Whether in works of art or in scientific research, only the results of the creative process have been visible in both art and science. What happens behind closed doors in labs and studios remains as invisible as it is mysterious. The Berlin-based artist and professor of visual arts Stefanie Bu?rkle (*1966) has now taken on these unfamiliar sites of creation by photographing laboratories and art studios throughout Berlin. Her photographs feature deserted spaces for development and thought, full of materials, tools, experiments, and set-ups whose purposes remain hidden from viewers, which nevertheless allow us to imagine great things. Stefanie Bu?rkle's photographs are, in a certain way, about the alchemists' labs of the present time. They explore the analogies between experimentation and process in both the studio and the laboratory, making it possible for us all to see these workshops of knowledge for the first time.
A photograph by Frank Horvat always shows a very individual view. Shining in numerous genres, Horvat (*1928 in Abbazia, today's Opatija, Croatia) likes to transgress boundaries, and he also does not care about the comme il faut in his fashion photographs either: as early as the fifties, he goes out onto the street, brazenly positions a model in the middle of a vegetable market (1959) for Jours de France, or shortly afterwards experiments with boldly cropped motifs or amusing film quotes. In doing so, Horvat mostly dispenses with artificial light and shoots many of his fantastic pictures with a 35mm Leica from the hip, so to speak. He works for Elle, Vogue, Harper's Bazaar, and other major magazines, with famous models and celebrities, and he is the first photographer ever to use Photoshop for his work. Respect for the portrayed women and palpable endearment distinguish Horvat's sensual, elegant pictures from those by all other photographers on the fashion scene.
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