Truth Study Center (英語) ペーパーバック – 2005/10/30
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世界の裏側と信じがたい現実を探求した、タッシェンからの3冊目となる本書で、著名なアーティスト兼写真家で2000年度のターナー賞受賞者、ヴォルフガング・ティルマンスは視覚世界の探検を新たなレベルに高めた。「Truth Study Center（真実研究所）」というタイトルは、私たちは普遍的な真理を発見したがるけれども、それは不可能だという事実に対する皮肉だ。刺激的な裸体のスケッチやトニー・ブレアのありのままの肖像画から金星日食の写真まで、今回初めてティルマンスの世界の全容が1冊にまとめられた。さらに、印象的な抽象画の新作も幅広く含まれているが、それらは強烈な色彩と構成によって、情緒的、そして肉体的な感覚を想起させる。夜の娯楽から静物まで、ティルマンスは、いま私たちが生きている世界の別の側面を見せてくれる。編集、デザインは著者自身による。
Wolfgang Tillmans was born in Remscheid, Germany in 1968 and studied at Bournemouth & Poole College of Art and Design. He is widely regarded as one of the most influential artists of his generation. His work, whilst appearing to capture the immediacy of the moment and character of the subject, also examines the dynamics of photographic representation. From the outset he ignored the traditional separation of art exhibited in a gallery from images and ideas conveyed through other forms of publication, giving equal weight to both. His expansive floor to ceiling installations feature images of subcultures and political movements, as well as portraits, landscapes, still-lives and abstract imagery varying in scale from postcard- to wall-sized prints. His work has been shown at the Museum of Modern Art, New York in 1996 and Tate Britain, London, in a major retrospective in 2003. He was awarded the Turner Prize in 2000.
The photographs that Tillmans takes of friends transport intimate knowledge to public observable knowledge and it is obvious in many of the photos that the friends and associates are fully aware of this transport from the intimate to the public. The exceptions may be the sleeping nudes, but even these require some acknowledgement by the subject that this private act is to become public exhibition.
I think there is a gay sensibility to most of Tillmans' work, particularly the photographs of friends. Whereas there are some nude male photographs and some photographs in gay nightclubs, it is the more intimate portraits of friends that have the strongest gay sensibility for the message and relationship is implied, suggested, and not broadcasted. Tillmans is gay and he chronicles the many events and encounters and relationships of gay existence.
The still-life is a theme Tillmans explores in a style that might be called discovery rather than composition. Whereas he may manipulate the objects in the still-life, there are accidental elements that reflect a lived existence, an intimate connection to the objects in the photograph, a hidden narrative that makes the work fresh and witty. He also reveals in many of these photographs that he is a colorist of the first order, for color is evident and becomes foreground rather than background in many of the compositions. The color is beautiful and can't be ignored in many of these still-life compositions. There is lightness to his still-life images, as if they blow away immediately after being photographed.
The interiors actually have much in common with the still-life compositions and frequent are wrecked rooms full of broken furniture and soft-drink bottles. There certainly is implied narration in these images and yet the narrative is elusive, there just are not enough hints. The cityscapes are document full of pattern, for it seems to be the honey comb patterns of city existence that he captures in his precise cityscape compositions.
The work among friends is ambivalent. It is not necessarily a chronological pictorial diary of his experience, for the photographs have the quality of art rather than the quality of diary. He selects the photographs not to capture a memory but to convey an image of interest. His photography when seen in large number of images express a broad visual language and concern. There is fascination to be found here.