Manfred Tischer

Manfred Tischer in 2005 (Photo: Sebastian Tischer).

Manfred Tischer (born March 13, 1925 in Naumburg an der Saale ; † February 22, 2008 in Düsseldorf ) was a German artist photographer who, in particular, with his photographs in the vicinity of the Düsseldorf ZERO group and through the photographic accompaniment of actions by the artist Joseph Beuys got known. Since 2010, many of his photographs have been accessible online via the Tischer archive.

Life

Manfred Tischer lying with the wife of Zero artist Otto Piene (with cigarette), Alfred Schmela (gallery owner Düsseldorf), his wife the gallery owner Monika Schmela, the daughter and later gallery owner Ulrike Schmela and Dr. Erika Tischer (wife of the photographer, with sunglasses) on the beach in Nice 1961. (© Manfred Tischer)

Manfred Tischer grew up in Naumburg an der Saale as the eldest of three sons of textile merchant Wilhelm Tischer and his wife Lisa, née. Herrmann up. His father took part in both world wars. As the eldest son, Manfred Tischer should actually have taken over the family business. After graduating from high school in 1943, Tischer instead completed a newspaper traineeship in Karlsruhe and Frankfurt am Main in 1948/49 and already showed an interest in photojournalism at that time. Shortly afterwards, Manfred Tischer left the GDR with a forged passport via Berlin to Munich .

After leaving Munich for family reasons, where he worked as an assistant to Hanns Hubmann and then to Lars von Looschen from 1951 , he met his future wife Erika Kiepka in Düsseldorf . The couple had two sons.

In parallel to his freelance work, Manfred Tischer studied art history between 1958 and 1963 at the University of Cologne . Between 1973 and 1992 Manfred Tischer was also a lecturer in photography at the Düsseldorf University of Applied Sciences . Manfred and Erika Tischer separated in 1985; Manfred Tischer lived with his second wife Regina until the end of 2004 and then lived alone in Düsseldorf. Manfred Tischer died on February 22, 2008, he is buried in the Südfriedhof Düsseldorf . The Düsseldorfer Kunstverein announced in its obituary in the Westdeutsche Zeitung that Tischer was “no friend of deserted exhibition halls”, “where only art counted”. He was interested in “the milieu, the human situation, when, for example, Gerhard Richter stood in front of his color plates in 1971 and put his arm over his little daughter Betty. Or when Tischer talked to Konrad Klapheck , both dressed correctly like bankers. "

Create

Apprenticeship in Munich and Düsseldorf (1949–1958)

Tischer completed an apprenticeship as a photographer in Weißenfels from 1949 to 1951 and, after completing his journeyman's examination, initially worked for two years as an assistant to the photographer and photojournalist Hanns Hubmann, co-founder of Quick magazine and one of its most important photographers until 1980. Until 1953, Tischer received a first glimpse into the possibilities that portrait photography offered film actors in particular to actively steer their personality in the Munich studio from Lars Looschen, who shot Ingrid Bergman , Mario Adorf , Edith Teichmann , Helmut Schmid and others with a large-format camera. Tischer then worked as an industrial photographer for Jagenberg AG in Düsseldorf for around four years .

Photographer studio in Düsseldorf (from 1958)

As a freelance photographer, Manfred Tischer received his first orders from the advertising industry from 1958; He also took photos for architecture newspapers and made his first portraits - his great passion and the genre in which he has mastered. Because his photographs, always made with the Leica in sober black and white, are without headlights and assistants, not staged, but closely observed, and therefore left the portrayed with little opportunity to stage themselves. They show apparent snapshots that have been thought through by the photographer: “With long photo series, luck is involved; I just take a picture, it comes up in my head, ”says Manfred Tischer. In this respect, he always stayed in the background during the vernissages, exhibitions and art events documented by him, but also in the artists' studios, waited for the perfect moment and then - just as inconspicuously - pressed the shutter release. With this calm, reserved way of taking photos, with his analog black-and-white photographs, he was sidelined in the years before his death. But recently there have been several museum acquisitions, including the Beuys Schloss Moyland Collection , the Museum Tinguely , Basel and the Center Pompidou in Paris.

