Untitled (M.O.)
Room with a View (From Above)
By David Rosenberg for Slate/Washington Post
Photographer Menno Aden likes to look down on his subjects, but in about the least pretentious way possible. To him, it’s just another way of seeing someone’s personality “For me as an artist, watching from a higher position on a small space is interesting because I can see someone’s ‘compressed personality,’ ” Aden wrote via email. “I started photographing rooms of friends in Berlin, to make portraits of them without actually seeing them. Many of them had—or still have—an unpretentious life, which is quite typical in Berlin since rents have been quite low.”
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Menno Aden - Room Portraits
By Miriam Noske
Through challenging camera angles Menno Aden abstracts most familiar actual living environments and public interiors into flattened two-dimensional scale models. A camera that the artist installed on the ceiling of various rooms takes pictures downwards of the interiors. The resulting images lay out space in symmetrical compositions that look like assemblages stripped off any kind of objectivity. The views into private homes and secret retreats bring up associations of the ubiquitous observation camera. The notion of surveillance is systematically played out by the artist to hint at society’s voyeuristic urge that popular culture has made mainstream.
By David Rosenberg for Slate/Washington Post
Photographer Menno Aden likes to look down on his subjects, but in about the least pretentious way possible. To him, it’s just another way of seeing someone’s personality “For me as an artist, watching from a higher position on a small space is interesting because I can see someone’s ‘compressed personality,’ ” Aden wrote via email. “I started photographing rooms of friends in Berlin, to make portraits of them without actually seeing them. Many of them had—or still have—an unpretentious life, which is quite typical in Berlin since rents have been quite low.”
***
Menno Aden - Room Portraits
By Miriam Noske
Through challenging camera angles Menno Aden abstracts most familiar actual living environments and public interiors into flattened two-dimensional scale models. A camera that the artist installed on the ceiling of various rooms takes pictures downwards of the interiors. The resulting images lay out space in symmetrical compositions that look like assemblages stripped off any kind of objectivity. The views into private homes and secret retreats bring up associations of the ubiquitous observation camera. The notion of surveillance is systematically played out by the artist to hint at society’s voyeuristic urge that popular culture has made mainstream.
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