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Axel Crieger
Beyond the scenes
The archive of what never happened
Deleted scenes, but different: Axel Crieger's art moves between what was and what might have been. His material sits between found object and invention, between photography, drawing and digital editing, composed so precisely that Hollywood gains a second reality in his work.
The icon
Familiar faces, impossible places
Audrey Hepburn doesn't have breakfast at Tiffany's. She has it at Katz's Delicatessen. Marilyn Monroe, Steve McQueen and Brigitte Bardot appear among New York's street canyons, yachts and private jets, in scenes that never happened. They are so convincing that his fictions look like lost footage from a more glamorous past.
Audrey Hepburn on Houston Street, dressed for Fifth Avenue.
Marilyn Monroe on a rooftop above Manhattan, birds lifting off the skyline. She was never there.
The machine
Speed, standing perfectly still
Yacht, car, aircraft. The machine is the star, and the human sits perfectly still in the middle of it. The German artist blends photography, collage and digital post-production so seamlessly that reality turns into fantasy and icons into legends. Entertainment Weekly aptly called his visual language the “Grammar of Glamour.”
Drive
A Jaguar E-Type at full speed, the road dissolving around it. The driver has not moved a muscle.
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North by Northwest
A modernist living room, and outside an aircraft coming in low over the plain. Nobody in the picture has noticed.
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Review
A yacht heeled hard into the wind, sails taut, open water in every direction. One figure aboard.
Discover the workThe stage
The second reality
Crieger moved early on in the very cultural cosmos his works now reference: he met Andy Warhol, was published in Warhol's magazine Interview, and earned recognition from Joseph Beuys. He begins where myth and reality have long since blurred, where the collective image overrides mere biography. It is in this in-between space that his fiction becomes a second reality.
Two figures under a colonnade, one mid-cigarette. The architecture behaves less like a building than like a film set.
A Haussmann facade, a single open window, and the Eiffel Tower closer than it has ever been from any window in the city.
All works by Axel Crieger
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