Judith Stenneken

Untitled #40 (Dancer in Cell/Main Hall/Duty Free/Waiting), 2016

Archival pigment print on Hahnmuehle paper

73 x 91cm

Edition 5 + 1 AP

Initially, Judith Stenneken’s black and white interiors in her series a mountain is only a slow wave – part ii’ depict considered details, seemingly ‘unseen’ by most. Stenneken crucially draws attention to a cacophony of partly mundane scenes, predominantly black and white interiors, celebrating them through the lens. In particular, in this work, she aims to explore transitional spaces and our relationship to them.

Stenneken asks “What if we leave our fear of change behind and accept that change is constant? What if we embrace change, make it our ally and learn how to live consciously in and through and with it in every moment? If we resist fixation and allow ourselves to come undone again and again and again… Would we lose our minds or find ourselves?”

Her series‘a mountain is only a slow wave’  importantly draws light on the refugee crisis in Germany. In this case, Stenneken shows the reality of refugees being expected to shed their identity in order to adapt to a new culture and language, for survival. She similarly relates it to workers of ancient Greek temples and their constant state of renewal. In another example, she look at Berlin’s Tempelhof, the defunct airport in the city, characterised by layers of time, history and the people who passed through.

The title ‘a mountain is only a slow wave’ more over describes an alternate perception of the world, which is different from ours today. Additionally, it invites us to perceive the ‘mountain’ as fluid rather than fixed; something that flows and changes at all times, despite its static appearance. And it invites us to apply this to our world.