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Gottfried Jäger (*1937) is one of the most important photographers and photo-theorists of the post-war period. Along with Otto Steinert (Essen) and Bernd & Hilla Becher (Düsseldorf), Jäger influenced generations of photographers with his non-objective photography and his teaching at the FH Bielefeld. As early as the 1960s, he developed the concept of "generative photography". For him the medium of photography itself becomes the theme, the medium becomes the object. He is a "photographer of photography" (B. Stiegler). The Bielefeld artist has also played an important role with his theoretical writings on imaging photography (in dialogue with V. Flusser and L. Wiesing, among others). A retrospective of his work is a desideratum of the exhibition business. The approximately 400 square meter presentation of the Sprengel Museum Hannover will accomplish this with an exemplary selection of works from the artist's most important creative periods and forms in six rooms.

Photography --- fotoboeken --- Jäger, Gottfried

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Photography --- artistieke fotografie --- Evers, Jan Paul --- Feser, Christiane --- Jäger, Gottfried --- Heyne, Stefan --- Böhm, Miriam --- Germany

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Art styles --- Art --- multimedia works --- art [discipline] --- photography [process] --- light art --- Constructivist --- Kuball, Mischa --- Holzhäuser, Karl-Martin --- Jäger, Gottfried --- Mächler, René --- Meier, Norbert --- Richter, Christiane --- Sal, Jack --- Schuetz, John H. --- Moholy-Nagy, László --- Koliusis, Nikolaus --- Kranz, Kurt --- Mohr, Manfred --- Gruppe Animato --- anno 1920-1929 --- anno 1930-1939 --- anno 1900-1999 --- Germany

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Das Museum im Kulturspeicher Würzburg, mit der Sammlung Peter C.Ruppert eines der Zentren für Konkrete Kunst in Deutschland, hat bereits 2005 den Begriff der 'Konkreten Fotografie' in den Blickpunkt der Forschung gerückt. Zehn Jahre später wagt die Ausstellung Licht- bild und Datenbild – Spuren Konkreter Fotografie ein Update und fragt anhand von Werken vor allem der letzten zehn Jahre erneut nach einer Definition Konkreter Fotografie vor dem Hintergrund des digitalen Wandels. Der Katalog zur Ausstellung zeigt mit einem Ausschnitt aus der Sammlung Peter C.Ruppert einige Klassiker der Konkreten Fotografie; von hier aus verfolgt er die Spuren einer ungegenständlichen, selbstreflexiven Fotografie in der heutigen Kunst. Dabei reagieren einige Fotokünstler auf die Digitalisierung ihres Mediums mit einer Rückwendung zum Apparat und zum Experiment mit Fotopapier und lichtempfindlichem Material, andere nutzen die neuen technischen Möglichkeiten für eine vollständig von der Außenwelt unabhängige Bilderzeugung mittels des Computers. Auf beiden Gebieten sind dem Experiment keine Grenzen gesetzt – die Lust an der Bilderzeugung ohne Abbild als ein Wesensmerkmal des 'Konkreten' bleibt bestehen und äußert sich in aufregend vielschichtiger Weise.

Künstler: Théodore Bally, Kilian Breier, Nina Brauhauser, Marco Breuer, Richard Caldicott, Michel Campeau, Pierre Cordier, Akos Czigány, Inge Dick, Christian Doeller, Philipp Dorl, Christiane Feser, Johannes Franzen, Adam Fuss, Hein Gravenhorst, Franco Grignani, Heinz Hajek-Halke, Raphael Hefti, Heinrich Heidersberger, Stefan Heyne, Karl Martin Holzhäuser, Horáková + Maurer, Roger Humbert, Gottfried Jäger, Peter Keetman, Anton Kehrer, Ola Kolehmainen, Pit Kroke, Jacinthe Lessard-L, René Mächler, Andreas Müller-Pohle, Jaromír Novotný, Jerzy Olek, Michael Reisch, Christiane Richter, Thomas Ruff, Jörg Sasse, Otto Steinert, Claus Stolz, Wolfgang Tillmans, James Welling, Luigi Veronesi

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The Museum im Kulturspeicher Würzburg is one of the foremost centres for concrete art in Germany due to its "Collection Peter C. Ruppert". Already in 2005, it has helped to shift academic attention to the term of "concrete photography". Ten years later, the exhibition "Light Image and Data Image - Traces of Concrete Photography" ventures to update the earlier findings, endeavouring once again to come up with a definition of concrete photography in the light of the digital revolution by displaying works mainly created within the last decade.

