Andreas Gefeller

Andreas Gefeller (* 1970 in Düsseldorf ) is a German photographer.

Life

Andreas Gefeller studied visual communication and photography at the University of Essen from 1992 to 2000 . In 2000 he completed his studies with Professor Bernhard Prinz with distinction. In 2001 he was appointed to the German Photographic Academy (DFA). Gefeller lives and works in Düsseldorf.

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Andreas Gefeller's photographic work includes the series Halbwertszeiten (1996), Soma (2000), Supervisions (2002–2009), The Japan Series (2010) and Blank (since 2010).

To see differently and to make the invisible visible are the basic aspects in Gefeller's photography. His pictures show places shaped by human intervention and the traces that humans have left. With the help of a specific technical procedure, he succeeds in making visible what has been hidden or overlooked by others. His pictures open up new, unseen perspectives on familiar relationships for the viewer. Impossible perspectives that go beyond our visual default setting, but focus on the supposedly irrelevant. With this showing of an alternative reality, the viewer is given the experience of an expansion of his viewing habits and at the same time the prerequisites for seeing are revealed: the habits of perception shaped by expectations.

Gefeller feigns objectivity in his works and thus questions the claim of the medium of photography to objectively grasp reality. His works oscillate between reality and construction and give impetus to concepts such as truth and reality, objectivity and alienation as well as to reflect on the relationship between nature and man and his constant desire to subject chaos to an order.

Half-lives

In 1996, 10 years after the Chernobyl reactor catastrophe, Andreas Gefeller traveled to Ukraine with the photographer Kerstin Braun and photographed the people and landscapes in the vicinity of the damaged nuclear power plant for the series Half- Lives. Urban areas, sports fields, or an abandoned amusement park. The images in this photo work are predominantly of a documentary character, but already surprise with their deceptively "radiant" colors. Through them, the radioactivity that is still present in photography is not only noticeable, but almost visible.

Soma

Deserted beaches, endless rows of deckchairs, standardized hotel buildings, well-tended grounds with barren green spaces and leveled parking spaces, taken on the holiday island of Gran Canaria, form the motif of the Soma series (2000).

These places, mainly taken at night and with long exposure, appear strangely foreign and artificial in Gefeller's photographs. Slight overlooks, rich colors, a bizarre lighting atmosphere and the distance from people make the real places seem almost fake, like meticulously constructed model landscapes. With this backdrop character of the pictures, the photographer succeeded in creating a metaphor for the obvious artificiality of such typical holiday club complexes. His photographs confront us with the generalized appearance of these artificially created, supposedly paradisiacal worlds and illustrate their specific, functional orientation towards the leisure activities and relaxation of the club vacationer.

Although the recordings were made in analog format, they look like digitally post-processed. The pictures are in a strange state of limbo between reality and artificiality.

The photo work Soma was awarded the Reinhart Wolf Prize in 2001. In addition, she received awards within the framework of the European Architectural Photography Prize 2001 and the Peter Keetmann Prize for Industrial Photography 2002. The photo book Soma (2002, Hatje Cantz, Ostfildern) was awarded in 2001 by the Art Director's Club for concept and design.

Supervision

The series Supervisions (2002–2009) characterize large-format color photos of urban areas. They show oversight of public spaces and areas as well as bird's-eye views into closed spaces, all shaped by the traces of civilization. At first glance, the sober clarity of the captivating photo works seem like distant snapshots or topographical recordings of the earth's surface and offer an overview of the spatial situations found. The traces left by society encourage speculation about the use and history of the abandoned places.

Gefeller's works are much more than just documentary inventory. They challenge the viewer's perception. On closer inspection, individual breaks and hairline cracks can be seen in the image. In fact, the creation of these works is based on a complex technique. Using a tripod attached to his body, Gefeller paces across the motif field in a predetermined grid and photographs it image by image. The area is "scanned" with several hundred, sometimes thousands, individual photos from a height of around 2 m, which the photographer later digitally combines on the computer to form an overall picture. Without manipulating reality, his photographic works provide a perspective that breaks through the limits of seeing as an impossible view and allows an expanded perception of reality to be experienced. With factual precision, the constructed views reveal details and connections that we cannot recognize in this peculiar form when standing upright and looking down. Geometric structures and a lack of reference and orientation points transform some views into abstract picture compositions. In the field of tension between documentation and abstraction, images are created that show the viewer what is familiar in a new light and underline how much seeing is a question of the point of view and the direction of view.

