Posts Tagged ‘affection

03
Nov
17

Exhibition: ‘An unorthodox flow of images’ at the Centre for Contemporary Photography (CCP), Melbourne Part 1

Exhibition dates: 30th September – 12th November 2017

Curators: Naomi Cass and Pippa Milne

Living artists include: Laurence Aberhart, Brook Andrew, Rushdi Anwar, Warwick Baker, Paul Batt, Robert Billington, Christian Boltanski, Pat Brassington, Jane Brown, Daniel Bushaway, Sophie Calle, Murray Cammick, Christian Capurro, Steve Carr, Mohini Chandra, Miriam Charlie, Maree Clarke, Michael Cook, Bill Culbert, Christopher Day, Luc Delahaye, Ian Dodd, William Eggleston, Joyce Evans, Cherine Fahd, Fiona Foley, Juno Gemes, Simryn Gill, John Gollings, Helen Grace, Janina Green, Andy Guérif, Siri Hayes, Andrew Hazewinkel, Lisa Hilli, Eliza Hutchison, Therese Keogh, Leah King-Smith, Katrin Koenning, O Philip Korczynski, Mac Lawrence, Kirsten Lyttle, Jack Mannix, Jesse Marlow, Georgie Mattingley, Tracey Moffatt, Daido Moriyama, Harry Nankin, Jan Nelson, Phuong Ngo.

Historic photographers: Hippolyte Bayard (180-1887), Charles Bayliss (1850-1897), Bernd and Hilla Becher (Bernd Becher 1931-2007, Hilla Becher 1934-2015), Lisa Bellear (1962-2006), James E. Bray (1832-1891), Jeff Carter (1928-2010), Harold Cazneaux (1878-1953), Olive Cotton (1911-2003), Peter Dombrovskis (1995-1996), Max Dupain (1911-1992), Walker Evans (1903-1975), Sue Ford (1943-2009), Marti Friedlander (1928-2016), Kate Gollings (1943-2017), André Kertész (1894-1985), J. W. Lindt (1845-1926), W. H. Moffitt (1888-1948), David Moore (1927-2003), Michael Riley (1960-2004), Robert Rooney (1937-2017), Joe Rosenthal (1911-2006), Mark Strizic (1928 -2012), Ingeborg Tyssen (1945-2002), Aby Warburg (1866-1929), Charles Woolley (1834-1922).

 

 

Installation photographs of the exhibition

The installation photographs (some of the 148 images in the exhibition) proceed in spatial order, in the flow that they appear in the gallery spaces. The numbers in brackets refer to the number of the image in the field guide. The text is also taken from the field guide to the exhibition. Review to follow in the next posting.

Marcus

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Many thankx to the CCP for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. All installation photographs © Dr Marcus Bunyan, the artists and the CCP.

 

An unorthodox flow of images commences with what is known as the first press photograph in Australia and unfurls through historic, press, portraiture, popular and art photography, some in their intended material form and others as reproductions. An unbroken thread connects this line of still and moving images, each tied to those on either side through visual, conceptual, temporal, material or circumstantial links.

This is a proposition about photography now. Relationships between images are sometimes real, and sometimes promiscuous. Unorthodox brings new contexts to existing artworks whilst celebrating the materiality of real photographs, in real time and critically, honouring the shared democratic experience of the public gallery space. (Text from the CCP website)

 

Anunorthodoxflowofimages

#unorthodoxflow

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne with at right, wallpaper of J. W. Lindt’s Body of Joe Byrne, member of the Kelly Gang, hung up for photography, Benalla 1880, to open the exhibition

 

J W Lindt. 'Body of Joe Byrne, member of the Kelly Gang, hung up for photography Benalla' 1880

 

(1) J W Lindt (1845-1926)
Body of Joe Byrne, member of the Kelly Gang, hung up for photography, Benalla
1880
Courtesy State Library Victoria, Pictures Collection

 

 

J W Lindt: Thought to be the first press photograph in Australia, this shows Joe Byrne, a member of the Kelly Gang, strung up for documentation days after his death, which followed the siege at Glenrowan. Byrne is displayed for an unknown photographer and the painter Julian Ashton who is standing to the left with possibly a sketchbook under his arm. Lindt’s photograph captures not only the spectacle of Byrne’s body but the contingent of documentarians who arrived from Melbourne to record and widely disseminate the event for public edification.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (3) J. E. Bray’s Kelly Gang Armour 1880 cabinet card © Collection of Joyce Evans

 

J. E. Bray: “As objects of contemplation, images of the atrocious can answer to several different needs. To steel oneself against weakness. To make oneself more numb. To acknowledge the existence of the incorrigible.” ~ Susan Sontag, Regarding the Pain of Others (2003)

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (7) J. E. Bray’s Untitled [“McDonnell’s Tavern opposite Railway Station, remains of Dan Kelly and Hart in coffins”] 1880 cabinet card (right) and (8) a photograph by an unknown photographer Hunters of Ned Kelly 1880 (left)

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (13) Tracey Moffatt’s I Made a Camera 2003

 

Moffatt: Returning to J.W. Lindt’s photograph – in particular the hooded central figure photographing Joe Byrne – Tracey Moffatt’s picturing of children role-playing calls to mind the colonial photographer’s anthropological gesture.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (14) Siri Hayes’ In the far reaches of the familiar 2011 (right) and (15) Janina Green’s Self Portrait 1996 (left)

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (15) Janina Green’s Self Portrait 1996

 

Green: Although celebrated for her hand coloured prints, this is in fact made with the second version of Photoshop.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (16) Georgie Mattingley’s Portrait IV (After Arthroplasty) 2016 (right) and (17) Lisa Hilli’s In a Bind 2015 (middle)

 

Mattingley: The photographer’s hood has become a meat-worker’s protective gear, tenderly hand-coloured.

Hilli: ‘The woven material that hoods the artist’s identity is a reference to collected Pacific artefacts, which are usually of a practical nature. Magimagi is a plaited coconut fibre used for reinforcing architectural structures and body adornment within the Pacific. Here it emphasises the artist’s feeling of being bound by derogatory Western and anthropological labels used by museums and the erasure of Pacific bodies and narratives within public displays of Pacific materiality.’  ~ Lisa Hilli 2017, in an email to the curator

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (18) Fiona Pardington’s Saul 1986 (right), (19) Fiona MacDonald’s 12 Artists 1987 (postcard, middle), and (20) Jack Mannix’s Still Life, Footscray 2013 (left)

 

Pardington: A portrait of Joe Makea in his beekeeper’s helmet.

MacDonald: A vintage Victorian Centre for Photography (VCP) postcard, prior to its change of name to CCP.

Mannix: A vanitas is a still life artwork which includes various symbolic objects designed to remind the viewer of their mortality and of the worthlessness of worldly goods and pleasures.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (27) Wolfgang Sievers’ The writer Jean Campbell, in her flat in East Melbourne 1950 (right); (26) André Kertész’s Chez Mondrian, Paris 1926 (middle top); (28) Gisèle Freund’s Vita Sackville-West 1938 (middle bottom); and (29) Anne Zahalka’s Home #3 (mirror) 1998 (left)

 

Sievers: Wolfgang’s inscription on the back of this particular print reads: The writer Jean Campbell in her near-eastern flat with her portrait by Lina Bryans.

Kertész: A studio is site for the artist’s gathering of images.

Freund: Vita Sackville-West’s writing studio was in an Elizabethan tower at Sissinghurst in Kent, overlooking her famous white garden. It remains, exactly as she left it.

