Agnes Prammer Sold at Auction Prices

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    • AGNES PRAMMER (*1984)
      Nov. 19, 2022

      AGNES PRAMMER (*1984)

      Est: €2,000 - €2,400

      AGNES PRAMMER (*1984) | ‘Marja’, Vienna 2011 Image Size: 15,7 x 23,5 cm English: Ferrotype (unique plate), wooden frame 29 x 22,7 cm, in excellent condition. Signed by the photographer in ink on the reverse Deutsch: Ferrotypie (Unikat), Holzrahmen 29 x 22,7 cm, in ausgezeichnetem Zustand. Rückseitig mit Tinte von der Fotografin signiert

      OstLicht Auctions
    • ›Ohne Titel‹ by Agnes Prammer
      May. 29, 2010

      ›Ohne Titel‹ by Agnes Prammer

      Est: €1,000 - €1,200

      ›Ohne Titel‹ by Agnes Prammer

      WestLicht
    • ›Ohne Titel‹ by Agnes Prammer
      May. 29, 2010

      ›Ohne Titel‹ by Agnes Prammer

      Est: €1,000 - €1,200

      ›Ohne Titel‹ by Agnes Prammer

      WestLicht
    • ›Ohne Titel‹ by Agnes Prammer
      May. 29, 2010

      ›Ohne Titel‹ by Agnes Prammer

      Est: €1,000 - €1,200

      With her unique sensibility, Agnes Prammer works within a métier that has actually been on the brink of vanishing. The artist deals with a controlled environment, as we know it today, but tries to make as much room for coincidence as possible in it. While others work with digital techniques, that make their art controlled efforts of precise calculations, Agnes Prammer lets the chemical reactions take their course. We don't know why the plates are there and whether we need them. They negate everything that our time dictates. Possibly they are even the opposite of what our time is. Maybe they show a different form of reality? Or perhaps they even make us see the only reality there is? The plates are like little objects of fetish, that are made for the viewer, as a little mystery, that excludes other people. [Andrea Moan, Belgrad 2008] ›Ohne Titel‹ In einer Sensibilität, die ihresgleichen sucht, beherrscht Agnes Prammer ein Metier, das es eigentlich gar nicht mehr gibt. Die Künstlerin gibt in einer kontrollierten Umgebung, wie wir sie heute vorfinden, dem Zufall den größtmöglichen Freiraum. Während andere mit digitalen Techniken Kontrolle praktisch zu ihrem Credo machen, lässt Agnes Prammer chemischen Vorgängen ihren Freiraum. Wir wissen nicht, warum die Platten da sind und ob wir sie brauchen. Sie negieren alles, was unsere Zeit vorschreibt. Sie sind vielleicht sogar das Gegenteil von unserer Zeit. Zeigen eine andere Form der Realität? Vielleicht sogar die tatsächlichere? Die Platten sind wie kleine Fetischobjekte, für einen Betrachter gemacht, ein kleines Geheimnis welches Mitwisser ausschließt. [Andrea Moan, Belgrad 2008]

      WestLicht
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