Exhibition dates: 6th October 2012 – 20th January 2013

 

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Installation photographs of various rooms of the exhibition Wolfgang Tillmans at Moderna Museet Stockholm, including Venus transit (2004) and Man pissing on chair (1997)
Photographs © Carmen Brunner

 

 

In this bumper posting, a big call: in my opinion, the greatest photography based image maker in the world today.

Tillmans challenges the way we think and feel about photography. As Tom Holert in his excellent catalogue essay The Unforeseen notes, Tillmans problematises and reconfigures narration and visualisation, experimenting with a sensory experiential backdrop against and within which the photographs are produced. Modes of perception and the regimes of emotion are inducted into the aesthetics of production and meaning so that, “the pictures communicate with each other in a way that is not bound to the pattern of a closed narrative or any particular line of argument. Instead they create a form of aesthetic and thematic interaction that Tillmans sees as ‘a language of personal associations and “thought-maps.”” The mobilisation and reversal of value and meaning are central strategies in Tillmans’ praxis.

In this way Tillmans opens up spaces for research, “in which learning and unlearning, resonance and interference, a new affective solidarity and real experimentation might be possible before the onset of all sorts of methods, all forms of governance, all kinds of discipline and doxa [common belief or popular opinion].

This form of experimentation does not lead to benchmark research results; nothing is ever proved or illustrated, regardless of what is in the images or what they may purport to show. Ever engaging in experiment Tillmans roams through the reality of materials, forms, affects and gives us tangible access to these unportrayble, unreferential realities. Tillmans engages his emotions when he is working, also and specifically when he is photographing people, or plants, machines and cities. Individual emotions separate off from the representation of living beings and objects and form nodes of emotion in the viewer’s mind.”

Through these rhizomic tendencies (a la Delueze and Guittari A Thousand Plateaus) Tillmans images generate emotion and affect, “rhythmically resonating between pictures, from wall to wall, from room to room, from side to side,” so that in each instance, in each publication or exhibition, he can “modify and modulate anew the relations between picture and picture support, representation and presentation, motif and materiality.”

Nothing is ever fixed in linear time. The work is presented as an infinitely variable, spatial and emotional relationship – an orthogonal performativity where the ritual of production and meaning is never fully predetermined at any stage of production and reception.

Tom Holert’s excellent catalogue essay The Unforeseen. On the Production of the New, and Other Movements in the Work of Wolfgang Tillmans includes information on Jacques Rancière’s concept of “‘aisthesis’ for the way in which very different things have been registered as ‘art’ for the last two hundred years or so. As he points out, “this is not about the ‘reception’ of works of art, but about the sensory experiential backdrop against and within which they come about. These are completely material conditions – places of performance or exhibition, forms of circulation and reproduction – but also modes of perception and the regimes of emotion, the categories that identify them and the patterns of thought that classify and interpret them.'” A thought provoking text (extracts below to accompany the photographs).

Dr Marcus Bunyan

Many thankx to the Moderna Museet for allowing me to publish the photographs and the text in the posting. Please click on the photographs for a larger version of the image.

 

 

 

Wolfgang Tillmans (German, b. 1968)
Arkadia_I
1996
© Wolfgang Tillmans. Courtesy Galerie Buchholz, Cologne/Berlin

 

 

Wolfgang Tillmans (German, b. 1968)
New Family
2001
© Wolfgang Tillmans. Courtesy Galerie Buchholz, Cologne/Berlin

 

 

Wolfgang Tillmans (German, b. 1968)
Paper drop (window)
2006
© Wolfgang Tillmans. Courtesy Galerie Buchholz, Cologne/Berlin

 

 

Wolfgang Tillmans is one of the leading artists of his generation and is constantly in the public eye, with exhibitions all over the world. The exhibition at Moderna Museet is Tillmans’ first major show in Sweden and brings nearly twenty years of picture-making to a new audience. Moderna Museet is delighted to welcome Wolfgang Tillmans – an artist who has extended the boundaries of photography and redefined the medium of photography as an artform.