Zahalka: The boundary between home and studio is often blurred when an artist has a small child.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (30) Siri Hayes’ Plein air explorers 2008

 

Hayes: An artist’s studio in the landscape.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (31) Robyn Stacey’s Wendy and Brett Whiteley’s Library from the series Dark Wonder 2016

 

Stacey: The landscape brought into the studio by a camera obscura. Robyn Stacey captures the perfect moment of light and clarity, in this instance, also turning the egg-object into an orb of light.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (33) NASA Images’ A lunar disc as seen from the Apollo 15 spacecraft 1971 (top); (34) Steve Carr’s Smoke Bubble No. 30 2010 (right); and (35) National Geographic Vol. 174, No.6, December 1988 (left)

 

Carr: Smoke filled soap orb, reminiscent of a planet.

National Geographic: The subtitle to this special 1988 issue of National Geographic, which has a holographic front and back cover is: “As We Begin Our Second Century, the Geographic Asks: Can Man Save this Fragile Earth?”

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (39) Jesse Marlow’s Santa 2002

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (44) Susan Fereday’s Köln 2016

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (49) W. H. Moffitt’s Beach Scene, Collard #3 c. 1944

 

W. H. Moffitt: The bromoil process was invented in 1907 by Englishman C. Wellbourne Piper. A bromoil print is simply a black and white photograph printed on a suitable photographic paper from which the silver image is removed and lithography inks applied.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (51) Sarah Brown’s Quietly 2017 (right); (52) Robert Billington’s Narrabeen Baths 1994 (middle bottom); and (53) Trent Parke’s Untitled #92 1999-2000 (middle top)

 

Brown: The salted paper technique was created in the mid-1830s by Henry Fox Talbot. He made what he called “sensitive paper for “photogenic drawing” by wetting a sheet of writing paper with a weak solution of ordinary table salt, blotting and drying it, then brushing one side with a strong solution of silver nitrate.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (55) Charles Bayliss’ Ngarrindjeri people, Chowilla Station, Lower Murray River, South Australia 1886 (right) and (56) Anne Noble’s Antarctic diorama, Polaria Centre, Tromso, Norway 2005 (left)

 

Bayliss: Water looks like glass in this colonial photograph where the subjects perform for Bayliss. “Bayliss here re-creates a ‘native fishing scene’ tableau, reminiscent of a museum diorama.”

Noble: Water is glass in this diorama; photographed as if it were from nature.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (55) Charles Bayliss’ Ngarrindjeri people, Chowilla Station, Lower Murray River, South Australia 1886

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (58) Andrew Hazewinkel’s Staring together at the stars, #1 2013 (right); (59) Ian Dodd’s Wet Hair 1974 (second right); (60) Juno Gemes’ One with the Land 1978 (middle); (61) David Rosetzky’s Milo 2017 (upper left); and (62) Brook Andrew’s I Split Your Gaze 1997 (left)

 

Gemes: The subtitle to this photograph in some collections reads: ‘waiting for the sacred fish the Dunya and Wanra to come in, Mornington Island, Queensland’.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (64) William Yang’s Alter Ego 2000 (centre right)

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (65) Sue Ford’s Lyn and Carol 1961 (right)

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (67) a stereoscope by an unknown photographer titled Affection c. 1882

 

Kilburn Brothers, Littleton, N. H. (publisher): In the stereoscope, the double image combines to create the illusion of three-dimensional space. Compelled to make meaning from disrupted information, the brain merges two slightly different images into a seemingly single three-dimensional image.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (68) a photograph by an unknown photographer (Courret Hermanos Fotografía – Eugenio Courret 1841 – c. 1900) titled Lima Tapadas c. 1887

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (76) Harold Cazneaux’s Spirit of Endurance 1937

 

Cazneaux: In the following two works, a critical change of title by the artist reveals what, alone, the eye cannot see. This photograph had already achieved iconic status as a symbol of the noble Australian landscape when, following the loss of his son who died aged 21 at Tobruk in 1941, Cazneaux flipped the negative and presented the image under the new title Spirit of Endurance. The tree is now classified on the National Trust of South Australia’s Register of Significant Trees.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (77) Jeff Carter’s The Eunuch, Marree, South Australia 1964 (NB. note reflections in the image from the gallery)

 

Carter: Changing a title can dramatically alter the meaning of an image. This work has had several titles:

Morning Break 1964;
Dreaming in the sun at Marree, outside the towns single store 1966;
At times there is not too much to do except just sit in the sun… 1968;
‘Pompey’ a well known resident of Marree;
and finally The Eunuch, Marree, South Australia 2000

Under early titles, the photograph appeared to be a simple portrait of “Pompey”, a local Aboriginal man in Marree who worked at the town’s bakery. The final title draws viewers’ attention away from what might have seemed to be the man’s relaxed approach to life, and towards the violence enacted on Aboriginal communities in castrating young boys.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (78) Lisa Bellear’s The Black GST Protest at Camp Sovereignty 2006

 

Bellear (Minjungbul/Goernpil/Noonuccal/Kanak): Is the demonstrator leading the policeman? Is the policeman arresting this demonstrator? Or is this tenderness between two men? This is a photograph of a photograph. As was her practice, Lisa Bellear always gave the original to her subject.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (82) photographer undisclosed ASIO surveillance images 1949-1980

 

ASIO: The Australian Security and Intelligence Organisation (ASIO) employed photographers to spy on Australian citizens. The photographs which were annotated to indicate persons of interest, were retained by ASIO along with other forms of material gathered through espionage.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (83) O. Philip Korczynski’s Unwanted Witness and Run 1980s

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (85) pages from Luc Delahaye’s book L’Autre 1999

 

Delahaye: In the footsteps of Walker Evans’ classic candid series, Rapid Transit 1956.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (88) Tracey Lamb’s Surveillance Image #3 2015

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (89) Walker Evans’ Family Snapshots on Farmhouse Wall 1936 (right) with (91) Photographer unknown Lee family portrait before the funeral c. 1920 (top left); and (92) Photographer unknown Lee family portrait with portrait of dead father added c. 1920 (bottom left)

 

Evans: During his celebrated work for the Farm Security Administration documenting the effects of the Great Depression, Walker Evans secretly removed these photographs from the home of his subject, and seemingly hurriedly pinned them to the exterior wall of the house, and photographed them without permission.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (90) photographer unknown In memoriam album 1991

 

Memoriam: Double exposure enables the impossible in this personal memorial album.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (91) Photographer unknown Lee family portrait before the funeral c. 1920 (top) and (92) photographer unknown Lee family portrait with portrait of dead father added c. 1920 (bottom)

 

Funeral: When the family photographer arrived at the Lee home – the day of grandfather’s funeral – he asked them to pose with smiles so that, in the absence of a family portrait, he could create a composite portrait, which was given to the family some days later.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (93) Kate Gollings’ Lee family portrait 1986 (right) and (94) David Moore’s Migrants arriving in Sydney 1966 (left)

 

Gollings: A studio portrait of the Lee family, some 60 years following the previous two photographs. The young man is now grandfather. Still the photographer continues to craft the family, in this case through positioning the subjects, in ways which may or may not reflect actual family relationships.

Moore: In 2015, Judy Annear said of this famous photograph: “It’s great to consider that it’s not actually what it seems.” Years after the photo was published, it emerged that four of the passengers in it were not migrants but Sydneysiders returning home from holiday.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (98) Hippolyte Bayard’s Self-portrait as a Drowned Man 1840 (right); (99) J. W. Lindt’s Untitled (Seated Aboriginal man holding Boomerangs) c. 1874 (top middle); (100) J. W. Lindt’s Untitled (Aboriginal man with Snake) c. 1875 (bottom middle); and (101) Charles Woolley’s Truccanini, last female Aborigine of Tasmania with shell necklace 1886 (left)

 

Bayard: With its telling title, this staged image is the first instance of intentional photographic fakery, made in protest by Bayard because he felt aggrieved that his role in the invention of photography was unrecognised.

