Ulrich Gebert

“The condition of our humanity can be seen in how we deal with the other. Photography and its apparative parameters are my aesthetic tool to take a look at this other, to construct it or to criticize exactly this look.” Ulrich Gebert

  • New Positions, 2021, Art Cologne, Cologne

  • New Positions, 2021, Art Cologne, Cologne

  • Pendulum – Moving Goods, Moving people, 2018, Fondazione Mast, Bologna

  • Pendulum – Moving Goods, Moving people, 2018, Fondazione Mast, Bologna

  • Kunst für Tiere. Ein Perspektivwechsel für Menschen, 2021, Kunst und Kulturstiftung Opelvillen Rüsselsheim, Rüsselsheim, Photo: Frank Möllenberg

  • ZOOZOOZOO, 2016, Kunstverein Kassel, Kassel

  • ZOOZOOZOO, 2016, Kunstverein Kassel, Kassel

  • It’s a Rat, it’s a pig, it’s a dog, it’s a boy, 2012, Basis, Frankfurt

  • It’s a Rat, it’s a pig, it’s a dog, it’s a boy, 2012, Basis, Frankfurt

  • It’s a Rat, it’s a pig, it’s a dog, it’s a boy, 2012, Basis, Frankfurt

  • The Negotiated Order, 2012, Winkleman gallery, New York

  • The Negotiated Order, 2012, Winkleman gallery, New York

About the artist

In his conceptual photographs and installation works, Ulrich Gebert addresses the culturally shaped relationship of man to nature and his environment. The installations, as well as the photographs arranged in series and wall tableaus, are not in the tradition of the romantic motif of a reunion of man and nature – rather, they testify to a critical and humorous examination. Thus, his works revolve around concepts such as order, categorisation, hierarchy, functionalisation, and instrumentalisation, exposing the gestures of violent appropriation and control inherent in the techniques of order and cultivation.

Gebert implements his works in a confluence of found material and his own pictorial inventions – that the play with the aesthetics of different materials and display forms is an important element of his artistic practice.

In his most recent group of works Eigenface, Ulrich Gebert explores a fairly new visual phenomenon that can certainly be viewed critically: what used to be reserved for the privilege of intelligence service practice is increasingly determining our private as well as public, digital as well as analog space due to the ubiquitous spread of digital devices – facial recognition. The significance of the photographically fixed face is no longer aimed at a representative, formally closed portrait practice: it is only in their linkage with other images and information that they acquire their cognitive value. As operative images (Farocki), they are only optionally addressed to human subjects.

“His photographs neither communicate resignation in the face of the world’s depravity nor reinforce a longing for better times and worlds.” Ellen Blumenstein

Publications

  • a Rat is a Pig is a Dog is a Boy

    Ed.: Felix Ruhöfer, 2012
  • Amerika

    Ed.: Facultad de Bellas Artes / Universidad Politécnica de Valencia, Text: Jens Kastner, 2007
  • Ulrich Gebert Marion Ermer Preis 2007

    ger./engl., Ed.: Marion Ermer Stiftung zur Förderung von Kunst und Kultur in Sachsen und Thüringen, Berlin, 2007