Friedl Kubelka is one of the most renowned art photographers in Austria. In 1998 she completed one of her central works, namely the portrait of her daughter Louise Anna from birth to adulthood. This exceptional body of work is being exhibited and published for the first time in its entirety.
Since the early seventies Friedl Kubelka has focused on time structure as a parameter of expansion of the single photograph in her multi-part portrait-tableaus. "Time structure gives the form to the information rather than emphasizing the authenticity" (Friedl Kubelka).
The weekly portrait of her daughter Louise Anna over a period of 18 years documents not only the process of growing up or the development of a mother - daughter relationship, but also explores the process of photographic depiction and multi-layeredness of the photographic moment. A catalog will be published on the occasion of the exhibition: 30x38 cm, 36 pages, with a text by Anette Michelson.
Friedl Kubelka: Portrait Louise Anna Kubelka, Fotohof 1998.
...a headshot photo of her daughter every Monday from the first day of her daughter's life until her 18th year.
This act of "Monday photo," as her daughter Louise came to call it, is part ritual, part performance, part obsession.
Arranged in grids of 52 photographs and starting in 1978, we see the passing of 18 years and how it shapes a young woman's face as in a time-lapse film. The framework of photographing Louise's head in close-up against a neutral background accentuates the seeming difference in her moods although photography is too slippery a liar for a true reading.
...her "seriousness" seems to be something she grows into as she ages into her teen years.
By 9 or 10 Louise seems to be shaping her own identity and self-representation apart from her mother. Her hair styles vary and blank spaces appear in the grids where a Monday photo was missed. By the last year, the 18th, only 12 images appear in the first few months until finally the ritual is broken.
In some ways, this work is a display of a coerced collaboration that even Louise has questioned. "I have asked myself whether my mother had the right to use me as an object in this way."