2014 – 2018
To me, Austria is a brutal cosiness, which carries the innocence of the past in it.
The past, a melancholic companion of the present.
The existing, a filtered appearance.
A place where the unspoken is directing.
My secret love affair, I’m never completely satisfied with,
still can’t leave, always teasing; never fully staying, but always returning.
My homeland, as ambivalent as Therese.
I don’t know exactly why my parents decided to give me this name.
I’ve never really felt attached to it and nobody calls me Therese.
Still, it’s part of me, even in my travel documents.
Stefanie Therese Moshammer.
A silent companion.
“… Initially under the mantle of fiction the title of series suggests that it is about nothing less than the quest for one’s own identity. Therese, the photographer’s second name, embedded, defining, unused, intimate yet somehow alien too, can be interpreted as symbolic of the dichotomy in her relationship with her own home town, which Moshammer has captured in intense images with her characteristic instinct for narration and styling – including, sternly yet glamorously, the portrait photograph from her own passport, its pattern transformed as a cover motif for the abstract map. In it the name stands black on white, beyond doubt, and inescapable….”
– Rebekka Reuter, curator Westlicht Gallery
Starting out as commission from the Austrian Minister of Fine Arts to work on a series based on my home country Austria in 2016.
This work is ongoing, and re-edited in 2018.
The results from the commission were exhibited in a group show at Salzburg Museum in 2017, as well as published in the book Facing Austria,
published by Fotohof Edition.
Curated from Rainer Iglar and Michael Mauracher from Fotohof Gallery.
Currently exhibited in Photo Museum WestLicht: