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.
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. To me, it’s a beautiful name, I like it,
even though it remains on the surface.
“… 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
Commissioned from the Austrian Minister of Fine Arts to work on a series based on my home country Austria.
The results 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.