Matthias Hoch’s photographs are images of contemporary urbanity. In lucid compositions, his photos expose the materials of the modern age in all of their austere sensuality. According to the Frankfurter Allgemeine Zeitung, they are ‘adequate images for postindustrial society.’ Objects are positioned precisely and with a keen sense of surface quality in the pictorial format and often evoke irritatingly ambiguous and puzzling effects by virtue of the artist’s choice of scale and perspective. Beginning with the rapidly changing urban landscapes of eastern Germany, the photographer has been exploring the ubiquitous formal language of modern European urban development. The views he presents seem virtually impossible to localize. They document Hoch’s critical, analytical approach to the space around us, yet they also exhibit a remarkable sculptural quality.

Matthias Hoch (*1958 in Radebeul) studied photography at the Hochschule für Grafik und Buchkunst, Academy of Fine Arts, Leipzig. Solo exhibitions include Galerie für Zeitgenössische Kunst Leipzig (2016), Fotohof Salzburg (2016), Galerie Jochen Hempel, Leipzig (2015), Kunstmuseum Magdeburg (2014), Rena Bransten Gallery, San Francisco (2011), Galerie Nordenhake, Stockholm (2010), Ludwig Forum für Internationale Kunst Aachen (2006), and Kunsthalle Bremen (2002). He has participated in group shows at Paço Imperial, Rio de Janeiro (2017), Moscow Museum of Modern Art (2014), ZKM Karlsruhe (2013), Fotomuseum Winterthur (2013), Berlinische Galerie (2012), and Los Angeles County Museum of Art (2009). In 2013 he was a recipient of the Goethe-Institut's Villa Kamogawa scholarship in Kyoto, Japan. In 2003 he won the German Academy Villa Massimo scholarship in Rome, Italy. His work is included in such public collections as Berlinische Galerie, Kunsthalle Bremen, Staatliche Kunstsammlungen Dresden, Museum der bildenden Künste Leipzig, Pinakothek der Moderne München, and The Museum of Modern Art, New York.

The German artist Matthias Hoch’s typology of contemporary life has typically centered on architectural detail and interiors. Charlotte Cotton, The photograph as contemporary art, Thames and Hudson, London 2004.

Matthias Hoch’s Fotografien sind sparsame und irritierende Kommentare zu zeitgenössischer Urbanität. Susanne Altmann, art, Hamburg, 4/2005.

In Hoch’s work, the huge mass of sensory perceptions to which we are subjected daily is filtered through compositional schemes with great attention - almost sculptural in nature - to the internal balance of the solids and voids and rhythms created by their interpenetration. And yet these schemes always leave room for seduction, the essential element of expressiveness. Massimo Carboni, Artforum, New York, 10/2006.

In his photographs, claustrophobia and a sense of vacancy commingle. Ari Messer, San Francisco Bay Guardian, 30.9.2008.

Matthias Hoch forscht mit seiner Kamera nach Zeichen einer Ära, nach der Biografie des Ortes. Im diffusen Licht werden Narben, Abdrücke, Schichtungen enthüllt. Monopol, Berlin, 2/2015.

Matthias Hoch’s mostly „unhabited“ pictures, which nevertheless suggest a strong presence of people. A set of stark images, which paradoxically, offer a warm sense of place. David Bate, Positional Space, 5x5 Photo Tracks, Vienna 2016.

Matthias Hoch's Fotografien machen das Vergehen der Zeit sichtbar. Ernst Grandits, 3sat Kulturzeit, 5.8.2016.

Für seine Arbeit sucht Matthias Hoch von jeher Orte mit Geschichte. Häuser und Räume, die wirken wie Bühnen eines längst abgespielten Stücks. Freddy Langer, Frankfurter Allgemeine Zeitung, 12.1.2017.

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