Fotohof edition, Salzburg, 2005 / “Das Kräuterufo” Martin Schmitz Verlag, Kassel, 1995 / “STILL ALIVE” Edition Camera Austria, Graz, 1993 / “Louvre Boutique” Edition Künstlerhaus Bethanien, Berlin, 1989 / “Berliner Designhandbuch” Merve Verlag Berlin, 1987.
Her first collaboration with institutions on the African continent started in 2010 with “Watching You, Watching Me” an exchange project Berlin/Addis Ababa, together with Aida Muluneh. After “Crossing Compasses” in 2012 in partnership with the Yaba College of Technology and the Goethe-Institute Lagos she established in 2013 the LagosPhoto Summer School in cooperation with the African Artist’ Foundation. In 2016 she founded together with Prof. Sylvester Okwunodu Ogbechie the FotoFactory.Lagos, a teaching programme aimed at young Nigerian photographers who are interested in developing their skills and careers.
Photo: Eva Maria Ocherbauer from the book OLORISHA
THE HORN OF PLENTY
THE HORN OF PLENTY, Lagos / Berlin – 2015 / 2018 displays the complex relationship between nature and civilisation centering on plastic debris at the Elegushi Beach in Lagos, Nigeria. As a result of human conducts elemental forces are dissolving these objects, ultimately gathered up by the waves of the ocean and initiating a cycle of decomposition which leads to micro-plastic contamination in the global environment.
As an artistic approach to this phenomena the plastic materials mutate into monumental objects. The stage set is inspired by the Stonehenge cult site erected during the Neolithic period, showcasing the circular structure with the photographs arranged like its standing or dropped stones, occupying positions inspired by the historical installation. Stonehenge is purported to have had many functions, a place of religious worship, a main burial site and an astronomical observatory, all of which can be associated with THE HORN OF PLENTY. The cycles, the transformations, the ritual as such. Cosmic orders underpin this composition.
For Eva Maria Ocherbauer photography is also a means of transforming the utterly banal things of everyday life and making them appear both astonishingly beautiful, but also alien in the photograph itself. Most of the photographs have been subjected to artistic manipulations, eluding so called real- world representation. Things become icons of themselves and raise questions about the possibilities of photography as a medium, but also about the fraying edges of human civilisation