Martin Dammann

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Abendessen, 2012
watercolour on paper
182 x 272,5 cm

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Weihnachten, 2012
watercolour on paper
169 x 237 cm

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3

Tänzchen 1, 2012
watercolour on paper
117 x 86 cm

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4

Tänzchen 2, 2012
watercolour on paper
86 x 117cm

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Tänzchen 3, 2012
watercolour on paper
117 x 86 cm

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6

Tänzchen 4, 2012
watercolour on paper
117 x 86 cm

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7

Tänzchen 5, 2012
watercolour on paper
117 x 86 cm

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8

Im Ring, 2012
watercolour on paper
155 x 245 cm

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9

Jammertal, 2012
watercolour on paper
161 x 263 cm

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10

Nirgendwo, 2011
Watercolour on paper
194 x 134 cm

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11

outremer, 2010
Watercolour on paper
143 x 222 cm

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12

Am Licht, 2008
Watercolour on paper
146,5 x 95,5 cm

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13

Hydra, 2007
Watercolour on paper
148,5 x 97 cm

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14

Ophelia, 2007
Watercolour on paper
182 x 262 cm (framed)

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15

Sonora Still 3, 2008
Watercolour on paper
118,5 x 155,5 cm

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16

Sonntag Nachmittag, 2006
Watercolour on paper
136,5 x 140 cm

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17

Unterm Licht, 2008
Watercolour on paper
176 x 176 cm

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18

White nights, 2008
Watercolour on paper
203 x 293 cm

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19

Verdachtsmoment 1, 2008
Light Jet -print on Aludibond
Ed. 2 + 2 AP
72 x 66 cm (framed)

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Verdachtsmoment 2, 2008
Light Jet -print on Aludibond
Ed. 2 + 2 AP
72 x 66 cm (framed)

Martin Dammann

The artist Martin Dammann addresses a highly emotional and topical issue, i.e. the interplay between war, media coverage and its impact on our perception. Original photos and footage from around WWI. to the Kosovo conflict and the standard methods of modern warfare form the basis of the large-size water-colour paintings, video works and photo series. The artist draws inspiration and material from his work for the London-based Archives of Modern Conflict as he has been in charge of acquiring photos for the collection specialising in private war photography for some years. The artist cautiously approaches the medium of photography and deprives the brief moment in which the photo was taken of any claim to reality by transforming it with the “soft“ technique of watercolour painting. This allows the onlooker to engage in a novel, subjective play of interpretation. As Dammann transforms them into different media the onlooker is confronted with two semantic fields: the individual, personal on the one hand and the general powerful impact of images and historiography on the other hand. The subject highlighted is the changed perception of reality due to the growing influence of mass-mediasation on our personal attitudes and values. All works have to do with dissolution, penetration and disappearance and are linked by the longing for reaching a point of reality in the images that is outside themselves, a point that seems to gradually move away.

Martin Dammann works have been on view at Documenta X and Werkleitz Biennale (1997), at Museum Folkwang, Essen  (2001) and at Konrad Adenauer Stiftung, Berlin (2002). In 2009, he had a solo show (‘Fremde Freunde’) at Kunsthalle Recklinghausen, Germany, in which occasion a comprehensive catalogue was published. Also this year, Dammann participated in the 53rd Venice Bienal by presenting works from his series ‚Soldier Studies’ at The Fear Society, Pabellón de la Urgencia.