(Netherlands, Australia 1945 – 09 Oct 2002)
31.5 x 97.9 cm sight overall; 44.5 x 111.0 cm frame:
1 - left; 31.5 x 49.1 cm; sight
2 - head right; 31.5 x 48.7 cm; sight
Tyssen's works explore the relationship between European artefacts and the perception of our Australian cultural heritage. The broken artefacts were found and photographed in Paris, highlighting the idea of the great European cities being a bastion of culture and a repository of cultural remnants.
The perceived notions of the 'civilised' Europe and the 'uncivilised' new country meant that until recently many Australians looked to Europe to find a cultural identity. Tyssen questions this need and her own position as a European migrant in Australia, and reflects upon the fragmentary and dislocated nature of memory, history and culture.
Judy Annear, Points of view: Australian photography 1985-95, Sydney, 2005. no catalogue numbers
Anthony Bond and Victoria Lynn, The Art Gallery of New South Wales Collections, 'Contemporary Practice - Here, There, Everywhere ...', pg. 229-285, Sydney, 1994, 262 (illus.).
Isobel Johnston, Ingeborg Tyssen - Twenty years on photography, Sydney, 1995, 2 (illus.). cat.no. 88
Ingeborg Tyssen - Twenty Years of Photography, Art Gallery of New South Wales, Sydney, 02 Mar 1995–09 Apr 1995
Points of view: Australian photography 1985-95, Art Gallery of New South Wales, Sydney, 19 Nov 2005–29 Jan 2006
Flatlands: photography and everyday space, Art Gallery of New South Wales, Sydney, 13 Sep 2012–03 Feb 2013
Flatlands: photography & everyday space, Art Gallery of New South Wales, Sydney, 15 Sep 2012–03 Feb 2013
Voices of Silence, Artspace, Woolloomooloo, 1993?–1993?