In reference to the famous exhibition “New Documents” (Diane Arbus, Lee Friedlander and Gerry Winogrand, MOMA 1967), we are titling the exhibition at FOTOHOF with pictures by Paul Kranzler and Stefanie Moshammer in the gallery and Seiichi Furuya in the studio »New Documents – refined«. It shows photographs of the children, the grandmother, the partner – family pictures in the broadest sense and with very different approaches are the theme of the three prominent Austrian photographers.

Paul Kranzler is the father of three children – Nikolaus (11), Marielen (9) and Moritz (7). Kranzler shows previously unpublished pictures of and with his children and tells universal stories of love and closeness, of play and seriousness, with determination for the successful picture, full of tenderness towards the occasional chaos.
»The people, spaces and landscapes of my personal surroundings are the most photographed motifs in the world. If you are in an environment for a long time, it is called ‘home’ or ‘relationship’ or ‘family’ or ‘home’ or ‘cemetery’ or ‘prison’ etc. Perhaps the personal environment is four-dimensional – the three-dimensional space and the fourth dimension, the emotion attached to this (life/people) space.«
Paul Kranzler

As a child, Stefanie Moshammer spent a lot of time with her eleven cousins at her grandparents’ house in the Mühlviertel region of Upper Austria. They played together by dressing up and putting on a show with the clothes and objects their parents had left them in the house.Years later, she revives these memories for a series of photographs, playfully arranged still lifes and communal stagings with her grandmother. They are a visual capsule of memories of the house and her childhood experiences in it.The bright and colorful images also tell of the effects of aging, of everyday rituals, of the impermanence of life, but also of dignity and self-determined living. Moshammer spins a web of metaphors and associations in a wall-filling composition.

Like most of his works,Seiichi Furuya’s series, which has also been published as a book, is the result of an almost forensic examination of his archive, in which he is constantly discovering and uncovering new things.In »Face To Face«, Seiichi Furuya juxtaposes his pictures with those taken of him by his wife Christine for the first time.Christine, who committed suicide in 1985, proves herself to be a talented and sensitive photographer.In the diptychs that Furuya arranges, Christine’s gaze is intertwined with that of Seiichi, who now also engages in the game of being the observed subject.

»While the visual memory work that Seiichi has done over the years is an incessant attempt to process his grief by incorporating his face into the framework of their love story, »Face to Face, 1978-1985« suggests that this endless research by the author could also be read as a desire to find traces of himself and the role he played in the memories of their life together.This series of images recounts a seven-year relationship in a visual dialog (…) in which photography plays a fundamental role: it dusts off buried memories and makes it possible to reconstruct the past, and at the same time it creates new memories influenced by perspective and the passage of time.«
R. Cerbarano

The exhibited prints by Seiichi Furuya were donated to the FOTOHOF>ARCHIV by the photographer.