In seinen Fotoarbeiten faszinierten ihn Inszenierung und Zitat. Surreale Momente können dabei entstehen. Immer wieder finden sich Rückbezüge auf die Geschichte der bildenden Kunst.
Ingolf Timpner + Irene Andessner
Text von Klaus Honnef
Mit Beiträgen von Birgit Kümmel und Bernhard Maaz
Museum und Museumsverein, Bad Arolsen 2015
Timpner’s images often include people, sometimes focusing on contemporaries in clearly staged settings. For the Bad Arolsen project in the Christian Daniel Rauch-Museum, Timpner has chosen to go in another direction; he is still looking at people, but this time on effigies of those who died a long time ago and are now little known by the general population. The collection contains a dozen portraits of busts, sculptured from plaster or marble, are traditionally photographed from the front in order to show their full dimensions and highlight their physical presence, depth of substance and inescapable volumes, but Timpner chooses to shed them of their weight and volume.
He relieves his chosen sculptures of their earthly and physical parameters, their original or ideal destiny; he frees them from time and space, releasing the sensitive spirit which is also contained in the hard material of the bust. Timpner releases them from the rigid demands of ‘pure art’. From the two-century-old and supposedly sacrosanct pieces of artwork, he creates unexpectedly accessible people. By leaving undefined the space in which the busts are standing, even allowing the edges of the pictures to fade out softly according to the historical photographic technique of the 19th century, he lends the once sculpturally portrayed people a wholly unusual air of floating lightness.