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Wer auch immer das Interlock bricht (catalog)
Lassoland Publishing, Hamburg, 2020
96 pages, 24 x 32 cm, 67 plates, thread-stitching, softcover, German/English
ISBN: 978-3-00-064476-4Including a text by Sven Beckstette
“Wolfgang Oelze’s photographs and videos can be understood as artistic research into architecture and technology, cinematic images, and historical topography that describes the cave as a metaphor for how we approach the world and our abysses. This makes the artist a speleologist, but one who takes far more than the material nature of caves into account—and ultimately manifests our hidden unconscious.” (Sven Beckstette)
Supported by the Ministry of Culture and Media of the Free and Hanseatic City of Hamburg
Watch the book presentation video.
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Fuzzy Dark Spot (catalog)
Snoeck Verlag, Köln, 2019
224 pages, 18 x 24 cm, 205 plates, thread-stitching, softcover, German/EnglishEdited by Dirk Luckow and Wolfgang Oelze
ISBN 978-3-86442-287–4This catalog is published in conjunction with the exhibition Fuzzy Dark Spot at the Falckenberg Collection, Hamburg, from April 13 to November 3, 2019. It includes a preface by Dirk Luckow and an introduction by curator Wolfgang Oelze. The book offers comprehensive essays by Friedrich Wolfram Heubach, Thomas Macho, Claudia Reiche, Gerd Roscher and Siegfried Zielinski as well as explanations on the individual artworks.
The exhibition Fuzzy Dark Spot brings together video works by mostly Hamburg-based artists ranging from the 1970s to the present day, featuring historical and contemporary productions. The exhibition examines how video in art interprets social and media irritations and manipulations. The fields of this investigation include references in video art to television, the educational movement of the counter-public of the 1970s, as well as the use of video as a surveillance medium, a means of artistic narrative, a psychosocial mirror, and an instrument of self-optimization in the digital present. The major impact of video images on the collective memory and consciousness in the 20th and 21st centuries makes doubts about images, the uneasiness with the familiar, as well as the distrust of truth claims important subjects of artistic reflection. The title summarizes the common theme of the works in the exhibition: a nebulous, fuzzy dark spot, place, or condition.
https://www.sammlung-falckenberg.de/en/exhibitions/fuzzy-dark-spot-videokunst-aus-hamburg/
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FUZZY DARK SPOT (curatorial) Falckenberg Collection Hamburg
Deichtorhallen Hamburg, Falckenberg Collection: April 13 to November 3, 2019
The exhibition Fuzzy Dark Spot brings together video works by mostly Hamburg-based artists ranging from the 1970s to the present day, featuring historical and contemporary productions. The exhibition examines how video in art interprets social and media irritations and manipulations.
The fields of this investigation include references in video art to television, the educational movement of the counter-public of the 1970s, as well as the use of video as a surveillance medium, a means of artistic narrative, a psychosocial mirror, and an instrument of self-optimization in the digital present. The major impact of video images on the collective memory and consciousness in the 20th and 21st centuries makes doubts about images, the uneasiness with the familiar, as well as the distrust of truth claims important subjects of artistic reflection. The title summarizes the common theme of the works in the exhibition: a nebulous, fuzzy dark spot, place, or condition. The term Fuzzy Dark Spot comes from a discussion in an internet forum about camera lenses contaminated with mold.
The exhibition, curated by the Hamburg-based video artist Wolfgang Oelze, is programmatically linked to the exhibitions Weisser Schimmel (2010) and Capitain Pamphile (2011), which offered a look at the diverse works of artists in Hamburg within the Falckenberg Collection with specific curatorial concepts.
Part of the exhibition is an extensive supporting program with artist talks, screenings and lectures in the Falckenberg Collection as well as film screenings in the Metropolis cinema. The exhibition is accompanied by a catalogue.
