Reportage and Landscape
Themen/Themes
Menschenhandel TPU
Arbeit der UN Polizei / Police UN
Begleitung bei Einsätzen / Unit police Kosovo
Medal Parade
Station Prizren ( Diplom Arbeit )
landscape
Eva Horstick-Schmitt
Trafficking Prostitution Unit Kosovo
Exhibition cutout 2006 Bonn/ Frauenmuseum
Fotos co. Eva Horstick-Schmitt Kosovo 2002
out of a helicopter in Kosovo Photos:
Eva Horstick-Schmitt
Alle Fotos co. Eva Horstick-Schmitt arteve.de
Ein kleiner Ausschnitt meiner Serien aus dem Kosovo / cutouts of my Kosovoseries
Dr. Martin Pape Düsseldorf, 2004-November Ausschnitte aus dem Buchtext
about the projects „Trafficking Prostitution“ and „Deja-vu – Spirit of Inspiration“ from Eva Horstick-Schmitt :
„Both projects allow a first time glimpse into a personal collection of some 400 photos representing the complete work of German photographer Eva Horstick-Schmitt.
Covering all topics of photography the first insight to this multifarious and artistic work fascinates the naive observer by the total stillness emanating from portraits, landscapes, photo stagings and travel impressions. The aesthetic stylistics of “ostensible snapshots” mostly suggesting well known everyday life situations, motifs and stagings of distinct topics are however contradictive to this quality of impression.
The observer’s encounter with this subjective photo documentation starts slowly and gently like an andante in a Mozart symphony after an intended general musical break. The sequence of photos mostly makes the observer step out of his everyday life tempo, just simultenaous to the photographic moment, literally for a moment and reduces his standard speed of viewing things.
For Eva Horstick-Schmitt this reduction is the basis for the creation of individual timing and virtual space for her advertence to the world. Using a deliberate borderline to the resounding flood of photos and the provocant agitation speed of the mass media Eva succeeds in reserving the value of the moment for the information of her photos.
Photographer and an accidental observer of the photos meet at a common point somewhere in the “general break” of the time and photo stream of advertence. There is time enjoying the photos in an unobstrusive and charmingly sublime way, thus having a chance for a second view…..”
“All photos share an inner balance between the individual and authentic ego of the take and the socially shared facts of the motifs. Eva Horstick-Schmitt follows the famous photographer Richard Avelon’s philosophy: As soon as an emotion or a fact is converted into a photography, it is no longer a fact but an opinion.
Eva Horstick-Schmitt – as she says, for her own sake – would like to deliver a second vote. For her photography is a protocol of soul and spirit at the end of an inner journey of perception. It logs mental experiences of one’s own susceptibility to social reality which arises from intolerance, force, death, love and everyday life. It also logs the “other side” of perception perspectives dominated by the media.
This is done by the deliberate option of a second view onto alleged socially equal facts. The photos from Kosovo, where she worked several weeks, never are explicitly depicting “burnt moments” as a code for the perception of agony, violation and mourning, but as an inner portrait of subjective perception of scenic sentiments, hiding this ubiquitous reality-reflectively and in a melancholic manner.
Behind the photos of Eva a delicate approach to one s own perception of the world is hiding. There is a chance of getting nearer to the own soul just like Eva, as a peeper.
The Photos are the expression of an urge to wipe out the cognition as being negligible and to release the moment and the details of the instance.”