Lindt: For white colonialists, photography became “a vehicle for recording new and exotic lands and informing the ‘unexotic’ Europe of the strange landscape, flora, fauna, and people. In the case of the postcard print fashion from around 1900; to entice tourists to cruise to [exotic] places … Ultimately and blatantly however, photography became another tool of colonialism, to label, control, dehumanise and disempower their subjects who could only reply in defiant gaze at the lens controlled by someone else.” ~ Djon Mundine from Fiona Foley: River of Corn, exh. cat. University of South Florida Contemporary Art Museum, Tampa, USA, 2001

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (101) Charles Woolley’s Truccanini, last female Aborigine of Tasmania with shell necklace 1886 (right); (102) Christian Thompson’s (Bidjara) Untitled (self portrait) Image No 1 from Emotional Striptease 2003 (middle); (103) Charles Kerry’s Aboriginal Chief c. 1901-1907 (top left); and (104) Brook Andrew’s Sexy and Dangerous 1996 (bottom left)

 

Thompson: Contemporary Indigenous artists return the colonial photographer’s gaze. “For Indigenous people the camera’s central role has been in transforming but really stereotyping our cultures.” In more recent times, “Indigenous people have moved behind the camera, firstly replacing the documenter, then creatively reinterpreting their photographic history.” ~ Djon Mundine from Fiona Foley: River of Corn, exh. cat. University of South Florida Contemporary Art Museum, Tampa, USA, 2001

Kerry: No name or details are recorded of this sitter from Barron River, QLD. He was a member of the touring Wild West Aboriginal troupe, which staged corroborees, weapon skills and tableaux of notorious encounters between armed Native Police and unarmed local communities.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (105) Fiona Foley’s (Badtjala) Wild Times Call 2 2001 (right); (106) Murray Cammick’s Bob Marley p owhiri, White Heron Hotel, April 1979 1979 (second right); and (107) Kirsten Lyttle’s (Waikato, Tainui A Whiro, Ngāti Tahinga) Twilled Work 2013 (middle left)

 

Foley: Referencing Hollywood’s representation of the Wild West, Fiona Foley stands with Seminole Indians.

Lyttle: This is woven using the Maori raranga (plaiting) technique for making kete whakario (decorated baskets). According to Mick Pendergrast, the pattern is not named, but attributed to Te Hikapuhi, (Ngati Pikiao), late 19th Century. ~ Pendergrast, M (1984), Raranga Whakairo, Coromandel Press, NZ, pattern 19.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (107) Kirsten Lyttle’s (Waikato, Tainui A Whiro, Ngāti Tahinga) Twilled Work 2013 (right) and (108) Michael Riley’s (Wiradjuri/Kamilaroi) Maria 1985 (left)

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (109) Maree Clarke’s (Mutti Mutti, Yorta Yorta, BoonWurrung) Nan’s House (detail of installation) 2017 (right); (110) photographer unknown Writer, Andre Malraux poses in his house of the Boulogne near Paris working at his book Le Musee Imaginaire or Imaginary Museum 2nd volume 1953 (middle top); and (111) Clare Rae’s Law Library 2016 (bottom left)

 

Clarke: This work is currently on display at the National Gallery of Australia, Canberra, as a hologram of the artist’s grandmother’s house, as remembered by the artist.

Unknown: ‘The imaginary museum’ or ‘the museum without walls’ (as it is often translated) is a collection reflecting Andre Malraux’s eurocentric conception of art history.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (117) Bill Culbert’s Small glass pouring Light, France 1997 (right) and (119) David Moore’s Sisters of Charity 1956 (left)

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (119) David Moore’s Sisters of Charity 1956 (bottom right); (118) Olive Cotton’s Teacup Ballet c. 1935 (top right); and (120) Bernd and Hilla Becher’s Kies-und Schotterwerke (Gravel Plants) 2006 (left)

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (120) Bernd and Hilla Becher’s Kies-und Schotterwerke (Gravel Plants) 2006

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (120) Bernd and Hilla Becher’s Kies-und Schotterwerke (Gravel Plants) 2006 (right) and (121) Robert Rooney’s Garments: 3 December – 19 March 1973 1973 (left)

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (122) Helen Grace’s Time and motion study #1 ‘Women seem to adapt to repetitive-type tasks…’ 1980, printed 2011 (detail)

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (122) Helen Grace’s Time and motion study #1 ‘Women seem to adapt to repetitive-type tasks…’ 1980, printed 2011 (detail, right) and (123) Max Dupain’s Backyard Forster 1940 (left)

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (123) Max Dupain’s Backyard Forster 1940 (right) and (124) Marie Shannon’s Pussy 2016 (left)

 

Shannon: Also a trace of the cat.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (127) Mac Lawrence’s Five raised fingers 2016

 

Lawrence: Watery trace.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (136) Simon Terrill’s Arsenal vs Fenerbahce 2009

 

Terrill: The long exposure leaves only a trace of the football crowd, that has disappeared for the day.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (137) Christian Boltanski’s L’ecole de la Große Hamburger Straße, Berlin 1938 1993

 

Boltanski: Photography records the passing or death of a particular moment. This is a photograph of a Jewish School in Berlin in 1938.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (138) Joyce Evans’ Budapest Festival 1949 (top) and (139) photographer unknown Nina Dumbadze, Honoured Master of Sports of the USSR, world champion in discus throwing from the series Women of the Soviet Georgia c. 1953 (bottom)

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (139) photographer unknown Nina Dumbadze, Honoured Master of Sports of the USSR, world champion in discus throwing from the series Women of the Soviet Georgia c. 1953

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (141) Harry Burrell’s Thylacine or Tasmanian Tiger, cover image for The Australian Magazine 1958, September, Vol 12, No 11 1958

 

Burrell: Published in this museum journal, there is now some contention as to whether Burrell’s series of photographs of the extinct thylacine were made from life, or staged using a taxidermied animal.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (148) Francis Alÿs’ Fitzroy Square 2004 (video stills)

 

 

(148) Francis Alÿs
Railings (Fitzroy square)
London, 2004
4.03 min.
Francis Alÿs website

 

We posit Fitzroy Square at this point; in honour of your journey through this unorthodox flow of images.

 

 

Centre for Contemporary Photography
404 George St, Fitzroy
Victoria 3065, Australia
T: + 61 3 9417 1549

Opening Hours:
Wednesday – Saturday, 11am – 6pm
Sunday, 1pm – 5pm

Centre for Contemporary Photography website

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09
Jun
17

Exhibition: ‘Wolfgang Tillmans: 2017’ at Tate Modern, London

Exhibition dates: 15th February – 11th June 2017

 

Wolfgang Tillmans (German, born 1968) 'The State We're In, A' 2015

 

Wolfgang Tillmans (German, born 1968)
The State We’re In, A (Room 14)
2015
Ink-jet print
Dimensions variable
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'The Cock (Kiss)' 2002

 

Wolfgang Tillmans (German, born 1968)
The Cock (Kiss)
2002
Ink-jet print
Dimensions variable
© Wolfgang Tillmans

 

 

If one thing matters, everything matters
(A love letter to Wolfgang Tillmans)

I believe that Wolfgang Tillmans is the number one photo-media artist working today. I know it’s a big call, but that’s how I see it.

His whole body of work is akin to a working archive – of memories, places, contexts, identities, landscapes (both physical and imagined) and people. He experiments, engages, and imagines all different possibilities in and through art. As Adrian Searle observes, “Tillmans’ work is all a kind of evidence – a sifting through material to find meaning.” And that meaning varies depending on the point of view one comes from, or adopts, in relation to the art. The viewer is allowed to make their own mind up, to dis/assemble or deepen relationships between things as they would like, or require, or not as the case may be. Tillmans is not didactic, but guides the viewer on that journey through intersections and nodal points of existence. The nexus of life.