The title Supervisions does not exclusively refer to the literal “overview”, but also refers in its ambiguity to the “supervision” of people today.

Supervisions was awarded the Nordhorn City Art Prize in 2004 and was awarded gold at the Lead Awards 2005 for the best still life photography of the year. The complex of works was published as photo books under the titles Supervisions (2005) and Photographs (2009) (both Hatje Cantz, Ostfildern).

The Japan Series

In the photo work The Japan Series (2010), the photo artist extends his method of multiple shots to include new aspects.

Gefeller changes the photographic perspective and no longer takes photos from above as in the supervision works, but instead directs his gaze upwards when exploring the Far Eastern urban world. In doing so, he focuses on two fields of motif. Pointing the camera vertically upwards and holding it directly to the object, he photographs typical Japanese power poles with cables laid above ground. In the subsequent digital composition of the two or three individual photos, the mast disappears in the pictures called Poles . In the same way, Gefeller also photographs climbing plants, including grapes and pears from Japanese orchards, the branches of which wind around wire mesh constructions or wooden grids. As with supervision , hundreds of individual images are put together to form a network of lines, structures and knots in front of the monochrome surface of the sky. This compositional reduction reveals an overarching convergence of the opposites “technology” and “nature” in photography. While the cables are reminiscent of unspoilt, overgrown thickets, the agriculturally tamed plant branches become components of man-made machinery, the agricultural industry.

Gefeller relies on available light. He takes photos during the day against a cloudy sky and at night uses the low light from street lamps, traffic lights or the headlights of passing cars. With the reduction to lines and surfaces, these photographic works have become much more formal and structural. Isolated from the original urban context, not only abstract picture compositions can be associated. On a white surface in particular, the branching arrangements of the innumerable cables or the bony branches of the plants look like filigree drawings. Against the backdrop of Japanese culture, the pictures are reminiscent of calligraphy. This impression is reinforced by the conscious choice of pigment printing on cotton paper.

The compression of the traces of civilization is fundamental to all of Gefeller's work. They become metaphors for digital networking, the global flood of data and information, or they generally stand for the urban development of nature through modern society’s technologies. The poles are reminiscent of data-transmitting networks, subway line plans or the pulsating arteries of a city.

The Japan Series was created in 2010 as part of the “European Eyes on Japan” project, to which three to four European photographers are invited annually to work in one of the prefectures of Japan. The book The Japan Series (2011, Hatje Cantz, Ostfildern) was awarded gold at the 2011 German Photo Book Prize.

Blank

With his most recent photo works in the Blank series (since 2010) Gefeller takes up conceptual and thematic aspects of his older projects and develops them further.

If he had previously shown us places of mass tourism in their artificiality and construction through long-term exposure (as in his work Soma ) or enriched our viewing habits with new insights through impossible top and bottom views ( Supervisions and The Japan Series ), he also steers with blank our attention to things that are beyond our perceptual horizon. Paradoxically, he literally dissolves his motifs in order to make the supposedly non-existent visible. The results show large-format night shots of illuminated cities, individual skyscrapers, building facades, motorway junctions, refineries or freight containers. Urban incidents that the photo artist exposes for an extremely long time until they are almost extinguished by overexposure. The nocturnal darkness turns into a white surface in the photograph, on which the image content is only manifested in contour-like remnants of detail. Only the darkest areas withstand the long exposure and are the only residues on the paper that provide clues to the original real locations. While the things that were once visible in the glow of artificial light sources are completely extinguished by too much light in the white emptiness of the paper, what is shown reveals what would normally remain hidden in the darkness.

In Blank Gefeller exhausts the possibilities of photography and at the same time questions the documentary abilities of the medium more forcefully than before. Reduced exclusively to structural patterns and delicate color nuances, the images are hardly recognizable as photographs and seem to have crossed the line with drawings. The precision of the images is due to multiple digital recordings.

