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In this documentary series Gütschow combines photographic fragments with computer-generated drawings. Z stands for "Zellengefängnis". "Zellengefängnis" is the German translation for a former solitary confinement prison in Berlin. Gütschow has taken photo fragments from this location and processed it
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Gütschow takes motifs from contemporary architecture surroundings and transfers them to a parallel perspective with the help of photogrammetry. She uses this historical reference as a tool not only to challenge the viewer's perception but also to negotiate current developments in 3D photography.
337:) Gütschow uses photographic means to reconstruct depictions of landscape in 17th- and 18th-century paintings. With the aid of computer software, she montages scores of image fragments to create photographs that adhere to the compositional principles of the ideal landscape.
349:(city) consists of large black-and-white photographs that are also composed of multiple images. Diverse architectural structures and geographical locations are combined within a single picture. These works clearly reference
631:
Edited by Ray
Fotografieprojekte Frankfurt/RheinMain. Exh. cat. MMK Museum für moderne Kunst Frankfurt am Main, Museum für angewandte Kunst Frankfurt, Forum für Fotografie Frankfurt. Heidelberg and Berlin, 2015,
365:), Gütschow undertakes a critical investigation of advertising photography, composing mundane objects such as a car battery, ergonomic chair, and overhead projector into surrealistic scenes in her studio.
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edited by darktaxa-project, the artists, Cologne 2022, pp. 28–29, 38–45, 59, 62–63, 72, 76, 89, 114–118, 131, 143, 168–171, 205–206, 258–259, 260, 276, 318–319, 326–327, 418, 428–432, 434–470, 539, 570,
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Gütschow's work explores the relationship between photographic representation and reality. It also investigates how our visual perception is informed and influenced by prior knowledge of other images.
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Gütschow uses documentary photography and text to address the issue of the climate crisis. She photographs protests and resistance, while also documenting the damage caused by the climate crisis.
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prize awarded by the
Kulturkreis der deutschen Wirtschaft (2006) and the Otto-Dix-Prize/IBM Art Award for New Media, Gera (2001). In 2001 she also held a fellowship at
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In her series „HC“ Gütschow deals with the pictorial representation of gardens in medieval and early
Renaissance art. HC stands for Hortus Conclusus.
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Stephan Barber and Michael Benson. Exh. cat. on the occasion of the Prix Pictet. London, 2017, pp. 73, 106–07.
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Michael Reisch, Barbara J. Scheuermann, Bonn 2023. Exh. Cat. Kunstmuseum Bonn. Bonn, 2023, pp. 108–109, 138–143.
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Edited by Martin Engler. Exh. cat. Kestnergesellschaft, Kunstverein
Hannover, Sprengel Museum, Hanover. Ostfildern, 2007.
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Gadanho, Munich, 2019. Exh. Cat. MAAT – Museum of Art, Architecture and Technology, Lisboa, 2019, pp. 146–149.
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Lübbke-Tidow, Maren. "Aufführungen des Glücks und seiner Zerstörung." Kunst-Bulletin (March 2008), pp. 38–44.
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Eckmann. Exh. cat. Mildred Lane Kemper Art Museum, St. Louis, MO. Ostfildern, 2007.
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Edited by Lesley A. Martin. Exh. cat. Museum of
Contemporary Photography, Chicago. New York, 2007.
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edited by Alex Grein, Beate Gütschow, Susanne
Holschbach, Inga Schneider, Cologne 2023, pp. 12–16.
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Gebbers, Anna-Catharina, ed. Exh. Cat. Moderne Kunst Nürnberg. Berlin, 2011. (pp. 15–16)
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Reality Bites: Making Avant-garde Art in Post-Wall Germany / Kunst nach dem Mauerfall.
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vol. 2. Edited by Harriet Bee and Robert Storr. Exh. cat. 52nd Biennale, Venice, 2007.