Manfred Tischer and the Düsseldorfer Kunstverein

Manfred Tischer was introduced to the art scene as early as 1957/58 by a friend from Düsseldorf, the painter Gerhard Wind . With the step towards independence, which took place in 1958, Tischer was then able to replace the “dead face of the machines with the faces of the art scene”. He accompanied the lively Düsseldorf scene as a permanent freelance photographer for the Düsseldorf Art Association for the Rhineland and Westphalia, after he met its director Ewald Rathke in 1959 on the occasion of the evening exhibition with Otto Piene's light ballet. Between 1960 and 1985, Tischer documented all exhibitions and vernissages of the Düsseldorfer Kunstverein and from 1967 also worked as the "house photographer" of the Düsseldorf Kunsthalle - an activity that could then take place under one roof, because the Kunstverein shared the premises of the Kunsthalle from 1947 Exhibitions recorded. Accordingly, the Festschrift, which was published on the occasion of the 175th anniversary of the Kunstverein für die Rheinlande und Westfalen in 2004, also contains a separate chapter with photographs by Manfred Tischer. His photographs were also included in the catalogs of a number of exhibitions documented by him, for example in 1961 for the publication on the exhibition Current Art, Pictures and Sculptures from the Dotremont Collection, and in 1964 for Victor Vasarely, paintings, collages, kinetic objects, carpets, prints , 1965 for the solo exhibitions of Eva Hesse and Tom Doyle or 1970 for Peter Brüning and 1975/76 for Ferdinand Kriwet . In the publication on Karl Ruhrberg published in 2009, Uwe M. Schneede lists all those artists who were active in Düsseldorf at the time (Manfred Tischer portrayed the majority in the course of his work) - a list that “almost represents a cross-section of the German art scene of the time [is] - with international additions: from political art to experimental film, from ZERO to material art, from conceptual art to young painting, from Fluxus to minimal - a fantastic overview. "Which is why Schneede has to agree that Düsseldorf at that time" Suburb of the avant-garde ”was. The Düsseldorf Art Academy can be described as the center of the Federal Republican art scene of the time, "the art gallery was the epicenter", which resulted in a positive exceptional situation in Düsseldorf, because the exhibitions and special events found an interested, enthusiastic, open-minded audience who was looking for their own kind.

Manfred Tischer: free work in the art environment of the avant-garde

Parallel to this permanent freelance activity in the Düsseldorf Art Association, Manfred Tischer said in a 2005 letter to the Basel museum director Guido Magnaguagno that he was “something like Otto Piene's unpaid in-house photographer”. He accompanied him accordingly with the other ZERO artists to the exhibition Bewogen Bewegungsing, which was shown at the Stedelijk Museum in Amsterdam in 1961 and which dealt with the topic of "movement" in contemporary art at the international level, but was panned by the press . As part of this exhibition, Tischer's wife Erika appeared in an action listed there by Piene and moved his objects - later the children of the Tischers were allowed to take part from time to time. Manfred Tischer transferred the ZERO festivals in Düsseldorf, in the vicinity of the Schmela Gallery , with which the group of artists is still associated today, to the timelessness of photography, as he also accompanied Fluxus events by Bazon Brock and Ben Vautrier and other exhibitions, which Alfred Schmela showed during these years. In 1959, for example, Tischer photographed Jean Tinguely there, whom Schmela "sent to the C&A department store for 10 Marks on the eve of the opening so that he should buy a white shirt." At the opening there was Düsseldorf Altbier, which established a tradition that later began Founded galleries also took over. In addition to the exhibitions in Schmela's gallery, Tischer also visited other important Düsseldorf galleries of the time, such as Denise René / Hans Meyer - the gallery merger of the Esslingen gallery owner with the Paris gallery owner was appropriately celebrated in Krefeld in 1967 with an Andy Warhol exhibition before the gallery owner -The duo moved to Düsseldorf's old town two years later - and Konrad Fischer, who is known as a painter under his mother's maiden name, as Konrad Lueg. In 1963 he organized a first exhibition of German Pop Art in a former butcher's shop across from Jean-Pierre Wilhelm's Gallery 22, before entering the gallery business in 1967 under his birth name. His focus on the American avant-garde, minimalism and conceptual art, contributed to the internationalization of the Düsseldorf art business during these years.

Manfred Tischer was friends with Konrad Klapheck , who Schmela also presented in 1959, as well as with a number of other artists. Numerous trips - such as the one to Amsterdam, previously with the ZERO artists to New York, but also to Paris - shaped Tischer's life. In 1962 he and Otto Piene visited Yves Klein shortly before his death in the Paris gallery Iris Clert; the image created there by the two exceptional artists testifies to the intimacy that Tischer was able to capture. In New York in 1965, Tischer met the then unknown artist Eva Hesse, whom he then visited in her Essen studio and portrayed, as he was able to do with Gerhard Richter . After visiting and documenting the Biennale in 1968 without a special photographer assignment, he accompanied Joseph Beuys and Jochen Gerz to the Biennale di Venezia in 1976 , where the two artists together with Reiner Ruthenbeck played in the German Pavilion curated by Klaus Gallwitz . Their appearance at the Kassel documenta 6 1977 was also documented by Manfred Tischer, who had previously attended this 100-day avant-garde show in 1959 and 1964. In the artist's studio, when setting up exhibitions and then at their openings - Manfred Tischer was always there, but he stayed in the background and thus shows the artists in his black and white pictures undisguised, without pose or staging. Now and then Manfred Tischer also received commissions, for example from the Düsseldorfer Handelsblatt at the end of 1964, for which he was supposed to photograph Jean Tinguely's grill in the Basel Gallery Handschin. The opening of the exhibition was also integrated into an artistic action, in which an ox half turned on a spit and the audience was invited to eat sausages - in keeping with the Eat Art that Tinguely was making at the time, also together with Daniel Spoerri .