Wolfgang Tillmans (b. 1968) first attracted attention at the beginning of the 1990s, with his apparently mundane pictures of subjects taken from his own surroundings. After studying in Britain, he published photographs in prominent publications such as i-D, Spex and Interview. Today, these pictures are considered trendsetting for the young generation of the 1990s, and raise questions about subcultures and sexual identities. By turning everyday situations into almost monumental images, Tillmans very strikingly captured the spirit of the times. It soon became evident that his pictures renegotiate photographic conventions and reflect contemporary currents related to culture and identity. Since then, Tillmans has continued his in-depth investigations, expanding the the realm of photography and redefining the very medium as an artform.

“Wolfgang Tillmans moves freely between images of the club scene in Berlin, political manifestations, and skyscrapers in Hong Kong; all with the same direct tonality. At the same time, all of his pictures explore photography itself – as a medium, but also as a material, convention and process,” says Curator Jo Widoff.

Recently Tillmans’ art has taken a number of different directions, revolving around various issues, everything from still lifes and modern landscapes to his lifelong interest in astronomy and the night sky. He has also taken his in-depth exploration of abstract photography even further. Tillmans’ abstract images are more closely related to the painterly tradition and he researches photography as a self-reflexive medium. Abstract images, such as Freischwimmer and Silver, are made in the darkroom, striking a balance between the deliberate and chance. Since 1995, Tillmans has been working actively and strategically with the exhibition space, so as to reveal the possibilities and limitations of the space in interplay with the photographs. His installations display a bewildering variety of formats and sizes, ways of composing the hanging of the pictures, and contexts. The exhibition at Moderna Museet should thus be seen as a site-specific installation. In recent years, Tillmans has been travelling the world taking photographs with the general title Neue Welt. These pictures relate to the new world of markets and trade, to politics and economics, and to the hypermodern. The title also refers to the new digital camera that Wolfgang used to take these pictures, which captures and documents more detail than we can perceive with the naked eye.

“Wolfgang Tillmans is one of today’s most prominent artists. Despite its visual complexity, his pictorial language is immediately recognisable. He captures the explosive energy in social situations and crosses boundaries between different artforms. He is able to use photographic means to create a kind of abstract painting,” says Museum Director Daniel Birnbaum.

Press release from the Moderna Museet website

 

 

Wolfgang Tillmans (German, b. 1968)
Lux
2009
© Wolfgang Tillmans. Courtesy Galerie Buchholz, Cologne/Berlin

 

 

Wolfgang Tillmans (German, b. 1968)
Iguazu
2010
© Wolfgang Tillmans. Courtesy Galerie Buchholz, Cologne/Berlin

 

 

Wolfgang Tillmans (German, b. 1968)
Paper drop (Roma)
2007
C-type print
30.5 x 40.6cm
Courtesy the artist and Maureen Paley, London

 

 

Wolfgang Tillmans (German, b. 1968)
Freischwimmer 93
2004
© Wolfgang Tillmans. Courtesy Galerie Buchholz, Cologne/Berlin

 

 

The Freischwimmer series – Free Swimmer is the most basic Lifesaving level in Germany and Switzerland – is an excellent example of Tillmans’s more experimental works. On one hand, the huge photographic papers were affixed to the wall with simple adhesive tape or paper clips; on the other, the images eluded all description and eschewed portraiture, landscape, still life or other subject matters he had centred on up to then.

The creative process of Freischwimmer, ongoing to the present, seems to speak to pure photography, divested of any form of intervention either in shooting or in enlargement, or indeed optical devices of any kind. We can almost imagine the artist in front of a large tray with reagents, performing some kind of alchemical ritual at the origin of these vaporous images, images containing a refinement that exceeds any human intention, just pure representations of themselves, of a unique and absolutely unrepeatable process. Of their reality.”

