About

After studying at the University of Essen, my diploma thesis was awarded the Reinhart Wolf Prize in 2000 and I was able to win Hatje Cantz as the publisher for my first book in the same year. Since then I've been working as a photo artist, exhibiting internationally and represented by galleries in Cologne, New York, London and Amsterdam. I live in Dusseldorf.

Statement

Perception. The processing of information obtained through sensory organs is a highly subjective thing. Human visual perception is based on relations—the contrast between large and small, light and dark, colored and colorless—and is tailored to our small habitat earth. The human species is inexorably spreading, taking over nature, exploiting it and alienating from it. The speed at which man changes his environment is frightening. In the course of globalization, digitization and global networking, people create a virtual reality, an artificial parallel world, in which they worship things that they displace from real life. In my pictures, I use photographic techniques to question and expand human perception. Like a visitor from space, I try to take a look from outside at the human habitat—full of curiosity, but also with fright. Holiday ghettos and apartments that resemble arrangements in a test laboratory, god-like, X-ray-like views of urban spaces, cityscapes drowning in light, and abstract structures that are natural in origin but could be illustrations for digital processes: My photo series, which I create over years, reflect modern phenomena that fascinate, confuse and let us doubt.

Education

  • 1992-2000 | Kommunikationsdesign mit Schwerpunkt Fotografie, Universität Essen (DE)

Selected Awards

  • 2013 | Lead Awards, Hamburg (DE)
  • 2012 | Deutscher Fotobuchpreis (DE)
  • 2007 | Real Photography Award, Amsterdam (NL)
  • 2005 | Lead Awards, Hamburg (DE)
  • 2004 | Kunstpreis der Stadt Nordhorn (DE)
  • 2004 | Phase One Prize, Vevey (CH)
  • 2003 | Umbo Photo Prize, Lippstadt (DE)
  • 2003 | KunstRai Prize, Amsterdam (NL)
  • 2003 | European Award of Architectural Photography, Bonn (DE)
  • 2002 | Peter Keetmann Award, Hamburg (DE)
  • 2001 | Reinhart Wolf Prize, Hamburg (DE)

Selected Exhibitions/Publications

  • Ausstellungen / Exhibitions
  • 2019 | Center for Contemporary Art, Beijing (CN)
  • 2019 | Städtische Galerie Neunkirchen (DE)
  • 2018 | Atlas Gallery London (UK)
  • 2018 | Thomas Rehbein Galerie Köln (DE)
  • 2018 | National Museum of Modern and Contemporary Art, Seoul (KR)
  • 2018 | Galaxy Museum of Contemporary Art, Chongqing (CN)
  • 2017 | Sous les Étoiles Gallery, New York (US)
  • 2017 | Galerie Wouter van Leeuwen, Amsterdam (NL)
  • 2017 | White Box Art Center, Beijing (CN)
  • 2016 | Museum Marta Herford (DE)
  • 2016 | The Holden Gallery, Manchester (UK)
  • 2015 | China Millennium Monument, Beijing (CN)
  • 2015 | Willy-Brandt-Haus, Berlin (DE)
  • 2015 | The New Art Gallery Walsall (UK)
  • 2014 | Baton Gallery, Seoul (KR)
  • 2014 | Aspen Art Museum (US)
  • 2014 | Bundeskunsthalle Bonn (DE)
  • 2014 | Elgiz Museum, Istanbul (TR)
  • 2014 | NRW-Forum, Düsseldorf (DE)
  • 2013 | Palazzo Strozzi, Florence (IT)
  • 2013 | Birmingham Museum of Art (UK)
  • 2013 | Centre Pompidou Metz (FR)
  • 2012 | Kunstmuseum Bonn (DE)
  • 2012 | Saatchi Gallery, London (UK)
  • 2011 | Hasted Kraeutler Gallery, New York (US)
  • 2011 | Kunsthalle Erfurt (DE)
  • 2010 | Museum Schloss Moyland (DE)
  • 2010 | Landesgalerie Linz (AT)
  • 2009 | Hasted Hunt Gallery, New York (US)
  • 2009 | Museum on the Seam, Jerusalem (IL)
  • 2009 | Haus der Photographie, Deichtorhallen Hamburg (DE)
  • 2007 | Kunstverein Hannover (DE)
  • 2007 | Museum Franz Gertsch, Burgdorf (CH)
  • 2005 | Museum der Moderne, Salzburg (AT)
  • Publikationen / Publications:
  • 2016 | Blank, Buchpublikation, Hatje Cantz Verlag (DE)
  • 2011 | The Japan Series, Buchpublikation, Hatje Cantz Verlag (DE)
  • 2009 | Andreas Gefeller – Photographs, Buchpublikation, Hatje Cantz Verlag (DE)
  • 2005 | Supervisions, Buchpublikation, Hatje Cantz Verlag (DE)
  • 2002 | Soma, Buchpublikation, Hatje Cantz Verlag (DE)

