The Galleria Carla Sozzani, in collaboration with the Archiv der Akademie der Künste and Michael Ruetz in Berlin and Eric Franck Fine Art in London, is pleased to present the work of Heinz Hajek-Halke for the first time in Italy. The exhibition features a selection of his most extraordinary vintage photographs, manipulations of form, light and movement printed between the Thirties and the Seventies.
Heinz Hajek-Halke (Berlin, 1898-1983), is almost unknown to the general public, but is one of the pioneers of German photography in the Twentieth century whose strong personality blazed the trail for photographers of the last century. In 1949 he became a founding member of “Fotoform” , the Avant-garde group of West German photographers founded by Otto Steinert.
In the mid-50s Halke started making negatives without the mechanical camera. Spreading on a glass support materials like glue, varnish, soot, wire, fish bones, glass shards, he created a series of “accidents” on his negative plate, and by his knowledge of the chemical and mechanical techniques, he was able to replicate images during the printing process in the darkroom. These experiments have been termed “Lichtgrafik“ by the art historian Franz Roh on the occasion of the exhibition “Subjektive Fotografie“ in Saarbrücken in 1951.
The Galleria Carla Sozzani, in collaboration with the Archiv der Akademie der Künste and Michael Ruetz in Berlin and Eric Franck Fine Art in London, is pleased to present the work of Heinz Hajek-Halke for the first time in Italy. The exhibition features a selection of his most extraordinary vintage photographs, manipulations of form, light and movement printed between the Thirties and the Seventies.
Heinz Hajek-Halke (Berlin, 1898-1983), is almost unknown to the general public, but is one of the pioneers of German photography in the Twentieth century whose strong personality blazed the trail for photographers of the last century. In 1949 he became a founding member of “Fotoform” , the Avant-garde group of West German photographers founded by Otto Steinert.
In the mid-50s Halke started making negatives without the mechanical camera. Spreading on a glass support materials like glue, varnish, soot, wire, fish bones, glass shards, he created a series of “accidents” on his negative plate, and by his knowledge of the chemical and mechanical techniques, he was able to replicate images during the printing process in the darkroom. These experiments have been termed “Lichtgrafik“ by the art historian Franz Roh on the occasion of the exhibition “Subjektive Fotografie“ in Saarbrücken in 1951.