Kata Geibl



PROJECTS
2021    See Daylight / Coming Soon
2021    There is Nothing New Under the Sun
2018    Sisyphus
2017     Uncanny Valley
2016     Red, White, Green

2019-   Collaborations / Commissions
2018-   Installation Views



BIO
Kata Geibl (1989, Budapest) is a photographer living and working in The Hague. Her work is mainly focused on global issues, capitalism, the Anthropocene, and the ambiguities of the photographic medium. Read more...



CONTACT 
For commissions, portfolio or any other request, please use the contact details below.
Phone: +36 30 830 60 85
Email: geiblkata@gmail.com

︎/katageibl




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2019 - ongoing

There is Nothing New Under the Sun



Generations come and generations go, but the earth remains forever.

The sun rises and the sun sets, and hurries back to where it rises.

The eye never has enough of seeing,nor the ear its fill of hearing. What has been will be again, what has been done will be done again;

there is nothing new under the sun.















There is Nothing New Under the Sun includes images of apparently perfect athletic bodies, for example; it also includes shots of animals under human control — whether they’re bees fresh from the beehive, or a horse blinkered under a fly hat. Other images show financial sectors, such as London’s financial district or a pint-sized model village.
Geibl wants to achieve a very political feeling in this series without showing it overtly, and is seeking out “very specific places and scenarios” for her images — though she started her career shooting straight documentary work, she now works more conceptually and will happily set up and stage her shots.

Essay by Diane Smith











Your work often involves reflecting on the world we live in, and the effects of contemporary culture. We’ve previously shared your series “Sisyphus,” which took a very scientific approach to this idea, while your newer work feels more organic in nature. Can you speak a bit about this shift for “There Is Nothing New Under the Sun?”
I could most liken this shift to Lars von Trier’s movie Melancholia. There’s a scene where Kirsten Dunst’s character feels the end of the world before anyone and swaps albums from abstract paintings to figurative oil paintings in the family library. The blue square is replaced by Caravaggio and Bruegel. I’m feeling this kind of transformation now with Sisyphus to Nothing New Under the Sun. Abstraction and rationality can no longer answer my questions which is why the shift was necessary.

Interview by Bailey Dale











Speaking of Melancholia, I wanted to ask about a specific image in your series that I love – the still life of a model that is on fire. It’s the one image that reminds me of the sense of impending doom that is prevalent throughout the movie, while the other photos don’t feel quite as ominous. What was your thought process and intention during the creation of that image?
This image was born after reading Baudrillard’s simulacrum theory again, where his argument is that the Gulf War didn’t happen. Mass media created a spectacular view of the war through television screens. What the world saw from the war was merely a simulation of the war in hyperreal space. He wrote that essay in 1991 but it is more relevant to our world today than ever. If you just think about the fake news era which we live in, where you no longer have any reference to an external reality, but statements which exist for themselves, replacing reality and facts. I wanted to capture this very strong image in a metaphorical way, which of course also speaks about the future that lies in front of us, due to the reality of climate change.

Interview by Bailey Dale











Generations come and generations go, but the earth remains forever.

The sun rises and the sun sets, and hurries back to where it rises.

The eye never has enough of seeing,nor the ear its fill of hearing. What has been will be again, what has been done will be done again;

there is nothing new under the sun.