- Rozbeh Asmani
- Hubert Becker
- Hans Bischoffshausen
- Brandy Brandstätter
- Julius Brauckmann
- Ulu Braun
- Sandro Chia
- Lutz Driessen
- Cédric Eisenring
- Jan Paul Evers
- Christian Flora
- Dietmar Franz
- Jakob Gasteiger
- Michela Ghisetti
- Bruno Gironcoli
- Jochem Hendricks
- Andy Holtin
- Soli Kiani
- Peter Klare
- Alina Kunitsyna
- Hans Kupelwieser
- Ulrich Lamsfuß
- Tina Lechner
- Mevlana Lipp
- Peter Lohmeyer
- Constantin Luser
- Klaus Merkel
- Sissa Micheli
- Ferdinand Neumüller
- Olga Pedan
- Ulrich Pester
- Peter Pongratz
- Damir Radović
- Thomas Rentmeister
- Markus Riebe
- Megan Rooney
- Evan Roth
- Robert Schad
- Eva Schlegel
- Ralph Schuster
- Hayley Aviva Silverman
- Tracey Snelling
- Nina Rike Springer
- Laura Stadtegger
- Ina Weber
Sissa Micheli, Reversed Parachutes, 2015Photogram on baryta paper, 40 x 30 cm
Kollitsch Collection
The first impression: Tentacles float out of a jellyfish-like body, in all-embracing darkness. But the impression is deceiving – what Sissa Micheli has exposed, developed, stopped and fixed several times over is not a medusa. The object, whose contours and shapes have been swallowed by the photogram, is in fact a parachute. In Micheli’s series “Reversed Parachutes”, the baryta paper, which is normally smoothed out, was left in its original wavy state. By means of targeted framing, the parachute appears to be trapped in a whirling frenzy, throwing its limbs into the air like a dancing figure. The topographic haptics of the baryta paper, frozen in movement, appear as a cartography of our desires that are being projected onto its surface.
— Patrick Schabus
Sissa Micheli, Reversed Parachutes, 2015Photogram on baryta paper, 40 x 30 cm
Kollitsch collection
Sissa Micheli, Reversed Parachutes, 2015Photogram on baryta paper, 40 x 30 cm
Kollitsch Collection
