Using a drone to film her own body from a ‘hornet perspective’, the German artist questions the fe/male gaze, and how technology interferes with the physical self.
Raphaela Vogel’s work – usually shown as an installation arrangement – often plays with this dichotomy of the ‘romantic’ and the ‘raw’ and the question of how technology interferes with the human body. The work can also be read in a feminist discourse around the fe/male gaze; while Swiss artist Pipilotti Rist coined the ‘Hummel-Perspektive’ (‘Bumblebee perspective’) with her early video works – when she filmed her own body in extreme close-up with a fisheye lens – Vogel’s camera work could be described as a ‘hornet perspective’ – that tries again and again to attack the female body.
Raphaela Vogel (b. 1988, Nuremberg; lives and works in Berlin) studied fine art at the Nuremberg Academy of Art and at the Städelschule in Frankfurt. She also undertook postgraduate study at De Ateliers in Amsterdam. Vogel’s recent solo exhibitions include: ‘Abbruch Korrektur Hilfe Bestätigung’, as part of the philosophical series ‘Überstürztes Denken’ at Volksbühne am Rosa-Luxemburg-Platz (Berlin), in cooperation with BQ (Berlin) in 2017; ‘She Shah’ at Westfälischer Kunstverein (Münster); ‘In festen Händen’ at Motorenhalle, riesa efau (Dresden) and ‘Ich gebe euch eine Verfassung’ at BQ (Berlin) in 2016; and ‘Raphaela und der große Kunstverein’, Bonner Kunstverein (Bonn) in 2015.