‘Paradise 1’ was first exhibited in Thomas Weinberger’s 2010 project ‘Synthesen’. Weinberger captures starkly surreal images of city spaces and industrial areas. Seemingly caught between day and night, ‘Paradise 1’ prompts viewers to question whether the architecture depicted even exists. Through an absence of people, an overpass in Munich somehow seems like a strange empty utopia. To create this work Weinberger used a classic, large-format camera, taking two analogue images of the same viewpoint at different times. The resulting image is a reality of impossible visual experience in which the light across day and night are compressed into a permanent picture. This process requires utmost precision. In between takes, the camera must remain in the same position in order to allow the exact superimposition of the individual images and only in this way can the enmeshed moments result in an image marked by simultaneity.
Weinberger’s images show how “dreamlands of the leisure society have shaped the imagination, nourishing both utopian dreams and artistic productions. But they have also become realities: the pastiche, the copy, the artificial and the fictive have become facts of the environment in which real life is led, and they serve as models for understanding and planning the urban fabric and its social life, blurring the boundaries between imagination and reality.” (Centre Pompidou exhibition catalogue)
Berlin-based Weinberger has notably been exhibited at the Centre Pompidou, Paris, the Palais des Beaux Arts, Brussels, the Australian Centre for Photography, Sydney, and the Gulbenkian Foundation, Paris, and may also be found in private and and public collections worldwide.