Stefan Heyne

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Stefan Heyne (born July 19, 1965 in Brandenburg an der Havel ) is a visual artist and set designer . From 1987 to 1992 he studied at the Berlin-Weißensee School of Art with Volker Pfüller , from 1992 to 1993 as the latter's master class. Heyne has been working as a freelance stage designer since 1995. The first photographic works were created in 2004. Heyne lives and works in Berlin.

Photographic work

Stefan Heyne: Who is afraid of Photography , 2014. C-Print on Alu-Dibond , three-part, each 230 × 150 cm

With his work, Stefan Heyne questions the medium of photography as an objective image of reality. His photographs raise questions about the relationship between optics and reception psychology, the learning of legibility, the relationship between painting and photography - in short: the perception of the image. He uses blurring as a design element and thus questions the objects of his image production. In this way, the classic separation of the room parameters in the foreground and background is abolished, and the observer is deprived of the usual mechanisms of perception.

Heyne mainly photographs landscapes, everyday objects and interiors. His pictures, which seem to have fallen out of space and time, concentrate on the essence, the aura, the appearance of his motifs. In this way, objects of everyday life become objects of contemplation. The titles of earlier works localize what is depicted with the help of the postcode and thus suggest a guide to localization that always leads to nowhere. Titles of current works laconically name what is represented (“display”, “cloakroom”) and thus become an assertion that eludes examination by the viewer. Most recent works only have numbers as titles.

In their simple structures, Heyne's composition is sometimes reminiscent of the formal language of the Russian Suprematists (e.g. Kasimir Malewitsch or El Lissitzky ). In his most recent works, only color fields remain of the objects, which seem related to the Colourfield Paintings by Mark Rothko and Barnett Newman . Neither the horizon nor the sources of light can be seen. Most of the photos are taken at night with a flash; Details that emerge from the dark are highlighted. The surfaces of the photographs are velvety matt, their color scheme is earthy. The pictorial space appears flat, mysterious and model-like.

Heyne uses both photographic and painterly effects in his work - they walk the fine line between representational and abstraction, the real and the unreal, the dreamy and the nightmarish. The real proportions are overridden by the painterly alienation of what is depicted, photography as a suitable means of depicting surfaces is questioned. In their casualness, Heyne's photographs develop a suggestive power that the viewer can hardly escape.

Manifesto of tabularism

In autumn 2014 Stefan Heyne wrote together with the art critic Ralf Hanselle the manifesto of Tabularismus . In seven theses they advocate a radical new questioning of the medium of photography in contemporary art.

Seven theses for the renewal of photography:

  1. From today on photography is dead. All images are made; all reproductions are made. And yet one has not come closer to the world. The last pictures are still pending. Tabularism encompasses the last images in photography.
  2. Tabularism is a sign and not a designation. He does not testify to what is in the world; he is the world itself. He is an image and never an image. With tabularism, photography comes to itself.
  3. Tabularism is a destroyer. He shakes the shell of space and undermines the container of visible things. He even breaks the falling line. He is at war with any escape.
  4. Tabularism is creator. He takes his light from the edges of the visible; from the remnants of knowledge he takes the shadows. The light and the dark are his real motives.
  5. Tabularism is a game. It is dance and diversion; it is approach and detachment. He is not looking for truth; every truth is delusion. Tabularism is only authentic to itself.
  6. Tabularism is art. And as art it is freedom. He blows up the body of the apparatus; he breaks the will of the camera boxes. Every hard case stands at right angles to freedom.
  7. Tabularism is the future. And yet it is embedded in a story. He has traditions; he has mothers and fathers. In the darkness of the Enlightenment they wait for the light to return.

Exhibitions

Exhibition view Stefan Heyne. Naked light. The exposure of the infinite in the Städtische Galerie Dresden 2014

Solo exhibitions (selection)

  • 2014 Städtische Galerie Dresden - Art Collection: Naked Light. The exposure of the infinite
  • 2012 Kunstverein Eislingen: maximum premonition
  • 2012 Art Collections and Museums Augsburg: The Magic of Void. Photographs 2006-2012
  • 2012 Art Museum Dieselkraftwerk Cottbus: Speak to Me. Photographs
  • 2011 Kommunale Galerie Berlin: What are you thinking about? Photographs
  • 2010 Stadtmuseum Groß-Gerau: reply
  • 2010 Schloss Neuhardenberg Foundation: A shadow of knowledge
  • 2009 Kunsthalle Brennabor , Brandenburg an der Havel: The Noise. The exposure of the unknown
  • 2008 Lippische Gesellschaft für Kunst, Detmold: Photography
  • 2008 Kunstraum Potsdam: The Noise. The exposure of the unknown
  • 2005 Saxon State Ministry of Finance, Dresden: Night watch
  • 2005 BrotfabrikGalerie, Berlin: Tachograph

Group exhibitions (selection)