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Edited by Rei Masuda et al. Exh. cat. The National Museum of Modern Art. Tokyo, 2005.
593:. Edited by Manuela Reissmann. Exh. cat. Kunsthaus Zürich. Zurich, 2017, pp. 85.
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Edited by Dana Bergmann, Ralph Goertz, Gregor Jansen, Cologne 2020, pp. 198, 258–259.
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Literature about Beate Gütschow in the database of the Deutschen Nationalbibliothek
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Exh. cat. Samuel P. Harn Museum of Art, University of Florida. Gainesville, 2010.
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Zwischen Wirklichkeit und Bild: Positionen deutscher Fotografie der Gegenwart.
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Edited by Lesley A. Martin. Exh. cat. Haus am Waldsee, Berlin. Cologne, 2008.
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Florian Ebner, Anna-Catharina Gebbers, Maren Lübke Tidow, Friedrich Tietjen:
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Denaro, Dolores, ed. Exh. cat. CentrePasquArt. Biel, 2010, pp. 84–89.
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Edited by Christina Leber, Katrin Thomschke, Heidelberg 2022, pp. 58–65
353:, but at the same time contradict it with their photographic fictions.
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Licht ins Dunkel: Wohin entwickelt sich die künstlerische Fotografie?.
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Felicità – Freude, Glück und Emotionen in der zeitgenössischen Kunst.
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Deichtorhallen Hamburg, ed. Heidelberg Berlin, 2011. (pp. 68–75)
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Exh. cat. Staatliche Kunstsammlungen Dresden, 2006, pp. 97–106.
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Think with the Senses, Feel with the Mind: Art in the Present Tense,
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Arp Museum Bahnhof Rolandseck, ed. Bielefeld. 2011. (pp. 58–61)
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Gütschow was one of the urbanites portrayed in the 2009 documentary
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Exh. cat. Staatliche Kunstsammlungen Dresden, 2006, pp. 66–96.
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Exh. cat. Galerie Rudolfinum. Prague, 2010, pp. 47–52, 96–109.
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Exh. cat. Staatliche Kunstsammlungen Dresden. Ostfildern, 2009.
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Veto – Zeitgenössischen Positionen in der deutschen Fotografie.
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Works of Beate Gütschow can be found in the collections of the
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ars viva 2006/2007: Erzählung/Narration, Galerie Neue Meister.
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ars viva 2006/2007: Erzählung/Narration, Galerie Neue Meister.
663:. Kunsthalle Hamburg, ed. Bielefeld, 2012, S. 44- 49, 140–141.
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from the article and its talk page, especially if potentially
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2024 Widerstand, Flut, Brand, Widerstand. Fotoarsenal, Vienna
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Double Fantasy – Jan Jedlička, Michal Šeba, Beate Gütschow.
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Amelunxen, Hubertus von. “Die Erzählung vor dem Bild.” In
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Deutsche Börse AG, ed. Ostfildern, 2011, (pp. 74–77)
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Expect the Unexpected. Current Concepts for Photography
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She served as guest professor from 2009 to 2010 at the
510:, Kunsthaus Zurich, Pinakothek der Moderne in Munich,
657:. The National Gallery ed. London 2012, pp. 184.
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Gütschow has received numerous awards, including the
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together with archive material in digital drawings.
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Malerei in der Fotografie. Strategien der Aneignung
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2019/2020 „LS“ und „S“, Berlinische Galerie, Berlin
522:, Staatlichen Kunstsammlungen Dresden and in the
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786:Bischoff, Ulrich. “Gestaltete Landschaften.” In
207:but its sources remain unclear because it lacks
623:Gegenwartskunst 1945 bis Heute im Städel Museum
569:edited by Gregor Hens, Berlin 2021, p. 172–173.
536:PHOTOGRAPHIC MATERIALS. Archives and New Tools,
441:2011 St Paul St Gallery, Auckland, New Zealand
329:In her first series, "LS" (an abbreviation of
799:Gefter, Philip. "The Picnic That Never Was."
