Posts Tagged ‘Wolfgang Tillmans Anders pulling splinter from his foot

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

LIKE ART BLART ON FACEBOOK

Back to top

15
Jan
13

Exhibition: ‘Wolfgang Tillmans’ at Moderna Museet Stockholm

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

.

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.

Read Tom Holert’s excellent catalogue essay The Unforeseen. On the Production of the New, and Other Movements in the Work of Wolfgang Tillmans which 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).

Marcus

.
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.

.

.

This slideshow requires JavaScript.

.

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

.

Wolfgang Tillmans. 'Arkadia_I' 1996

.

Wolfgang Tillmans
Arkadia_I
1996
© Wolfgang Tillmans. Courtesy Galerie Buchholz, Cologne/Berlin

.

Wolfgang Tillmans. 'New Family' 2001

.

Wolfgang Tillmans
New Family
2001
© Wolfgang Tillmans. Courtesy Galerie Buchholz, Cologne/Berlin

.

Wolfgang Tillmans. 'Paper drop (window)' 2006

.

Wolfgang Tillmans
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 closley 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 recognizable. 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. 'Lux' 2009

.

Wolfgang Tillmans
Lux
2009
© Wolfgang Tillmans. Courtesy Galerie Buchholz, Cologne/Berlin

.

Wolfgang Tillmans, 'Iguazu' 2010

.

Wolfgang Tillmans
Iguazu
2010
© Wolfgang Tillmans. Courtesy Galerie Buchholz, Cologne/Berlin

.

Wolfgang Tillmans. 'Paper drop (Roma)' 2007

.

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

.

Wolfgang Tillmans. 'Freischwimmer 93' 2004

.

Wolfgang Tillmans
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 The CA2M Centro de Arte Dos de Mayo website

.

“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 catalogue

.

Wolfgang Tillmans. 'Nanbei Hu' 2009

.

Wolfgang Tillmans
Nanbei Hu
2009
Inkjet print
207 x 138 cm
Courtesy the artist and Maureen Paley, London

.

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

.

Wolfgang Tillmans
Anders pulling splinter from his foot
2004
© Wolfgang Tillmans. Courtesy Galerie Buchholz, Cologne/Berlin

.

Wolfgang Tillmans. 'Onion' 2010

.

Wolfgang Tillmans
Onion
2010
© Wolfgang Tillmans. Courtesy Galerie Buchholz, Cologne/Berlin

.

Wolfgang Tillmans. 'Venus transit' 2004

.

Wolfgang Tillmans
Venus transit
2004
© Wolfgang Tillmans. Courtesy Galerie Buchholz, Cologne/Berlin

.

.

Extracts from Tom Holert. The Unforeseen. On the Production of the New, and Other Movements in the Work of Wolfgang Tillmans. Online catalogue
.

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 externalizations 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 externalization 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

.

Wolfgang Tillmans. 'Heptathlon' 2009

.

Wolfgang Tillmans
Heptathlon
2009
Inkjet print
208.5 x 138 cm
Courtesy the artist and Maureen Paley, London

.

Wolfgang Tillmans. 'Headlight (a)' 2012

.

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

.

Wolfgang Tillmans. 'Ushuaia Lupine (a)' 2010

.

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

.

.

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

.

Wolfgang Tillmans. 'Tukan' 2010

.

Wolfgang Tillmans
Tukan
2010
Inkjet print on paper, clips

.

Wolfgang Tillmans. 'Photocopy' 1994

.

Wolfgang Tillmans
Photocopy
1994
© Wolfgang Tillmans, Courtesy Galerie Daniel Buchholz, Köln

.

.

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…

.

Wolfgang Tillmans. 'Alex Lutz back' 1992

.

Wolfgang Tillmans
Alex Lutz back
1992
© Wolfgang Tillmans. Courtesy Galerie Buchholz, Cologne/Berlin

.

Wolfgang Tillmans. 'Smokin Jo' 1995

.

Wolfgang Tillmans
Smokin Jo
1995
© Wolfgang Tillmans. Courtesy Galerie Buchholz, Cologne/Berlin

.

Wolfgang Tillmans. 'Lutz & Alex sitting in the trees' 1992

.

Wolfgang Tillmans
Lutz & Alex sitting in the trees
1992
Inkjet print on paper, clips
208 × 138 cm

.

.

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 catalogue

.

.

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–Decem- ber 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

.

.

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 10-20
Wednesday-Sunday 10-18
Monday closed

Moderna Museet website

LIKE ART BLART ON FACEBOOK

Back to top

13
Sep
10

Exhibition: Wolfgang Tillmans at the Serpentine Gallery, London

Exhibition dates: 26th June – 19th September 2010

.

“In the constellations of pictures, I try to approximate the way I see the world, not in a linear order but as a multitude of parallel experiences…  Multiple singularities, simultaneously accessible as they share the same space or room.”

Wolfgang Tillmans

.

Since I haven’t been to the exhibition I have tried to sequence the photographs of this wonderful artist in a small intimation of how he might have visualised them – I hope you get the idea. The installation photographs at the bottom give clues to the actual moments of what Minor White calls ‘ice/fire’ – the space between disparate images, the space that is just as important as the images themselves for the frisson that is evokes, the creation of that metaphorical leap into the void of meaning where malleable thoughts emerge; never linear, both singular and multiple at one and the same time.