Legal dispute about the exhibition of Tischer photographs (2009-2013)

Manfred Tischer became known to a wider public in 2009 when, because of the exhibition Joseph Beuys - Unpublished Recordings by Manfred Tischer in the Museum Schloss Moyland, a legal dispute between Tischer's heirs and VG Bild-Kunst and Beuys' widow Eva (née Wurmbach, since Married to Beuys in 1959) came. In May 2013, the Federal Court of Justice finally decided in its landmark judgment that the photos may be shown as an independent artistic achievement. The BGH has thus set a precedent that has far-reaching consequences for artists: photographs and video documentation of their work are subject to the copyright protection of their respective producers, i.e. the photographer or filmmaker, but not the artist himself.

The Beuys Action Marcel Duchamp's Silence is Overrated (1964)

After the management of the Museum Schloss Moyland in Bedburg-Hau had acquired 22 of his photographs during Manfred Tischer's lifetime, these were shown in the exhibition Joseph Beuys - Unpublished Photos by Manfred Tischer from 2009, i.e. already after his death. These are two photo series that Manfred Tischer took in the early 1960s: He documented Beuys' first large solo exhibition in the Museum Haus Koekkoek in Kleve in 1961, to put together the collector couple Franz Joseph van der Grinten and Hans van der Grinten had asked. In 1964, Tischer created the only contemporary witness documents of Joseph Beuys' “first theoretical action that reveals a reference to art history” . Marcel Duchamp's silence is overrated . On the occasion of the presentation of the collection, the Museum Schloss Moyland announced: “With the acquisition of these two important photo series from Manfred Tischer, the Joseph Beuys Archive can not only record an important increase in the collection in the field of photography. The exhibition familiarizes the public with one of the most important early actions by Joseph Beuys in 1964 and, with the 1961 exhibition, not only illustrates a decisive event in the unique collector-artist relationship, but also in the history of the Museum Schloss Moyland's collection Photographs by Manfred Tischer, the art action performed by Joseph Beuys on December 11, 1964 in the ZDF state studio in North Rhine-Westphalia, The silence of Marcel Duchamp is documented overrated. During the course of the action, in front of the camera, Beuys installed a fat corner made of margarine in a wooden shed that was open on one side. The artist, "pulling a felt blanket with him, entered the field of action, put down the felt blanket, took the individual packs from a margarine carton and stacked them." With this action, Beuys referred to the fact that Marcel Duchamp later gave up his art work completely to just to pursue the game of chess and writing; in this respect, Götz Adriani and Karin Thomas already rate the title as a "criticism of Duchamp's concept of art."

The legal battle over the photographs (2009-2013)

The litigation of several years between VG Bild-Kunst on the one hand and the Museum Moyland Foundation on the other, which immediately followed the display of the photographs in the exhibition context, was sparked by the presentation of the photographs by Manfred Tischer, which he took during the live art campaign in 1964. From a legal point of view, the core question was whether the art campaign is subject to copyright protection and whether action can be taken against the presentation of the photographs on the basis of this copyright law. The plaintiff was the collecting society Bild-Kunst , to which Beuys 'legal successor, his widow Eva Beuys, had granted some rights of use to Beuys' works. (As Hertin remarks, the proceedings were in fact one of several "secondary theaters of war" in a protracted dispute between the Beuys widow and the foundation. Beuys had handed over entire bundles of his work and his archive to two friends who had supported him at a young age. The foundation was involved in the evaluation of this inventory. Eva Beuys took offense at this.)

The VG Bild-Kunst wanted the exhibition to be banned and argued that the art campaign was a personal intellectual creation; they enjoy copyright protection. The photographs then represented a processing or other redesign of the art campaign ( Section 23 UrhG). As a result of the exhibition, the photographs would be used without the consent required under Section 23 UrhG. The defendant essentially replied that the action was not a copyrighted work. In mid-2009, the Düsseldorf Regional Court issued an injunction in favor of VG Bild-Kunst: The campaign is protected by copyright. By transferring the dynamic process into a static one (photography) with the inclusion of the formative creative elements of the art action, it was transformed. Finally, the exhibition did not make any reproduction. Nevertheless, the exhibition encroaches on a right of exploitation; the list of exploitation rights in § 15 UrhG is not conclusive and therefore “any act that is no longer private and affects the economic interests of the author” should be classified as exploitation. Due to the ruling, the photographs that had already been exhibited had to be removed. In its decision on the main proceedings in September 2010, the board upheld this view.