Much as I admire the writing of art critic John McDonald, I disagree with his assessment of the work of Wolfgang Tillmans at Tate Modern (see quotation below). Personally, I find that there are many memorable photographs in this exhibition … as valuable and as valid a way of seeing the world in a contemporary sense, as Eggleston’s photographs are in a historic visualisation. I can recall Tillmans’ images just an intimately as I can Eggleston’s. But they are of a different nature, and this is where McDonald’s analysis is like comparing apples and pears. Eggleston’s classical modernist photographs depend on the centrality of composition where his images are perfectly self-contained, whether he is photographing a woman in a blue dress sitting on a kerb or an all green bathroom. They are of their time. Times have changed, and how we view the world has changed.

For Tillmans no subject matter is trivial (If One Thing Matters, Everything Matters – the title of a 2003 exhibition at Tate Britain), and how he approaches the subject is totally different from Eggleston. As he says of his work, his images are “calls to attentiveness.” What does he mean by this? Influenced by the work of the philosopher Jiddu Krishnamurti whom I have also studied, a call to attentiveness is a way of being open and responsive to the world around you, to its infinite inflections, and to not walk around as if in a dream, letting the world pass you by. To be open and receptive to the energies and connections of the world spirit by seeing clearly.

Krishnamurti insightfully observed that we do not need to make images out of every word, out of every vision and desire. We must be attentive to the clarity of not making images – of desire, of prejudice, of flattery – and then we might become aware of the world that surrounds us, just for what it is and nothing more.1 Then there would be less need for the absenting of self into the technological ether or the day dreams of foreign lands or the desire for a better life. But being aware is not enough, we must be attentive of that awareness and not make images just because we can or must. This is a very contemporary way of looking at the world. As Krishnamurti says,

“Now with that same attention I’m going to see that when you flatter me, or insult me, there is no image, because I’m tremendously attentive … I listen because the mind wants to find out if it is creating an image out of every word, out of every contact. I’m tremendously awake, therefore I find in myself a person who is inattentive, asleep, dull, who makes images and gets hurt – not an intelligent man. Have you understood it at least verbally? Now apply it. Then you are sensitive to every occasion, it brings its own right action. And if anybody says something to you, you are tremendously attentive, not to any prejudices, but you are attentive to your conditioning. Therefore you have established a relationship with him, which is entirely different from his relationship with you. Because if he is prejudiced, you are not; if he is unaware, you are aware. Therefore you will never create an image about him. You see the difference?”2

.
Then you are sensitive to every occasion, it brings its own right action. You are attentive and tremendously awake.

This is the essence of Tillmans work. He is tremendously attentive to the images he is making (“a representation of an unprivileged gaze or view” as he puts it) and to the associations that are possible between images, that we make as human beings. He is open and receptive to his conditioning and offers that gift to us through his art, if we recognise it and accept it for what it is. If you really look and understand what the artist is doing, these images are music, poetry and beauty – are time, place, belonging, voyeurism, affection, sex. They are archaic and shapeless and fluid and joy and magic and love…

They are the air between everything.

Dr Marcus Bunyan

 

  1. Krishnamurti. Beginnings of Learning. London: Penguin, 1975, p. 131
  2. Ibid., pp. 130-131

.
Many thankx to the Tate Modern for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image.

 

 

“To look at Eggleston alongside those he has inspire [Wolfgang Tillmans and Juergen Teller for example] is to see a surprisingly old-fashioned artist. No matter how instinctive his approach or how trivial his subjects, Eggleston believes in the centrality of composition. His images are perfectly self-contained. They don’t depend on a splashy, messy installation or a political stance. …

In the current survey of Tillmans’s work at Tate Modern photos of every description are plastered across the walls in the most anarchic manner, with hardly a memorable composition. Yet this shapeless stuff is no longer reviled by the critics – it’s the height of fashion.”

.
John McDonald “William Eggleston: Portraits”

 

“For a long time in Britain, there was a deep suspicion of my work. People saw me as a commercial artist trying to get into the art world, and the work was dismissed as shallow or somehow lightweight. There are still many misconceptions about what I do – that my images are random and everyday, when they are actually neither. They are, in fact, the opposite. They are calls to attentiveness.”

.
Wolfgang Tillmans

 

 

Installation view of room 4 (detail) from the exhibition 'Wolfgang Tillmans: 2017', which includes the latest iteration of the 'truth study centre' project

 

Installation view of room 4 (detail), which includes the latest iteration of the truth study centre project, with
Image © Tate Modern showing Wolfgang Tillmans: 2017 at Tate Modern 15 February – 11 June

 

 

The Tate show includes a room full of his “truth study centres”, which comprise often contradictory newspaper cuttings as well as photographs and pamphlets that aim to show how news is manipulated according to the political loyalties of those who produce it. As activists go, though, Tillmans is defiantly centre ground. “This is about strengthening the centre. I can understand left-wing politics from a passionate, idealistic point of view, but I do not think it is the solution to where we are now. The solution is good governance, moderation, agreement. Post-Brexit, post-Trump, the voices of reason need to be heard more than ever.”

Wolfgang Tillmans quoted on The Guardian website

 

Installation view of room 13 (detail) from the exhibition 'Wolfgang Tillmans: 2017' at Tate Modern

 

Installation view of room 13 (detail), which focuses in on Tillmans’ portraiture with Eleanor / Lutz, a (2016) at right
Image © Tate Modern showing Wolfgang Tillmans: 2017 at Tate Modern 15 February – 11 June

 

Wolfgang Tillmans. 'Eleanor / Lutz, a' 2016

 

Wolfgang Tillmans (German, born 1968)
Eleanor / Lutz, a
2016
Ink-jet print
Dimensions variable
© Wolfgang Tillmans

 

 

Portrait of Wolfgang Tillmans, Tate Modern Boiler House, Level 3, 14/02/2017 in front of his works, Transient 2, 2015 and Tag/Nacht II, 2010

 

Wolfgang Tillmans (German, born 1968) 'Tag/Nacht II' 2010

 

Wolfgang Tillmans (German, born 1968)
Tag/Nacht II
2010
Ink-jet print
Dimensions variable
© Wolfgang Tillmans

 

 

The State We’re In, A, is part of Neue Welt [New World], the loose family of pictures I began at the end of the last decade. These had two points of departure: “What does the outside world look like to me 20 years after I began photographing?” and “What does it look like in particular with a new photographic medium?”

.
Wolfgang Tillmans

 

“This exhibition is not about politics, it’s about poetry, it’s about installation art. It’s about thinking about the world. I’ve never felt that l can be separated, because the political is only the accumulation of many people’s private lives, which constitute the body politics…”

“My work has always been motivated by talking about society, by talking about how we live together, by how we feel in our bodies. Sexuality, like beauty, is never un-political, because they relate to what’s accepted in society. Two men kissing, is that acceptable? These are all questions to do with beauty.”

.
Wolfgang Tillmans quoted on the Art News website

 

“There is music. There is dancing. Bewilderment is part of the pleasure, as we move between images and photographic abstractions. Tillmans’ asks us to make connections of all kinds – formal, thematic, spatial, political. He asks what the limits of photography are. There are questions here about time, place, belonging, voyeurism, affection, sex. After a while it all starts to tumble through me.”

.
Adrian Searle review on the Guardian website

 

 

What are we to make of the world in which we find ourselves today? Contemporary artist Wolfgang Tillmans offers plenty of food for thought.

