Wolfgang tillmans short biography
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“It’s a bit wannabe, no?” Tillmans said.
“Yes,” Echeverri said.
“Chopped. Heads must roll.”
“Apples must roll.”
One night, a Friday, Tillmans said, almost as an aside, that, rather than go out, as planned, he would stay at the gallery to do his “little wiggle.” The team took the cue to depart, and left him there on his own, with three pre-opened Tusker beers placed on his worktable. The next morning, a wall of photographs from his “Fruit Logistica” series had been installed.
Martelli has worked with Tillmans on travelling exhibitions since 2006 and Echeverri since 2012. They had come to Nairobi a few days ahead, to prepare for the installation. Later, at a talk Tillmans gave at the Goethe Institute in Nairobi, an art consultant who works with the GoDown Arts Centre gave a sense of what the arrangement might be like on the receiving end. “There’s a group of people who arrived before you—I’d really like to understand what is that relationship,” the consultant, whose name was Muth
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This biography is structured in 3 parts: General biography, solo exhibitions and group shows.
Biografie / Biography (last updated 22 Nov 2023)
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Summary of Wolfgang Tillmans
Wolfgang Tillmans proclaims that he makes "Pictures, in order to see the world." But what he really does is utilize the medium of photography to increase our attentiveness of the world around us. He originally found fame through his photos for the seminal fashion and culture magazine i-D, in which he illuminated his LGBT+ lifestyle within the UK youth club and nightlife en plats där en händelse inträffar ofta inom teater eller film in ways that made gay life accessible to the mainstream. But he would go on to experiment with the medium of photography to expound upon the concepts of "seeing" in new ways to jostle us from the habit of taking things for granted, or at merely face value, oftentimes highlighting political and social issues that were of particular concern to him. Today, his work fryst vatten known for taking the shocking or the marginalized and making it matter of fact through the simple act of exposure. He avoids ascribing any conclusions to his work and thus subjects his photographic vision to a perpetual