José Manuel Costa. “Swimming to Freedom 38,” on the CA2M Centro de Arte Dos de Mayo website [Online] Cited 12/10/2013 no longer available online

 

The Freischwimmer, which Tillmans started to produce in the early 2000s, form a group or family of images that are not made using a camera lens. As the results of gestural and chemical operations in the dark room, these originals on medium-sized photo paper, which are subsequently scanned and enlarged both as ink-jet prints and as light-jet prints on photo paper, are unrepeatable one-offs. It has been said that these images, which include ensembles such as Peaches, Blushes and Urgency, call to mind microscopically detailed images of biolog­ical processes, hirsute epidermises, highly erogenous zones, and that their aura fills the whole space – above all when they are presented in such large formats as in Warsaw or yet larger still, as in the case of the two monumental Ostgut Freischwimmer (2004) that used to grace the walls of the Panorama Bar at Berghain in Berlin. The Freischwimmer and their kin can be read as diagrams of sexualised atmospheres in private or semi-public spaces, in boudoirs or clubs, as highly non-representational images that both suspend and supplement conventional depic­tions of sex.

Extract from Tom Holert. The Unforeseen. On the Production of the New, and Other Movements in the Work of Wolfgang Tillmans. [Online] Cited 12/10/2013 no longer available online

 

 

Wolfgang Tillmans (German, b. 1968)
Nanbei Hu
2009
Inkjet print
207 x 138cm
Courtesy the artist and Maureen Paley, London

 

 

Wolfgang Tillmans (German, b. 1968)
Anders pulling splinter from his foot
2004
© Wolfgang Tillmans. Courtesy Galerie Buchholz, Cologne/Berlin

 

 

Wolfgang Tillmans (German, b. 1968)
Onion
2010
© Wolfgang Tillmans. Courtesy Galerie Buchholz, Cologne/Berlin

 

 

Wolfgang Tillmans (German, b. 1968)
Venus transit
2004
© Wolfgang Tillmans. Courtesy Galerie Buchholz, Cologne/Berlin

 

 

Wolfgang Tillmans (German, b. 1968)
Heptathlon
2009
Inkjet print
208.5 x 138cm
Courtesy the artist and Maureen Paley, London

 

 

Wolfgang Tillmans (German, b. 1968)
Headlight (a)
2012
© Wolfgang Tillmans. Courtesy Galerie Buchholz, Cologne/Berlin

 

 

Wolfgang Tillmans (German, b. 1968)
Ushuaia Lupine (a)
2010
© Wolfgang Tillmans. Courtesy Galerie Buchholz, Cologne/Berlin

 

 

Wolfgang Tillmans (German, b. 1968)
Tukan
2010
Inkjet print on paper, clips

 

 

Wolfgang Tillmans (German, b. 1968)
Photocopy
1994
© Wolfgang Tillmans, Courtesy Galerie Daniel Buchholz, Köln

 

 

Extracts from Tom Holert. The Unforeseen. On the Production of the New, and Other Movements in the Work of Wolfgang Tillmans. [Online] Cited 12/10/2013. No longer available online

Parallelism – Subjectivism – Objectivism

This all means that the decorative unity of wall and image, which the hanging of the Freischwimmer initially promises, is not only thwarted by the shift in dimensions, the infringement of symmetrical order and the (supposed) discontinuity of abstraction and figuration, and by the fact that the different types of image and their configuration on this wall require the viewer to move around in the space and to continually readjust his or her gaze, bearing in mind that in the corner of one’s eye or following a slight turn of the body more pictures are constantly looming into view, mostly unframed, very small (postcard-sized), very large, hung very low down, but also very high up, portraits and still lifes, gestural abstractions, a close-up of a vagina, a picture of a modern Boy with Thorn, street scenes, an air-conditioning system. It also means that the pictures communicate with each other in a way that is not bound to the pattern of a closed narrative or any particular line of argument. Instead they create a form of aesthetic and thematic interaction that Tillmans sees as ‘a language of personal associations and “thought-maps”‘,1 as ‘… a pattern of parallelism as opposed to one linear stream of thought’,2 and which the critic Jan Verwoert has aptly described as a ‘performative experiment’ with the viewer.3

With all their variability and flexibility – underpinned by an invisible rectilinear grid yet fundamentally open in their interconnections – these installations serve Tillmans as reflections of his own way of perceiving the world, as externalisations of his thinking and feeling, and as a chance to fashion a utopian world according to his own ideas and fantasies.4 However, this Romantic subjectivism of self-expression or externalisation has to be seen in light of a radical objectivism (Tillmans attaches great importance to this) that specifically draws attention not only to the expressive potential arising from the ageing process, from evidence of wear and other precariousnesses in the materials of photography (paper, camera techniques, chemicals, developing equipment etc.) but also to the remarkable resistance and persistence of these same materials.