This is Wolfgang Tillmans’s first ever exhibition at Tate Modern and brings together works in an exciting variety of media – photographs, of course, but also video, digital slide projections, publications, curatorial projects and recorded music – all staged by the artist in characteristically innovative style. Alongside portraiture, landscape and intimate still lifes, Tillmans pushes the boundaries of the photographic form in abstract artworks that range from the sculptural to the immersive.

The year 2003 is the exhibition’s point of departure, representing for Tillmans the moment the world changed, with the invasion of Iraq and anti-war demonstrations. The social and political form a rich vein throughout the artist’s work. German-born, international in outlook and exhibited around the world, Tillmans spent many years in the UK and is currently based in Berlin. In 2000, he was the first photographer and first non-British artist to receive the Turner Prize.

 

Room one

Static interference typically appears on a television screen when an analogue signal is switched off. This can occur when a station’s official programme finishes for the night or if a broadcast is censored. In Tillmans’s Sendeschluss/End of Broadcast 2014 it represents the coexistence of two different generations of technology. The chaotic analogue static was displayed on a digital television, which allowed Tillmans’s high-resolution digital camera to record the pattern as it really appeared, something that would not have been possible with a traditional cathode ray tube television. This work shows Tillmans’s interest in questioning what we believe to be true: the seemingly black-and-white image turns out to be extremely colourful when viewed very close up.

Other works in this room reflect on digital printmaking and photography today. For example, the technical ability to photograph a nightscape from a moving vehicle without blurring, as in these images of Sunset Boulevard, is unprecedented. Itself the subject of many famous art photographs, this iconic roadway appears here littered with large format inkjet prints in the form of advertising billboards. In Double Exposure 2012-13 Tillmans juxtaposes images of two trade fairs – one for digital printers, the other for fruit and vegetables. Encounter 2014 shows a different photo-sensitive process. A pot had been left on top of a planter preventing light from reaching the sprouts underneath and leaving them white, while the surrounding growths that caught the daylight turned green.

 

Wolfgang Tillmans (German, born 1968) 'Sendeschluss / End of Broadcast I' 2014

 

Wolfgang Tillmans (German, born 1968)
Sendeschluss / End of Broadcast I
2014
Pigmented inkjet print
107 1/2 × 161 1/2″ (273.1 × 410.2 cm)
© Wolfgang Tillmans

 

Television white noise that the artist photographed while in Russia. For Tillmans, the image signifies resistance on his part to making clear images, but without the text its ostensibly radical nature would not be known.

 

Installation view of room 1 (detail), with 'Sendeschluss / End of Broadcast I' 2014, at left

 

Installation view of room 1 (detail), with Sendeschluss / End of Broadcast I, 2014, at left

 

Wolfgang Tillmans (German, born 1968) 'Double Exposure' 2012-13

 

Wolfgang Tillmans (German, born 1968)
Double Exposure
2012-13
Pigmented inkjet print
© Wolfgang Tillmans

 

 

Room two

Tillmans spends much of his time in the studio, yet he only occasionally uses it as a set for taking portraits. Instead, it is where prints are made and exhibitions are planned in architectural models, and where he collects materials and generates ideas. Over the years this environment has become a subject for his photographs, presenting a radically different view of the artist’s studio to the more traditional depictions seen in paintings over the centuries.

These works made around the studio demonstrate Tillmans’s concern with the physical process of making photographs, from chemical darkroom processes and their potential to create abstract pictures without the camera, to digital technology that is vital to the production of contemporary images, and the paper onto which they are printed. Tillmans’s understanding of the material qualities of paper is fundamental to his work, and photographs can take on a sculptural quality in series such as Lighter, 2005-ongoing and paper drop, 2001-ongoing, seen later in the exhibition.

In CLC 800, dismantled 2011 Tillmans uses photography to record a temporary installation, the result of unfastening every single screw in his defunct colour photocopier. He prefers to photograph his three-dimensional staged scenarios rather than actually displaying them as sculptures. He has often described the core of his work as ‘translating the three dimensional world into two dimensional pictures’.

 

Wolfgang Tillmans. 'paper drop' 2014

 

Wolfgang Tillmans (German, born 1968)
paper drop Prinzessinnenstrasse
2014
Pigmented inkjet print
© Wolfgang Tillmans

 

 

Perhaps as a continuation of his more textural photographs – depicting fabrics and still lifes so close up they become difficult to read – experiments in abstraction followed suit, many of them featuring what is perhaps his favourite motif: the fold, which, as the exhibition’s curator Chris Dercon kindly reminded us, was considered by the philosopher Leibniz as one of the most accurate ways to depict the complexities of the human soul.

Text from the Art News website

 

Wolfgang Tillmans (German, born 1968) 'CLC 800, dismantled' 2011

 

Wolfgang Tillmans (German, born 1968)
CLC 800, dismantled
2011
Pigmented inkjet print
© Wolfgang Tillmans

 

 

Room three

Having spent the preceding decade working largely on conceptual and abstract photographs, in 2009 Tillmans embarked on the four-year project Neue Welt. Looking at the world with fresh eyes, he aimed to depict how it has changed since he first took up the camera in 1988. He travelled to five continents to find places unknown to him and visited familiar places as if experiencing them for the first time. Interested in the surface of things as they appeared in those lucid first days of being in a new environment, he immersed himself in each location for just a brief period. Now using a high resolution digital camera, Tillmans captured images in a depth of detail that is immediately compelling, but also suggests the excess of information that is often described as a condition of contemporary life.

Communal spaces, people, animals, and still-life studies of nature or food are just some of the subjects that feature in Neue Welt. Seen together, these images offer a deliberately fragmented view. Rather than making an overarching statement about the changing character of modern life, Tillmans sought only to record, and to create a more empathetic understanding of the world. Over the course of the project, however, some shrewd observations about contemporary worldviews did emerge. One related to the changing shape of car headlights, which he noted are now very angular in shape, giving them a predatory appearance that might reflect a more competitive climate.

 

Wolfgang Tillmans (German, born 1968) 'astro crusto, a' 2012

 

Wolfgang Tillmans (German, born 1968)
astro crusto, a
2012
Pigmented inkjet print
© Wolfgang Tillmans

 

Installation shot of room 3 from the exhibition 'Wolfgang Tillmans: 2017' at Tate Modern

 

Installation view of room 3 (detail), with Headlight (f) 2012, at left; and Munuwata sky, 2011 at right
Image © Tate Modern showing Wolfgang Tillmans: 2017 at Tate Modern 15 February – 11 June

 

Wolfgang Tillmans (German, born 1968) 'Headlight (f)' 2012

 

Wolfgang Tillmans (German, born 1968)
Headlight (f)
2012
Pigmented inkjet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Munuwata sky' 2011

 

Wolfgang Tillmans (German, born 1968)
Munuwata sky
2011
Pigmented inkjet print
© Wolfgang Tillmans

 

 

Room four

In the mid-2000s, prompted by global events, such as the claim that Iraq had weapons of mass destruction, Tillmans became interested in the assertions made by individuals, groups or organisations around the world that their viewpoint represented the absolute truth about a number of political and ethical questions.

He began his wryly-named truth study center project in 2005. Photographs, clippings from newspapers and magazines, objects, drawings, and copies of his own images are laid out in deliberate – and often provocative – juxtapositions. These arrangements reflect the presentation of information by news outlets in print and online. They also draw attention to gaps in knowledge, or areas where there is room for doubt. For each installation, the material presented in the truth study centers is selected according to its topical and geographic context. In 2017, the subject of truth and fake news is at the heart of political discourse across the world. This iteration of the project focuses in particular on how constructions of truth work on a psychological and physiological level.

The Silver 1998-ongoing prints connect to reality in a different way. Made by passing monochromatically exposed photographic paper through a dirty photo-developing machine, they collect particles and residue from the rollers and liquids. This makes them, in effect, a record of the chemical and mechanical process from which they originate.

