Since May 2005, Markus Brunetti has been continuously on the road. Travelling throughout Europe and elsewhere, he’s developed an original technique that combines absolute technical precision with a peaceful ambience, while capturing the facades of religious buildings. At first glance, his work seems to resemble New Objectivity-style documentary, but upon closer inspection, it becomes clear that he’s pursuing a complex selection process and visual strategy based on central perspective.

This begins with intensive research into the study of the facades and overall architecture of his subjects: the buildings themselves. From this study—completed in collaboration with his partner Betty Schöner—he’s developed a visual vocabulary for the FACADES series, in which he follows his subjective impressions to capture the atmosphere, light, details, and the perspective of a building in a visual concept—a concept that he realises using advanced visual technology.

In addition to Brunetti’s art as a whole, the works included in FACADES evoke enthusiasm—or a sense of estrangement. For the viewer, the works raise questions that are often posed in today’s “age of technical manipulation”. The pictures were digitally captured and meticulously worked on during a very time-consuming process. The final step required printing them on large-format paper, so that their presence and characteristics can fully unfold. They challenge the viewer to take the time to carefully observe them, and not to succumb to the habit of rapid consumption, as has been common in a media-driven, visually addicted society.

The following text is an excerpt from ‘Seeing Slowly’, an essay written by David Campany on the occasion of the catalogue, Markus Brunetti FACADES, published May 2016.

“After much research and some preliminary photographic studies, a façade is selected. Over a few weeks, or even years, it is then documented part-by-part, photographing no more than a few square meters with each exposure. The separate elements are then assembled digitally into a coherent whole. Although each final image is a subjective interpretation, it is also a hard-won document of unprecedented clarity. Never before have these buildings been rendered in such a way. The fine mosaics, intricate carving, filigree metal work and stained glass are there for us to see, along with the cracks, deformations and decay.

Like all innovations in photography, this project has required great persistence, vision and a lot of problem solving. It involves a method of picturing that actually departs in profound ways from the logic of optical perspective, if only to return to it anew. While photographic in origin, the final images feel as much like facsimiles or elaborate photocopies, as if the building had been mapped or scanned. Indeed, scanning might be the best term here, since it implies a mobile and yet systematic point of view that takes in the subject matter evenly and all-over. The results are not unlike 2D images of detailed replicas produced by a 3D printer. While these images fall within the ever-looser parametres of realism they can feel strange, uncanny even, striking us as much like apparitions as records.

We may find ourselves pondering what exactly these images are, and what they are for. Are they documents to be used? Is there some potential scientific value? Are they for future reference? Are these images acts of deference to the buildings they represent? Are these images for aesthetic contemplation in themselves, or are they portals for the contemplation of the buildings? Are these images affectionate? Cold? Romantic? Enigmatic? Crazed? Sober? Euphoric? Melancholic? All of the above…”

Markus Brunetti, FACADES

Pictures of the exhibition