The exhibition at the FOTOHOF is dedicated to the final volume of Reinhart Mlineritsch’s trilogy of objects that are both everyday and alien. In his pictures, he traces aesthetic phenomena that refer to something hidden. Mlineritsch proves to be a tracker. He usually captures abandoned places where people and animals have left their traces. He composes these spaces like symmetrical peepshows, making the objects appear as if on a stage and giving them a heightened presence.
Supposedly “beautiful” nature and “ugly” technology are not treated differently; the photographer captures motorways or underground car parks with the same precise eye for a standstill in the image that interrupts the flow of time as he does mountain formations or bird tracks.
Reinhart Mlineritsch finds himself in the tradition of those photographers who find a hyperreal precision through the use of large-format photography, for whom black-and-white photography offers a way of abstracting and exaggerating things and who present these results to the viewer in perfect duotone printing.