| | | | | | | | Günther Förg: Tel Aviv, 2001/2007, C-Print, Weißglas auf Dibond, 243,9 x 163,9 x 5 cm
© Estate Günther Förg, Suisse/VG Bild-Kunst, Bonn 2018 | | | | | LIGHT SENSITIVE 2 | | | | Photography from the Schaufler Collection | | | | | | | | 15 April, 2018 through 6 January, 2020 | | | | Opening: Sunday 15 April 2018 11:30am | | | | | | SCHAUWERK Sindelfingen Eschenbrünnlestr. 15/1
71065 Sindelfingen - Germany
+49 (0)7031-9324910
www.schauwerk-sindelfingen.de
Sat, Sun 11am-5pm; Tue, Thu 3-4:30pm | |
| | | | | | | | | Nobuyoshi Araki: Ohne Titel, 2001, s/w Fotografien, 19-teilig, 60,8 x 50,8 cm
© Nobuyoshi Araki | | | | | | The exhibition presents some 150 photographic works from the Schaufler Collection by German and international artists—including well-known names such as Günther Förg, Candida Höfer, Andreas Gursky, Bettina Rheims, and Wolfgang Tillmans.
In the same manner that the works were shown in 2011, under the title LIGHT SENSITIVE, the second part of the exhibition will also be featured in the museum’s former high-bay warehouse, which offers more than 15 metres of ceiling height and a revolving upward ramp that offers exciting vistas.
Some major works from the Collection, such as Wim Wenders’s monumental photos of Ground Zero, are once again on display. Other works such as Sherrie Levine’s appropriation of Frenchman Eugène Atget’s interiors are presented for the first time. | | | | | | | | | Wolfgang Tillmans: Urgency III, 2006, Inkjetprint, 303 x 403 cm
© Wolfgang Tillmans; Courtesy Galerie Buchholz, Berlin/Köln | | | | | | The classic genres of photography―nude, portrait, landscape, architecture, or industry―are mirrored in the works, but are often citations or stages of conceptual processes. In pictures where architecture, and urban space are the central focus, the documentary view of cultural sites prevails. The interior views of well-known museums from Candida Höfer are to be mentioned here as well as Klaus Heider’s photographs of the Opaion in the Roman Pantheon. Roland Fischer abstracts architecture as a photographic motif to the point of ornamentation.
The portraits are―as with Bettina Rheims and Gianluca Vassallo―always stagings or montages, often maintaining a rather taciturn distance.
Non-representational works, in which the idea and formal design are essential, such as Wolfgang Tillmans’s Subtraktive Farbmischungen (Subtractive colour mixtures) and Thomas Ruff’s Substrate (Substrates), also belong in the selection. | | | | | | | | | Klaus Heider: Opaion VII, 1982, Laserchrome-Print, Diasec, 180 x 280 x 2,5 cm
© VG Bild-Kunst, Bonn 2018 | | | | | | unsubscribe here
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