 

Wolfgang Tillmans (German, born 1968) 'truth study center' 2017

 

Wolfgang Tillmans (German, born 1968)
truth study center
2017
Pigmented inkjet print
© Wolfgang Tillmans

 

 

Room five

Tillmans has described how, as a photographer, he feels increasingly less obligated to reflect solely on the outside world through documentary images. In his abstract works, he looks inwards: exploring the rudiments of photographic processes and their potential to be used as a form of self-expression.

Like the Silver works in the previous room, the abstract Greifbar 2014-15 images are made without a camera. Working in the darkroom, Tillmans traces light directly onto photographic paper. The vast swathes of colour are a record of the physical gestures involved in their construction, but also suggest aspects of the body such as hair, or pigmentation of the skin. This reference to the figurative is reflected in the title, which translates as ‘tangible’.

Tillmans has observed that even though these works are made by the artist’s hand, they look as though they could be ‘scientific’ evidence of natural processes. For him, this interpretation is important, because it disassociates the works from the traditional gestural technique of painting. That the image is read as a photographic record, and not the result of the artist’s brushstroke, is essential to its conceptual meaning.

 

Wolfgang Tillmans (German, born 1968) 'Greifbar 29' 2014

 

Wolfgang Tillmans (German, born 1968)
Greifbar 29
2014
Ink-jet print
© Wolfgang Tillmans

 

 

Room six

Tillmans is interested in social life in its broadest sense, encompassing our participation in society. His photographs of individuals and groups are underpinned by his conviction that we are all vulnerable, and that our well-being depends upon knowing that we are not alone in the world.

Tillmans has observed that although cultural attitudes towards race, gender and sexuality have become more open over the three decades since he began his artistic practice, there is also greater policing of nightlife, and urban social spaces are closing down. His photographs taken in clubs, for example, testify to the importance of places where people can go today to feel safe, included, and free.

This concern with freedom also extends to the ways in which people organise themselves to make their voices heard. Images of political marches and protests draw attention to the cause for which they are fighting. They also form part of a wider study of what Tillmans describes as the recent ‘re-emergence’ of activism.

 

Wolfgang Tillmans (German, born 1968) 'The Blue Oyster Bar, Saint Petersburg' 2014

 

Wolfgang Tillmans (German, born 1968)
The Blue Oyster Bar, Saint Petersburg
2014
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'NICE HERE but ever been to KRYGYZSTAN free Gender Expression WORLDWIDE' 2006

 

Wolfgang Tillmans (German, born 1968)
NICE HERE but ever been to KRYGYZSTAN free Gender Expression WORLDWIDE
2006
Ink-jet print
© Wolfgang Tillmans

 

 

Room seven

Playback Room is a space designed for listening to recorded music. The project first ran at Between Bridges, the non-profit exhibition space Tillmans opened in London in 2006 and has since transferred to Berlin. In three exhibition (‘Colourbox’, ‘American Producers’ ‘Bring Your Own’) that took place between September 2014 and February 2015, he invited visitors to come and listen to music at almost the same quality at which it was originally mastered.

Whereas live music can be enjoyed in concert halls and stadiums, and visual art can be enjoyed in museums, no comparable space exists for appreciating studio music. Musicians and producers spend months recording tracks at optimal quality, yet we often listen to the results through audio equipment and personal devices that are not fit for perfect sound reproduction. Playback Room is a response to this. An example of Tillmans’s curatorial practice, he has chosen to include it here to encourage others to think about how recorded music can be given prominence within the museum setting.

The three tracks you hear in this room are by Colourbox, an English band who were active between 1982 and 1987. Tillmans, a long-term fan of the band, chose their music for Playback Room because they never performed live, thus emphasising the importance of the studio recordings.

 

Room eight

Tillmans began experimenting with abstraction while in high school, using the powerful enlargement function of an early digital photocopier to copy and degrade his own photographs as well as those cut from newspapers. He describes the coexistence of chance and control involved in this process as an essential ingredient in most of his work.

Ever since then, he has found ways to resist the idea that the photograph is solely a direct record of reality. In 2011, this area of his practice was compiled for the first time in his book Abstract Pictures. For a special edition of 176 copies Tillmans manipulated the printing press, for example by running it without plates or pouring ink into the wrong compartments, to create random effects and overprinted pages.

Some of his abstract photographs are made with a camera and others without, through the manipulation of chemicals, light, or the paper itself. Importantly, however, Tillmans does not distinguish between the abstract and the representational. He is more interested in what they have in common. The relationship between photography, sculpture and the body, for example, is expressed in abstract photographs made by crumpling a sheet of photographic paper, but also in close-ups of draped and wrinkled clothing such as Faltenwurf (Pines) a, 2016 in Room 9.

 

Wolfgang Tillmans (German, born 1968) 'Concorde L433-11' 1997

 

Wolfgang Tillmans (German, born 1968)
Concorde L433-11
1997
Ink-jet print
Tate
© Wolfgang Tillmans, courtesy Maureen Paley, London

 

 

Room nine

Artist books, exhibition catalogues, newspaper supplements and magazine spreads, posters and leaflets are an integral part of Tillmans’s output. These various formats and the ways in which they are distributed or made visible in the public space allow him to present work and engage audiences in a completely different manner to exhibitions. For him the printed page is as valid a venue for artistic creation as the walls of a museum. Many such projects are vital platforms on which he can speak out about a political topic, or express his continued interest in subjects such as musicians, or portraiture in general.

Recently, the print layout has enabled Tillmans to share a more personal aspect of his visual archive. Originally designed as a sixty-six page spread for the Winter 2015/Spring 2016 edition of Arena Homme +, this grid of images looks back at Fragile, the name he gave as a teenager to his creative alter-ego. Spanning 1983 to 1989 – the year before he moved to England to study – the photographs and illustrations provide a sensitive insight into a formative period in Tillmans’s life, predating the time when he chose photography as his main medium of expression.

The layout is also an example of the intricate collaging technique that he has employed in printed matter since 2011, deliberately obscuring some images by overlapping others on top of them

 

Wolfgang Tillmans (German, born 1968) 'Faltenwurf (Pines), a' 2016

 

Wolfgang Tillmans (German, born 1968)
Faltenwurf (Pines), a
2016
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Tukan' 2010

 

Wolfgang Tillmans (German, born 1968)
Tukan
2010
Ink-jet print
© Wolfgang Tillmans

 

 

Room ten

An acute awareness of fragility endures across Tillmans’s practice in all of its different forms. Often this is expressed in his attentiveness to textures and surfaces. Collum 2011 is taken from Central Nervous System 2008-13, a group of portraits featuring only one subject, where the focus on intimate details, such as the nape of the neck or the soft skin of the outer ear, both emphasises and celebrates the frailty of the human body.

Weed 2014, a four-metre tall photograph taken in the garden of the artist’s London home, invites us to consider the beauty and complexity of a plant usually seen as a nuisance. The dead leaf of a nearby fig tree appears as both a sculptural form and a memento mori. Dusty Vehicle 2012, photographed in Jeddah, Saudi Arabia, is highly specific in its depiction of texture, yet the reasons leading to this roadside arrangement remain a mystery.

The focus on a very few works in this room serves as an example of Tillmans’s varied approaches to exhibiting his prints. Though best known for installations comprising many pictures, he always places emphasis on the strength of the individual image. By pinning and taping work to the wall, as well as using frames, Tillmans draws attention to the edges of the print, encouraging the viewer to interact with the photograph as an object, rather than a conduit for an image.

