Philip Solms, Tomomi Yamakawa, Juliet Wagner, Claudia Orben, photo: Ian Waelder
Graduate Prize 2021
Nadia Perlov, Jardin Jadore, 2020, Videoinstallation; Lady Bug, 2020, 100 x 100 x 6 cm, Installation view, L’Esprit—Absolventenausstellung 2020, photo: Eike Walkenhorst
Graduate Prize 2020
Annette Hans, Kristin Reiman, Martin Engler, Jakob Brugge, Paula Kommoss, Jenny Nachtigall, Rebekka Seubert and Il-Jin Choi, Städel Garden, 2019
Graduate Prize 2019
Jack Heard, Städelschule, 2018
Graduate Prize 2018
Graduate Prize 2017
Anne Speier, Photo: Diana Pfammatter 2017
30 years of Portikus
Jubilee 200 Years Städelschule, Photo: Wolfgang Günzel, 2017
200 years of the Städelschule
Book Cover, 2017
Helke Bayrle
Anna Goetz and Stuart Middleton, MMK Museum für Moderne Kunst, 2016
Graduate prize 2016
Filippa Pettersson, Amy Ball, Don´t be a stranger (2015), Image © Camilo Brau
Amy Ball & Filippa Pettersson
Rosa Aiello, SERVING (2015), HD Video, color, sound, 9 minutes 48 seconds, Filmstill; Foto © Camilo Brau
Rosa Aiello & Cooper Jacoby
Building an Image Performance, Italian Cultural Institute New York, 2016
Letizia Calori & Violette Maillard
Luzie Meyer, The Balcony (2017), Filmstill
Luzie Meyer
Luzie Meyer, The Balcony (2017), FilmstillLuzie Meyer, The Balcony (2017), Filmstill

Luzie Meyer

The Balcony

Luzie Meyer The Balcony (2016)


Luzie Meyer’s The Balcony is a piece of video work loosely based on Jean Genet’s Le Balcon. In a brothel three men – a bishop (Reece York), a general (Dan Kwon) and a judge (Salomo Andrén) – live out their fantasies of domination with a prostitute (Luzie Meyer) who also happens to be the camerawoman filming this scene. As an argument breaks out over who has the power to tell the story, sadistic and masochistic desires are negotiated, disguised and revealed. The video, which was filmed using two cameras, places the actual author of the image within the view of a second witness who is outside her control. Sound effects, music and pin sharp montages interrupt the narrative continuity. The synchronisation leads to a discrepancy between the characters’ body and mind and blurs the dividing lines between the author and the role and between reality and fiction. The narrative voice does not appear trustworthy as it is the voice of both the prostitute and the author. It describes the scene and in the process increasingly complicates the relationship between reality and fiction.

With support from Städelschule Portikus e.V.