The appointment of the Moyland Castle Foundation was largely unsuccessful. The Higher Regional Court also saw the action as a work protected under Section 2 of the Copyright Act; Relevant means of expression are certain "scenic [] action sequences in a specially arranged room using clearly selected, sometimes very unusual objects in an arrangement that is by no means obvious, as well as such strange creations as a fat corner on a wooden crate in two layers and one separated by a felt blanket with margarine extended walking sticks ”. Because the series of pictures physically fix the action in parts, there is a duplication. Since the reproduction has not taken place unchanged, but already has a shortening effect by changing the medium, it is also a matter of a redesign. The higher regional court allowed the appeal.

The Federal Court of Justice (BGH) overturned the lower court decision on the appeal filed by the Schloss Moyland Foundation. The BGH was initially bothered by the assessment of copyright protection: the higher regional court and regional court had overlooked the fact that a possible protection of the action was not under the UrhG, which came into force in 1965, but under the 1964 law on copyright in works of literature and music (LUG ) is to be assessed. At the same time, however, the Senate also emphasized that the doubts raised by the revision about the protectability did not take effect. In view of the inadequate factual findings about the protected elements of the action, it was not possible to judge whether the photographs represented alterations. However, further findings are not to be expected. The remaining doubts were at the expense of the plaintiff as the claimant. Thus the lawsuit brought by VG Bild-Kunst / Eva Beuys against the exhibition of Tischer's action photographs ultimately failed.

The decision of the BGH was discussed intensively in the literature. The Moyland Castle Museum reacted positively to the Karlsruhe judgment: “After many years of legal disputes with VG Bild-Kunst and with Beuys' widow Eva Beuys, an important victory for art was achieved. This judgment avoids the danger that photographs of dynamic works of art may no longer be exhibited without the consent of the artist or his heirs. Public and academic access to such works is thus secured for the time being. "

Reception of the judgment

The Swiss artist duo Caroline Bachmann and Stefan Banz have been grappling intensively with the work of Marcel Duchamp since 2006. The court ruling was a welcome opportunity for the two artists Bachmann and Banz to combine Duchamp's work The Bride Stripped of Her Bachelor in the Philadelphia Museum of Art (The Great Glass) (1915–1923) with the Beuys action. Her work The Silence of the Bachelors brings the flat molds from the lower half of the Duchamp work into the three-dimensional space: In Bachmann and Banz, they become life-size metal figures like chess pieces, which the viewer can move through the exhibition space. Attached to the wall is the wording of the judge's ruling with which the Düsseldorf Higher Regional Court prohibited the exhibition of Manfred Tischer's photos. These can be seen in another room for the first time since the appeal by the BGH. Bachmann & Banz was particularly attracted to the dispute by the question of copyright: The name Marcel Duchamp, as they pointed out in an interview with Barbara Strieder, is now itself protected by copyright. It is a “curious story”, because “if Beuys were to perform his public action - which he later gave the title The Silence of Marcel Duchamp is overrated - tomorrow evening here at the Museum Schloss Moyland, he would have to, strictly speaking, first be the legal successors of Ask Marcel Duchamp for permission to use the name. And that is why the copyright question regarding the content of the Tischer photographs cannot be answered clearly. Furthermore, Beuys' 1964 action would have been completely different without the work and fame of Marcel Duchamp. The then largely unknown Beuys had also used Duchamp's name in the hope of inscribing himself into the canon of art history. ”If one also takes into account the reference to copyright protection for the name Marcel Duchamp, the BGH judgment has even greater implications for the Art world, because it becomes clear that Joseph Beuys also did not act in an art-free space, but resorted to another - much better known - artist, whose heirs (had the OLG ruling been legally confirmed) could also have asserted claims.

