The book “KILL YOUR DARLINGS” presents nineteen works by twenty photographers, curated and edited by Ute Noll. The photographers represented in the book have studied at the Hochschule für Künste in Bremen with Peter Bialobrzeski between 2005 and 2011.
The landscape format soft cover can be flipped comfortable and features a cross-section of young photography from Germany. The end of the book offers an interview by Ute Noll with Peter Bialobrzeski and provides information about his teaching.
Noticeable is a broad distribution in style and topics of the presented work. Once analytical documentary, once artistically reflexive, then staged and abstract – anything goes. In this respect the openness of teaching, expressed in the interview with Bialobrzeski, becomes visible.
Franziska von den Driesch shows in “Narzissus und die Tulipan…” portraits of German confirmands. The children’s rooms, visible in the portraits, become to narrow for the youths and make the multiple fractures of adolescence perceptible.
Sandy Volz’ series “Stranger” provides restrained insights to the interiors of shops in Cairo. The dark, dimly lit shops hide more than they reveal, but nevertheless they seduce to explore more.
“Die inszenierte Fremde” by Jorgen Kube presents cryptic portraits of young people in zoological dioramas. The spread poses reflect the artificiality of the showcases and enables questioning of reality concepts and viewing habits.
The social aspect of architecture employed Daniel Müller Jansen in “there is me & there is you”. He photographed South African housing projects and gated communities in bright, clear compositions.
Sensually Anja Engelke questioned in “Piece of Cake” photo icons from Becher to Soth by mimicking famous photographs in cakes and pastries.
Assuming the question of the coherence in the diverse works, there is a certain seriousness visible everywhere. The photographers take photography as a medium very sober.
Easiness as one would expect from young photography is an exception. Anja Engelke’s photogenic cakes and pastries have a whiff of fun guerrilla in company of the other ‘darlings’.
Ute Noll’s selection seems to value strongly the coherence of the shown works. Thereby the compilation of the ‘Darlings’ looks very mature to me, but also a bit streamlined.
If ‘Young Photography” is written on a book cover, one might expect a fresher, less linear shape and a selection that shows once in a while work in progress with visible corners and edges.
“KILL YOUR DARLINGS” is as beautiful as a Sunday magazine XXL – very presentable, but also very well-behaved. The stuck out typography on the cover of the book promises youthful rebelliousness, but does not redeem it. Too bad.