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Andrea Grützner | Arkadia

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For her new series of photographs titled ‘Arkadia’, German artist Andrea Grützner inserts a dichromatic foil between dry blades of grass, creating psychedelic compositions that blur the line between organic and artificial. The vivid streaks of colour conjure visions of soap bubbles, synthetic fluids, and tropical landscapes. Within them, alongside real insects, chimeric figures appear, suggesting animals and mythical beings.

‘The images arise in various grasslands, each transforming with the seasons – shimmering in the summer heat, lying still beneath winter’s snow. As I work within these shifting landscapes, wildfires rage across the globe. Increasing drought and climate change are visibly altering nature. What was once considered idyllic now stands in the balance, fragile and uncertain. The foil itself seems to sweat under the summer sun and melt the snow in winter. Its surface collects dust and soil particles, fingerprints, scratches, and condensation. The sunlight burns into the material, leaving its mark. My fleeting, manual intervention in the natural habitat gives rise to a riot of colour – a space where control dissolves into an ecstatic unravelling. ’ (Andrea Grützner)

Andrea Grützner’s artistic work generally deals with the emotional and visual perception of spaces. She seeks the familiar and at the same time unfamiliar, asks questions about the memory of places and our orientation in the designed space. Using mostly photographic means, she finds and creates images as well as objects that oscillate between photography, painting and collage. She explores questions of documentary, surreal, abstraction and visual irritation. After studying communication design in Constance, Andrea Grützner (*1984, Pirna, DE), completed her master’s degree in photography at Bielefeld University of Applied Sciences. She has received several awards and scholarships and has been exhibited in Australia, Brazil, Mexico, the USA, China and South Korea, among others. Andrea Grützner lives and works in Dresden.

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The same is dissimilar, the different similar / Das Gleiche ist anders, das Andere ist gleich