Participating artists: Vito Acconci, Gabor Altorjay, John Bock, Claus Böhmler, Öyvind Fahlström, Harun Farocki, Jeanne Faust, Lee Friedlander, Gintersdorfer/Klaßen, Rosanna Graf, Britta Gröne/Peter Piller, Romeo Grünfelder, Christian Jankowski, Volko Kamensky, Naho Kawabe, Mike Kelley, Jon Kessler, Nina Könnemann, Till Krause, Vlado Kristl, Lene Markusen, Paul McCarthy, Aurelia Mihai, Ernst Mitzka, Vanessa Nica Mueller, Karina Nimmerfall, Wolfgang Oelze, Tony Oursler, Nam June Paik, Stefan Panhans Rotraut Pape/Raskin, reproducts, Rainer Korsen/Gerd Roscher, Oliver Ross, Gerhard Rühm, Swen Erik Scheuerling, Corinna Schnitt, Paul Spengemann, Hans Stützer, Mike Mandel/Larry Sultan, Inga Svala Thorsdottir, Helena Wittmann, and Steffen Zillig
In extension to the exhibition, the Falckenberg collection shows a curated video loop, the Fuzzy Sequence – presenting works by nine Hamburg artists: Goesta Diercks, Cordula Ditz, Jens Franke, Annika Kahrs, Georg Kühn, Matthias Meyer, Axel Schäffler, Eske Schlüters and Tilman Walther
https://www.deichtorhallen.de/ausstellung/fuzzy-dark-spot
Exhibition photos by Henning Rogge
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the qualm (catalog)
Revolver Publishing, Berlin, 2014
96 pages, 24 x 32 cm, 70 plates, thread-stitching, softcover, German/English
ISBN 978-3-95763-095-7 (order here)Including texts by Jens Asthoff and Thomas Macho
“Motifs of inclusion and smoke are recurring visual elements in the photo and video work of Wolfgang Oelze. They characterize how he visually addresses voids, labyrinths, bunkers, mounds, quarries and catacombs, or fuzzy spots in various spaces, which first come across like places of memory without disclosing the contents of the memory. In some places, slender plumes of smoke arise without a visible source of fire, spreading like ground mist in the scattered sunlight like local ectoplasms, apparitions in haunted locations that invoke no wars, acts of violence, or sacrificial rituals. [....] They are the effects of the formlessness that correspond to one’s own unconscious – and a respect for the power of this unconscious.” (Thomas Macho)
Supported by the Ministry of Culture of the Free and Hanseatic City of Hamburg
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Weltkerker
“Magma Cannonballs in Tripoli Citadel”, 2020, C-print, 60 × 80 cm
“Border Line”, 2020, C-print, 60 × 80 cm
“Weltkerker #1”, 2018, Light Box, Pigment Print on Backlit Film, 163 x 122 cm, view the exhibition
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Endtunnel
“Schrumpftür”, 2022, C-print, 60 × 80 cm
“Gerinnselmulde”, 2022, C-print, 60 × 80 cm
“Orakel”, 2022, C-print, 60 × 80 cm
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Interlock
untitled, 2016, C-print, 80 × 60 cm
untitled, 2016, C-print, 80 × 60 cm; or slide projection, dimensions variable
“Resort”, 2016, C-print, 60 × 80 cm
untitled, 2016, C-print, 60 × 80 cm view the exhibition -
Quarry
“inheritance” #1, 2015, C-print, 80 × 60 cm
untitled, 2011, C-print, 75 × 50 cm
untitled, 2013, C-print, 80 × 60 cm -
Helmet
“Helmet”, #1–#3, 2011, C-prints, 80 × 60 cm -
Dwellings
“Dolphin”, 2013, C-print, 80 × 60 cm
untitled, 2012, C-print, 80 × 60 cm
untitled, 2012, C-print, 142.5 × 107 cm
untitled, 2011, C-print, 80 × 60 cm
untitled, 2011, C-print, 80 × 60 cm -
Cloches
“Cloche”, 2013, C-print, 80 × 60 cm
“Safe”, 2012, C-print, 80 × 60 cm
untitled, 2010, C-print, 80 × 60 cm -
Wyoming
“Wyoming”, #1–#5, 2010–2013, C-prints, 80 × 60 cm -
