Tag Archives: wolfgang tillmans


“Every time I enter a new room I scan for other queers. Maybe it’s a hunt for fleeting solidarity, maybe safety—not that the two are opposed. I didn’t know I did this until I didn’t have to, when I arrived in a place—[Fire Island]—where queer and its variants was the baseline. It is a profound experience, one I will never take for granted, even as I know the exclusions it enacts.

“This is a very personal show, in the sense that it has no pretensions of thoroughness or coherence. A series of friendships and encounters organized around a shared experience of finding one’s place. Just some people inhabiting a tiny speck of the world and—to borrow a phrase by Douglas Crimp, another friend from the island—misfitting together.” — Ryan McNamara*

McNamara brings Fire Island to Manhattan with a new exhibition of work by Travis BoyerJack BruscaTM DavyRaúl de NievesNicole EisenmanK8 HardyKia LabeijaMatthew LeifheitHanna LidenTiffany MalakootiSamuel RoeckPaul Mpagi SepuyaDevan ShimoyamaA.L. SteinerWolfgang TillmansCajsa von Zeipel, and himself.


Through April 14.

Baby Company

73 Allen Street, New York City.

*”Misfitting together” is a quote from Popism: The Warhol Sixties, by Andy Warhol and Pat Hackett (1980), referenced by Douglas Crimp in his book “Our Kind of Movie”: The Films of Andy Warhol (Cambridge, MA: MIT Press, 2012), 157, note 29:

“I [Warhol] was reflecting that most people thought the Factory was a place where everybody had the same attitudes about everything; the truth was, we were all odds-and-ends misfits, somehow misfitting together.”

From top: Ryan McNamara, Cemical Compound (6/8/2018), 2019, wood, plaster, paint, psilocybin, amyl nitrate, gamma-hydroxybutyrate, Truvada; Wolfgang Tillmans, Far away inside (Echo Beach), 2017, inkjet print; Matthew Leifheit; Meat Rack Gathering, 2018, dye sublimation print on aluminum; Nicole Eisenman and Tiffany Malakooti, Remarkable Lesbian Chess Set, 2016, clay, wood, and paint; A.L. Steiner, Untitled (Rachel on bay, Pines), 2016–2019; Fire installation view with K8 Hardy‘s jockstrap collection—Look Pines, 2016, fiberglass mannequin, metal base, cloth, enamel paint, synthetic wig—in foreground; Devan Shimoyama, Untitled, 2015–2018, dye-sublimation print on aluminum (2); Cajsa von Zeipel, Boy’s Tears, 2019, styrofoam, fiberglass, aqua resin, plaster; Travis Boyer, Le Fountain, 2019, embellished and dyed wool blanket on beeswax, wood, and steel frame; Jack Brusca, Pines Pavilion Logo, 1980, acrylic on canvas; Kia LaBeija, New Legend Lucky 007 on Fire Island, 2018, digital inkjet print.


New Documents (Los Angeles), onestar / Three Star (Paris), Printed Matter (New York), David Zwirner Books (New York), Art Metropole (Toronto), Sternberg Press (Berlin), and Roma Publications (Amsterdam) will join dozens of Asian publishers and artists at the inaugural BOOKED—TAI KWUN CONTEMPORARY’S ART BOOK FAIR in Hong Kong.

Talks, workshops, launches, and performances will take place throughout the event’s duration, and the fair will close with a set by DJ Freckles.


Friday through Sunday, January 11, 12, and 13.

JC Contemporary, Tai Kwun

10 Hollywood Road, Central, Hong Kong.

From top:

Kara Walker, MCMXCIX [sketches from 1999] (Amsterdam: Roma Publications, 2017).

Jumana Manna, A Small Big Thing (Berlin: Sternberg Press, 2018)

Maria Fusco, Give Up Art (Los Angeles: New Documents, 2017).

Phile: The International Journal of Desire and Curiosity 2 (2018), Art Metropole.

Wolfgang Tillmans, DZHK Book 2018 (New York: David Zwirner Books, 2018).

Stefan Brüggemann, Timeless (Paris: Onestar, 2015).



Wolfgang Tillmans’ first Hong Kong exhibition is up at David Zwirner, and includes both older work as well as new photographs related to Tillman’s current interest in human obstinance and the devaluation of fact-based information.


WOLFGANG TILLMANS, through May 12.

DAVID ZWIRNER, 5-6/F, H Queens, 80 Queen’s Road Central, Hong Kong.


See Wolfgang Tillmans edition of Jahresring:


Above: Wolfgang Tillmanshand on ankle, 2018.

Below: Wolfgang Tillmansbrain scan CLC, a, 2017. Courtesy of the artist and David Zwirner.

Screen Shot 2018-04-06 at 9.28.00 AM



For its 64th iteration, Jahresring enlisted Wolfgang Tillmans to guest edit an issue, which the photographer has titled “What is Different?”:

“We have known for some time that there are people who feel drawn to esoteric conspiracy theories. What is new, however, is that hard facts are no longer believed by wide segments of the population. During the past two years, I have come to realise that if 30% of the electorate are resistant to rational argument, we are on a slippery slope.

“In light of all this, I wanted to investigate [by interviewing scientists, politicians, journalists, and social workers] why the backfire effect is having more impact today than it did ten, twenty, or forty years ago. What has changed? What is different? This latter phrase became the title of the book.” — Wolfgang Tillmans, in The Guardian*


WHAT IS DIFFERENT?, JAHRESRING 64, edited by Wolfgang Tillmans and Brigitte Oetker. Published by Sternberg Press.



Above: Wolfgang Tillmans, CLC 004, 2017. Courtesy David Zwirner, New York/Hong Kong, Galerie Buchholz, Berlin/Cologne, and Maureen Paley, London.

Image credit below: Jahresring and Sternberg Press.



Two opportunities to see the work of Wolfgang Tillmans:

In his first exhibition at Tate Modern, a selection of photographs, recorded music, publications, videos, and digital slide projections by Tillmans since 2003 are now on view through the first week of June.


WOLFGANG TILLMANS: 2017, through June 11

TATE MODERN, Bankside, London



“What does this constant self-expression mean? Is that maybe a terror of self-expression?” — Wolfgang Tillmans*

“A thoughtful, intelligent confidence has guided his long, successful journey, but Wolfgang has claimed that he would be lost without the strong sense of doubt that defines his photography, from the representational documents of his community to his abstractions. He is highly engaged in the international discourse around politics and power. Yet, as he told writer Paul Flynn in 2009, ‘purposelessness is quite crucial to art.’ These contradictions are the connections that define Wolfgang’s body of work.”**

In its first large-scale show devoted to photography, the Fondation Beyeler will exhibit over 200 works from 1989 through 2017 by Tillmans, together with a new audiovisual installation.


WOLFGANG TILLMANS, May 28 through October 1.

FONDATION BEYELER, Baselstrasse 101, Basel



*”Sound and Vision: Wolfgang Tillmans in conversation with Dorothée Perret,” PARIS LA 15, Spring 2017, 53.

**Barlo Perry, “Sound and Vision” introduction.

Wolfgang Tillmans, La Palma, 2014 © Wolfgang Tillmans Image credit: Tate Modern

Wolfgang Tillmans, La Palma, 2014
© Wolfgang Tillmans
Image credit: Tate Modern