Joachim Brohm – Facade No. 1 (From ‘Culatra’), 2010, C-print, 85 x 100 cm, Edition of 5 + 2AP
Joachim Brohm – Facade No. 1 (From ‘Culatra’), 2010, C-print, 85 x 100 cm, Edition of 5 + 2AP
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Joachim Brohm – Wall (From ‘Culatra’), 2010, C-print, 85 x 100 cm, Edition of 5 + 2AP
Joachim Brohm – Wall (From ‘Culatra’), 2010, C-print, 85 x 100 cm, Edition of 5 + 2AP
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Joachim Brohm – Areal 93 6-35, 1993, C-print, 40 x 30 cm, Edition of 11 + 3AP
Joachim Brohm – Areal 93 6-35, 1993, C-print, 40 x 30 cm, Edition of 11 + 3AP
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Ron Jude – Los Angeles, CA #1 (From ‘Vitreous China’), 1996, Archival pigment print, 56 x 43.25 cm, Edition of 5 + 2AP
Ron Jude – Los Angeles, CA #1 (From ‘Vitreous China’), 1996, Archival pigment print, 56 x 43.25 cm, Edition of 5 + 2AP
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Ron Jude – Atlanta, GA #3 (From ‘Vitreous China’), 1994, Archival pigment print, 56 x 43.25 cm, Edition of 5 + 2AP
Ron Jude – Atlanta, GA #3 (From ‘Vitreous China’), 1994, Archival pigment print, 56 x 43.25 cm, Edition of 5 + 2AP
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Ron Jude – Los Angeles, CA #2 (From ‘Vitreous China’), 1996, Archival pigment print, 56 x 43.25 cm, Edition of 5 + 2AP
Ron Jude – Los Angeles, CA #2 (From ‘Vitreous China’), 1996, Archival pigment print, 56 x 43.25 cm, Edition of 5 + 2AP
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Ron Jude – Minneapolis, MN (From ‘Vitreous China’), 1996, Archival pigment print, 43.25 x 56 cm, Edition of 5 + 2AP
Ron Jude – Minneapolis, MN (From ‘Vitreous China’), 1996, Archival pigment print, 43.25 x 56 cm, Edition of 5 + 2AP
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Joachim Brohm – Areal 93 7-3, 1993, C-print, 30 x 40 cm, Edition of 11 + 3AP
Joachim Brohm – Areal 93 7-3, 1993, C-print, 30 x 40 cm, Edition of 11 + 3AP
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Ron Jude – XXVI Olympiad #1, Atlanta, GA, 1996, Archival pigment print, 43.25 x 56 cm, Edition of 5 + 2AP
Ron Jude – XXVI Olympiad #1, Atlanta, GA, 1996, Archival pigment print, 43.25 x 56 cm, Edition of 5 + 2AP
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Ron Jude – XXVI Olympiad #2, Atlanta, GA, 1996, Archival pigment print, 43.25 x 56 cm, Edition of 5 + 2AP
Ron Jude – XXVI Olympiad #2, Atlanta, GA, 1996, Archival pigment print, 43.25 x 56 cm, Edition of 5 + 2AP
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Joachim Brohm – Areal 92 2-30, 1992, C-print, 30 x 40 cm, Edition of 11 + 3AP
Joachim Brohm – Areal 92 2-30, 1992, C-print, 30 x 40 cm, Edition of 11 + 3AP
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Joachim Brohm – o. T. (Ruhrstadt), 1988-92, C-print, 50 x 60 cm, Edition of 3 + 1AP
Joachim Brohm – o. T. (Ruhrstadt), 1988-92, C-print, 50 x 60 cm, Edition of 3 + 1AP
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Joachim Brohm – o.T . (Ruhrstadt), 1988-92, C-print, 50 x 60 cm, Edition of 3 + 1AP
Joachim Brohm – o.T . (Ruhrstadt), 1988-92, C-print, 50 x 60 cm, Edition of 3 + 1AP
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Joachim Brohm – o. T. (Ruhrstadt), 1988-92, C-print, 50 x 60 cm, Edition of 3 + 1AP
Joachim Brohm – o. T. (Ruhrstadt), 1988-92, C-print, 50 x 60 cm, Edition of 3 + 1AP
14/26
Joachim Brohm – Untitled (Berlin), 1990, C-print, 24 x 30 cm (N/A)
Joachim Brohm – Untitled (Berlin), 1990, C-print, 24 x 30 cm (N/A)
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Ron Jude – Atlanta, GA #1 (From ‘Vitreous China’), 1994, Archival pigment print, 63.5 x 77.75 cm, Edition of 5 + 2AP
Ron Jude – Atlanta, GA #1 (From ‘Vitreous China’), 1994, Archival pigment print, 63.5 x 77.75 cm, Edition of 5 + 2AP
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Joachim Brohm – Backyard (From ‘Culatra’), 2005, C-print, 85 x 100 cm, Edition of 5 + 2AP
Joachim Brohm – Backyard (From ‘Culatra’), 2005, C-print, 85 x 100 cm, Edition of 5 + 2AP
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Ron Jude – Des Moines, IA (From ‘Vitreous China’), 1996, Archival pigment print, 56 x 43.25 cm, Edition of 5 + 2AP
Ron Jude – Des Moines, IA (From ‘Vitreous China’), 1996, Archival pigment print, 56 x 43.25 cm, Edition of 5 + 2AP
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Ron Jude – St. Louis, MO (From ‘Vitreous China’), 1996, Archival pigment print, 56 x 43.25 cm, Edition of 5 + 2AP
Ron Jude – St. Louis, MO (From ‘Vitreous China’), 1996, Archival pigment print, 56 x 43.25 cm, Edition of 5 + 2AP
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Ron Jude – Atlanta, GA #2 (From ‘Vitreous China’), 1994, Archival pigment print, 77.75 x 63.5 cm, Edition of 5 + 2AP
Ron Jude – Atlanta, GA #2 (From ‘Vitreous China’), 1994, Archival pigment print, 77.75 x 63.5 cm, Edition of 5 + 2AP
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Ron Jude – Venezia, Porto Marghera (From ‘Lost Home’), 1997, Archival pigment print, 63.5 x 77.75 cm, Edition of 5 + 2AP
Ron Jude – Venezia, Porto Marghera (From ‘Lost Home’), 1997, Archival pigment print, 63.5 x 77.75 cm, Edition of 5 + 2AP
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Joachim Brohm – Areal 94 12-30, 1994, C-print, 30 x 40 cm, Edition of 11 + 3AP
Joachim Brohm – Areal 94 12-30, 1994, C-print, 30 x 40 cm, Edition of 11 + 3AP
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Joachim Brohm – Areal 97 3-32a, 1997, C-print, 30 x 40 cm, Edition of 11 + 3AP
Joachim Brohm – Areal 97 3-32a, 1997, C-print, 30 x 40 cm, Edition of 11 + 3AP
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Joachim Brohm – o. T. (Ruhrstadt), 1988-92, C-print, 24 x 30 cm, Edition of 3 + 1AP
Joachim Brohm – o. T. (Ruhrstadt), 1988-92, C-print, 24 x 30 cm, Edition of 3 + 1AP
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Joachim Brohm – o. T. (Ruhrstadt), 1988-92, C-print, 24 x 30 cm (N/A)
Joachim Brohm – o. T. (Ruhrstadt), 1988-92, C-print, 24 x 30 cm (N/A)
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Ron Jude, Atlanta – GA (From ‘Vitreous China’), 1994, Archival pigment print, 43.25 x 56 cm, Edition of 5 + 2AP
Ron Jude, Atlanta – GA (From ‘Vitreous China’), 1994, Archival pigment print, 43.25 x 56 cm, Edition of 5 + 2AP
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The exhibition looks at the early work of two internationally renowned photographers – and friends: Joachim Brohm and Ron Jude. Their images from the 1990s share a deep affinity rooted in observational rigour that regards the built environment as a site of cultural imprint. Although both artists developed in very different contexts – Brohm in post-war Germany and Jude in the rural western USA – their works overlap stylistically through a clear, unemotional view of everyday spaces.

Joachim Brohm’s work from this period crystallises an approach that merges colour documentary photography with a cool, analytic detachment. His images of suburban houses, parking lots, industrial edges, and infrastructural voids resist traditional narrative cues; instead, they accumulate meaning through typological repetition and the understated tension between banality and latent cultural significance. Brohm’s palette – muted, softly diffused, and deliberately unromantic – serves the purpose of scrutiny rather than seduction. His framing is methodical, often positioning architectural fragments and modest landscapes in a way that emphasises patterns, provisional structures, and the evidentiary qualities of colour photography. Conceptually, Brohm’s project is one of mapping: the camera becomes a tool to catalogue the cultural logic embedded in post-industrial spaces, revealing how economic and social systems materialise in ordinary landscapes.

Ron Jude’s work shares Brohm’s interest in the everyday but approaches it with a more phenomenological and disorienting sensibility. In his series ‘Vitreous China’, he examines the banality of light industrial workplace environments, paying close attention to surfaces, textures, and utilitarian objects to reveal an impersonal, almost affectless atmosphere. While Brohm often photographs spaces as coherent elements within a larger sociocultural system, Jude narrows in on fragments that resist interpretation. His images emphasise the gap between the functional world and the psychological or perceptual experience of encountering it.

Joachim Brohm (*1955, GER) lives and works in Leipzig. He was a professor of photography at the Academy of Fine Arts Leipzig from 1993 to 2021.

Ron Jude (*1965, USA) lives and works in Eugene, Oregon. He is a professor of photography at the University of Oregon.

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