Volker Heinze: Ahnung // plus minus null (1989, 1986)

Volker Heinze (* 1959 in Duisburg) is a German photographer for whom the book is the primary medium; he explores his visual ideas in book form before installing his work in the gallery or museum.

Heinze has published numerous monographs and his work is held in collections including Museum Folkwang in Essen, Musée d’Art moderne de la Ville de Paris and Fotomuseum Winterthur.

Volker Heinze is living in Düsseldorf.

Monographs:
1989 Ahnung, Verlag Dirk Nishen, Berlin
1996 Alias, Edition der Hochschule für Grafik und Buchkunst Leipzig
2003 TimeWindow, Edition Schaden.com
2011 Urban Defects, #2,#5,#7; Common Sense Editions
2016 Mapping Hong Kong’s Bet on Greed; Common Sense Editions

Artist: http://www.volkerheinze.de/

(1) Volker Heinze: Ahnung (Nishen, 1989)

Ahnung is one of a number of important bodies of work that were informed by the exchanges that took place at the Werkstatt für Fotografie, a collective led by Michael Schmidt and based at the Volkshochschule, Kreuzberg in Berlin. Schmidt invited a number of American photographers such as William Eggleston, Larry Clark, Lewis Baltz, and John Gossage to Berlin where they made work and gave workshops.

About the sense of uncertainty that the advent of this brave new world might generate, and also about how colour photographs can be made to reflect feelings rather than just documenting the superficial aspect of things…another remarkable photobook dealing not only with the alienation that many feel in relation to today’s world, but also with the unique situation that was Berlin in the time of the Wall.

Parr; Badger: Photobook: A History Volume II 66-7.

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(2) Volker Heinze: plus minus null (1986)

Working against the removed perspective of documentary photography, Heinze employs color not as a tool of realism but with experimental flair, and plays with focus and the inevitable “mistakes” of analogue film—all to create an original aesthetic born from the idiosyncrasies of the photographic medium.

Heinze originally presented this body of work in two forms: as the large installation The Appearance of the Familiar, composed of individual photos pinned to the wall in the influential 1986 exhibition “Remnants of the Authentic” at Museum Folkwang in Essen. And as + – 0—with its experimental layout, leaves of tracing paper with hand-painted quotes such as “To search for reality is like diving for pearls in an aquarium”, and a booklet with excerpts from Martin Kippenberger’s 241 Bildtitel zum Ausleihen.

Publisher’s Info

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Steidl will publish a facsimile of this unique, handmade artist’s book in a limited edition of 750 books . You find it here.