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Wolfgang Tillmans (Remscheid, Germany, 1968) is an artist and a photographer based in Berlin. She was a contributing author to Wolfgang Tillmans (Phaidon, 2002), Painting at the Edge of the World (Walker Art Center, 2001), and Takashi Murakami: The Meaning of the Nonsense of the Meaning (Abrams, 2000). Midori Matsui is anart critic, independent curator and scholar who has written extensively on Japanese and Western art and culture. From 1996 to 2006 he was the publisher of Index magazine. In 2001 he received the Frank Jewett Mather Award for art criticism from the College Art Association. Halley has also written extensively on art and culture. Exhibiting since the 1980s, Halley has presented surveys of his work at the CAPC Musée d’art Contemporain, Bordeaux (1991), The Museum of Modern Art, New York (1997), the Folkwang Museum, Essen, Germany (1998), and the Louisiana Art and Science Museum (2005). In 2001 he was awarded the art criticism prize of the German Kunstvereine. Verwoert is a contributing editor to Frieze magazine and also writes regularly for Afterall, Metropolis M, and Springerin. Since 2005 he has been a tutor and leader of the Imagined Communities seminar at the Piet Zwart Institute, Rotterdam. He is a member of the advisory board of the Munich Kunstverein and has been a guest professor of Contemporary Art and Theory at the Academy of Umeå, Sweden, and the Royal College of Art, London. Jan Verwoert is a Berlin based art critic and curator.
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Meanwhile, to understand how this photographer went from the dance floor to the Turner Prize and on to a Tate retrospective and the walls of tasteful collectors, order a copy of our fully updated Wolfgang Tillmans Contemporary Artist series book here.
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You can listen to the full podcast here, which includes snippets of a few of Tillmans’ favourite house and techno records. But for others Berlin is still a haven of freedom. “Berlin is getting more gentrified and, for me, there’s a certain mood that was there in the early 2000s that’s gone. “You can always say Berlin nightlife was better then,” he admits. Of course, the idea that certain clubs need preserving plays into the hoary old cliché, often put forward by erstwhile club-goers of a certain age, that it was all better, ‘back in the day’. He adopted a similar approach towards Spectrum, a slightly secretive bar in Brooklyn, which Tillmans describes as “such a fragile space, I would never publish it while it was running.” Not everyone in the place wanted their photograph taken, let alone printed or exhibited, and Tillmans decided against publishing his pictures, until after the Joiners closed for redevelopment in 2015. He gives the example of The Joiners’ Arms, a down-at-heel gay pub in East London, which, as the area gentrified “became the main watering hole of the East London gay creative scene,” he says. Wolfgang Tillmans Self-portrait (Christian) for Phaidon book, 2013, colour photograph Though Tillmans doesn’t photograph nightclubs very often, there are, as he says “rare moments when I overcome embarrassment, because is so amazing I want to record it, so there is a record of it.” “For me, photographing queer spaces isn’t voyeurism,” he says in the podcast about Berlin nightlife, past and present, “I feel I have a duty to preserve it.”
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More conservative, career-minded types might have might have left the clubs behind after winning a significant award such as the Turner Prize, which Tillmans won in 2000.īut as he prepares to turn 50, the artist tells fellow Berlin nightlife lover, Luz Diaz in a new Crack Magazine podcast, that he feels duty-bound to document gay nightlife. The German photographer Wolfgang Tillmans began his career photographing nightclubs roughly three decades ago. Wolfgang celebrates his 50th today and wants you to see what it was like back in the day - and what it's like now 'I have a duty to preserve it' - Why Tillmans still shoots nightlife Love (Hands in Air), 1989 by Wolfgang Tillmans