In addition to the generalized city views that are outshone by light, Gefeller is specifically looking for suitable objects and structures that symbolize the communication technologies and information paths of modern society and technological progress at the same time. For example, stacked containers that are reminiscent of data packages, nested piping systems in a chemical park that make the viewer think of computer circuit boards or data transmission, as well as endless rows of windows that seem to transmit a coded message. The overload of our society with information and images and the increasing, unreflected consumption find their pictorial equivalent in excessive overexposure: Man threatens to go blind in the glaring light of civilization.

Edited satellite images of brightly lit metropolitan areas in the dark of night form another part of the series. The artificial light is an indication of a high-tech civilization on earth and illustrates the extent to which it has spread across the board. Blank becomes a symbol of a modern world pervaded by fast pace and abundance.

Solo exhibitions (selection)

• 1996: Half-lives , Kunsthaus Rhenania, Cologne
• 2002: Soma , Galerie Hohmann, Hamburg
• 2002: Soma , Galerie Burkhard Eikelmann, Düsseldorf (with / with Ralf Raßloff)
• 2003: Supervisions , Loerakker Galerie, Amsterdam
• 2004: Art Prize of the City of Nordhorn , City Gallery Nordhorn
• 2004: Supervisions , Thomas Rehbein Gallery, Cologne
• 2005: Supervisions , Campus Gallery, Bayreuth
• 2005: Supervisions , Loerakker Galerie, Amsterdam (with / with Ron Hooghiemstra)
• 2006: Supernatural , Dubbelbee Gallery, Amsterdam
• 2007: Andreas Gefeller, Supervisions , Hasted Hunt Gallery, New York
• 2007: Andreas Gefeller - Photography , Kunstverein Region Heinsberg
• 2008: Andreas Gefeller - Supervisions - new works , Thomas Rehbein Gallery, Cologne
• 2008: Andreas Gefeller - Supervisions , Kunstverein Augsburg
• 2008: Andreas Gefeller - Supervisions , Zern, Berlin
• 2009: Andreas Gefeller - Recent Works , Hasted Hunt Gallery, New York
• 2009: Andreas Gefeller - Photographs , Saarbrücken City Gallery, Saarland Museum, Saarbrücken
• 2010: Forum 019: Andreas Gefeller - Photographs , City Museum Munich, Photography Collection, Munich
• 2010: Andreas Gefeller - Photographs , Landesgalerie Linz
• 2010: Andreas Gefeller - The Japan Series , Thomas Rehbein Galerie, Cologne
• 2011: Andreas Gefeller - Photographs , Kunsthalle Erfurt, Erfurt
• 2011: Andreas Gefeller - The Japan Series , Hasted Kraeutler, New York
• 2012: Andreas Gefeller - Blank , Thomas Rehbein Gallery, Cologne

Group exhibitions (selection)