Works

• Most of Manfred Tischer's photographic work is digitized and can be viewed at www.tischer.org
• December 11, 1964 Documentation of the ZDF broadcast Die Drehscheibe , in which Tischer photographed Joseph Beuys 'art action broadcast live from the NRW state studio nationwide. Marcel Duchamps' silence is overrated . These are the only historical documents that still exist today from the Beuys campaign, which lasted around 30 minutes. In the television studio there was a wooden shed open on one side, in which Beuys, reinforced with a felt cover, placed a fat corner. On the floor was a square plate on which a Beuys assistant wrote the words THE SILENCE OF MARCEL DUCHAMP IS OVERVALUED in brown, which gave the action its name. The exhibition of the photographs in the Museum Schloss Moyland in 2009 under the title Joseph Beuys - Unpublished Photos by Manfred Tischer led to a legal dispute that was brought before the Federal Court of Justice in 2013 in favor of the Tischer heirs and the Moyland Castle and to the detriment of VG Bild-Kunst and the Beuys widow Eva Beuys was decided.
• 1968 short film 16 mm, b / w, about the installation of a sculpture by Hans Aeschbacher for the Biennale di Venezia (unpublished)
• 1977 Film "Konrad Klapheck - The Creation of an Image": Created over several years of collaboration between Tischer and Klapheck, the film shows the creation of some works of art from the search for a motif to the image then presented. First broadcast: October 20th, 1977 in the 3rd WDR program.
• Around 1970 short film 16 mm, b / w, about a performance by Jochen Gerz (unpublished)
• 1970, probably Parnass Gallery, Wuppertal: Jochen Gerz, exhibition views, including a collection of iron chairs after the journey on the Trans-Siberian Railway with lead plates on which Jochen Gerz's barefoot prints can be seen, as well as the installation of a large round disc on which Both a filming camera and a running television can be seen. In addition, photographs by Jochen Gerz during a performance, during which he smeared himself with red and purple paint and then lay trembling in front of a camera (3 plot parts).

Exhibitions

• 2009: Joseph Beuys - Unpublished photos by Manfred Tischer, Museum Schloss Moyland (May 10th – September 13th, 2009, prematurely removed due to an objection by Eva Beuys and VG Bild-Kunst; the photographs have been in the permanent collection of the Museums)
• 2014: In connection with the exhibition Caroline Bachmann / Stefan Banz. The Silence of the Bachelor, Museum Schloss Moyland (February 16 - April 27, 2014)
• 2014: In the exhibition Beuys - Brock - Vostell , ZKM | Center for Art and Media Technology (May 24th - November 9th, 2015)
• 2014/2015 : As part of the exhibition ZERO: Countdown to Tomorrow, 1950s – 60s , Guggenheim Museum New York (October 10, 2014– January 7, 2015)
• 2014/15: In the exhibition Zero: Let Us Explore the Stars , Stedelijk Museum Amsterdam (4.7.14–8.11.15)

Purchases

• 2005: Museum Tinguely , Basel : 40 photos on the life and artistic work of Jean Tinguely (Galerie Schmela, Düsseldorf; exhibition in Krefeld; 1959 Galerie Iris Clert, Paris; exhibition bewogen, weging, Amsterdam; collection Wolfgang Hahn)
• City of Düsseldorf: artist photos and ZERO photos
• Center Georges Pompidou, Paris: Photography series on Jean Tinguely
• Whitney Museum of American Art , New York: Photo portraits Eva Hesse

Awards

• 1983 “Golden film roll” from the Accademia Internazionale dell'Arte Fotografia

literature

• Art Association for the Rhineland and Westphalia, Düsseldorf (ed.): Manfred Tischer, photographs. Düsseldorf 2004, ISBN 3-925974-63-6 .
• Bettina Paust: An action and its photographic trace write legal history. Joseph Beuys, Manfred Tischer and an installation by Bachmann & Banz . In: Foundation Museum Schloss Moyland / Van der Grinten Collection / Joseph Beuys Archive of the State of North Rhine-Westphalia (Ed.): The Silence of the Bachelors . Nuremberg 2014, ISBN 978-3-86984-061-1 , pp. 74-81.
• Thomas Koch: Marcel Duchamp's silence: Comments on the BGH decision “Beuys Action” . In: Wolfgang Büscher, Willi Erdmann, Maximilian Haedicke, Helmut Köhler et al. (Ed.): Festschrift for Joachim Bornkamm on his 65th birthday . Munich 2014, pp. 835–848.

Published photographs (selection)

