Wolfgang Tillmans explained in 5 works

Wolfgang Tillmans’ success is dizzying—the 51-year-old artist is the first photographer (and first non-British person) to win the Turner Prize (in 2000), the subject of 23 solo exhibitions, and the recipient of the Order of Merit of the Federal Republic of Germany. One of the most celebrated and respected photographers working today, Tillmans has long dedicated himself to documenting counterculture, young people and human relationships in all their glory. Between capturing nightlife and club-culture, to producing more overtly political pieces in recent years, Tillmans’ photographs are deeply entrenched in social movements. From his Between Bridges campaign before the EU referendum, to his stark portrayal of HIV medication in 17 years supply, his work has become a brilliant fusion of photography and activism. In celebration of the visionary’s birthday we take a look back at some of his career highlights.

Hedonistic nudes at Berghain

Rising to fame in the ’90s, for his arresting documentation of club culture, it feels like a natural conclusion for Tillmans’ work to find a home in the famed Berlin club. Berghain contains several works of art, but Tillmans’ works are unquestionably some of the club’s most striking. Beginning with a series of abstract inkjet prints, Tillmans’ Berghain pieces include inkjet prints and a triptych of the human form in Panorama Bar. The first photograph, Nakt (2004) displays a naked woman spreading her legs, which was then followed by Philip, close-up III in 2009—a close-up shot of a naked man, bent over. Tillmans’ final piece arrived in 2017, with the installation of a photograph of a throat and tonsils. Zoomed in and abrasive; the images are liberal and unashamed in their depiction of sexuality and lust. The perfect compliment to their hedonistic home.

Musical credits on Frank Ocean’s Blonde

Largely famed for his talents behind the lens, many people were surprised to learn that Tillmans would be appearing on Frank Ocean’s critically acclaimed album Blonde (for which Tillmans shot the cover-art). Tillmans, it turns out, was just as shocked. “Three weeks ago I showed him [Ocean] a few songs, which I had written and produced for myself, and he replied ‘Device Control is brilliant. Love. Can I sample it for the intro of my album?”, Tillmans wrote in a 2016 Instagram post, “I agreed and to my excited surprise this morning he didn’t just sample it. He released my complete original track as the end of this amazing album.”

European Union activism

“The official Remain campaign feels lame and is lacking in passion,” said Tillmans in an open letter back in 2016, “It also lacks an active drive to get voters registered—and with the deadline already falling two weeks before the referendum, this should be an urgent priority.” As the confusion and uncertainty that is Brexit looms large over the UK, Tillmans’ words feel a little eerie and bittersweet. His relentless campaigning to remain in the EU, and his creation of various pro-Remain artworks, was the obvious pinnacle in a career that has long blurred the lines between art and activism.

Zoom-in crustacean for Olivia Laing’s Crudo 

“Crudo is the first book I’ve written where I knew exactly what image I wanted on the cover,” revealed author Olivia Laing in 2018, “It’s a fantastic photograph: at once disgusting and voluptuous, stomach-churningly gorgeous.” The image in question: a Tillmans’ masterpiece, of course. Called asto crusto, Tillmans’ photograph of a crustacean was shown at his retrospective at Tate Modern in 2017. Large, meaty and a little grotesque, asto crusto is an example of Tillmans’ flare for vulgarity and his unique eye for strange details. The fly hovering over the decadent and discarded meal is an emblem of imperfection. We can see why Laing was so desperate to have it on the front cover of her novel.

Love is political

One of his most shared and beloved images, Tillmans’ The Cock (Kiss) (2002)is a sweaty, lively, and joyful presentation of sexuality.  First exhibited in 2002,  The Cock (Kiss) embodies Tillmans’ touching, humanistic approach to photography. The work is intimate and personal, echoing Tillmans’ skilful ability to convey authentic and tender human relationships. It is also a political piece of art, however, now firmly steeped in history. In one of its early exhibitions, the image was vandalised and slashed, while on display at the Hirshhorn Museum, in Washington. “I’m always aware that one should never take liberties for granted,” said Tillmans at the time, “beauty is of course always political, as it describes what is acceptable or desirable in society. That is never fixed, and always needs reaffirming and defending.” The politics surrounding The Cock (Kiss)  have not subsided. Following the Orlando shooting in 2016, Tillmans photograph became one of the most popular images to be shared on social media. Triumphant and unapologetic, The Cock (Kiss) has acted as a defiant form of protest against homophobic behaviour.