Beginning with the "classics" of concrete photography of the Collection Peter C. Ruppert, the exhibition follows the "traces" of non-representational, self-referential photography in contemporary art. Some artists react to the digitalisation of their medium with a return to the "apparatus" and by experimenting with photosensitive materials. Others make use of the new technical possibilities by generating images within their computers, completely independent from the outside world. Both reactions present inifinite opportunities for experiments - the major feature of the "concrete", a passion to create images without representing objects, persists and is expressed in various many-faceted, exciting ways. The Museum im Kulturspeicher Würzburg with its Peter C. Ruppert Collection is one of the centers for Concrete Art in Germany. Back in 2005, the museum proposed the concept of "Concrete Photography" as a productive new field of research. Ten years later, the exhibition Lichtbild und Datenbild – Spuren Konkreter Fotografie ventures to update this investigation, inquiring primarily on the basis of works from the last ten years into how Concrete Photography can be redefined in our digital age. The exhibition catalog shows a few classics of Concrete Photography from the Ruppert Collection and then proceeds to track the traces of nonrepresentational, self-reflexive photography in contemporary art. Some photo artists are responding to the digitization of their medium with a return to the apparatus and to experimentation with photo paper and photosensitive material, while others make use of the new technical possibilities to generate images on the computer that are fully autonomous from the outside world. In both approaches, the experimentation seemingly knows no bounds. The relish in generating images that are more than an imitation of nature thus remains the essential characteristic of the "Concrete" attitude, expressed in myriad exciting ways. 

Artists: Théodore Bally, Kilian Breier, Nina Brauhauser, Marco Breuer, Richard Caldicott, Michel Campeau, Pierre Cordier, Akos Czigány, Inge Dick, Christian Doeller, Philipp Dorl, Christiane Feser, Johannes Franzen, Adam Fuss, Hein Gravenhorst, Franco Grignani, Heinz Hajek-Halke, Raphael Hefti, Heinrich Heidersberger, Stefan Heyne, Karl Martin Holzhäuser, Horáková + Maurer, Roger Humbert, Gottfried Jäger, Peter Keetman, Anton Kehrer, Ola Kolehmainen, Pit Kroke, Jacinthe Lessard-L, René Mächler, Andreas Müller-Pohle, Jaromír Novotný, Jerzy Olek, Michael Reisch, Christiane Richter, Thomas Ruff, Jörg Sasse, Otto Steinert, Claus Stolz, Wolfgang Tillmans, James Welling, Luigi Veronesi

fotografie --- kunst --- Concrete kunst --- abstractie --- abstracte fotografie --- twintigste eeuw --- eenentwintigste eeuw --- Bally Théodore --- Brauhauser Nina --- Breier Kilian --- Breuer Marco --- Caldicott Richard --- Campeau Michel --- Cordier Pierre --- Czigany Akos --- Dick Inge --- Doeller Christian --- Dorl Philipp --- Feser Christiane --- Franzen Johannes --- Fuss Adam --- Gravenhorst Hein --- Grignani Franco --- Hajek-Halke Heinz --- Hefti Raphael --- Heidersberger Heinrich --- Heyne Stefan --- Holzhäuser Karl Martin --- Horakova + Maurer --- Humbert Roger --- Jäger Gottfried --- Keetman Peter --- Kehrer Anton --- Kolehmainen Ola --- Kroke Pit --- Lessard-L Jacinthe --- Mächler René --- Müller-Pohle Andreas --- Novotny Jaromir --- Olek Jerzy --- Reisch Michael --- Richter Christiane --- Ruff Thomas --- Sasse Jörg --- Steinert Otto --- Stolz Claus --- Tillmans Wolfgang --- Veronesi Luigi --- Welling James --- 77.038/039 --- Exhibitions --- Photography --- artistieke fotografie --- Concrete art