• Renate Buschmann and Stephan von Wiese (eds.): Photos write art history. Exhibition cat. museum kunst palast Düsseldorf / AFORK, archive of artistic photography of the Rhenish art scene. Cologne 2007, ISBN 978-3-8321-9058-3
• Renate Damsch-Wiehager (Ed.): Nul. Establishing reality as art. The Dutch group Nul 1960–1965. And today. Ostfildern 1993, ISBN 3-89322-535-8
• Art association for the Rhineland and Westphalia (ed.): 175 years art association for the Rhineland and Westphalia. Düsseldorf 2004, ISBN 3-925974-64-4
• Friedrich Meschede; Guido de Werden (Ed.): With the possibility of being seen. Dorothee and Konrad Fischer: Archive of an attitude. Exhibition cat. Museu d'Art Contemporani de Barcelona (MACBA) / Museum Kurhaus Kleve. Düsseldorf 2010, ISBN 978-84-92505-38-8 (German and Spanish / Catalan edition)
• museum kunstpalast düsseldorf (ed.): ZERO in photography. Düsseldorf 2008 (series spot on, vol. 1).
• Marie-Luise Otten (Ed.): From Dada to Beuys. 30 years of the art association for the Rhineland and Westphalia with Karl-Heinz Hering. Ratingen 1998, ISBN 3-00-003137-5
• Uwe M. Schneede: Karl Ruhrberg. Cologne 2009, ISBN 978-3-86560-724-9 (= series Energies | Synergies, published by the Kunststiftung NRW, vol. 10)
• Uwe M. Schneede: Joseph Beuys - the actions: annotated catalog raisonné with photographic documentation. Stuttgart 1984, ISBN 3-7757-0450-7
• Sperone Westwater Gallery, New York: ZERO NY 2008. Ghent 2008, ISBN 978-90-76979-73-1

Photographs made for the Kunstverein Düsseldorf and published in exhibition catalogs

• 09.09.1960-30.10.1960. Art Association for the Rhineland and Westphalia (Ed.): Ernst Ludwig Kirchner. Düsseldorf 1960.
• 03.03.1961-09.04.1961. Art Association for the Rhineland and Westphalia (ed.): Current art, pictures and sculptures from the Dotremont collection. Düsseldorf 1961.
• May 29, 1961 to July 16, 1961. Art Association for the Rhineland and Westphalia (Ed.): Fritz Peretti. Düsseldorf 1961.
• March 20, 1962 to April 23, 1962. Art Association for the Rhineland and Westphalia (Ed.): Gérard Schneider. Düsseldorf 1962 (cover photo).
• June 15, 1962 to July 22, 1962. Art Association for the Rhineland and Westphalia (Ed.): Ten years of the Great Art Prize of the State of North Rhine-Westphalia. Düsseldorf 1962.
• 02.10.1962-04.11.1962. Art Association for the Rhineland and Westphalia (Ed.): Hermann Ratjen. Painting. Düsseldorf 1962.
• January 18, 1963- February 24, 1963. Art Association for the Rhineland and Westphalia (Ed.): Curt Craemer. Painting, drawings, illustrations. Düsseldorf 1963.
• 01/24/1963- 02/24/1963. Art association for the Rhineland and Westphalia (ed.): Ludwig Memelmans. Oil paintings, gouaches, illustrations, books. Düsseldorf 1963.
• March 8, 1963 to April 15, 1963. Art association for the Rhineland and Westphalia (ed.): Arts and crafts in North Rhine-Westphalia. Düsseldorf 1963.
• 06.06.1963-08.07.1963. Art Association for the Rhineland and Westphalia (Ed.): Kurt Neyers. Düsseldorf 1963 (cover photo).
• January 14, 1964 to February 9, 1964. Art Association for the Rhineland and Westphalia (ed.): Ten young Düsseldorf painters. Düsseldorf 1964.
• 02/18/1964 - 03/15/1964. Art association for the Rhineland and Westphalia (ed.): Victor Vasarely. Paintings, collages, kinetic objects, carpets, prints. Düsseldorf 1964.
• 07/17/1964 - 08/30/1964. Art Association for the Rhineland and Westphalia (Ed.): Gerhard Wind. Düsseldorf 1964 (cover photo).
• November 30, 1964- January 24, 1965. Art Association for the Rhineland and Westphalia (Ed.): Carl Weisgerber. Düsseldorf 1964.
• 02.02.1965-14.03.1965. Art association for the Rhineland and Westphalia (ed.): Four Swiss sculptors. Hans Aeschbacher, Walter Bodmer, Walter Linck, Bernhard Luginbühl. Düsseldorf 1965.
• August 6, 1965 to October 17, 1965. Art Association for the Rhineland and Westphalia (Ed.): Eva Hesse. Material pictures and drawings. Düsseldorf 1965 (cover photo).
• August 6, 1965 to October 17, 1965. Art Association for the Rhineland and Westphalia (Ed.): Tom Doyle. Düsseldorf 1965 (cover photo).
• December 8, 1966 to January 22, 1967. Art association for the Rhineland and Westphalia (ed.): Paul Wunderlich. The graphic work 1949 to 1966. Oil paintings 1960 to 1966. Düsseldorf 1966.
• 01/27/1967 - 03/05/1967. Art association for the Rhineland and Westphalia (ed.): Corneille, oil paintings and gouaches until 1966. Düsseldorf 1967.
• May 1, 1967 to June 17, 1967. Art Association for the Rhineland and Westphalia (ed.): Art of the 20th century from Rhenish-Westphalian private ownership. Düsseldorf 1967.
• 30.10.1970-03.01.1970. Art Association for the Rhineland and Westphalia (Ed.): Peter Brüning. Superlands and signals. Düsseldorf 1970.
• 02/01/1974 - 03/31/1974. Art Association for the Rhineland and Westphalia (Ed.): Heinz te Laake. Works 1947–1974. Düsseldorf 1974 (cover photo).
• April 9, 1974 to June 9, 1974. Art Association for the Rhineland and Westphalia (Ed.): Ursula. Works 1960–1974. Düsseldorf 1974.
• November 21, 1975 to January 18, 1976. Art association for the Rhineland and Westphalia (ed.): Kriwet. Work 1960–1975. Düsseldorf 1975.
• 01/30/1976-21.03.1976. Art Association for the Rhineland and Westphalia (ed.): Hede Bühl, sculptures, 1958–1975. Drawings, sketches, etchings. Düsseldorf 1976.
• July 14, 1979 to December 02, 1979. Art Association for the Rhineland and Westphalia (ed.): 5 × 30, Düsseldorf art scene from five generations, 150 years of the Art Association for the Rhineland and Westphalia, 1829–1979. Düsseldorf 1976.