• 1996: Reinhart Wolf Prize 1996 , Museum for Art and Industry, Hamburg
• 1996: picture bath , photo days, Herten
• 1997: Reinhart Wolf Prize 1997 , Museum for Art and Industry, Hamburg
• 1998: Reinhart Wolf Prize 1998 , Museum for Art and Industry, Hamburg
• 1999: Architecture in Context , European Architecture Photo Prize 1999, Bundeskunsthalle, Bonn
• 2000: Visions in Architecture , European Architecture Photo Prize 2001, Photography now, Berlin
• 2000: Reinhart Wolf Prize 2001 , Museum for Art and Industry, Hamburg
• 2002: Peter Keetmann Prize 2002 , Museum of Labor, Hamburg
• 2002: Vacation replacement , Galerie Heinz Meier, Nuremberg
• 2002: Andreas Gefeller and Ralf Raßloff , Photo Design Academy, Munich
• 2003: Umbo Photo Prize , Städtische Galerie Lippstadt
• 2003: Large art exhibition in North Rhine-Westphalia , Museum Kunstpalast, Düsseldorf
• 2003: Urban Spaces , European Architecture Photo Prize 2003, Oldenburg City Museum
• 2003: Noorderlicht Photofestival , Groningen, Netherlands
• 2003: Flashback: Midsummer , Kunsthaus Kaufbeuren, Kaufbeuren (with / with Norbert Bisky, Sven Kroner)
• 2003: Photo summer Stuttgart , Stuttgart
• 2003: The promise of the individual , Städtische Galerie, Leinfelden
• 2003: Urban Spaces , European Architecture Photo Prize 2003, Bundeskunsthalle, Bonn
• 2003: 14-1 Galerie, Stuttgart (with / with Josef Schulz and Thomas P. Proffe)
• 2004: Tamed Nature , Brandenburg Art Collection Cottbus
• 2004: Encontros da Imagem , Braga Photofestival, Portugal
• 2004: Festival Images , Vevey, Switzerland
• 2004: Urban Spaces , European Architectural Photo Prize 2003, Goethe Institute, Budapest
• 2004: Umbo Photo Prize , Atelierschiff, Frankfurt am Main
• 2004: Biennale de Liège , Espace d´Art Contemporain, Liège
• 2005: Lead award , Deichtorhallen, Hamburg
• 2005: les grands spectacles , Museum der Moderne Salzburg
• 2005: ev + a , Limerick City Gallery of Art, Limerick, Ireland
• 2005: Constructed Moment , Hertogenbosch, Netherlands
• 2005: Gefeller, Krippendorf, Roehrborn , Kunsthaus Nürnberg
• 2005: Hidden Sites , Noorderlicht Photofestival, Groningen
• 2006: Spectacular City , Netherlands Architecture Institute, Rotterdam
• 2006: On the Road - Unterwegs , Galerie Herrmann & Wagner, Berlin
• 2006: Homestories , Galerie Münsterland, Emsdetten
• 2006: Prix ​​du Festival Voies Off , Arles, France
• 2006: Room with a View , Gemeentemuseum The Hague
• 2006: Perceptions of Everyday Life , Veletrzni Palace, Prague
• 2006: Chernobyl. A disaster and its effects , Willy-Brandt-Haus, Berlin
• 2006: tina b., The Prague Contemporary Art Festival , Prague
• 2007: Under the stars , Franz Gertsch Museum, Burgdorf, Switzerland
• 2007: Spectacular City. Architecture / Photography , NRW Forum Düsseldorf
• 2007: Made in Germany , Sprengel Museum, Kestner Society, Hannover Art Association
• 2008: Real Photography Award , Amsterdam
• 2008: Chisel - New York Photography Festival (curated by Kathy Ryan)
• 2008: Landed. The collection in the new house , Kunstmuseum Diesel Kraftwerk Cottbus
• 2008: Appraisal , Sander Collection, Berlin
• 2008: Support the Bauhaus! , Bauhaus Archive Museum for Design, Berlin
• 2008: Human / Nature , Nelson-Atkins Museum of Art, Kansas City
• 2008: Rethinking Landscape , Taubman Museum of Art, Virginia
• 2008: Quest , Zern Gallery, Berlin
• 2009: Nature and Nation , Museum on the Seam, Jerusalem Israel
• 2009: Far nearness. > Nature <in contemporary art , Kunstmuseum Bonn
• 2009: NOW NEW: New Works New Space , Proje4L Elgiz Museum of Contemporary Art Istanbul
• 2009: Veto - Contemporary Positions in German Photography , Haus der Photographie, Deichtorhallen, Hamburg
• 2009: Realtà Manipolate / Manipulating Reality , CCCS - Centro di Cultura Contemporanea Strozzina, Palazzo Strozzi, Florence
• 2009: 10 years of the BAT Campus Gallery . Anniversary exhibition, BAT CampusGalerie, Bayreuth
• 2009: Picturesque - New Perspectives on Landscape , Museum Marta Herford, Herford
• 2010: Who want to use my windows? , Paolo Maria Deanesi Gallery, Rovereto
• 2010: Landscape without horizon , Museum Schloss Moyland
• 2010: European Eyes on Japan / Japan Today vol. 12 , Japan, Antrepo N5, Istanbul
• 2011: Foundation Prize for Photo Art 2010 , Photo Prize of the Alison and Peter Klein Foundation, KUNSTWERK, Eberdingen - Nussdorf
• 2011: arc of suspense. Figure and space. From the collection, Dieselkraftwerk Art Museum, Cottbus
• 2011: A to Z. Great Photographs from the Norton Collection , Norton Museum of Art, West Palm Beach, Florida
• 2011: Size Matters: Large Scale European Photography , art: sensus, London
• 2011: There is still space for cats and dogs , Art Foyer DZ Bank, Frankfurt - Westend
• 2011: Spectral 2011 , Rheingoldhalle Mainz
• 2011: Metropolis - City Life in the Urban Age , Noorderlicht Photofestival, Groningen
• 2011: European Eyes on Japan / Japan Today vol. 12 , Prefectural Museum, Tottori, Japan
• Seoul Photography Festival 2011, South Korea
• 2012: Visual Leader 2012 , exhibition for the LeadAwards, Deichtorhallen, Hamburg
• 2012: Dark Sights , DZ BANK Art Collection, Frankfurt a. M.
• 2012: Obsessions , La Filature, Mulhouse
• 2012: OUT OF FOCUS. PHOTOGRAPHY , Saatchi Gallery, London
• 2012: WATER LEVEL MESSAGE , new presentation of the collection, 20 years of the Kunstmuseum Bonn
• 2012: Lead award , House of Photography, Hamburg
• 2012: Scape , Hasted Kraeutler, New York
• 2012: Points of View. Places of Photography , Kunstverein Hildesheim (in cooperation with Roemer- und Pelizaeus Museum Hildesheim)
• 2013: Light Sensitive , Nasher Museum of Art, Durham
• 2013: Metropolis: Reflections on the Modern City , Birmingham Museum
• 2013: An Idea of ​​Beauty , CCCS-Centro di Cultura Contemporanea Strozzina, Palazzo Strozzi, Florence
• 2013: Vue d'en haut , Center Pompidou Metz
• 2016: moments of dissolution. Photographic works by Andreas Gefeller, Fabian Marti , Taiyo Onorato & Nico Krebs , Marta Herford (Gehry galleries)

