Human beings are creating their own vacation dream worlds on an ever larger scale. The locations become ever more sophisticated to allow beach holidays forever at any time and season. Tropical Islands is the biggest cantilevered structure in the world. What was once a plan to construct heavy-load airships is now an amusement park where dreams are being manufactured. This gigantic hangar covers a palm-lined south-sea beach with fine Italian sand, a rainforest with trees from Thailand and a tropical village featuring folklore from Bali to Rio. The whole construction is build as authentic as possible, but still appears highly artificial. Themed mockups from all over the world, a fake sky panel and the ever present giant roof covering the sunlight are leading to an unauthentic vacation experience. Other contradictions become visible when a hot-air-balloon is restricted by the giant hangar from truly rising and when the campsite is already located under canvas. My images are focusing on these artificial aspects and contradictions. Applying long time exposure during the nighttime emphasises the unreal. Tropical Islands occasionally appeared as if reality is retouched. The latter certainly is not the case with my photographs.
Recreation NowTravel brochures around the world attract tourists with increasingly promising offers. Exotic destinations, breathtaking beaches and award-winning attractions are seductions hard to reject. But on site, the tourist is confronted with a more and more themed environment and a highly artificial appearance. The uniformity of serial architecture and constructed landscapes question the authentic vacation experience. In Recreation Now, Dutch, Belgian and German vacation resorts with an artificial appearance are investigated. Nature is treated as a raw model on the drawing board and allocated to only tiny parcels of space. Furthermore, there is a geometry of serial architecture present, almost every house is a look a like of the other. Vacation parks are thus not intended to create a sense of authenticity and individuality, but a seemingly perfect ambience. The charm of the different and unfamiliar, which once impelled people to travel, has become a superficial symbol. Throughout using present artificial light in the night, the vacation parks are turned into an uncanny realm with shining surfaces. The usage of a long exposure time is leading to a nightime emptiness and underlines the unreal and occasionally ghostly ambience. Due to the exaggerated artificial representation which involves only color adjustments, the images can also be read as maquettes, and therefore as a profound disorientation, which denies the authentic.
BlackoutThe us surrounding reality is more and more digitally captured and increasingly reflected in the virtual world. Google Street View has almost scanned every possible square meter of this planet, smartphones will soon recognise even more buildings via augmented reality and creators of video games succeed with their trial of approaching virtual landscapes to real ones. The sharp distinction between fiction and reality is more and more vanishing and the attempt to build an authentic reality only with zeros and ones increasing daily. Blackout shows the shift from the real to the virtual world. Urban infrastructure is isolated from its background and assembled in a new context. The city as we know it turns into a computer game scenario and an alienated futuristic, yet realistic vision of urban landscape. This strangely compelling reality rises the question of how much longer it will take for the thin borderline of the real and virtual world to vanish. The project helped me to come to the conclusion, that photo manipulation should be avoided as a matter of fact in the future as the reality twist is mostly achieved through postproduction.
WhitePublic space, paper model and mountain scenery merge in color, shape and composition. Throughout compositional viewpoints and by applying a certain weather condition, these landscapes are detached from their initial meaning. As a photograph of a maquette can be read as a representation of reality, an image of a real landscape can also be seen as a disorientation confronting the truth. Except of subtle adjustments in white balance, the photographs are not further manipulated. This visual disorientation questions the authenticity of a photograph and the way of reading an image.
- 2016Krausnick | by Fabian Schröder, Christian Kuhn, Image 01
- 2015Fabian Schröder - Tropicana 404, Justin Ross, SomoS Arts
- 2014Fabian Schröder - Raus aus der Stadt, Benjamin Fischer und Stefanie Roenneke, Stadtaspekte
- 2013Spotlight on Fabian Schröder, Julia Hartmann, Artconnect Berlin
- Fabian Schröder’s creation of fictional realities, Julia Hartmann, Jules & Art
- 2012Black Mountain College: de volgende generatie, Wouter Bernhardt, Tubelight
Born 1984 in Berlin.
- 2011 - 2012MA, Sint-Lukas Brussels University College of Art and Design, dep. Photography
- 2010 - 2011BA, Academy of Fine Arts Vienna, dep. Art and Photography
- 2008 - 2011BA, Royal Academy of Fine Arts Antwerp, dep. Photography
- 2014Pop Magazin 5 Release / Holiday Parks & Krausnick, Grünberger Str. 22, Gießen, DE
- 2014Holiday Parks & Krausnick, Raumteiler, Vienna, AT
Selected Group Exhibitions
- 2015Tropicana 404, SomoS Arts, Berlin, DE
- 2013Een bespiegeling van het hedendaagse leven, International Fotofestival Leiden, Leiden, NL
- 2012The Research and Destroy Department of Black Mountain College, W139, Amsterdam, NL
- Master Show Sint Lukas, VGC, Brussels, BE
- Demonstration #3, Recyclart, Brussels, BE,
- 2011Photomeetings Luxembourg, Konschthaus beim Engel, Luxembourg, LU
- 2013Expositiegids, Een bespiegeling van het hedendaagse leven, Fotofestival Leiden, Leiden, NL
- 2012Catalogue Voyeur, Photomeetings Luxembourg
- 2011Catalogue Rundgang 2011, Academy of Fine Arts Vienna