Pillhill
1998–2009, C-prints, 75 × 50 cm- Wolfgang Oelze Photographs
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RAL 7030
exhibition in Oel-Früh Cabinet, Hamburg, on occasion of the Triennial of Photography, 2018
Exhibition views with three photos by Antje Sauer / RAL 4001Light Box, 170 x 125 cm
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Wer auch immer das Interlock bricht
exhibition XXII in Oel-Früh Cabinet, 2016
Exhibition viewsPhotographs, Installation
slide projection, two-sided trapezoidal mirror and soundtrack
Oel-Früh Cabinet, Hamburg
– one additional image appeared as exhibition invite -
MEM Bilbao
Experimental Arts International Festival, Bilbao, 2016
exhibition and performance of “Beat Box”
with Miguel A. García (guitar) and Maria Seco López (bass guitar) -
Puls
exhibition at Frappant Galerie / berlin-raum für Videokunst, Hamburg, 2015
LP-release, installation and videos; exhibition with guests: Joan Jonas (NYC) and Pascual Sisto (LA), performance with Rudi Burr and Florian Dürrmann (HAM)
Beat Box, 2015, 16:9 HD-Video, dual channel installation and performance, stereo, loop, 00:14:18
Störung Partitur, 1996, 4:3 PAL, single channel, stereo, 00:09:00
Pumpen, 1999, 4:3 PAL, single channel, stereo, 00:08:00
Kontakt, 2015, 12" LP, direct vinyl cut, 00:22:00
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Erbe
Aktion # 96, Wolfgang Oelze and Galia Kodsi at 2025 ev, Hamburg
Erbe / Inheritance
7 million years ago: the lineage of mankind starts diverging away from chimpanzees. 73,000 years ago: the consequences of the “Toba” volcanic eruption reduces the genetic variety of Homo Sapiens to the population of a cave, in which the earliest pigment drawings were being created. 1866: Ali Rawda gives away his point of land in Beirut to American missionaries, who begin building a university. 1908: Parisian banker and philanthropist Albert Kahn uses the newly invented color slide glass plates in order to illustrate The Orient as well as the pathogen of syphilis. 2006: one could watch from the Al Rawda Cafe, on the outermost rocky point of Beirut, how Israeli warships are firing at the city. 2012: a pathologist from Bremerhaven bequeathes an extensive color slide archive of microscopic examinations depicting wart and cancerous tissue. In the present decade, another supervolcano may very well break out in Europe.
“Erbe” unites all of these events for three hours.
(Excerpt from the exhibition announcement for »Aktion # 96«, October 30th 2015)
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the qualm
exhibition at Kunsthaus Hamburg, 2014
video works:
920 mm / figures 2014, HD, stereo, 46 min, loop
untitled (lock) 2014, HD, 12 min, loop
2 caves 2014, HD, 6 min, loop
moments ago 2003/08, PAL 4:3, stereo, 37 min, loop
shown in installation with surveillance monitors
in the air 2006, PAL 4:3, stereo, 18 min, loop
shown on mini tv monitor
photo works:
2011 – 2013, c-prints
untitled, 2013, slide projection
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cet obscur coin flou
Exhibition at Galerie du Tableau, Marseille, 2013
with Goesta Diercks -
more exhibitions
2024 “Ice Cream for Crow” (video), Adamski Gallery, Berlin
2024 Expanded Media group exhibition at “37. Stuttgarter Filmwinter” (video), Stuttgart
2022 “Kleine Gesellschaft für Gotten und Höhlen, Teil 2” (video), Hamburg
2021 “Kleine Gesellschaft für Weg und Umweg”, Hamburg (with a.o., Peter Boué, Alexander Rischer, Michael Buck, Micha Mohr, Simon Hehemann - l.t.r.)
