Doing away with rules, causing irritations. Making everyday occurrences visible. Completely unexpec-ted. Right in the face! The nonconformist actions of Sascha Kurmaz always take place in public spaces and almost casually break up the monotony of familiar modes of perception. The photogra-phic situations and illegal interventions of the Ukrainian artist throw a spanner into the works. They question habits and open new cultural and social spaces. His attitude is guerrilla or punk – auto-nomous, playful, disruptive, radical. For him, photography is not just an instrument for echoing and explaining life, but rather for exhausting art's potential and by doing so changing our understanding of society. Which artistic methods does Sascha Kurmaz apply to accomplish this? What kinds of cons-tellations does he create? And what initiates his strategies?
Sascha Kurmaz consciously and arbitrarily places his somewhat sexually explicit images between the pages of books in bookstores. He busts open advertising displays in public places and replaces the original posters with images of the homeless. At subway station exits, he distributes slips of paper to passers-by with photographs that depict the same location but a day early. He slides his prints unde-tected into strangers' jacket pockets. He cuts sections out of advertising banners, thereby removing the commercial information and creating a new context. Through these actions and misappropria-tions, he shifts his photographic artistic practices towards social interaction and personal encounters. The viewer remains unsure of what it all means – what exactly does this have to do with him? In this way, he's made aware of his surroundings for a short moment – a stumble that makes him conscious of the act of passing.
With all of this situationism, the individual image and its theme are not important, but rather their effect in a specific context. For Sascha Kurmaz, it's not the neatly framed print on the wall at an exhibition that counts, but rather the artistic act itself. That places him in the tradition of a conceptual approach to photography, as it has been implemented since the 1970s. Even at that time, the former under-standing of photography was turned upside down and led to an expansion of the use, perception and definition of the photographic medium.