643:Landmark. The Fields of Landscape Photography
841:Beate Gütschow at Produzentengalerie Hamburg
655:Seduced By Art: Photography Past and Present
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806:Gebbers, Anna-Catharina. "Beate Gütschow."
720:Project Europa: Imagining the (Im)possible.
709:Realismus – Das Abenteuer der Wirklichkeit.
53:Learn how and when to remove these messages
97:about living persons that is unsourced or
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256:Learn how and when to remove this message
238:Learn how and when to remove this message
168:Learn how and when to remove this message
893:Oslo National Academy of the Arts alumni
831:Beate Gütschow at Barabara Gross Galerie
729:no. 201 (March–April 2010), pp. 281–282.
673:BELVEDERE – Warum ist Landschaft schön?
649:Concrete – Photography und Architecture
314:. Since 2011 she is a professor at the
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836:Beate Gütschow at Eric Franck Fine Art
725:Unruh, Rainer. “Beate Gütschow: ‘I’.”
661:Lost Places – Orte in der Photographie
554:Arts contemporains & anthropocène.
498:Works in public collections (selected)
669:.Städel Museum, ed. Heidelberg 2012.
573:Subjekt und Objekt. Foto Rhein Ruhr,
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846:Beate Gütschow at Sonnabend Gallery
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585:Fiction and Fabrication. Edited by
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489:2004 Galerie Barbara Gross, Munich
478:Museum of Contemporary Photography
455:Staatliche Kunstsammlungen Dresden
447:2010 Galerie Barbara Gross, Munich
345:The body of work entitled "S" for
297:University of Fine Arts of Hamburg
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625:. Ostfildern, 2016, p. 335.
560:darktaxa- project no publication
508:Los Angeles County Museum of Art
492:2004 Danziger Projects, New York
486:2005 Produzentengalerie, Hamburg
459:2009 Sonnabend Gallery, New York
450:2010 Produzentengalerie, Hamburg
432:2018 Produzentengalerie, Hamburg
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821:Beate Gütschow official website
711:Edited by Christiane Lange and
621:Martin Engler and Max Hollein.
453:2009 Kunsthalle im Lipsiusbau,
42:or discuss these issues on the
803:November 21, 2004, p. 34.
299:from 1993 to 2000, and at the
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316:Academy of Media Arts Cologne
810:Nr. 51 (2002), pp. 4–7.
645:. London, 2014, p. 226.
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102:must be removed immediately
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567:Die Stadt und der Erdkreis
512:Metropolitan Museum of Art
853:The Picnic That Never Was
727:Kunstforum International,
420:Solo exhibitions (select)
740:Photography After Frank.
438:2011 Fotogalleriet, Oslo
193:This article includes a
444:2011 ph-projecs, Berlin
361:In the series "I" (for
351:documentary photography
222:more precise citations.
755:Beate Gütschow LS / S.
746:Beate Gütschow LS / S.
610:Beate Gütschow: ZISLS.
530:Literature und sources
516:Saint Louis Art Museum
506:, Kunsthalle Hamburg,
435:2017 O+O Depot, Berlin
308:Academy of Visual Arts
89:Please help by adding
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408:and Ciro Cappellari.
808:Artist Kunstmagazin,
95:Contentious material
888:Artists from Berlin
801:The New York Times,
591:Architektur im Bild
464:Kunsthalle Nürnberg
883:Artists from Mainz
733:Beate Gütschow: S.
641:Ewing, William A.
195:list of references
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867:Categories
579:LAND_SCOPE
331:Landschaft
228:March 2024
158:March 2024
128:newspapers
39:improve it
480:, Chicago
402:In Berlin
378:HC Series
335:landscape
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303:in 1997.
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473:, Berlin
412:K Series
391:ars viva
369:Z Series
363:Interior
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