2020 “Der Apparat”, Frappant Gallery, Hamburg
2010 “Photography – Ideology of representation”, Gallery Melike Bilir, Hamburg
2013 “und Hamburg was glaubst du”, Kunsthaus Hamburg
2010 “Leshan Invitational Contemporary Art Exhibition” (video), Leshan, China (catalog excerpt)
2012 “Daemon's Dilemma” (video), Künstlerhaus Frise, Hamburg
2011 “Fuzzy Dark Spot”, Raum für Zweckfreiheit, Berlin *
* Supported by the Ministry of Culture of the Free and Hanseatic City of Hamburg
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Fuzzy Dark Spot (catalog, 2011)
Revolver Publishing, Berlin, 2011
Wolfgang Oelze (ed.), 28 pages, 19.6 x 27.8 cm, 12 plates, softcover, German/English
ISBN: 978-3-86895-208-7Including a text by Thomas Gann
The title implies a distinct combination of terms; “fuzzy” refers to the fibrous, diffused, the blurred... it introduces a dark and unconscious side. In a typical Google search, the expression “dark” locates itself fatefully between ”fuzzy” and “spot”. A fuzzy hyper-intelligence may manifest itself through the internet. Users of technical devices are often discussing ”fuzzy dark spots” in internet forums, asking each other questions about disturbing marks seen in their digital pictures. The spot thus finds it’s location between diffused stains and landmarks, designating both clarification and contamination of an image. The concepts of “good things” and “man is measure of all things” are also suggesting their incomprehensible, terrifying drawback by the marks mentioned above.
Does the dark feeling have a location, and what would that look like? This space not only relates to landscape, as in romantic paintings, but is located and visualized through psychology, neuroscience and genetics. The incomprehensibility of science naturally evokes questions concerning the unclear, the faulty, the blind spot. The complexity and fuzziness of these spaces invite artistic interaction. This obscure territory that is engaged then becomes a fascinating, dark place for imagining. Superstition, cinematic exaggeration, absurd concepts, enigmatic fragments, dissolving matter, and ruinous landscapes are materials for artistic manipulation, which are explored in this exhibition.
The literary scholar Thomas Gann is inspecting in his essay the paths of a search for those dark zones in the German literature of the 18th and 19th centuries; Thomas Gann “Logic of Blur 1800/1900: Dark Imaginations, Unknown Continents, Clouds, Hazy Air?”.
Artists: John von Bergen, Goesta Diercks, Heike Mutter and Ulrich Genth, Wolfgang Oelze, Stefan Panhans, Alexander Rischer, Oliver Ross, Andrea Winkler
Supported by the Ministry of Culture of the Free and Hanseatic City of Hamburg
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Toter Winkel (catalog)
Blind Spot, Photo tour and installation to the increased security
Hamburg, 1995
Wolfgang Oelze (ed.), 16 pages, 21.1 x 22.3 cm, 14 b/w plates, softcover, GermanThe work started as a photographic inventory tour through a company building in Hamburg. This then developped to diverse installations of office furniture in that building.
The building was demolished in 2014.This description appeared as a supplemental text to the catalog, in German:
Installation
Erdgeschoss Eingangsbereich, vor dem Fenster links vom Haupteingang, von der Tür bis in die Ecke
5 Beistelltische, gestapelt
3 Stofftrennwände. orange, gestapelt
3 Schreibtische mit Stromanschluss, gestapelt
5 leere dreieckige Blumenkübel, gestapelt
eine Handvoll TürstopperErdgeschoss vor der Kantine, vor der Garderobe und darum herum
3 Stofftrennwände, orange und rot, gestapelt
6 Pinwände6. Stock (Vorstandsetage), Gang bei der Garderobe, Richtung Südosten
5 runde Aschenbecher, ausgemusterte Modelle, neben dem Spiegel
1 neuer, stehender Aschenbecher neben dem Spiegel
1 Karton voll Absaugstutzen für die Staubsaugeranlage unter hängendem Aschenbecher6. Stock neben dem schwarzen Brett, auf beiden Seiten der Trennscheibe
5 Pinwände auf der einen Seite
ein dreieckiger Blumenkübel mit Granulat für Hydrokulturen, auf jeder Seite der Scheibe6. Stock vor Fenster Richtung Norden
9 Ablageständer, gestapelt
24 Einsätze, danebenAufbau:
Die in Architektur und Möblierung verwendeten Formelemente weisen Übereinstimmungen auf.
Durch ihre Anhäufung und Wiederholung verstärken sich diese den Gesetzen der Funktionalität entsprechenden Formelemente gegenseitig in ihrem Signalcharakter.
