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WALTHER KöNIG, KöLN
Wolfgang Tillmans: What’s Wrong with Redistribution?
Text by Tom McDonough.
Wolfgang Tillmans’ (born 1968) Truth Study Centre has been a fixed component of his exhibitions since he first showed a version of the multipart tabletop installation in 2005. Often arising from local circumstances and current issues at the time of their creation, the Truth Study Centre works mark an endeavor to establish a clear perspective in confusing times. The scope and complexity of this project become apparent for the first time through this book, the second—following Manual (2007)—dedicated to this set of works. Over the span of 320 pages (printed using a high-resolution technique), Tillmans presents an alternative chronology of the present. Far exceeding his original and main medium of photography, he juxtaposes a variety of contrary opinions, statements and comparisons on recurring table formats. The dimensions of the wooden tables, which he designed himself, are not arbitrary: they are built using standard British door panels, 78 inches long, and with one of four different standard widths. This book gives an overview, through lavish reproductions, of this new form of collage, in which picture, text and object "are only kept in place by their own weight," as the photographer puts it. An essay by Tom McDonough, Professor for Art History at Birmingham University, New York, places Tillmans’ project within the context of 20th-century collage, from Hannah Höch to Robert Rauschenberg. This artist’s book, produced in Tillmans’ Berlin atelier, includes a Fresnel magnifying glass, making it possible to zoom in on the contents and read even the smallest of printed texts.
Featured image is reproduced from Wolfgang Tillmans: What’s Wrong with Redistribution?.
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Featured image is reproduced from What's Wrong with Redistribution?, Walther König's new 320-page collection of Wolfgang Tillmans'Truth Study Center multipart tabletop installations. Gathering photographs, newspaper clippings and other two-dimensional cultural reference points, these collage-like table top displays "function as contemporary, polyphonic montages, creative affective archives with pan-sexual scope and transnational address," according to essayist Tom McDonough. Available in our Frieze New York bookstore. continue to blog
FORMAT: Hbk, 11 x 9.5 in. / 320 pgs / 250 color. LIST PRICE: U.S. $65.00 LIST PRICE: CANADA $87 ISBN: 9783863358228 PUBLISHER: Walther König, Köln AVAILABLE: 1/26/2016 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA ONLY
Wolfgang Tillmans: What’s Wrong with Redistribution?
Published by Walther König, Köln. Text by Tom McDonough.
Wolfgang Tillmans’ (born 1968) Truth Study Centre has been a fixed component of his exhibitions since he first showed a version of the multipart tabletop installation in 2005. Often arising from local circumstances and current issues at the time of their creation, the Truth Study Centre works mark an endeavor to establish a clear perspective in confusing times. The scope and complexity of this project become apparent for the first time through this book, the second—following Manual (2007)—dedicated to this set of works. Over the span of 320 pages (printed using a high-resolution technique), Tillmans presents an alternative chronology of the present. Far exceeding his original and main medium of photography, he juxtaposes a variety of contrary opinions, statements and comparisons on recurring table formats. The dimensions of the wooden tables, which he designed himself, are not arbitrary: they are built using standard British door panels, 78 inches long, and with one of four different standard widths. This book gives an overview, through lavish reproductions, of this new form of collage, in which picture, text and object "are only kept in place by their own weight," as the photographer puts it. An essay by Tom McDonough, Professor for Art History at Birmingham University, New York, places Tillmans’ project within the context of 20th-century collage, from Hannah Höch to Robert Rauschenberg. This artist’s book, produced in Tillmans’ Berlin atelier, includes a Fresnel magnifying glass, making it possible to zoom in on the contents and read even the smallest of printed texts.