Amongst the phenomena that inform this objectivism there are those instances of loss of control that can arise during the mechanical production processes of analogue photography or from coding errors, glitches, in digital images. Temporality, finity, brevity come into play here – a certain melancholy that activates rather than paralyses.

Over the years Tillmans has constantly found new ways to explore, to interpret and to stage this dialectic of intention and contingency. His repertoire and means of aesthetic production have multiplied. And this expansion has not been without consequences for the presentation of his work. Tillmans himself feels that the character of his installations has changed since 2006/07, in other words, when different versions of a solo exhibition of his work toured to three museums in the United States. It was during this exhibition tour that Tillmans started to see the benefit of placing greater weight on individual groups of works in the various rooms of larger exhibitions. In so doing he gave visitors the chance to engage in a different kind of concentration, without the pressure of constantly having to deal with the ‘full spectrum’ (Tillmans) of his oeuvre.5

Value Theory, Value Praxis

The visitor to an exhibition of the work of Wolfgang Tillmans in the year 2012, in this case the author of these lines, arrives in expectation of a particular, clearly defined type of art and image experience. A sense (however fragmentary) of the artist’s past exhibitions and publications is always present in any encounter with his work. And this includes the need to see the ‘abstract pictures’ in the context of an oeuvre where realistic and abstract elements have never intentionally been separated from each other. On the contrary, abstraction is always co-present with figurative and representational elements. There is no contradiction between forms and matter free of meaning – that is to say, visual moments that on the face of it neither represent nor illustrate anything – and Tillmans’ photographs of people, animals, objects and landscapes; in fact there is an unbroken connection, a continuum. This applies both to individual images as much as to the internal, dynamic relationalism of his oeuvre as a whole. And it also applies to each individual, concrete manifestation of multiplicity, as in the case of the installation in the first room of the exhibition in Warsaw.

Both aesthetic theory and the institution of art itself provide decisive grounds for discussing photography and visual art in such a way that images are not solely considered in terms of documentary functions or ornamental aspects nor are they reduced to the question as to whether their contents are stage-managed or authentic, but that attention is paid instead to the material nature of the pictures and objects in the space, to their sculptural qualities. Having decided early on against a career as a commercial photographer and in favour of a life in art, there was no need for Tillmans to seek to justify the interest he had already felt in his youth in a non-hierarchical, queer approach to various forms and genres in the visual arts. For the young Wolfgang Tillmans the cover artwork for a New Order LP, a portrait of Barbara Klemm (in-house photographer at the Frankfurter Allgemeine Zeitung), or a screenprint collage of Robert Rauschenberg in Kunstsammlung Nordrhein-Westfalen were all ‘equally important’ images’.7 The mobilisation and reversal of value and meaning are central strategies in his praxis. He questions the ‘language of importance’8 in photography and alters valencies of the visual by, for instance – in a ‘transformation of value’9 – producing C-prints from the supposedly impoverished or inadequate visuality of old black-and-white copies or wrongly developed images and thus raising them to the status of museum art. However much he may set store by refinement and precision, he avoids conventional forms of presentation, that is to say, ‘the signifiers that give immediate value to something, such as the picture frame’.10

Conditions: Subject – Work – Mediation

If we take the line proposed by the philosopher Jacques Rancière, then the ‘aesthetic regime’ of the modern era, which – following the introduction of a modern concept of art and aesthetics – abandoned the regulatory aesthetic canon of the classical age in the nineteenth century, is distinguished by the fact that under its auspices the traditional hierarchies separating the high from the popular branches of narration and visualisation were problematised and reconfigured in such a way that a new politics of aesthetics and a ‘distribution of the sensible’ in the name of art ensued. Rancière has recently proposed the term ‘aisthesis’ for the way in which very different things have been registered as ‘art’ for the last two hundred years or so. As he points out, this is not about the ‘reception’ of works of art, but about the sensory experiential backdrop against and within which they come about. ‘These are completely material conditions – places of performance or exhibition, forms of circulation and reproduction – but also modes of perception and the regimes of emotion, the categories that identify them and the patterns of thought that classify and interpret them.’12

