Photography is essential to an exhibition about Günther Domenig’s architecture and the most important visual agent. Especially in the narrative about architecture, reception of and reflection on this medium should not be neglected. For this reason, we hear from several generations of photographers in the exhibition; their engagement with Domenig’s works makes them more than just documentarians, they also report on the respective condition of the buildings and in some cases have contributed significantly to establishing Domenig as a sculptural architect. Photography does not play a subordinate role; rather, it reveals the extent to which it acts as an artistic medium and develops its own aesthetic effect far beyond its documentary purpose.
Gerald Zugmann’s black-and-white photographs form the “establishing shot” in the exhibition, defining the first view of Günther Domenig’s architecture and revealing its extraordinary impact. Margherita Spiluttini’s photos are similarly memorable. Here, color is added as a vital image factor, yet the gaze remains entirely devoted to the architecture. Paul Ott’s pictures and Christian Brandstätter’s night shots emphasize the sculptural nature of Domenig’s works, while in David Schreyer’s work the users and the spatial context are the determining factors. Ferdinand Neumüller tells of the photographer’s relationship with the architect, while Gerhard Maurer’s photographs, taken for the book that accompanies the exhibition, highlight the effect of time and everyday interaction with Domenig’s architectural projects. They explore the view of proximity and intimacy.