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Wolfgang Tillmans: Burg / Truth Study Center / Wolfgang Tillmans

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In the mid-late 80s, he bought a cheap camera, and embarked on his photography journey. He established a name for himself with his photos covering the gay club scene and red-light district in Hamburg (most of which were published primarily by i-D, if you really look hard enough you can find them floating around).

Salter, Steve. “Wolfgang Tillmans on Working with Frank Ocean and Returning to Music.” i-D, 23 Aug. 2016, i-d.vice.com/en_us/article/kz8dpa/wolfgang-tillmans-on-working-with-frank-ocean-and-returning-to-music Benjamin Britten, War Requiem, English National Opera, London Coliseum, London, 16 November – 7 December 2018 The exhibition at The Metropolitan Museum of Art received wide critical acclaim. "Through the cycling shots of exteriors, interiors, skylines, and street views," says Architectual Digest, "Tillmans paints a portrait of modern-day architecture, showing the stylistic synchronicity in our globalized world." Artforum described the exhibition as "an ambitious recalibration of the relationship between architecture and image" and The New Yorker concluded "The range is encyclopedic, the experience exhilarating." Wake (2001). Photograph: Wolfgang Tillmans. Image courtesy of the artist, David Zwirner, New York/Hong Kong, Galerie Buchholz, Berlin/Cologne, Maureen Paley, LondonWolfgang Tillmans: To look without fear, a major retrospective of the artist, is now on view through October 1, 2023 at the Art Gallery of Ontario. This momentous exhibition, Tillmans’s first in Canada, reveals the full breadth of Tillmans’ creative output to date, with photographs, video projections, sound installations and his ongoing project, Truth Study Center, on display. The presentation opened at the Museum of Modern Art, New York in September 2022 and will travel to the San Francisco Museum of Modern Art later in 2023. As mundane as the above pictures may look to some, to others they are very powerful pieces, a criticism that has persisted throughout all of Tillmans’ work since his early days. For Tillmans, a lot of life is actually remarkable if we (as a society) would just pay attention.

Created specially for the galleries at IMMA, Rebuilding the Future expandedon the artist’s unique approach—not only to making artworks, but also to the design of exhibitions as a way to develop the experience of the work and amplify a particular perspective. More than one hundred pieces encompassing photography, sound, moving images, and works on paper were installed with special consideration of the architectural structure and atmosphere of the museum, making full use of the wall space and of relationships between the works in a given room as part of the overall narrative of the show. Tillmans also presented an immersive new sound work, I want to make a film (2018), which engages with concerns about the speed and development of personal technology; the piece debuted in a solo exhibition at David Zwirner. 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. Oftentimes in queer literature, the queer character on the cover is seen alone, solo, or maybe looking alittle bit downcast,” says the author of Shuggie Bain, the 2020 debut novel that roared, winning the Booker Prize and critical accolades galore. ​ “And that’s even the case with Shuggie Bain – here’s alittle boy who’s literally being crucified. That’s the symbolism of him, alone in this landscape.” A visionary creator and intrepid polymath, Wolfgang Tillmans unites formal inventiveness with an ethical orientation that attends to the most pressing issues of life today. While his work transcends the bounds of any single artistic discipline, he is best known for his wide-ranging photographic output. From trenchant documents of social movements to windowsill still lifes, ecstatic images of nightlife to cameraless abstractions, sensitive portraits to architectural studies, astronomical phenomena to intimate nudes, he has explored seemingly every genre of photography imaginable, continually experimenting with how to make new pictures and deepen the viewer’s experience. Joining the production team as designer and making his ENO debut is the Turner Prize-winning artist and designer Wolfgang Tillmans. ENO Music Director Martyn Brabbins conducts this new production created to mark the centenary of the end of the First World War. ENO Artistic Director Daniel Kramer’s contemporary staging seeks to examine and process the grief of the incomprehensible loss of life from wars past and present, offering us all a hope for the future.of what art could be. He exhibited faxes, postcards and printed-up darkroom mistakes, and worked across different artistic Informed by new scholarship and eight years of dialogue with the artist, the exhibition will highlight how Tillmans’s profoundly inventive, philosophical, and creative approach is both informed by and designed to highlight the social and political causes for which he has been an advocate throughout his career. Being diagnosed with the same disease that had taken his partner’s life in such a short time shook Tillmans to his core, and left him with a new outlook on life. 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.

