Medinger and the secrets in the dark chamber

Is that supposed to be a Medinger? Visitors look at this little painting in the dark-dark atmosphere of the hall. Otherwise only strong photos hang in this currently particularly played passage in the cultivation of the Villa Vauban. Right-but that is exactly one of the curatorial tricks that those responsible take behind the show « Vanitas-Michel Medinger (1941-2025) ».

Paul di Felice, one of the most important art historians and exhibition organizers in the Grand Duchy around the world of photography, has compiled expressive works with the partners of Villa Vauban in little space. It is also one of the first openings from the circle of this year’s view of the European Month of Photography, whose Luxemburger Part di Felice is responsible for.

And in this case the Villa Vauban is part of this initiative, but a wide alliance made of key players is behind it. These include the Center National de L’Audiovisuel and the Lëtz’arles initiative, who takes care of Luxembourg’s participation at the international photography meeting in France, Les Rencontres d’Arles. Michel Medinger’s work became 2024 there shown.

The title and keyword of the first show for this international appreciation and Medinger’s death in January 2025 is « Vanitas ». It is not a repetition of the appearance in Arles in this case. Rather, a posthumous and thematically specific reading at home and an important start to start the inheritance after the first grief for the photographer in the Grand Duchy.

The ease of gripping depicted

The Duden helps to clarify the term that hovers: « Va | ni | tas, the; – (Latin root): impermanence everything earthly as the subject of Western poetry and the visual art. » The Brockhaus adds: « Reminder to the transience of earthly happiness, especially as a topic of visual art. (…) with the skull as the most important attribute, it has appeared in connection with portraits since the 15th century and has formed its own type of still life with motifs such as expired candle, hourglass, sandwiches, wilting flowers, insects since the 17th century. »

And Medinger ties in his work on exactly these historical sources of inspiration and motifs. The creative people make this clear in the background with this small painting « Vanitas with a Bavarian chair » by Ferdinand Heilbuth from the 19th century, from which the skull shines out as in Medinger’s « Hommage à Reckham Le Rouge ».

For the first time, the historical still life from the foundation of the Villa Vauban can be seen. So the exhibition – even if it is so short – sorts Medinger’s work surprisingly simply art -historically and linked it to the main city museum. This in turn makes it clear how strongly those responsible now want to anchor Medinger’s inheritance as the cultural asset of the country.

In the meantime, interest in the vernissage is huge. For the Minister of Culture and the Mayor of Celebration, it is obviously a mandatory date, experts such as Ruud Priem (National Museum), Gilles Zeimet (Center National de L’Audiovisuel) and Paul Lesch (Steichen-Representative in the Ministry of Culture) are on site-apart from Florence Reckinger (President of the Musées and the Lëtz’arles interest group) and and Many fans of Medinger’s art.

The strong network around Michel Medinger’s heir

Such a show and exhibition opening ensures consolation, says Isabelle Medinger, the photographer’s daughter, a few minutes after the official speeches. She fulfills that her father’s art experiences such honor. « Many friends » came, which she also trusted in the questions of the artistic estate regulation. Her father made the contacts and close friendships; She would only continue. « I want his work to stay in consciousness and be seen, » she emphasizes.

Even if central pioneers like Jochen Herlingwho was once one of the pioneers for the art division in his « Photo Gallery 52 », or Marita Ruiter, with her gallery Clair Telefontaine one of the Medinger sponsors, can no longer be there: Medinger’s honor are related to the decades of construction work and these narrow networks in the country.

Not to forget: Marguy Conzémius, who first worked up Medinger for the CNA and created an essential basis for today’s blossom in dealing with the work of the photographer with the « Les Univers photographiques de Michel Mistinger » catalog. Not every Luxembourg artist’s property is certain of such a broad accommodation.

And the visitors? You can indulge in this cosmos. In the black painted gallery with their light, which is steamed to protect the images, the photographic work of Medinger looks like a parallel flashing of poems – as if 24 speakers at the same time show poetry in this comparatively small space.

His staged photography was nuanced for hours and refined with many simple steps in the in -house laboratory. In places she may be almost 40 years old – her effect is timeless, ironic, thoughtful, contradictory, fantastically surrealistic and reflecting people. They are precisely arranged compositions full of allegorical joy of playing, often well thought far above the two -dimensionality of the photo paper – and this plastic develops a special suction.

Despite all the enthusiasm for the image design, there is nothing more for the topic of « craft behind the picture » than the reference to the exhibits. But especially in the techniques of the deductions, Medinger’s post -processing, colors according to historical role models or sophistication with different papers and chemical processes, there is still great potential.

The next Medinger exhibition is planned next autumn: in Dudelingen, where essential work of his work has long since moved into the CNA collections.

Until June 15th in Villa Vauban. Open on Wednesdays to Mondays 10 a.m. to 6 p.m., on Fridays until 9 p.m. More under www.villavauban.lu