*1978 in Munich
Right from the beginning, the focus of Benjamin A. Monn’s photographic work concentrates on the occupation with architectural photography. Monn knowingly defies the genre’s established aim - namely the documentation and identification of buildings – and works on a new definition of architectural photography.
Since 2002 he is generating several groups of work parallel to each other.
Awards & Achievements:
2011 1st prize 2011 Photography & Illustration Awards / Category - Architecture / Canada
2010 1st prize Fotoforum Award 2010 / Category - Abstract
2010 Nominated International Masters Cup / Category - Abstract & Portrait
2009 Nominated International New York Photo Award 09 / Category - Book Project
2009 Nominated International Color Award 09 / Category - Architecture
2008 12 honorable mentions International Photography Award / California
2008 1st and 2nd prize Prix de la Photographie Paris/ France
2008 6th prize Rodenstock Photo Award International / Germany
2008 Nominated Sony World Photography Award / Cannes
2008 Honored and selected Celeste Art Prize 08 / Berlin-Germany
2008 1st prize Hasselblad Master Award / Category - Architecture
2005 3rd prize Nikon Photo Contest International / Category - Documentary
2010 Solo Exhibition "BAM Photography" at Designraum / Munich
2009 Group Exhibition "Hasselblad Masters 08" at Gallery Contributed / Berlin
2009 Group Exhibition „Uprising Six" at Gallery Candela Project / Munich
2009 Group Exhibition "Hasselblad Masters 08" at Gallery Villa Ruh / Zingst
2008 Group Exhibition "Px3 Award" at Gallery Acte 2 / Paris, France
2008 Group Exhibition "Perfect Form Rodenstock Award" at IHK Artrium / Munich
2007 Solo Exhibition "Fragmente" at Gallery A/K/A / Munich, Germany
2005 Solo Exhibition "Robots" at Serviceplan AD-Agency / Munich, Germany
2005 Group Exhibition "Part One charity exhibition" at Alte Gaertnerei / Munich
2005 Solo Exhibition "A-Symmetrie" at Artroom Felix / Munich, Germany
2004 Group Exhibition "Heimweg Projekt" at Museum Haus der Kunst / Munich
2004 Group Exhibition "Heimweg Projekt" at Gallery Martin Kudlek / Cologne
2004 Group Exhibition "Heimweg Projekt" at Gallery Zink & Gegner / Munich
Developed since 2002 the workcomplex CANDELA contains photos, which highlight fragmentary architectural details. Each work out of this series chooses a certain construction detail of one building, but changes the angle of view to such an extent, that it's nearly impossible to infer to the elements' original positioning. The compositions achieve autonomy as far as possible towards the pictured object and therefore ignore a central assumption of the classical architectural photography. With reference to the constructive painting the detailed treatment of colour and form receives priority. In his CANDELA-project Benjamin Monn focuses the change of perspective, which emphasizes the space composition and the constructive form more than a documentary copy of the building.
Right from the beginning, the focus of Benjamin A. Monn's photographic work concentrates on the occupation with architectural photography. Monn knowingly defies the genre's established aim - namely the documentation and identification of buildings - and works on a new definition of architectural photography. Since 2002 he is generating several groups of work parallel to each other. The photographer's aim for the series A-SYMMETRIE is the accurate recording of every single building. It focuses on the plain architectural form and the elaboration of linear structures and abstract form criterions. Light/dark contrasts and the switch between light and shadow as well as the metallic shining surfaces are in the main focus of his attention. Because of peoples' absence in order to serve as a measure- scale in the pictures, the buildings must be unhinged out of their functional structure. The architectures in Benjamin Monn's photos are presented in a space-, time- and functionless aesthetics. The design stands for itself.
The approach of a self-contained image composition proceeds in Monn's third group of work: established since 2004, the project FRAGMENTE is based on a new construction of architectural forming and space details on the computer. Afterwards, the digital produced photo is exposed on photo base paper. For the surface's construction of the black and white creations, architectural fragments are reflected once or several times. By repeating and reflecting the forms symmetrically, geometrical-ornamental patterns develop in a way, which serves rather the screen's structuring than the reproduction of a real layout. Consequently, the fragmental constructions don't simulate real space conditions, but create new futuristically inspired fictive spaces. For CASSIDA the photograph installed - for the very first time -two different parts of structure: Fragments out of Renzo Piano´s museum Paul Klee at Bern and pieces out of Tadao Ando´s Vitra Design museum in Weil am Rhein, Germany. The non-scaled fragments' composition was created in a process of experiments, lasting for months, resembling a never-ending puzzle. In the end a figurative structure of a mask respectively robot was formed.
Beyond the examination of architectural forms and landscape design, the photographer deals with an advanced concept of portrait photographs. Under the title INTERAKTION he designs black-and-white photos of faces in a close- up view, which are linked, by double exposure, to ornamental and natural structures. The two- dimensionality of a totally colour reduced face interacts with the spatial and plane structures of branches or cracked glass and so abstracts the human countenance to a plane (facial) landscape.