In order to understand why the work of Wolfgang Tillmans – so seemingly casual, so heterogeneous and so wide-ranging – is not only extremely successful, but has, for over twenty years, been intelligible and influential both within and outside the field of art, with the result that by now his praxis seems like a universal, subtly normative style of perception and image-making, it is essential to consider the ‘conditions’ alluded to by Rancière. For these are fundamental to the specific visibility and speakability of this oeuvre and to its legitimacy as art…

The Production of the New

Tillmans thus also makes his contribution to an answer to the question posed by the philosopher John Rajchman (in response to Gilles Deleuze and Michel Foucault and their deliberations on the production of the new and on the creative act in present-day, control-obsessed societies). Rajchman asked how, in and with the arts and their institutions, spaces for open searches and researches could be devised, in which learning and unlearning, resonance and interference, a new affective solidarity and real experimentation might be possible before the onset of all sorts of methods, all forms of governance, all kinds of discipline and doxa.18

This form of experimentation does not lead to benchmark research results; nothing is ever proved or illustrated, regardless of what is in the images or what they may purport to show. Ever engaging in experiment Tillmans roams through the reality of materials, forms, affects and gives us tangible access to these unportrayble, unreferential realities. Tillmans engages his emotions when he is working, also and specifically when he is photographing people, or plants, machines and cities. Individual emotions separate off from the representation of living beings and objects and form nodes of emotion in the viewer’s mind. ‘Artists are presenters of affects, the inventors and creators of affects’, as Gilles Deleuze and Félix Guattari put it in What is Philosophy?, ‘they draw us into the compound’.19 And indeed Tillmans’ laboratories are places where emotion and affect are generated and presented, rhythmically resonating between pictures, from wall to wall, from room to room, from side to side. The dog asleep on the stones, its breathing body warmed by the sun (in the video Cuma, 2011), Susanne’s lowered gaze (in Susanne, No Bra, 2006), with the line of her hair encircling her head like an incomplete figure of eight, but also the disturbed, interrupted, lurking monochromaticism of the Lighter and Silver works – they all open up the longer you look at them, the longer you are with them, to a perceiving in terms of forces and affects. They alert us to the fact that all images are fabricated.

Assimilating Photography into the Paradox

By virtue of the portability and variability of his works, with every print, with every exhibition, with every publication Tillmans can modify and modulate anew the relations between picture and picture support, representation and presentation, motif and materiality. In the two decades that have elapsed since his entry into the art business his praxis has continuously expanded. From the outset photography was his springboard for both integrative and eccentric acts. And even though this oeuvre may create the impression that the medium of photography knows no limits, photography – as discourse, as technique, as history, as convention – has remained the constant point of reference for all of Tillmans’ complex operations. It could also be said that he is immensely faithful to his chosen medium, although – or precisely because – that medium is not always recognisable as such. To quote an older essay on photography and painting by Richard Hamilton (whom Tillmans once photographed), his work is about ‘assimilating photography into the domain of paradox, incorporating it into the philosophical contradictions of art…’30 Since Tillmans’ experiments with a laser copier in the 1980s, he has produced hundreds of images that may be beholden to the etymology of photography (light drawing) but that also constantly undermine or overuse the social and epistemological functions of photography as a means to depict reality, as proof, as an aide mémoire, as documentation or as a form of aesthetic expression. The discourse on photography, with all its ‘post-photographic’ exaggerations, the debate on the status of the photographic image – none of these have been concluded; on the contrary, Tillmans is continuously advancing them on his own terms. His praxis forms the backdrop for experimentation and adventures in perception that are closely intertwined with the past and the present of photography and theories of photography; yet the specific logic of this oeuvre creates a realm of its own in which archive and presentation interlock in such a way that photography still plays an important part as historic and discursive formation, but the problems and paradoxes of fine art have now taken over the key functions.