Personal Website

http://www.andreasgefeller.com

Galleries

Andreas Gefeller | The Backside of Light (2016 - ongoing)

Andreas Gefeller | The Backside of Light (2016 - ongoing)

Formerly, the sense of sight was ultimately necessary for survival, enabling to understand the world and become acquainted with one´s surroundings. Ever since computers are able to speak and hear, human sight has degenerated to become an old-fashioned, sentimental habit. The boundaries separating virtuality and reality, fake and news, natural and artificial intelligence, digital and analogue realms as well as life and death increasingly dissolve. I am interested in these interstices. Although the photographed situations are taken from nature, they appear artificial. I create illustrations of a mechanized evolution, at the end of which the human being probably no longer stands, and turn to what is beyond visibility: to the backside of light.

Format:

gallery

Andreas Gefeller | Blank (2010–2016)

Andreas Gefeller | Blank (2010–2016)

At night, human beings use artificial light to highlight things, prevent dangers, and make hidden things visible. To bring light into darkness; it dawns on someone; to be as bright as a button: light is equated with knowledge. But what if the flow of information turns into a flood? While I made invisible connections visible in my previous works, in Blank I literally dissolve the modern, fragile world into light. The result is pictures that are pure white over a large area and are reminiscent of delicate drawings with their pale colors. The overexposed images are an analogy to the flood of data to which we are increasingly exposed and in which we are at risk of drowning.

Format:

gallery

Andreas Gefeller | Supervisions (2002–2009)

Andreas Gefeller | Supervisions (2002–2009)

Documentation or construction? Supervisions is both. By digitally assembling hundreds of individual pictures, each of which I took close to the ground, into a large overall picture, I create the illusion that the picture was taken from a great height. The arrangement of the depicted things corresponds to reality, but the perspective has never been so. Further viewer associations to espionage-satellite imagery and the consequential realization over the restrictions of one’s own private realm provides the title Supervisions with additional depth. Not only do I exhibit over-view perspectives, I also point contextually to how modern Man is overseen and supervised.

Format:

gallery

Andreas Gefeller | Soma (2000)

Andreas Gefeller | Soma (2000)

»And if ever, by some unlucky chance, anything unpleasant should somehow happen, why, there's always Soma to give you a holiday from the facts.« (Aldous Huxley, Brave New World) Enormous, bulldozed areas for parking-spaces, adjacent hotel-silos, artificially strewn beaches, rows of deck-chairs for kilometres on end, barren green lawns between concrete and barrier fences. These are standardized, controlled and very »clean« places on Gran Canaria, which I transform into bleak utopian sets in my work Soma. Although produced in a conventional analogous way, these pictures seem to be digitally reworked. In the age of cyberspace, where reality and virtuality intersect, this work raises one question in particular: How real is this reality and how authentic are the ways of showing it?

Format:

gallery

Andreas Gefeller | Presentation for "100 Years GDL/DFA" (2019)

Andreas Gefeller | Presentation for "100 Years GDL/DFA" (2019)

Andreas Gefeller presents his work at the jubilee week "100 Years GDL/DFA". (German)

Format:

gallery