  • 2016 Kunstmuseum Bochum: The autonomous image. Five concepts of current photography
  • 2015 Museum in the Kulturspeicher Würzburg: Photo and data image. Traces of concrete photography
  • 2014 Goethe-Institut Hong Kong: Positions 1. New Photography from Germany
  • 2012 Art Collections and Museums Augsburg: New Collection VI
  • 2011 Kommunale Galerie Berlin: New Works 2011. Painting, graphics, photography, objects
  • 2007 Wilhelm Hack Museum, Ludwigshafen: Reality Crossings. 2nd Photo Festival Mannheim, Ludwigshafen, Heidelberg
  • 2004 BrotfabrikGalerie, Berlin: Where is Berlin located? Photographic approaches to a city

Stage design

In his design of stage sets, Stefan Heyne draws on ancient basic forms such as arena, agora, square or stadium, on which he places contemporary foils and surfaces. In addition to historical references, the thematic topicality of the plays is emphasized, bourgeois plays are traced back to their ancient basic conflict, bridges are built from the roots of the theater to its present. But also historical contexts, e.g. B. in the form of quotes from art history, have an impact on the interiors of current pieces. With these quotes Heyne gives a commentary on what is happening on the stage, at the same time they serve as a slide on which the play can be viewed anew. Another topic is the juxtaposition of mass and individual. With the serial use of elements, in their repetition and mirroring, the character of objects as commodities, as de-individualized, which confronts the isolated person is emphasized. An important stylistic feature is the versatile use of images - photography and painting - as an integrated element within the stage design. With his work, Heyne aims at direct communication with the audience even in advance of the staging. For example, for a production of Nabucco (Hamburg State Opera, 2004) 600 residents of the city were photographed, whose portraits merged into a large-format image of a crowd and thus became a defining part of the set.

In 2009 Stefan Heyne was nominated for the Nestroy Theater Prize for the best equipment for elementary particles at the Landestheater Linz (2008). He teaches at various universities and academies.

Stage sets (selection)

  • The Anarchist (text: David Mamet, director: Martin Kusej), Residenztheater Munich, 2013
  • Fidelio (text: Beethoven, musical director: Claudio Abbado, director: Tatjana Gürbaca), Lucerne Festival, 2010
  • The strong trunk (text: Marieluise Fleißer, director: Hermann Schein), Maxim-Gorki-Theater Berlin, 2006
  • Volpone (text: Ben Johnson, director: Dimiter Gotscheff), Deutsches Theater Berlin, 2006
  • Vom Fluss (text: Katharina Gericke, director: Hermann Schein), Staatsschauspiel Dresden, 2005
  • Nabucco (text: Giuseppe Verdi, director: Karoline Gruber), Hamburg State Opera, 2004
  • Bählamms Fest (text: Olga Neuwirth, director: Vera Nemirova), Hamburg State Opera / Deutsches Schauspielhaus Hamburg, 2002

literature

  • Gisbert Porstmann (ed.): Stefan Heyne. Naked light. The exposure of infinity / Exposing Infinity , Hatje Cantz Verlag, Ostfildern 2014, ISBN 978-3-7757-3841-5 . [Catalog for the exhibition NAKED LIGHT. The exposure of the infinite in the Städtische Galerie Dresden - Art Collection 2014]
  • Stefan Heyne. Speak to Me , Hatje Cantz Verlag, Ostfildern 2012, ISBN 978-3-7757-3277-2 .
  • Initiative GG 1973 eV (ed.): Counterstatement. Photography by Stefan Heyne , Trebur 2010. [Catalog for the exhibition counter-representation in the Stadtmuseum Groß-Gerau 2010]
  • The Noise , Kehrer Verlag, Heidelberg 2008, ISBN 978-3-9395-8382-0 .
  • Stefan Heyne , Salon Verlag, Cologne 2005. [Catalog for the Tachograph exhibition in the BrotfabrikGalerie, Berlin, 2005]

Web links

Individual evidence

  1. ↑ Information on the biography of Stefan Heyne ( Memento of the original from March 5, 2016 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. , accessed October 9, 2015. @1@ 2Template: Webachiv / IABot / stefan-heyne-in-dresden.de
  2. ↑ Ralf Hanselle: Manifesto of tabularism. Seven theses for the renewal of photography , Hatje Cantz photoblog, November 30, 2014, accessed on April 4, 2015.
  3. ↑ Information on the exhibition in the Städtische Galerie Dresden - Art Collection 2014 ( Memento of the original from April 15, 2015 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. , accessed on August 3, 2014. @1@ 2Template: Webachiv / IABot / stefan-heyne-in-dresden.de
  4. ^ Kunstmuseum Bochum , accessed on October 9, 2015.
  5. ↑ Ralf Hanselle: Nothing is more abstract than reality ( memento of the original from September 10, 2015 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. , art. Das Kunstmagazin, March 27, 2015, accessed on October 9, 2015. @1@ 2Template: Webachiv / IABot / www.art-magazin.de
  6. ^ Nestroy 2009 , Theater der Zeit, September 14, 2009, accessed October 9, 2015.
personal data
SURNAME Heyne, Stefan
BRIEF DESCRIPTION German set designer and photographer
DATE OF BIRTH July 19, 1965
PLACE OF BIRTH Brandenburg on the Havel