White sheets of paper waft along against a red ground. The birds on it: painted, photographed, living and dead. Dispensing with the frame, Anett Stuth opens up the image into the space and for the viewer's associations. The collage has a logic entirely on its own, led off by Henri Cartier-Bresson's prisoner who stretches his limbs out of a cell, moving to Francesca Woodman's performance in a glass box or Steve McQueen in his role in Papillon

Anett Stuth invents multiple architectures, in which interior and exterior, photography and painting, high and low culture overlap and permeate each other. Her collaged, tiered, and layered photographs occasionally recall the symbolic spaces of Gothic paintings and at the same time allow viewers to see rapidly changing spaces of possibility in the virtual age. 

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