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  • Yes, here in room 20,

  • in the basement, there's

  • a reunification of

  • two images I made in 2004,

  • Ostgut Freischwimmer rechts and Ostgut Freischwimmer links,

  • ...

  • which I originally

  • created

  • for

  • the Club Berghain,

  • Panorama Bar in Berlin,

  • where they hung over the dancefloor for five years,

  • and the

  • Kunstmuseum Basel has acquired Ostgut Freischwimmer rechts

  • already several years ago

  • and now two years ago

  • the Fondation Beyeler acquired

  • the left one, and that's how they came together again

  • and can be seen together again for the first time.

  • I see both as individual works, they can easily stand

  • on their own,

  • so one doesn't need to see the other, but it's somehow nice to see

  • them both together again

  • and

  • they are

  • part of a kind of

  • images I create since around 2000

  • that are made in

  • the darkroom on photo paper.

  • So the name Freischwimmer, which suggests liquids, chemicals,

  • or similar things,

  • the name

  • doesn't relate to

  • fluids, which are used in the production

  • ...

  • in the making

  • ...

  • These are images

  • that I create with my hands

  • and with tools that emit light

  • ...

  • whereas in the upper room,

  • in room 8 on the ground floor, there you can see images

  • from the series Silver,

  • that I call rather

  • mechanical images.

  • I work on these also since

  • 1998

  • and

  • they emerge

  • actually

  • as a depiction of the process itself.

  • That is, the photo chemistry, is depicted here, the Silver is a reference

  • to the core of the miracle, which

  • photography is.

  • But these images don't illustrate anything else

  • but there own development process.

  • Chemicals that are used

  • in it

  • that accumulate if one doesn't clean the machines

  • and the tanks.

  • The result are

  • these

  • rhythmic sediments, on the

  • paper. So there are actually

  • two kinds of totally contrary types of abstraction I work with

  • and

  • here in this room 20

  • I was invited

  • to add additional

  • pictures from the

  • collection of the Fondation Beyeler

  • and the

  • problem is that the collection is so fantastic

  • that it has to, that it could look

  • always somehow presumptuous

  • that

  • one relates oneself

  • to the the masters

  • of Modern Art.

  • I found the invitation

  • exciting and had the chance

  • to chose two Matisse, which are

  • in a similar landscape format, the Max Ernst,

  • which,

  • regarding the format,

  • is in dialog with

  • my pictures, and it was interesting

  • that

  • in the end

  • I didn't

  • chose

  • no other

  • complete abstract pictures,

  • because

  • they are

  • ...

  • ...

  • although the Matisse

  • stands on the edge of

  • complete abstraction, but there is still

  • an obvious relation to reality,

  • and I believe

  • also the two Picasso portraits

  • go very well together with

  • the suggestion of reality in my Freischwimmer pictures,

  • because the eye understands them as photographic in a way

  • and for the brain, photographic means, to have something

  • to do with reality.

  • And this

  • creates

  • a nice level of excitement

  • that there's nothing figurative

  • is depicted,

  • but the eye

  • recognizes reality

  • and I use this

  • the desire of the eye, to see reality

  • in images that the eye recognizes as photographic.

  • ...

  • This is what I use

  • and

  • this is why these pictures

  • are actually possible,

  • only because they are not

  • painted. So for me these

  • above all pictures,

  • and the reason why the work,

  • is because they are photographic, so I

  • had to choose photography as medium

  • because I believe they would work differently, if they were painted.

  • What does it mean for you to be represented in the Beyeler Collection?

  • Obviously, it's a

  • very special collection, because

  • it has been

  • put together by a

  • connoisseur with absolute sureness of taste.

  • To be invited is of course something very special

  • so I was very happy about it, and it's also an extension,

  • I think, for the collection, because

  • they are the first pictures that have

  • a purely photographic background.

  • The Foundation has,...

  • probably my pictures are equally

  • made with camera and without camera. So there's

  • motives such as Anders (Brighton Arcimboldo) or

  • Affinity, In Flight Astro

  • and others that are made with the camera

  • that have all

  • something to do

  • in one way or the other

  • with seeing, discovering,

  • recognizing

  • and

  • ...

  • the

  • limites of visibility and the depictable,

  • especially in the

  • three astronomical

  • pictures,

  • the ones with the astronomical background

  • Munuwata Sky und Transit of Venus

  • und In Flight Astro.

  • In a certain way,

  • all of my

  • works are

  • studies

  • of cause and effect

  • that means

  • what happens

  • when I do something, what are the effects,

  • whether they are technical,

  • photographical,

  • with the medium, or also

  • psychological, in relation to the motif

  • the depicted, or not depicted -

  • without conceiving it in advance as a program

  • there's different perspectives that come together

  • in such rooms

  • and that's

  • somehow

  • the arch that spans from the Buenos Aires picture with

  • the drain pipe

  • that runs in the gully,

  • if you point your eye

  • to the edge of the watercourse,

  • there are strange

  • little dots,

  • which somehow have a

  • presence that

  • one would have never

  • be able to see

  • with the naked eye, which can never

  • be reproduced,

  • which

  • somehow cross the bridge to the

  • image with the sun

  • where the little dot, the black dot,

  • is Venus that ran between

  • Sun and Earth,

  • so,

  • the very tangible and the completely ephemeral

  • and the points of conctact

  • in the pictures as in life,

  • that's a little bit

  • the context

  • that I see.

Yes, here in room 20,

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ベイラー財団のヴォルフガング・ティルマンスのインタビュー (Interview with Wolfgang Tillmans at Fondation Beyeler)

  • 108 3
    Chihyu Lin に公開 2021 年 01 月 14 日
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