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Stygimoloch Spinifer, 2018, Light Jet, Exposure on high glossy paper, 155 x 213 cm
Stygimoloch Spinifer, 2018, Light Jet, Exposure on high glossy paper, 155 x 213 cm

Stygimoloch Spinifer, 2018, Light Jet, Exposure on high glossy paper, 155 x 213 cm

Dhakmar Monastery, 2017, Light Jet, Exposure on high glossy paper, 124 x 250 cm

Balaenoptera Musculus_2017_Light Jet, Exposure on high glossy paper, Alu Dibond_170 x 170 cm

Stegosaurus, 2018, Light Jet, Exposure on high glossy paper, 155 x 213 cm

Triceratops Duo, 2018, Light Jet, Exposure on high glossy paper, 155 x 213 cm

Research Library II, 2014, Light Jet, Exposure on high glossy paper, 99 x 190 cm

Euloplocephalus_2018_Light Jet, Exposure on high glossy paper, Alu Dibond_155 x 213 cm

Gift Shop, Nepal, 2017, Light Jet, Exposure on high glossy paper, 120 x 114 cm

Stygimoloch Spinifer, 2018, Light Jet, Exposure on high glossy paper, 155 x 213 cm

The German photographer Christian Voigt has always remarked that his works are not done by his own choice, they are simply situations that asked him to be photographed. Analyzing his work we go through an eclectic selection of series that define his obsessions, the dunes, the temples, the libraries, the museums, the landscapes. The human being and his concerns proposed as subject and object. Life marks its own rhythms in each work, the photographer reflects it as a mere spectator.
We find images that run between the oneiric and vigil, between fiction and reality.
Until now.
He was recently photographing the Hintze Hall at the Natural Science Museum in London where a giant blue whale skeleton hangs from the ceiling. A contradictory tension arose between the power of the archaic skeleton and the order imposed by the architecture that surrounds it. That precise tension is what he wanted to reflect in his latest series. Immediately the construction disappears before the evidence of the essence, of the Evolution.
Origin explains in images the moment in which all of Christian's previous work acquires a new meaning. Where we perceive the tenacity - unconscious or not - of the author in finding his/our origin, our most extraordinarily savage being, free of social conventions and of all temporality. It clarifies Voigt’s transit by what he proposes as different worlds within the same planet, his scattered way of ordering his whole work.
Thus, the exhibition is structured with a confrontation between works of the most usual series in the artist (Evolution), with which Christian Voigt goes beyond his own photographic language.
Origin falls upon that tension that causes the visual confrontation between the anthropological trace and the paleontological trail.
Recreating ourselves in that limit between reality and fiction in which the work of Christian Voigt is located, this new exhibition proposes a coexistence between both worlds, the one constructed by humans through the ages in their different conceptualizations and those semi monstrous beings that dominated the Planet in apparent solitude.

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