Wim Wenders’ photographs can be seen in the Museum Kunst Palast in Düsseldorf. It converts analog images to the virtual superiority.
Quiet and unobtrusive it moves through the pictures of his exhibition. As a flaneur wanders the famous man with gray curly hair and backpacked through the rooms of the Museum Kunst Palast. He is wearing anorak, soft sneakers and baggy pants. Equal press conference, more than 100 flash lights are rattling, and the director of the museum will have to ask for peace, so that the words do not go under.
Wim Wenders (69) pulls his lap, as if he wanted to make sure once again , Not the Perfect of approximately 80 works is questioned, but Wenders wants to compete with a proof of each of his paintings: “Everything you see, there are so I’ve seen it, it’s true..” As further evidence he leads the “pH” that he writes photograph with “ph”. Behind that a postulate. An action against the virtual superiority, we increasingly subject and the digital is taking place. Counterparts to edit, cut, mounted report alleged realities and a review can not withstand. The diagnosis is: loss of confidence. “We are surrounded by would-be realities,” Wenders writes in the catalog, “most people not seem to mind. Do it brings to mind!” He apologizes for his fanaticism with which he defends the unique, truthful and unrepeatable his photographic moment.
He firmly believe in the power of photography as it once was and taught the people the wonder, because they actually could freeze the picture situations, people and things. Each photograph is a time capsule. Place and time and looking and feeling coincide in the moment when Wenders triggers. He used two cameras, one for dealing flowing panoramas, the other square for the more compact format. Both cameras allow enormous expansion without the grain surface, the image can be porous. The development process is unmanipulated.
But once Wenders was externally controlled. Move the Japanese Fukushima of horror he had taken pictures and had disfigured, destroying take deductions note: Dark Phota-graphies, on which light streaks had set in rainbow form. So completely arbitrarily, it was not, as it turned out. The radioactivity on the contaminated site had made the invisible visible.
More than 40 years photographing the celebrated primarily as a filmmaker Wenders. His films are unique, international awards attest to this. In their wanderings between the moving and static world, between the fast cuts and a suspended deductions he profiled in both genres as deeply humanistic artist. In the photographs, which are on display in his home town of Dusseldorf, resonates with the: respect for the cosmos and nature, participation in the things of life, of good more than bad situations. Large stages, unlimited spaces, vast dimensions he has given to the world. Wenders is a globetrotter. 400 000. driven kilometers he states, therefore it should be so far have traveled around the world ten times, has distant continents visited, waiting for the moment that a place for him to show-place is in the best sense of the word. He looks forth several times before he plans his image, you can save time and lead or influence by anyone. But his seventh sense, fed from intuition and empathy, it controls. Should also look the viewer to take share, empathize and dip. Wenders’ “photography umhöhlt the look”. That says art historian Hubertus von Amelunxen.
Usually the images deserted, a lake of Galilee, stunning beautiful in the morning light. The Rocky Mountains on a summer day, “the hay bales look like pieces on a giant board game,” it says in the caption. The other Japanese series seems so unreal, that you can not doubt reality vows to Wenders. How he can illuminate the dead tree in Onomichi? This photo almost looks like a painting by Caspar David Friedrich
Whether Cuba or USA, Palermo or Wuppertal -. Wenders has struck it rich, mysterious places seduced him to an eye-gaze. Documentary filmmaker and chronicler he is more than his artistic influences Gursky, Sander and Meyerowitz. “Every picture tells a story … sometimes only tells the reverse shot the whole truth.” In Armenia, he has documented with political subtext. Politically, the footage of Ground Zero – its captions, an appeal for peace. The light casts shadows apocalyptic. Photography’s painting with light – this is Wenders’ secret
No comments:
Post a Comment