May 2025
https://www.alexandravomendt.ch/
How do you deal with change when there is a before and an after? Is there a right to forget? What remains of the experiences, the stories, the memories… the buildings, objects, and images? Answers to such questions can be found again and again in vom Endt’s work; be it in prints, photographic experiments, interventions, or installations. It is not just images and motifs that she critically engages with, but rather the materiality, the physical and visual materiality of the collected objects or of the technology itself, which she takes up, reconstructs, or even accelerates their deconstruction.
Working with the material that is present, simultaneously with the matter that is no longer really there, but has much to tell in its absence. For Alexandra vom Endt, the camera is indispensable when it comes to remembering. It helps document what she sees and experiences but also functions as a medium for her artistic practice. In her search for the imperfect and dissonant, she encounters fascinating discoveries. Her approach to making art—exploration and curiosity, experimentation, and a passion for material and form—is not just a professional approach for her, but a life principle that permeates her work. Excerpt from a text by Dr. Isabel Balzer, 2024
NON-STOPPING IN KLEIN WARNOW – Working with “inherited” material was my rule of thumb for the residency at the Kulturbahnhof. Forty-year-old photographic paper, expired medium-format films, and discarded pinhole cameras, along with chemical ingredients for cyanotypes and patched sheets, fill my father’s ancient suitcase. It would have been a perfect fit for the time when trains still stopped at the old border post between Mecklenburg and Prussia…
Last Updated: October 31, 2025 by AdminKuba2020
Alexandra vom Endt
May 2025
https://www.alexandravomendt.ch/
How do you deal with change when there is a before and an after? Is there a right to forget? What remains of the experiences, the stories, the memories… the buildings, objects, and images? Answers to such questions can be found again and again in vom Endt’s work; be it in prints, photographic experiments, interventions, or installations. It is not just images and motifs that she critically engages with, but rather the materiality, the physical and visual materiality of the collected objects or of the technology itself, which she takes up, reconstructs, or even accelerates their deconstruction.
Working with the material that is present, simultaneously with the matter that is no longer really there, but has much to tell in its absence. For Alexandra vom Endt, the camera is indispensable when it comes to remembering. It helps document what she sees and experiences but also functions as a medium for her artistic practice. In her search for the imperfect and dissonant, she encounters fascinating discoveries. Her approach to making art—exploration and curiosity, experimentation, and a passion for material and form—is not just a professional approach for her, but a life principle that permeates her work. Excerpt from a text by Dr. Isabel Balzer, 2024
NON-STOPPING IN KLEIN WARNOW – Working with “inherited” material was my rule of thumb for the residency at the Kulturbahnhof. Forty-year-old photographic paper, expired medium-format films, and discarded pinhole cameras, along with chemical ingredients for cyanotypes and patched sheets, fill my father’s ancient suitcase. It would have been a perfect fit for the time when trains still stopped at the old border post between Mecklenburg and Prussia…
Category: artists