Awards

• 2001: "Reinhart Wolf Prize Winner 2001", Hamburg: first prize
• 2002: "Peter Keetmann Award 2002", Hamburg: Recognition
• 2003: "Eorupean Award of Architectural Photography 2003", Bonn: Recognition
• 2003: “KunstRai Prize 2003”, Amsterdam, Netherlands: nomination
• 2003: “Umbo Photo Prize 2003”, Lippstadt: nomination
• 2004: "Phase One Prize", Vevey, Switzerland: first prize
• 2004: "Art Prize of the City of Nordhorn", Nordhorn: first prize
• 2005: “Leadaward”, Hamburg: first prize
• 2007: “Real Photography Award”, Amsterdam: nomination
• 2010: "European Eyes on Japan", EU-Japan Fest: Scholarship
• 2011: German Photo Book Prize 2012: Gold for "The Japan Series"
• 2012: Leadaward, Hamburg: Award

Collections (selection)

• The New Art Gallery, Walsall, UK
• Saatchi Gallery, London, GB
• Taubman Museum of Art, Roanoke, Virginia, US
• Municipal Gallery, Nordhorn, D
• Norton Museum, West Palm Beach
• Noorderlicht Photography Foundation, Groningen, NL
• Nelson-Atkins Museum of Art, Kansas City, US
• National Gallery of Canada, Ottawa, Ontario, CA
• Museum Franz Gertsch, Burgdorf, CH
• Milwaukee Art Museum
• Elgiz Collection, Istanbul, TR
• ev + a, Limerick
• DZ Bank Collection, Frankfurt a. M., D
• Deutsche Bank Collection, Frankfurt a. M., D
• British American Tobacco Collection, London, GB
• Brandenburg Art Collections, Cottbus, D
• Art Museum, Bonn, D