 

Wolfgang Tillmans (German, born 1968) 'Dusty Vehicle' 2012

 

Wolfgang Tillmans (German, born 1968)
Dusty Vehicle
2012
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Collum' 2011

 

Wolfgang Tillmans (German, born 1968)
Collum
2011
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Weed' 2014

 

Wolfgang Tillmans (German, born 1968)
Weed
2014
Photograph, inkjet print on paper
© Wolfgang Tillmans

 

 

Room eleven

In this room Tillmans highlights the coexistence of the personal, private, public, and political spheres in our lives. The simultaneity of a life lived as a sexual being as well as a political being, or in Tillmans’s case as a conceptual artist as well as a visually curious individual, plays out through the installation.

The entirely white view taken from the inside of a cloud, a word charged with multiple meanings, is presented alongside the close-up and matter-of-fact view of male buttocks and testicles. Like nackt, 2 2014, the small photograph The Air Between 2016 is the result of a lifelong interest in visually describing what it feels like to live in our bodies. Here the attention lies in photographing the air, the empty space between our skin and our clothes.

In still life, Calle Real II 2013, a severed agave chunk is placed on a German newspaper article describing the online depiction of atrocities by Islamic State. The image is as startling in its depiction of the finest green hues as it is in capturing how, simultaneously, we take in world events alongside details of our personal environment.

This room, which Tillmans considers as one work or installation in its entirety, is an example of his innovative use of different photographic prints and formats to reflect upon how we experience vastly different aspects of the world at the same time.

 

Wolfgang Tillmans (German, born 1968) 'The Air Between' 2016

 

Wolfgang Tillmans (German, born 1968)
The Air Between
2016
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Still life, Calle Real II' 2013

 

Wolfgang Tillmans (German, born 1968)
Still life, Calle Real II
2013
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Nackt, 2 (nude, 2)' 2014

 

Wolfgang Tillmans (German, born 1968)
Nackt, 2 (nude, 2)
2014
Ink-jet print
© Wolfgang Tillmans

 

 

Room twelve

Tillmans has always been sensitive to the public side of his role as an artist, acknowledging that putting images out in the public world unavoidably places himself in the picture as well. His participation in activities such as lectures and interviews has been a platform for his voice from the beginning of his career.

Since 2014 he has also allowed performance to become a more prominent strand of his practice. Filmed in a hotel room in Los Angeles and an apartment in Tehran, Instrument 2015 is the first time that Tillmans has put himself in front of the camera for a video piece. Across a split screen, we see two separate occasions on which he has filmed himself dancing. The accompanying soundtrack was created by distorting the sound of his feet hitting the floor. In the absence of any other music, his body becomes an instrument.

On one side of the screen we see his body, on the other only his shadow. Referring to the shadow, New York Times critic Roberta Smith commented that:

“Disconcertingly, this insubstantial body is slightly out of sync with the fleshly one. It is a ghost, a shade, the specter that drives us all. The ease with which we want to believe that the two images are connected, even though they were filmed separately, might also act as a reminder to question what we assume to be true.”

 

Room thirteen

Portraiture has been central to Tillmans’s practice for three decades. For him, it is a collaborative act that he has described as ‘a good levelling instrument’. No matter who the sitter – a stranger or someone close to him, a public figure, an unknown individual, or even the artist himself – the process is characterised by the same dynamics: of vulnerability, exposure, honesty and always, to some extent, self-consciousness. Tillmans sees every portrait as resulting from the expectations and hopes of both sitter and photographer.

The portrait’s ability to highlight the relationship between appearance and identity is a recurring point of interest. In 2016, at HM Prison Reading, Tillmans took a distorted self-portrait in a damaged mirror once used by inmates. The disfigured result is the artist’s expression of the effects on the soul wrought by physical and psychological confinement and also censorship. Whoever looked into the reflective surface would gain a completely inaccurate impression of what they looked like, and how they are perceived by others.

 

Wolfgang Tillmans (German, born 1968) 'Separate System, Reading Prison' 2016

 

Wolfgang Tillmans (German, born 1968)
Separate System, Reading Prison
2016
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans. 'Anders pulling splinter from his foot' 2004

 

Wolfgang Tillmans (German, born 1968)
Anders pulling splinter from his foot
2004
Ink-jet print
© Wolfgang Tillmans

 

 

“The image’s reference to both Dorian Gray and Francis Bacon is evident. This catapults a new association: perhaps Bacon was painting Gray all along. Insistently, fearlessly, longingly.

As with much of Bacon’s oeuvre, and the very particular picture of Dorian Gray, a distorted, forward-facing male figure intimidates the viewer with his unmade face. However, Tillsman’s piece is not a picture, it is a photograph. Here, the artist (as was the case with Bacon/Wilde) is not the one dissembling what’s inside the frame, subjecting it with his brush. No. In Tillsman’s image, a piece of thick glass distorts the artist. Here, the artist is no longer the lens that is able to affect his surroundings. Here, the surroundings distort the artist.

The message Tillsman delivers is clear: things have changed. The world disfigures the subject while the artist is trapped, forced to stand there and watch.”

Text by Ana Maria Caballero on The Drugstore Notebook website

 

Room fourteen

Symbol and allegory are artistic strategies Tillmans is usually keen to avoid. The State We’re In, A 2015 is a departure from this stance: the work’s title is a direct reference to current global political tensions. Depicting the Atlantic Ocean, a vast area that crosses time zones and national frontiers, it records the sea energised by opposing forces, but not yet breaking into waves. Differing energies collide, about to erupt into conflict.

The photographs in this room deal with borders and how they seem clear-cut but are actually fluid. In these images, borders are made tangible in the vapour between clouds, the horizon itself or the folds in the two Lighter photo-objects. The shipwreck left behind by refugees on the Italian island of Lampedusa, depicted in this photograph from 2008, is a reminder that borders, represented elsewhere in more poetic delineations, can mean a question of life and death.

The text and tables sculpture Time Mirrored 3 2017 represents Tillmans’s interest in connecting the time in which we live to a broader historical context. He always understands the ‘Now’ as the history of the future. Events perceived as having happened over a vast gulf of time between us and the past, become tangible when ‘mathematically mirrored’ and connected to more recent periods of time in our living memory.

In contrast to the epic themes of sea and time, the pictures of an apple tree outside the artist’s London front door, a subject he has photographed since 2002, suggest a day-to-day positive outlook.

 

Wolfgang Tillmans (German, born 1968) 'Italian Coastal Guard Flying Rescue Mission off Lampedusa' 2008

 

Wolfgang Tillmans (German, born 1968)
Italian Coastal Guard Flying Rescue Mission off Lampedusa
2008
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Lampedusa' 2008

 

Wolfgang Tillmans (German, born 1968)
Lampedusa
2008
Ink-jet print
© Wolfgang Tillmans

 

Installation view of room 14 (detail)

 

Installation view of room 14 (detail), featuring at left, pictures of an apple tree outside the artist’s London front door and at right, La Palma 2014

 

Wolfgang Tillmans (German, born 1968) 'La Palma' 2014

 

Wolfgang Tillmans (German, born 1968)
La Palma
2014
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Apple tree' 2007

 

Wolfgang Tillmans (German, born 1968)
Apple tree
2007
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Apple tree' Various dates

 

Wolfgang Tillmans (German, born 1968)
Apple tree
Various dates
Ink-jet prints
© Wolfgang Tillmans

 

 

Book for Architects

Book for Architects 2014 is the culmination of Tillmans’s longstanding fascination with architecture. First presented at Rem Koolhaas’s 14th International Architecture Exhibition, Venice, 2013, it explores the contrast between the rationality and utopianism that inform design and the reality of how buildings and streets come to be constructed and inhabited.

In 450 images taken in 37 countries, across 5 continents, Tillmans hones in on the resourceful and ingenious ways in which people adapt their surroundings to fit their needs. These are individual and uncoordinated decisions that were not anticipated in architects’ plans, but still impact the contemporary built environment.

