Christoph Brückner's work explores the process and properties of image making itself. By reducing physical, compositional elements, and experimenting with different printing and replication techniques, he seeks to broaden the notion of what an image can be.
Methods of repetition and layering are integral to Brückner’s artistic practice bringing the focus onto fundamentals of form, line and colour. His works explore the relationships between photography, sculpture, object and drawing; manifesting as paintings that are in dialogue with the age of digital reproduction. He utilises photography’s ability to flatten what we normally experience in three dimensions and condense physical space alongside its effectiveness in creating recognisable facsimiles of objects from the real world within the picture plane.
Brückner utilises common digital technologies, such as a desktop computer, scanner and inkjet printer to facilitate this exploration of our changing relationships to images and to artworks themselves.
His works often start with an initial analogue silkscreen print as the commencement of a process-orientated workflow that includes printing gestural, expressive marks and shapes onto canvas, metal or paper, each becoming multiple layers accumulating towards the final piece. Brückner also uses photography as a way to re-see and re-utilise those gestural marks, collaging new iterations into his paintings. This overlaying and contrasting of analogue and digital presence enables the works to oscillate between the sensation of a flat, screen-mediated image and the texture of an analogue painting with the final works being somewhere between a painting, a print and a digital image.
2022
"Transformer", Essenheimer Kunstverein, Essenheim, Germany
2019
"Modernism. Iconography. Photography. Bauhaus and its effects 1919-2019", Kunstmuseum Kloster unser lieben Frauen, Magdeburg, Germany
"school´s out! Klasse Ruckhaeberle stellt aus", Thaler Originalgrafik, Spinnerei Leipzig, Germany
2018
"reflecting garden", Design Week Suzhou, China
"escaping the flat surface", Vui Studio, Hanoi, Vietnam
"the original format may have disintegrated and is no longer available", GapGap, Leipzig, Germany
"colorless green ideas sleep furiously", HGB, Leipzig, Germany
"most wild, last of the wild, least wild", HGB Rundgang, Leipzig, Germany
2017
"forward for what", Tasku Gallery, Helsinki, Finland
"Il deserto rosso now - Photographische Reaktionen auf Antonionis Filmklassiker", SK Stiftung Kultur, Köln, Germany
"open studio", Oficina de Arte, Mexico City, Mexico
2016
"Red Desert Now", Linea de Confine, Ospitale di Rubiera, Italy
Painting and Printmaking class of Prof. Christoph Ruckhaeberle, HGB Leipzig
Photography and Media class of Prof. Joachim Brohm, HGB Leipzig
Printmaking class of Jussi Juurinen, University of Arts Helsinki, Finland
Media design, Bauhaus-Universität Weimar
Moderne. Ikonografie. Fotografie. Die Klasse für Fotografie und Medien von Joachim Brohm.
Hrsg. Annegret Laabs und Joachim Brohm, Kunstmuseum Magdeburg und E.A. Seemann Verlag 2019
ISBN 978-3-86502-434-3
Die Straßen, die Fabriken, die Farben, der Himmel, die Menschen – in Referenz zu: "Die rote Wüste" (1964) von Michelangelo Antonioni
Hrsg. Joachim Brohm und Anna Voswinckel, Hochschule für Grafik und Buchkunst Leipzig; in Zusammenarbeit mit Gabriele Conrath-Scholl und Claudia Schubert, Die Photographische Sammlung/SK Stiftung Kultur, Köln; und Silvia Loddo und Cesare Fabbri, Osservatorio Fotografico, Deutsch/Englisch/Italienisch, Salzburg: Fotohof, 2017
ISBN 978-8-894214-12-3
Reinhard Matz, „Fotografische Spuren nach Antonionis Spielfilm „Die rote Wüste“– in Köln zu sehen“ Photonews Magazines (November 2017) page 8
Director of Photography of the short movie "A returning course of movement" by Katrin Esser & Sarah Veith
Production assistant of the music video by Laura Liebeskind - Weiter
Co Author of the short movie "Reloaded" by Katrin Esser
Christoph Brückner's work explores the process and properties of image making itself. By reducing physical, compositional elements, and experimenting with different printing and replication techniques, he seeks to broaden the notion of what an image can be.
