A trace of compression
Art is also created via accident – on show in Munich galleries
Munich by night seems almost like a real metropolis…only from far away or from high above though. The “Multiples” images by Peter Neusser display a similarly impressive vast sparkling sea of light as the view on Mexico City. This comparison already gives reason to stop and think. Something is wrong with these pictures. The eye discovers phenomenons which can nor be explained with pure documentary photography neither with digital photography. Peter Neusser, instead, uses multiple exposure. One negative is exposed 16 times; the camera is moved around. The result is a compression of the 360° panoramic view on Munich onto one photograph. Neusser has been using this method for quite a while now. Apart from two nocturnal images, the gallery Huber Goueffon will show some abstract examples from the series “water” and “trees” in which this method is stressed to the extreme. The concreteness is never dissolved though; the reference to reality remains. In this manner, a strong tension is created between the effect of recognition and the abstract zones of the image.
Hanne Weskot, Sueddeutsche Zeitung, 4.Oktober 2002
Peter Neusser Visualism
Peter Neusser´s photographs are the product of the strenuous effort of remaining in a place, of finding the way. They also constitute insight into urban communication, in which what mediates also seems to distort. In the urban thicket, the horizon seems attainable; it penetrates the images not as a promise of, or longing for the distance, but rather as a accidental architectural clearing. Should the game between sharp and blurred views hold out the prospect of a time of development, or of a path still to be trodden , then Neusser directs the perspective promise to the artificiality of the frame, or let us say, of the shifted focus. Neusser does not portray the city of Munich for the sake of its identity. One cannot even call it a portrait; the object of confrontation is missing. Rather the observer is led carefully into the text of urbanity. Our insight is built up in the image, and Peter Neusser succeeds in producing a construct which unsettles a gaze otherwise armed with a central perspective, turning central points into peripheral ones. These potographs are slight shifts, slight dislocations in a viewpoint which requires architectural space as a point of reference for the unfolding of time.The images condense the dizziness of movement and the rigidity of what is built to produce a really daring view of the urban: we are diverted. If architecture constructs an agreement between inner and outer space, then, Peter Neusser , from the inside, photographs into the city’s interior.
Hubertus von Amelunxen
European Photography, Nr. 63, Göttingen 1998