literature

• Andreas Gefeller. Soma. Photographs of a constructed paradise , Hatje Cantz Verlag, Ostfildern-Ruit 2002, ISBN 3-7757-1253-4 .
• Andreas Gefeller. Supervisions , ed. by Roland Nachtigäller , Städtische Galerie, Nordhorn, Hatje Cantz Verlag, Ostfildern-Ruit 2005, ISBN 3-7757-1592-4 .
• Andreas Gefeller, BAT CampusGalerie exhibitions 2005 , CampusGalerie Bayreuth of British American Tobacco (Germany) GmbH, 2005.
• Tamed Nature , Brandenburg Art Collections Cottbus / Brandenburgische Kulturstiftung Cottbus, 2005, ISBN 3-928696-83-1 .
• Emiliano Gandolfi (ed.): Spectacular City. Photographing The Future , Netherlands Architecture Institute, NAi Publishers, 2006, ISBN 978-90-5662-518-4 .
• Made in Germany , Kestnergesellschaft, Kunstverein Hannover, Sprengel Museum Hannover (ed.), Hatje Cantz Verlag, Ostfildern, 2007, ISBN 978-3-7757-1985-8 .
• Anna-Catherina Gebbers (ed.): Value - Estimate. Positions of contemporary art on cultural, social, symbolic and economic values ​​- an invitation to collect , Sander Collection, Berlin, Verlag für moderne Kunst Nürnberg, 2008, ISBN 978-3-941185-40-1 .
• Nature and Nation , Museum on the Seam, Jerusalem, 2009.
• Far nearness - nature in contemporary art , Kunstmuseum Bonn, 2009, ISBN 3-929790-90-4 (museum edition), ISBN 978-3-86832-004-6 (book trade edition)
• Realtà Manipolata. Come le immagini ridefiniscono il mondo , Centro di Cultura Contemporanea Strozzina Fondazione Palazzo Strozzi (ed.), Firenze, 2009, ISBN 978-88-96532-04-1 .
• Andreas Gefeller, Photographs , Saarbrücken City Gallery; Hatje Cantz Verlag, Ostfildern, 2009, ISBN 978-3-7757-2446-3 .
• Picturesque - New Perspectives on the Landscape , Marta Herford gGmbH (ed.), 2009, ISBN 978-3-938433-16-4 .
• Mikiko Kikuta (ed.): European Eyes on Japan | Japan Today vol. 12 , EU-Japan Fest Japan Committee, 2010.
• Landscape without a horizon. Near and Far in Contemporary Photography , Foundation Museum Schloss Moyland, Van der Grinten Collection, Joseph Beuys Archive of the State of North Rhine-Westphalia (ed.), Verlag für Moderne Kunst Nürnberg, 2010, ISBN 978-3-86984-035-2 .
• Ingo Taubhorn (ed.): Veto - Contemporary Positions in German Photography , House of Photography, Deichtorhallen Hamburg, Kehrer Verlag Heidelberg Berlin, 2011, ISBN 978-3-86828-127-9 .
• Metropolis. city ​​life in the urban age , Noorderlicht International Photofestival 2011, Stichting Fotografie Nooderlicht / Stichting Aurora Borealis, Gronigen, 2011, ISBN 978-90-76703-46-6 .
• Andreas Gefeller. The Japan Series , Hatje Cantz Verlag, Ostfildern, 2011, ISBN 978-3-7757-2994-9 .
• Out of Focus: Photography , Saatchi Gallery, London, 2012, ISBN 978-1-86154-334-9 .
• Torsten Scheid (ed.): POINTS OF VIEW. Places of Photography , Roemer- und Pelizaeus Museum, Hildesheim, Kehrer Verlag Heidelberg Berlin, 2012, ISBN 978-3-86828-351-8 .
• Un'idea di Bellezza. An Idea of ​​Beauty , Centro di Cultura Contemporanea Strozzina Fondazione Palazzo Strozzi (ed.), Firenze, 2013, ISBN 978-88-7461-196-6 .