Ein Kriterium bei der Aufstellung der Möbel war, die funktionale Stapelung vom BP-Möbellager zu übernehmen.Wichtige Bezug-Merkmale der Installationen zur Umgebung sind Anhäufung und Reihung, der alles beherrschende Rechte Winkel, glatte, glänzende Oberflächen, grelle Farben – häufig in Komplementärkontrasten, sowie die Bildung von Paaren und Spiegelbildern.
Als Beispiel die Installation im Eingangsbereich:
Der Grundriss des Gebäudes besteht aus sechs Sechsecken, und soll an ein Mineralölmolekül erinnern. Diese Form taucht im Gebäude immer wieder auf.
Der Eingangsbereich ist rundum verglast und durch Glasscheiben vom Gebäude getrennt. Durch diese Glasscheiben sieht man im Innern des Gebäudes zur Rechten den sechseckigen Empfangsschalter und zur Linken eine Sitzgruppe, in der Besucher Platz nehmen müssen. Von der Mitte weg führt ein Gang und Rolltreppen.Die Aufstellung der Möbel: Von der linken Eingangsschranke bis in die linke spitze Ecke des Raumes. Die Installation steht in einer Reihe parallel vor einer Glasscheibe, auf deren anderer Seite sich spiegelbildlich die Sitzgruppe aus Stahlrohrsesseln für Besucher und ein Prospektständer aus verchromtem Stahlrohrgestänge befindet.
An den aufgestellten Beistelltischen, Stofftrennwänden und Schreibtischen sind kufenförmige Füße angebracht aus dem gleichen verchromten Stahlrohr und in der gleichen Form wie die Begrenzung an der Schranke.
Der Mitarbeiter wird durch diese Begrenzung glatt in das Gebäude hinein oder aus dem Gebäude heraus geleitet. Das betreffende Möbelstück wird mittels der gleichen Konstruktion leicht über den Teppichboden gezogen.Beistelltische:
Die nach oben gedrehten Kufen der gestapelten Beistelltische weisen in den Raum, so wie die Begrenzung an der Schranke.
Stofftrennwände:
Neben den Beistelltischen stehen frontal vor dem Fenster drei Stofftrennwände. Im Großraumbüro kommen sie in verschiedenen Farben vor. Sie sollen Blickschutz schaffen und die Lautstärke von Gesprächen dämpfen.
Außerdem bieten sie individuelle Gestaltungsmöglichkeiten des Arbeitsplatzes. Die für die Installation ausgewählten Wände sind Orange, eine Farbe die man im BP-Gebäude häufig vorfindet, hier als Verkleidung oberhalb des Fensters und als Jalousie des nebenliegenden Büros im Erdgeschoss. In der Installation hängt zwischen zwei Stofftrennwänden auf dem Kopf eine dritte, ihre Füße aus verchromtem Stahlrohr liegen auf den beiden Stehenden auf.
Schreibtische:
Aufbau gestapelt neben den Stellwänden. Sie stehen nicht parallel zur Fensterscheibe, sondern leicht abgewinkelt in den Raum hinein. Die Grundfläche eines Tisches ist so bemessen, dass auf einer Schreibtischplatte zwei Schreibtische hochkant gestapelt werden können. Bei der Besichtigung im Möbellager wirkte diese Stapelung funktional perfekt, da man hier beim Arbeitsplatz des Mitarbeiters an gute Handhabbarkeit dachte.
Blumenkübel:
Den Abschluss in der Ecke bildet ein Stapel aus leeren dreieckigen Blumenkübeln für Hydrokulturen, Die Blumenkübel stehen auf dreieckigen Waschbetonplatten mit eingelegten Kieselsteinen, die sich im gesamten Raum vor den Fenstern befinden. Im Großraumbüro rundet ein solcher Behälter die Ecke ab. Am Ende einer Reihe von Arbeitstischen stellt er einen natürlichen Schlusspunkt dar.
Türstopper:
Auf einem der Beistelltische liegt eine Handvoll Gummi - Türstopper. Der fußmattenartige Teppichbodenbelag bewirkt beim Betreten des Gebäudes Reinigung. Dem reibungslosen Ablauf des Schranke öffnens und Herausgehens bereitet die den Schritt bremsende Wirkung ein Hemmnis.