Christoph Brech

Christoph Brech

Christoph Brech Rohkunstbau 2011

In his videographies, Christoph Brech explores new perspectives of familiar scenes. He films a conductor’s back so that only the jacket’s folds are visible as they move with the music (“Opus 110a”), or shoots distorted reflected images of buildings and trees by attaching his camera to the shiny surface of a Fiat Punto’s hood as it drives through Rome (“Punto”). In Brech’s works, the beholder always needs to re-orientate. By making the unconscious conscious, the hardly perceptible becomes the content of the work’s image and is the focal point of interest. In this way, Christoph Brech succeeds in abstracting the concrete, defamiliarising the known by divorcing familiar situations from their context. Accompanied by noises or spheric music, which has an important place in his videographies, the artist allows the beholder to experience the lyricism of everyday life and the sensuousness of the moment.

Christoph Brech’s works are like reveries – and revenants that haunt the space of making. For Rohkunstbau, Christoph Brech is showing “Il Ponte”, his film of the Ponte alla Carraia in Florence with its constant stream of traffic and pedestrians. In this case, though, after shooting the reflection of the bridge in the River Arno in the rose-coloured haze of dusk, he then inverts the image by 180 degrees to use it as the real motif in his film.  St the start of this videography, the sky and the river merge into one another, dissolving the structure of the image. The black silhouette of the bridge only gradually appears later – accompanied by the sombre sounds of Gustav Mahler’s Adagietto. We are reminded of T.S. Eliot’s lines from The Waste Land: „Unreal City, / Under the brown fog of a winter dawn, / A crowed flowed over London Bridge, so many, / I had not thought death had undone so many. / Sighs, short and infrequent, were exhaled, / And each man fixed his eyes before his feet.”
These lyrical images show the early evening shortly before twilight, just as Wagner’s Rheingold itself is described as the preliminary evening in his tetralogy “The Ring of the Nibelung”.

Selected Solo Exhibitions
2010 Passagen, Museum Villa Stuck, Munich, Germany
2009 Break, ZeitHaus, Autostadt Wolfsburg, Germany 
2009 Seh-Stücke, Goethe Institute Taipei, Taiwan
2008 Portrait eines Orchesters, Stadtmuseum Munich, Germany

Selected Group Exhibitions
2011 Ritratti del Potere (Portraits and Power), Palazzo Strozzi, Florence, Italy
2010 Fast Forward 2, The Power of Motion, ZKM – Museum für neue Kunst, Karlsruhe, Germany 
2010 Mediterranean Biennale of Contemporary Art, Haifa, Israel
2009 Contemporary Outlook – Seeing Songs, Museum of Fine Art, Boston, USA 
2009 Mutations II – Moving Stills, Museum of Modern Art, Moscow, Russia

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