Individual evidence

1. ↑ Manfred Tischer Archives ( Memento of the original from September 16, 2017 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. 
2. ^ NN: Photographer Manfred Tischer is dead. The Kunstverein mourns the loss of its documentarist , in: Westdeutsche Zeitung, March 5, 2008, accessed on February 25, 2014.
3. ↑ ^{a b} Manfred Tischer, quoted in. after: Funeral service for Manfred Tischer, March 7, 2008, Tischer estate.
4. ↑ A short, easy-to-read introduction that gives an impression of the time at that time can be found in Uwe M. Schneede: Ein Impresario der Gegenwartskunst , in: Uwe M. Schneede: Karl Ruhrberg. Cologne 2009, ISBN 978-3-86560-724-9 (= series energies | synergies, edited by the Kunststiftung NRW, vol. 10), pp. 9-19.
5. ^ Klaus Sebastian: Photographer Manfred Tischer died , in: Rheinische Post, March 7, 2008.
6. ↑ Mirjam Wittmann: Times and Places , in: Art Association for the Rhineland and Westphalia (Ed.): 175 years art association for the Rhineland and Westphalia. Düsseldorf 2004, ISBN 3-925974-64-4 , pp. 14–21, here: p. 17.
7. ↑ Manfred Tischer. Photographs 1960–1980, in: Art Association for the Rhineland and Westphalia (Ed.): 175 Years of Art Association for the Rhineland and Westphalia. Düsseldorf 2004, ISBN 3-925974-64-4 , pp. 45-93.
8. ^ Marie-Luise Otten (Ed.): From Dada to Beuys. 30 years of the art association for the Rhineland and Westphalia with Karl-Heinz Hering. Ratingen 1998, ISBN 3-00-003137-5 , documentation from p. 219.
9. ^ Uwe M. Schneede: Karl Ruhrberg. Cologne 2009, ISBN 978-3-86560-724-9 (= series energies | synergies, published by the Kunststiftung NRW, vol. 10), p. 48.
10. ↑ See Uwe M. Schneede: Karl Ruhrberg. Cologne 2009, ISBN 978-3-86560-724-9 (= series energies | synergies, edited by the Kunststiftung NRW, vol. 10), p. 13.
11. ↑ Dieter Honisch (edit.): 1945–1985 Art in the Federal Republic of Germany. Berlin 1985, ISBN 3-87584-158-1 , (exhibition catalog Nationalgalerie Staatliche Museen Preußischer Kulturbesitz Berlin), p. 147.
12. ^ Rita Kersting : Manfred Tischer, Photographs , in: Art Association for the Rhineland and Westphalia. Düsseldorf (ed.): Manfred Tischer, photographs. Düsseldorf 2004, unpag., ISBN 3-925974-63-6 .
13. ^ Moyland Castle Museum
14. ^ VG Bild-Kunst
15. ↑ Marcel Duchamp's silence is overrated, in: Schneede, Uwe M .: Joseph Beuys - the actions: annotated catalog raisonné with photographic documentation. Stuttgart 1984, ISBN 3-7757-0450-7 , pp. 80-83. As part of this campaign, Beuys used photos by Manfred Tischer, which, as the photo in the Kölnische Rundschau of 8 May 2009 shows, he stuck to the poster on the floor.
16. ↑ Press text Museum Schloss Moyland: Joseph Beuys - Unpublished photographs by Manfred Tischer, May 2009, available at www.kunstaspekte.de, accessed on February 26, 2014.
17. ^ Uwe M. Schneede: Joseph Beuys - the actions: annotated catalog raisonné with photographic documentation. Stuttgart 1984, ISBN 3-7757-0450-7 , p. 80 f.
18. ↑ Götz Adriani, Winfried Konnertz and Karin Thomas: Joseph Beuys. DuMont; New edition, Cologne 1994, ISBN 3-7701-3321-8
