about:
“Max Slobodda (b. 1987) is a long-term photography student, working and living in Dortmund, Germany. Even though his roots are in the streetphotography, his main focus today is in portrait and editorial photography.”
*Co-Founder of Küchendienst!
clients / publications:
Der Freitag
Business Manager
Harvard Business Manager
Spiegel Wissen
Uni Spiegel
Die Zeit
Zeit Online
Zeit Germany
Focus Magazin
Arte Magazin
Mint Magazin
Tagesspiegel am Sonntag
Intro
11 Freunde
Enorm Magazin
Fluter
Rheinwerk Verlag
Vice
AOK On
PHASE Magazine
DB Mobil
The Guardian
6Mois
Courrier International
NRC Handelsblatt
︎ ︎ ︎
+49 17644287364
based in Germany, dortmund & cologne
- All rights reserved / Imprint / CV
“In seiner freien Arbeit ‘ESC’ hat Max die ehemalige Innere-Deutsche Grenze
besucht. Die geschichtliche Vergangenheit mit gegenwärtigen Relikten
und dem naturbelassenen Grünstreifen haben ihn dazu beeinflusst
mit einem künstlerischen Ansatz, Momentaufnahmen einer möglichen
Fluchtszene nachzustellen. Beim betrachten dieser Bilder können unterschiedliche
Gefühle und Erinnerungen erweckt werden.
Durch eine zeitgenössische, modernen Darstellungsweise der „Grenze“
wird diesem Geschichtsträchtigen Ort eine vielerlei interpretierbare Ästhetik
verliehen mit großem Assoziationsspielraum.”
Text: Sofia Brandes
Assistent: Magnus Terhorst
“Man expects a logical explanation for everything he sees in this world. If there’s not an immediate explanation, he is forced to grapple with perception, question his beliefs, and form his own conclusion about what he has perceived. It is extremely difficult for man to accept the idea that there are still unanswered questions in this world. In this day and age, is it even possible to accept an unknown as truth? To view the previously unimaginable as fact?
In “Stranger Things” my goal is to let the incomprehensible remain that way. My aim is simply to let the viewer engage with the images without any guidelines or preconceived explanations, letting their imagination run wild. My hope is that they will form their own answers about these photos, or, ideally, engage with the work emotionally and let the unknown remain unknown.”
In “Stranger Things” my goal is to let the incomprehensible remain that way. My aim is simply to let the viewer engage with the images without any guidelines or preconceived explanations, letting their imagination run wild. My hope is that they will form their own answers about these photos, or, ideally, engage with the work emotionally and let the unknown remain unknown.”