Rebuilding the Future was conceived as an open question for its visitors to interpret. Featuring work that reflects on the subject of time, among other themes, the show continuedTillmans’s inquiry into what it means to create pictures in today’s increasingly image-saturated environment and how to portray a world in flux. "While [photographs] are visually so powerful, convincing, and immediate, there is a lot of symbolic meaning in [their] material fragility,"the artist tells Charles Shafaieh in a profile for The Irish Times on the occasion of the exhibition; "There is a very potent contradiction in the very power and presence of a photograph, its vividness and ultimate instability. These very large unframed works [at IMMA] came from an interest in being strong, fragile and vulnerable at the same time, which certainly goes for humans. We are incredibly resilient, strong, inventive, and, at the same time, incredibly vulnerable." Rebuilding the Future followedthe artist’s critically acclaimed solo show at Tate Modernin 2017. Eurolab respects the intellectual property rights on the contents of the submissions of the participants. You will retain the rights to it, however you agree that they will become part of larger body of work and broader community and not exclusively yours. At any stage you will be given opportunity to ensure you are correctly represented in the larger framework of the project. Jobey, Liz. Wolfgang Tillmans: the Lightness of Being. 25 June 2010, www.theguardian.com/artanddesign/2010/jun/26/wolfgang-tillmans-serpentine-photographs-exhibition

The English National Opera’s production of War Requiem featured sets and visual design by Wolfgang Tillmans. There were five evening performances from November 22 through December 7, 2018 at theEnglish National Opera inSt Martin’s Lane, London. Six works by Wolfgang Tillmans spanning 2000-2012 were included in You Are Looking at Something That Never Occurred, a group exhibition exploring how artists have used the camera to blur boundaries between past and present, fact and fiction. The exhibition also featured works by fellow gallery artists Thomas Ruff and Christopher Williams. Militant would be a bit extreme to describe Tillmans’ new approach to life and photography, but he definitely was more open/forward about being an advocate for LGBTQ communities, as well as HIV/AIDS awareness. Icestorm (2001). Photograph: Wolfgang Tillmans. Image courtesy of the artist, David Zwirner, New York/Hong Kong, Galerie Buchholz, Berlin/Cologne, Maureen Paley, London

What does that even mean,” you’re undoubtedly wondering? Well, a simplified version would be this: Wolfgang Tillmans is an openly gay man and has been since his Hamburg years. I promise I only mention that because that experience has given Tillmans and his work a different perspective on the world around him. Eurolab is a fact-finding mission of what went well and what went wrong in the last 25 years of communicating Europe . In workshops and interview sessions we aim to compile a comprehensive toolbox of arguments, strategies, and ideas that can be applied to campaigns across different demographics and used by different professional groups (e.g. ‘Teachers for Europe’ ‘Scientists for Europe’ ‘Farmers for Europe’). Eurolab wants to collect ideas about how cooperation and solidarity can be spoken for in a fresh and compelling way to large audiences. How can the European Union be valued by its citizens and be recognized as a force for good, rather than as a faceless bureaucracy? 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.In 2000, Wolfgang Tillmans became the first photographer to win the annual Turner Prize organized by Tate in London. The award was based on Tillmans’s solo exhibitions held in 1999, including those at Interim Art in London (now Maureen Paley gallery), Städtische Galerie in the artist’s hometown of Remscheid in Germany, and Andrea Rosen Gallery in New York, as well as his published work in books and magazines. The jury—which, among others, included Julia Peyton-Jones, then director of London’s Serpentine Gallery, Matthew Slotover, publisher of frieze magazine, and then Tate Director Nicholas Serota—praised Tillmans for his engagement with contemporary culture, his challenge to conventional aesthetics, and for taking photography in new directions though the methods and presentation of his work. When it appeared publicly in the late 1980s, Tillmans's work signaled a new kind of subjectivity in photography. The photographs he took in ordinary settings such as clubs, friends' kitchens, and parks compose an unembellished document of Tillmans's life amid youth subcultures of the 1980s and 1990s. First published in magazines like i-D and Spex, his work was soon being shown in exhibitions. Not knowing where one leaves off and the other begins is part of this album’s enigma, as we move in and out of these aural spaces choreographed with the slightest, open hand, where we can float through ‘Don’t Kill It by Naming It’ before dancing along ‘Insanely Alive’ all the while contemplating the inherent, fragile complexities of language and being. The architect behind this piece is iconic German photographer, Wolfgang Tillmans. I’m going to go out on a limb here and assume that almost everyone reading this right now has never heard of Tillmans, and is wondering why exactly he’s, “iconic,” (for the ~3% of people reading this who already know about Tillmans, I apologize). War Requiemis one of the greatest choral works of thetwentieth century. Benjamin Britten juxtaposes the anti-war poetry ofWilfred Owen with the timeless ritual of the Latin RequiemMass. Theresult is a passionate outcry against man's inhumanity to man. Joiningthe production team as designer and making his ENO debut is the TurnerPrize-winning artist and Wolfgang Tillmans. Chien Wen-pin,Artistic Director of National Kaohsiung Center for the Arts (Weiwuying),conducts this new co-production, along with Daniel Kramer'scontemporarystaging, seeking to examine and process the grief of theincomprehensible loss of life from wars past and present, and offeringhope for the future. War Requiem is performed by the threesoloists, thefull NTSO Orchestra, a chamber orchestra and the combined forces of an80-strong chorus, a children's choir of 40.

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