19. ↑ Thomas Koch, Das Schweigen von Marcel Duchamp: Comments on the BGH decision “Beuys-Aktion” , in: Wolfgang Büscher et al. (Ed.), Festschrift for Joachim Bornkamm on his 65th birthday , Beck, Munich 2014, ISBN 978-3-406-65911-9 , pp. 835–848, here pp. 835 f.
20. ^ LG Düsseldorf, judgment of September 29, 2010, 12 O 255/09 = ZUM 2011, 77, 77.
21. ↑ Paul W. Hertin, Commentary on BGH, judgment of May 16, 2013, I ZR 28/12 - Beuys-Aktion , in: Competition in Law and Practice , Vol. 60, No. 1, 2014, pp. 74-75, here p. 74.
22. ^ LG Düsseldorf, judgment of September 29, 2010, 12 O 255/09 = ZUM 2011, 77, 78.
23. ^ LG Düsseldorf, judgment of June 15, 2009, 12 O 191/09 .
24. ^ LG Düsseldorf, judgment of September 29, 2010, 12 O 255/09 = ZUM 2011, 77.
25. ↑ OLG Düsseldorf, judgment of December 30, 2011, I-20 U 171/10 = GRUR 2012, 173 - Beuys photo series .
26. ↑ OLG Düsseldorf, judgment of December 30, 2011, I-20 U 171/10 = GRUR 2012, 173, 175 - Beuys photo series .
27. ↑ BGH, judgment of May 16, 2013, I ZR 28/12 = NJW 2013, 3789 = GRUR 2014, 65 - Beuys-Aktion .
28. ↑ Cf. Norbert P. Flechsig, comment on BGH, judgment of May 16, 2013 - I ZR 28/12 - Beuys-Aktion , in: Journal for Copyright and Media Law , Vol. 58, No. 1, 2014, p. 41-42; Paul W. Hertin, Commentary on BGH, judgment of May 16, 2013 - I ZR 28/12 = WRP 2014, 68 - Beuys-Aktion , in: Competition in Law and Practice , Vol. 60, No. 1, 2014, p. 74-75; Rainer Jacobs and Lucas Elmenhorst, comment on BGH, ruling v. May 16, 2013 - I ZR 28/12 - Beuys-Aktion , in: Commercial legal protection and copyright , vol. 116, no. 1, 2014, pp. 72–73; Thomas Koch, Das Schweigen von Marcel Duchamp: Comments on the BGH decision “Beuys Action” , in: Wolfgang Büscher et al. (Ed.), Festschrift for Joachim Bornkamm on his 65th birthday , Beck, Munich 2014, ISBN 978-3-406-65911-9 , pp. 835–848; Jörg Schneider-Brodtmann, Joseph Beuys and the consequences , in: Art Law and Copyright , Vol. 6, No. 5, 2004, pp. 147–156; Gernot Schulze, comment on BGH, judgment of May 16, 2013 - I ZR 28/12 - Beuys-Aktion , in: Neue Juristische Wochenschrift , vol. 66, no. 52, 2013, p. 3793; ders., Beuys-Aktion 1964 - Aspects of copyright protection in multimedia works , in: Peter Mosimann and Beat Schönenberger (eds.), Art & Law 2013 / Art & Law 2013: Lectures on the event of the same name by the Law Faculty of the University of Basel from 14. June 2013 , Stämpfli, Bern 2014, ISBN 978-3-7272-7982-9 , pp. 35–59.
29. ↑ Museum Schloss Moyland: Media information 31/2013, Federal Court of Justice overturns conviction for Tischer photos , May 16, 2013, accessed: February 27, 2014.
30. ^ Website of Caroline Bachmann
31. ^ Website Bachmann / Banz
32. ↑ The bride stripped naked by her bachelor, even (The big glass)
33. ^ Court judgment, Duchamp, Beuys… Caroline Bachmann and Stefan Banz on questions from Barbara Strieder, in: Foundation Museum Schloss Moyland / Collection van der Grinten / Joseph Beuys Archive of the State of North Rhine-Westphalia (ed.): The Silence of Bachelors. Nuremberg 2014, ISBN 978-3-86984-061-1 , pp. 11-17.