zeit.de
Tillmans' Three-City Retrospective: Art Reflecting Predictable Crises
Wolfgang Tillmans, a renowned German artist, has three major exhibitions in Europe: Dresden (until June 26th), Remscheid (until January 4th, 2026), and Paris (opening June 15th at the Centre Pompidou before its five-year closure). The shows feature photography, video, and personal archives spanning almost 40 years, reflecting on the paradox of predictable crises.
- What is the most significant aspect of Wolfgang Tillmans' current three-city exhibition tour, and what are its immediate global implications?
- Wolfgang Tillmans, a Turner Prize-winning artist, currently has three major exhibitions across Europe. The shows, in Dresden, Remscheid, and Paris, showcase his diverse works spanning photography, music, video, and personal archives, reflecting almost 40 years of artistic creation. The Paris exhibition, at the Centre Pompidou, is particularly significant, being the museum's last large-scale show before a five-year closure.
- How do Tillmans' works reflect the paradox of predictable yet surprising crises, and what specific examples from his current exhibitions illustrate this?
- Tillmans' exhibitions explore the paradox of our time: the unexpected nature of foreseeable crises. His works, displayed unconventionally in spaces like a 6,000-square-meter library, juxtapose personal experiences with broader political and social themes, such as images of Russian soldiers near a Dior store and the US-Mexico border. The artist sees no limit to how political art can be, blurring the lines between personal and political realms.
- What future trends or critical perspectives on the role of art in contemporary society do Tillmans' current exhibitions suggest, considering their unconventional locations and thematic scope?
- The exhibitions' impact extends beyond showcasing Tillmans' artistic genius. They offer a critical reflection on contemporary issues, prompting viewers to confront foreseen yet surprising crises. The unconventional exhibition spaces themselves highlight Tillmans' creative approach, pushing the boundaries of traditional art presentation and challenging viewers' perspectives. Tillmans' work, spanning decades, reflects a continuous engagement with global events and social issues.
Cognitive Concepts
Framing Bias
The framing is overwhelmingly positive, celebrating Tillmans' achievements and the significance of his exhibitions. While this is appropriate given the subject matter, the lack of critical distance might inadvertently present an overly idealized view. The emphasis on the Paris exhibition as a 'culmination' subtly positions it as the most important, potentially downplaying the merit of the other shows.
Language Bias
The language used is largely celebratory and laudatory, employing terms like 'Kunststar,' 'Höhepunkt,' and 'Geschenk.' While positive, these terms lack the neutrality expected in objective reporting. Suggesting alternatives like 'leading artist,' 'major exhibition,' and 'significant event' would enhance neutrality. The description of the exhibition title as a 'nüchterne Diagnose der Gegenwart' (sober diagnosis of the present) is a subjective interpretation.
Bias by Omission
The article focuses heavily on Tillmans' current exhibitions, mentioning past exhibitions in New York and Dresden briefly. While this is understandable given the focus, a more comprehensive overview of his career, perhaps including less prominent works or influences, might offer a fuller picture. The omission of critical perspectives on Tillmans' work is also notable, although this might be considered acceptable for a celebratory piece.
Gender Bias
The article mentions both male and female figures in Tillmans' work (Kate Moss, Lady Gaga) without apparent gender bias in its descriptions or treatment. However, a more in-depth analysis of gender representation in his broader body of work would be needed to fully assess this aspect.
Sustainable Development Goals
Tillmans' art often addresses social and political issues, challenging norms and prompting reflection on inequality. His work features diverse subjects, from workers in his hometown to celebrities, highlighting the interconnectedness of different social strata and implicitly questioning existing power structures. The exhibition's title, "Nothing could have prepared us - Everything could have prepared us," reflects on unforeseen crises, suggesting a critique of systems that may have allowed inequalities to persist.