Web links

• http://www.andreasgefeller.com/
• http://www.rehbein-galerie.de/

Individual evidence

1. ↑ Andreas Gefeller. Soma. Photographs of a constructed paradise, Hatje Cantz Verlag, Ostfildern-Ruit 2002, p. 110
2. ↑ ^{a b} Stephan Berg: Der Spurensucher In: Andreas Gefeller. Supervisions, ed. v. Roland Nachtigäller, Städtische Galerie, Nordhorn, Hatje Cantz Verlag, Ostfildern-Ruit 2005, pp. 135–137
3. ↑ ^{a b c d} Stephan Berg: Der Spurensucher In: Andreas Gefeller. Supervisions, ed. v. Roland Nachtigäller, Städtische Galerie, Nordhorn, Hatje Cantz Verlag, Ostfildern-Ruit 2005, p. 137
4. ↑ ^{a b c} Stephan Berg: Der Spurensucher In: Andreas Gefeller. Supervisions, ed. v. Roland Nachtigäller, Städtische Galerie, Nordhorn, Hatje Cantz Verlag, Ostfildern-Ruit 2005, pp. 137–139
5. ↑ ^{a b c} Torsten Scheid: The compression of the visible. In: Points of View. Places of Photography, Roemer- und Pelizaeusmuseum, Hildesheim 2012, p. 52
6. ↑ ^{a b c d e f g} Andreas Gefeller. The Japan Series www.rehbein-galerie.de. Retrieved October 25, 2013
7. ↑ Andreas Gefeller. Half-lives www.andreasgefeller.com. Retrieved May 13, 2013
8. ↑ ^{a b} Andreas Gefeller. Soma www.andreasgefeller.com. Retrieved October 25, 2013
9. ↑ Gerhard Glüher: The night over Arcadia In: Andreas Gefeller. Soma. Photographs of a constructed paradise, Hatje Cantz Verlag, Ostfildern-Ruit 2002, pp. 97–101
10. ↑ Gerhard Glüher: The night over Arcadia In: Andreas Gefeller. Soma. Photographs of a constructed paradise, Hatje Cantz Verlag, Ostfildern-Ruit 2002, pp. 101-103
11. ↑ Gerhard Glüher: The night over Arcadia In: Andreas Gefeller. Soma. Photographs of a constructed paradise, Hatje Cantz Verlag, Ostfildern-Ruit 2002, pp. 90–93
12. ↑ Stephan Berg: Der Spurensucher In: Andreas Gefeller. Supervisions, ed. v. Roland Nachtigäller, Städtische Galerie, Nordhorn, Hatje Cantz Verlag, Ostfildern-Ruit 2005, p. 143
13. ↑ Stephan Berg: Der Spurensucher In: Andreas Gefeller. Supervisions, ed. v. Roland Nachtigäller, Städtische Galerie, Nordhorn, Hatje Cantz Verlag, Ostfildern-Ruit 2005, pp. 137–141
14. ↑ Stephan Berg: Der Spurensucher In: Andreas Gefeller. Supervisions, ed. v. Roland Nachtigäller, Städtische Galerie, Nordhorn, Hatje Cantz Verlag, Ostfildern-Ruit 2005, pp. 139–141
15. ↑ ^{a b} Stephan Berg: Der Spurensucher In: Andreas Gefeller. Supervisions, ed. v. Roland Nachtigäller, Städtische Galerie, Nordhorn, Hatje Cantz Verlag, Ostfildern-Ruit 2005, p. 141
16. ↑ Stephan Berg: Der Spurensucher In: Andreas Gefeller. Supervisions, ed. v. Roland Nachtigäller, Städtische Galerie, Nordhorn, Hatje Cantz Verlag, Ostfildern-Ruit 2005, p. 139
17. ↑ Andreas Gefeller. Supervisions, ed. v. Roland Nachtigäller, Städtische Galerie, Nordhorn, Hatje Cantz Verlag, Ostfildern-Ruit 2005, p. 143
18. ↑ ^{a b} Andreas Gefeller. Biography www.andreasgefeller.com. Retrieved October 25, 2013
19. ↑ ^{a b c} Torsten Scheid: The compression of the visible. In: Points of View. Places of Photography, Roemer- und Pelizaeusmuseum, Hildesheim 2012, p. 53
20. ↑ Christoph Schaden: No mast. A stage floor. In: Andreas Gefeller. The Japan Series, Hatje Cantz Verlag, Ostfildern, 2011, p. 17
21. ↑ ^{a b c d e} Andreas Gefeller. Blank . www.rehbein-galerie.de. Retrieved October 25, 2013