Methods of repetition and layering are integral to Brückner’s artistic practice bringing the focus onto fundamentals of form, line and colour. His works explore the relationships between photography, sculpture, object and drawing; manifesting as paintings that are in dialogue with the age of digital reproduction. He utilises photography’s ability to flatten what we normally experience in three dimensions and condense physical space alongside its effectiveness in creating recognisable facsimiles of objects from the real world within the picture plane.
Brückner utilises common digital technologies, such as a desktop computer, scanner and inkjet printer to facilitate this exploration of our changing relationships to images and to artworks themselves.
His works often start with an initial analogue silkscreen print as the commencement of a process-orientated workflow that includes printing gestural, expressive marks and shapes onto canvas, metal or paper, each becoming multiple layers accumulating towards the final piece. Brückner also uses photography as a way to re-see and re-utilise those gestural marks, collaging new iterations into his paintings. This overlaying and contrasting of analogue and digital presence enables the works to oscillate between the sensation of a flat, screen-mediated image and the texture of an analogue painting with the final works being somewhere between a painting, a print and a digital image.
2022
"Transformer", Essenheimer Kunstverein, Essenheim, Germany
2019
"Modernism. Iconography. Photography. Bauhaus and its effects 1919-2019", Kunstmuseum Kloster unser lieben Frauen, Magdeburg, Germany
"school´s out! Klasse Ruckhaeberle stellt aus", Thaler Originalgrafik, Spinnerei Leipzig, Germany
2018
"reflecting garden", Design Week Suzhou, China
"escaping the flat surface", Vui Studio, Hanoi, Vietnam
"the original format may have disintegrated and is no longer available", GapGap, Leipzig, Germany
"colorless green ideas sleep furiously", HGB, Leipzig, Germany
"most wild, last of the wild, least wild", HGB Rundgang, Leipzig, Germany
2017
"forward for what", Tasku Gallery, Helsinki, Finland
"Il deserto rosso now - Photographische Reaktionen auf Antonionis Filmklassiker", SK Stiftung Kultur, Köln, Germany
"open studio", Oficina de Arte, Mexico City, Mexico
2016
"Red Desert Now", Linea de Confine, Ospitale di Rubiera, Italy
Painting and Printmaking class of Prof. Christoph Ruckhaeberle, HGB Leipzig
Photography and Media class of Prof. Joachim Brohm, HGB Leipzig
Printmaking class of Jussi Juurinen, University of Arts Helsinki, Finland
Media design, Bauhaus-Universität Weimar
Moderne. Ikonografie. Fotografie. Die Klasse für Fotografie und Medien von Joachim Brohm.
Hrsg. Annegret Laabs und Joachim Brohm, Kunstmuseum Magdeburg und E.A. Seemann Verlag 2019
ISBN 978-3-86502-434-3
Die Straßen, die Fabriken, die Farben, der Himmel, die Menschen – in Referenz zu: "Die rote Wüste" (1964) von Michelangelo Antonioni
Hrsg. Joachim Brohm und Anna Voswinckel, Hochschule für Grafik und Buchkunst Leipzig; in Zusammenarbeit mit Gabriele Conrath-Scholl und Claudia Schubert, Die Photographische Sammlung/SK Stiftung Kultur, Köln; und Silvia Loddo und Cesare Fabbri, Osservatorio Fotografico, Deutsch/Englisch/Italienisch, Salzburg: Fotohof, 2017
ISBN 978-8-894214-12-3
Reinhard Matz, „Fotografische Spuren nach Antonionis Spielfilm „Die rote Wüste“– in Köln zu sehen“ Photonews Magazines (November 2017) page 8
Director of Photography of the short movie "A returning course of movement" by Katrin Esser & Sarah Veith
Production assistant of the music video by Laura Liebeskind - Weiter
Co Author of the short movie "Reloaded" by Katrin Esser