The contagious impact of the epistemological problems of art has opened up new options for the medium of photography, new contexts of reception. And in this connection it is apparent, as Julie Ault has put it, that ‘Tillmans enacts his right to complex mediation’.31 In other words, photography provides a means for him to engage with a whole range of interactions with the viewer. In his eyes and hands photography becomes a realm of potential, where a never-ending series of constellations and juxtapositions of materialities, dimensions and motifs of the ‘unforeseen’ can come about. Photography thus regains a dimension of experimentation, an openness that is not constrained by aesthetic formats and technical formatting but that does arise from a precise knowledge and understanding of the history of the medium.”

Extracts from Tom Holert. The Unforeseen. On the Production of the New, and Other Movements in the Work of Wolfgang Tillmans. [Online] Cited 12/10/2013 no longer available online

 

Footnotes from extracts

1/ “Peter Halley in Conversation with Wolfgang Tillmans,” in Jan Verwoert, Peter Halley and Midori Matsui, Wolfgang Tillmans (London: Phaidon, 2002), 8-33 at 29

2/ Steve Slocombe, “Wolfgang Tillmans – The All-Seeing Eye,” in Flash Art, vol. 32, no. 209, November – December 1999, 92-95 at 95

3/ Jan Verwoert, “Survey: Picture Possible Lives: The Work of Wolfgang Tillmans,” in Verwoert et. al., Wolfgang Tillmans, 36-89 at 72

4/ See Slocombe, “Wolfgang Tillmans – The All-Seeing Eye” (see note 2), 95

5/ See Julia Peyton-Jones and Hans Ulrich Obrist, “Interview with Wolfgang Tillmans,” in Wolfgang Tillmans (London: Serpentine Gallery / Koenig Books, 2010), 21-27 at 24

7/ Wolfgang Tillmans, email of 12 May 2012.

8/ Julie Ault, “Das Thema lautet Ausstellen Installations as Possibility in the Practice of Wolfgang Tillmans,” in Wolfgang Tillmans. Lighter (Stuttgart/Berlin: Hatje Cantz/SMB), Nationalgalerie Staatliche Museen zu Berlin, 2008, 27

9/ See Hans Ulrich Obrist, Wolfgang Tillmans (Cologne: Verlag der Buchhandlung Walther König, 2007 = The Conversation Series, 6), 41

10/ Gil Blank, “The Portraiture of Wolfgang Tillmans,” in Influence, 2, autumn 2004, 110-21 at 117

12/ Jacques Rancière, Aisthesis. Scènes du régime esthétique de l’art (Paris: Galilée, 2011), 10

18/ Zepke (ed.), Deleuze, Guattari and the Production of the New (London: Continuum, 2008), 80-90 at 89

19/ See Deleuze and Guattari, What Is Philosophy?, trans. Hugh Tomlinson and Graham Burchell (New York: Columbia University Press, 1994), 175

30/ Richard Hamilton, “Photography and Painting,” in Studio International, vol. 177, no. 909, March 1969, 120-25 at 125

31/ Julie Ault, “The Subject Is Exhibition” (see note 8), 15

 

 

Wolfgang Tillmans (German, b. 1968)
Alex Lutz back
1992
© Wolfgang Tillmans. Courtesy Galerie Buchholz, Cologne/Berlin

 

 

Wolfgang Tillmans (German, b. 1968)
Smokin Jo
1995
© Wolfgang Tillmans. Courtesy Galerie Buchholz, Cologne/Berlin

 

 

Wolfgang Tillmans (German, b. 1968)
Lutz & Alex sitting in the trees
1992
Inkjet print on paper, clips
208 × 138 cm

 

 

Moderna Museet, Stockholm

Moderna Museet is ten minutes away from Kungsträdgården, and twenty minutes from T-Centralen or Gamla Stan. Walk past Grand Hotel and Nationalmuseum on Blasieholmen, opposite the Royal Palace. After crossing the bridge to Skeppsholmen, continue up the hill. The entrance to Moderna Museet and Arkitekturmuseet is on the left-hand side.

Opening hours:
Tuesday – Sunday 11 – 18
Monday closed

Moderna Museet website

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