一些摘抄

“ Instead of looking only at how society shapes the individual, it seemed productive also to explore how, on the level of the everyday, personal lifestyles are organized as modes of resistance in the midst of a normative capitalist society.”

“ a basic proposition that Tillmans makes in his work is that the difference between reality and its image is blurred — that the image is already inscribed into the world.” “On the whole, the most striking feature of Tillmans' room-filling installations is the impression that he is opening up a world for the viewer. This world consists of a system of interrelated images into which you enter physically when you move within the exhibition space and orientate yourself among the visual material. The cultural theorist Lawrence Grossberg proposes a term to describe such systems: he calls them 'mattering maps'." Grossberg assumes that when people construct their value system they do so not only by identifying the things that matter to them, but also by integrating these things into a matrix of meaningful relations and differences. They draw up a 'mattering map', which forms a structure of meaning, but, since it is saturated with affect, it is also a structure of pleasure. Yet the 'mattering map' of the installation is only readable to a certain degree; there is no conclusive interpretation or clear-cut agenda. What you get is a network of meaningful connections, differences and affective links that branches out and diversifies the more you engage with it. Apart from deciphering the structures laid out by Tillmans in the hanging of the photos, one is consequently provoked to find one's own ways of organizing the visual material. Thus Tillmans engages the viewer in a performative experiment. Through the complex overall installation technique you are confronted with a moment of visual overload. You have to find ways of orientation in this situation of contiguousness. How do the images make meaning? As your eyes move backwards and forwards across the clusters of images, you yourself move through the rooms, trying out different viewpoints, searching for clues and connections. Suddenly something catches your eye; you spot a fascinating detail or home in on a specific constellation of images that results in a pun. Moments of sudden closure occur and then dissolve again in the visual complexity of the overall installation. While navigating through the installation, you experience how visual perception constantly alternates between different modes of awareness: intuitive apprehension changes to conscious recognition, and the state of focused attention changes back to a state of relaxed immersion in visual flow.” Wolfgang Tillmans ：Generally speaking, the abstractions, the 'views from above' and the Intervention Pieces are products of a self-reflective process that has intensified since I found my work increasingly circulated and discussed in the mid-1990s. My photographs and installations have always oscillated between an exploration of the autonomy of he photographic image as such in a given space or context and the photograph as a medium of social content. To keep this dialogue active, it's been imperative for me to keep questioning and refuting expectations that are brought to my work. By introducing semi-figurative and abstract images into my project a range of questions has arisen, which now equally affect my older, through-the-lens photographs [... ]