Across the double projection, we see examples of how buildings come to sit within a city plan, the ad-hoc ways in which they are modified, and the supposed ‘weaknesses’ of a space such as the corners where there are service doors, fire escapes, or alarm systems.

 

Wolfgang Tillmans (German, born 1968) 'Shit buildings going up left, right and centre' 2014

 

Wolfgang Tillmans (German, born 1968)
Shit buildings going up left, right and centre
2014
Book for Architects Plate 083 2014
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Untitled' 2012

 

Wolfgang Tillmans (German, born 1968)
Untitled
2012
Book for Architects 2014
© Wolfgang Tillmans

 

 

“He has said of his photographs that “they are a representation of an unprivileged gaze or view … In photography I like to assume exactly the unprivileged position, the position that everybody can take, that chooses to sit at an airplane window or chooses to climb a tower.”

.
Wolfgang Tillmans quoted in Peter Halley, Midori Matsui, Jan Verwoert, Wolfgang Tillmans, London 2002, p. 136

 

 

Wolfgang Tillmans has earned recognition as one of the most exciting and innovative artists working today. Tate Modern presents an exhibition concentrating on his production across different media since 2003. First rising to prominence in the 1990s for his photographs of everyday life and contemporary culture, Tillmans has gone on to work in an ever greater variety of media and has taken an increasingly innovative approach to staging exhibitions. Tate Modern brings this variety to the fore, offering a new focus on his photographs, video, digital slide projections, publications, curatorial projects and recorded music.

Social and political themes form a rich vein throughout Tillmans’s work. The destabilisation of the world has arisen as a recurring concern for the artist since 2003, an important year when he felt the world changed with the invasion of Iraq and anti-war demonstrations. In 2017, at a moment when the subject of truth and fake news is at the heart of political discourse, Tillmans presents a new configuration of his tabletop installation truth study center 2005-ongoing. This ongoing project uses an assembly of printed matter from pamphlets to newspaper cuttings to his own works on paper to highlight Tillmans’s continued interest in word events and how they are communicated in the media.

Wolfgang Tillmans: 2017 will particularly highlight the artist’s deeper engagement with abstraction, beginning with the important work Sendeschluss / End of Broadcast I 2014. Based on images the artist took of an analogue TV losing signal, this work combines two opposing technologies – the digital and the analogue. Other works such as the series Blushes 2000-ongoing, made without a camera by manipulating the effects of light directly on photographic paper, show how the artist’s work with abstraction continues to push the boundaries and definitions of the photographic form.

The exhibition includes portraiture, landscape and still lives. A nightclub scene might record the joy of a safe social space for people to be themselves, while large-scale images of the sea such as La Palma 2014 or The State We’re In, A 2015 document places where borders intersect and margins are ever shifting. At the same time, intimate portraits like Collum 2011 focus on the delicacy, fragility and beauty of the human body. In 2009, Tillmans began using digital photography and was struck by the expanded opportunities the technology offered him. He began to travel more extensively to capture images of the commonplace and the extraordinary, photographing people and places across the world for the series Neue Welt 2009 – 2012.

The importance of Tillmans’s interdisciplinary practice is showcased throughout the exhibition. His Playback Room project, first shown at his Berlin exhibition space Between Bridges, provides a space within the museum for visitors to experience popular music by Colourbox at the best possible quality. The video installation Instrument 2015 shows Tillmans dancing to a soundtrack made by manipulating the sound of his own footsteps, while in the Tanks Studio his slide projection Book for Architects 2014 is being shown for the first time in the UK. Featuring thirty-seven countries and five continents, it reveals the tension between architectural form and function. In March, Tillmans will also take over Tate Modern’s south Tank for ten days with a specially-commissioned installation featuring live music events.

Wolfgang Tillmans: 2017 is co-curated by Chris Dercon and Helen Sainsbury, Head of Programme Realisation, Tate Modern with Emma Lewis, Assistant Curator, Tate Modern. The exhibition is accompanied by a catalogue from Tate Publishing designed by Wolfgang Tillmans and a programme of talks and events in the gallery.

Press release from Tate Modern

 

Images from the exhibition

Installation view of the exhibition 'Wolfgang Tillmans: 2017' at Tate Modern 15 February - 11 June

 

Installation view of the exhibition Wolfgang Tillmans: 2017 with at left, Sunset night drive (2014) and at centre right, Young Man, Jeddah (2012)

 

Wolfgang Tillmans (German, born 1968) 'Sunset night drive' 2014

 

Wolfgang Tillmans (German, born 1968)
Sunset night drive
2014
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Young Man, Jeddah' 2012

 

Wolfgang Tillmans (German, born 1968)
Young Man, Jeddah
2012
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Young Man, Jeddah (B)' 2012

 

Wolfgang Tillmans (German, born 1968)
Young Man, Jeddah (B)
2012
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) '17 Years Supply' 2014

 

Wolfgang Tillmans (German, born 1968)
17 Years Supply
2014
Ink-jet print
© Wolfgang Tillmans

 

 

“Now the camera is staring into a big cardboard box, half-filled with pharmacist’s tubs and packages, 17 years’ supply of antiretroviral and other medications to treat HIV/Aids. I imagine the sound that box would make if you shook it, what that sound might say about a human life, its vulnerability and value.” ~ Adrian Searle

 

Wolfgang Tillmans (German, born 1968) 'Market I' 2012

 

Wolfgang Tillmans (German, born 1968)
Market I
2012
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Studio still life, c' 2014

 

Wolfgang Tillmans (German, born 1968)
Studio still life, c
2014
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Juan Pablo & Karl Chingaza' 2012

 

Wolfgang Tillmans (German, born 1968)
Juan Pablo & Karl Chingaza
2012
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Iguazu' 2010

 

Wolfgang Tillmans (German, born 1968)
Iguazu
2010
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Oscar Niemeyer' 2010

 

Wolfgang Tillmans (German, born 1968)
Oscar Niemeyer
2010
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Tube escalator joint' 2009

 

Wolfgang Tillmans (German, born 1968)
Tube escalator joint
2009
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'JAL' 1997

 

Wolfgang Tillmans (German, born 1968)
JAL
1997
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Port-au-Prince' 2010

 

Wolfgang Tillmans (German, born 1968)
Port-au-Prince
2010
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'London Olympics' 2012

 

Wolfgang Tillmans (German, born 1968)
London Olympics
2012
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Fespa Car' 2012

 

Wolfgang Tillmans (German, born 1968)
Fespa Car
2012
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'The Spectrum Dagger' 2016

 

Wolfgang Tillmans (German, born 1968)
The Spectrum Dagger
2016
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Gaza Wall' 2009

 

Wolfgang Tillmans (German, born 1968)
Gaza Wall
2009
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Simon, Sebastian Street' 2013

 

Wolfgang Tillmans (German, born 1968)
Simon, Sebastian Street
2013
Ink-jet print
© Wolfgang Tillmans

 

Wolfgang Tillmans (German, born 1968) 'Arms and Legs' 2014

 

Wolfgang Tillmans (German, born 1968)
Arms and Legs
2014
Ink-jet print
© Wolfgang Tillmans

 

 

Tate Modern
Bankside
London SE1 9TG
United Kingdom

Opening hours:
Sunday – Thursday 10.00 – 18.00
Friday – Saturday 10.00 – 22.00

Tate Modern website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His work explores the boundaries of identity and place. He writes the Art Blart blog which reviews exhibitions in Melbourne, Australia and posts exhibitions from around the world. He has a Dr of Philosophy from RMIT University, Melbourne and is currently studying a Master of Art Curatorship at The University of Melbourne.

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