(Deutsch) Fotografie

We are very pleased to present four different photographic positions at the Galerie Gebr. Lehmann.

Tilman Hornig:
The photographs are based on real objects that have been created in recent years and continue to be created. Among them are the photographs of the work groups “GlassPhone/ GlassBook”, “Sanitary Ceramics” and “TXT On Devices”. All the photographs thus also have an independent documentary character, whereby the real object and its photographic portrait are mutually dependent. The work groups of the objects and photographs are in an ongoing process.

Walter Niedermayr:
A recurring theme in Walter Niedermayr’s photographic work is space as a reality occupied and shaped by man. In the 1980s he began photographing mountain landscapes and the skiers who enliven them. Fascinated by the artificially processed landscapes, he traces the urban structures of alpine regions in his works, allowing visitors to the mountain slopes to become graphic objects, which in his work become symbols of human influence on nature. According to his own statement, his photographic work oscillates between the beautiful appearance of a so-called reality and the reality of the image itself.

Herbert Hoffmann:
Already in his childhood Herbert Hoffmann was fascinated by the tattoos of day labourers, sailors, field workers and circus people. Hoffmann’s fascination with indelible body art caused him to photograph his acquaintances in their private rooms. Due to his professional independence as a tattoo artist in 1961, he created further photographic works in his Hamburg tattoo studio. Within three decades, Hoffmann portrayed almost 400 tattooed persons with a Rolleiflex, born between 1878 and 1952. In short accompanying texts, which feed on letters, diary entries and a faithful memory, he remembers each one of them. With his photographic work Herbert Hoffmann leaves behind an intimate testimony of German tattoo history.

Horst Ademeit:
After an apprenticeship as a painter, Horst Ademeit studied under Joseph Beuys at the Düsseldorf Art Academy in 1970. It was not until 2008, two years before his death, that Ademeit’s comprehensive photographic archive of 6006 numbered plaroid works was discovered. For more than twenty years, Ademeit devoted himself to extensive photographic work groups in which he meticulously recorded, both on an artistic and documentary level, the power of cold radiation and other invisible radiations by means of Polaroid cameras. Like a cartographer, he arranged various measuring instruments and groceries on a daily newspaper, and handwrote the edges of the daily photographs with times, measurement data, and personal notes. In a parallel group of Polaroid observation images, he documented his surroundings on a daily basis. Within this chronological photo diary, Ademeit developed complex reference systems in which certain motifs play a constant role: Electricity meters, door spies, bulky rubbish heaps, construction sites and even self-observation of his own body.