Many thankx to the Serpentine Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

.

.

.

Wolfgang Tillmans
‘Anders pulling splinter from his foot’
2004
C-type print
61 × 50.8 cm
Courtesy the artist and Maureen Paley, London

.

.

Wolfgang Tillmans
‘Nanbei Hu’

2009
Inkjet print
207 x 138 cm
Courtesy the artist and Maureen Paley, London

.

.

Wolfgang Tillmans
‘Roy’
2009
C-type print
40.6 x 30.5 cm
Courtesy the artist and Maureen Paley, London

.

.

Wolfgang Tillmans
‘Venus, transit’
2004
C-type print
40.6 × 30.5 cm
Courtesy the artist and Maureen Paley, London

.

.

Wolfgang Tillmans
‘Dan’
2008
C-type print
61 × 50.8 cm
Courtesy the artist and Maureen Paley, London

.

.

Wolfgang Tillmans
‘Eierstapel’
2009
C-type print
61 x 50.8 cm
Courtesy the artist and Maureen Paley, London

.

.

Wolfgang Tillmans
‘Muqarnas’
2006
Framed C-type print
214 × 145 cm
Courtesy the artist and Maureen Paley, London

.

.

Wolfgang Tillmans
‘Urgency XXII’
2006
Framed C-type print
238 × 181 cm
Courtesy the artist and Maureen Paley, London

.

.

Wolfgang Tillmans
‘Zimmerlinde (Michel)’
2006
Framed C-type print
211 × 145 cm
Courtesy the artist and Maureen Paley, London

.

.

“The Serpentine Gallery presents Wolfgang Tillmans’ first major exhibition in London since 2003. Conceived by the artist for the Serpentine Gallery, the exhibition will present both abstract and figurative work.

Over the past 20 years, Tillmans has redefined photography and the way it is shown. Known by the early 90s for the seemingly casual images of the world he inhabited, his work reassessed photographic conventions and reflected the identity politics of the time, capturing the fragility of human life and focusing on everyday objects. This early work then expanded to engage with portraiture, landscape, the still-life and, more recently, abstraction. Tillmans’ abstract work, greatly celebrated in the last decade, continues to push the boundaries and definitions of the photographic form, and will be a particular focus of this exhibition.

The wide-ranging themes in Tillmans’ photographs are combined in his reconfiguration of accumulated images, created in response to a given space. In this new exhibition, the explorations into abstraction sit alongside a new focus on the figurative – a focus that is increasingly informed by recent colour field works and experiments with process. Referring to his approach to installation making Tillmans said: In the constellations of pictures, I try to approximate the way I see the world, not in a linear order but as a multitude of parallel experiences…  Multiple singularities, simultaneously accessible as they share the same space or room.”

The Serpentine Gallery exhibition reflects the artist’s acute sensitivity to the politics of contemporary society, his ongoing fascination with colour, and his conceptual engagement with the technical processes of photography. These delicate yet challenging images capture the distinctive energetic balance between beauty and subversion that Tillmans has long embraced.

Tillmans was born in 1968 in Remscheid, Germany. He studied in Great Britain at the Bournemouth & Poole College of Art & Design, graduating in 1992. In the 1990s, his work was shown at the Museum of Modern Art, New York; the Kunsthalle Zurich; and Portikus, Frankfurt, amongst others. In 2000 he won the Tate’s Turner Prize. A large survey exhibition in 2001-2003 toured to Deichtorhallen, Hamburg; Castello di Rivoli, Turin; Palais de Tokyo, Paris; and Louisiana Museum of Modern Art in Humlebaek, Denmark. His show called Freedom from the Known at P.S.1, New York (2006) was followed by a major tour of North American museums. In 2008, Tillmans had an extensive solo exhibition at the Hamburger Bahnhof, Berlin entitled Lighter, and in 2009 was included in Making Worlds at the 53rd Venice Biennale. More than twenty monographic books on his work have been published to date and an exhibition catalogue will accompany the Serpentine Gallery exhibition.

The exhibition will run concurrently with the Serpentine Gallery Pavilion 2010, designed by Jean Nouvel and opening on 10 July. Housed in the Pavilion will be artist Christian Boltanski’s Les Archives du Coeur installation.”

Press release from the Serpentine Gallery website

.

.

Wolfgang Tillmans
‘Silver Installation VII’
2009
Unique C-type prints
Installation view
Photograph: Gautier de Blonde

.

.

.

.

Wolfgang Tillmans
Installation views Serpentine Gallery, London
Photographs: Gautier de Blonde

.

.

Serpentine Gallery
Kensington Gardens
London W2 3XA
T 020 7402 6075
F 020 7402 4103

Opening hours:
Daily, 10am – 6pm

Serpentine Gallery website

Bookmark and Share




Marcus Bunyan black and white archive: ‘Études’ 1994

Join 2,192 other followers

Follow Art_Blart on Twitter
Art Blart on Pinterest

Lastest tweets

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.

October 2017
M T W T F S S
« Sep    
 1
2345678
9101112131415
16171819202122
23242526272829
3031  

Archives

Categories