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2007 / 2008 / JNA37
Created in 2007 /
Published in 2008 /
No. JNA37
JNA37
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About Jens NagelsThe unfocused in art has a long history dating back to the Renaissance and inseparable from the witnessing of natural phenomena. Environment, darkness and fog take us into the diffuse and secretive. In traditional photography textbooks,…BACKGROUND INFORMATION
The unfocused in art has a long history dating back to the Renaissance and inseparable from the witnessing of natural phenomena. Environment, darkness and fog take us into the diffuse and secretive. In traditional photography textbooks, focus was deemed most valuable and, until the emergence of automatic cameras, made taking photographs visibly difficult for amateurs. Thus, the production of out of focus photographs did not begin it’s triumphal procession as an art form until the last 20 years of the 20th century, with the exception of a brief stint in post-impressionist 1900. One may ask if the differentiation between focus and unfocused qualifies as a stylistic criteria. Let’s say that the variety of the artist who experiments with unfocused photography, is similarly comparable to that of the photographer who is committed to focused pictures.
Jens Nagels develops a very special acquaintance with the stylistic device of “unfocusing.” His career as a photographer was preceded by his painting studies in Düsseldorf. It is unmistakable that his photography, which as a rule does not reproduce nature but rather second hand reality through foreign color intensified visions, perpetuate his beginnings as a painter. As a gourmet sorts out his delicacies from what gushes out of of the television in his apartment: “ I am not a hunter, but rather a collector,” Nagels says. His two part work conveys the impression of the romantic and closure, the grains themselves lost in a logical color gradient, apparently striving to flow into each other in the assigned pictures, and simultaneously becoming quelled through the sharp edges of the picture border. The photographs live for a disoriented balance: limitation vs. liberation, traditional photographic images vs. pictorial photography, images vs. a denial of information. And that convesys itself to the viewer whose viewpoint ideally swings between the desire for concrete identification and the desire for free interpretation.
Dr. Boris von BrauchitschBIOGRAPHY
1997 Süddeutsche Zeitung (56) 1995 Photog (263), The world´s leading Chinese Photographic Magazine 1993 APEX No. 18 1991 Museum für Photographie, Kulturlandschaften (Cultural Landscapes) 1988 Graphis (232), Abschlussarbeiten (Thesis Project) 1987 HNA VITA
1950 born 1970-1975 Completed painting studies in Düsseldorf under Professors Andre Thomkins and Alfonso Hüppi. 1981-1986 Completed studies in visual communications at the University of Kassel 1990-1995 Photography university teaching position Lives and Works in Kassel Exhibitions
2004 "Contemplation", Kunsttempel Kassel 2003 Galerie Palladion, Basel, Switzerland 1997 DOK4, Kunsthaus der Stadt Kassel 1995 Krefeld, Photo Gallery in Fabrik Heeder 1994 Fridericianum, Kasseler Kunstverein, Kassel Kleve, Photo Gallery in Schwanenburg 1993 Galerie eye-genart, Cologne 1992 Photogalerie International, Hannover Galerie Brennpunkt, Berlin Museo de Arte Moderno, Buenos Aires 1991 Palais Bellevue, Kulturamt, Kassel 1989 Bildzone, Munich Raum F, Zurich 1985 G.A.L. Art, Bogotá Solo Exhibitions
2009 Gemeinsam in Bewegung, Zeitgenössische Kunst aus Deutschland und China, Wuhan, China Gemeinsam in Bewegung, Zeitgenössische Kunst aus Deutschland und China, Technische Universität Budapest, Hungary Tatort, ein Vergnügen, Kunsttempel Kassel, Germany 2008 TÜV Rheinland Japan, Yokohama, Japan 2007 out of focus, Galerie f:7.2, Mönchengladbach und Kunst- und Galeriehaus, Bochum-Wattenscheid, Germany 2006 Kennen Sie jemanden hier?, Kulturbahnhof Kassel Südflügel, Germany 2004 "Contemplation" , Kunsttempel Kassel 2003 Galerie Palladion, Basel, Switzerland 1997 DOK4, Kunsthaus der Stadt Kassel 1995 Krefeld, Photo Gallery in Fabrik Heeder 1994 Kassel, Kasseler Kunstverein, Fridericianum Kleve, Foto Gallery in der Schwanenburg 1993 Cologne, Galerie eye-genart 1992 Hannover, Photogalerie International Hannover Berlin, Galerie Brennpunkt Buenos Aires, Museo de Arte Moderno 1991 Kassel, Palais Bellevue, Kulturamt 1989 Munich, Bildzone Zurich, Raum F 1985 Bogotá, G.A.L. Art Group Exhibitions
2002 "in between", Kunsthaus Langenthal, Switzerland 2001 "4 Fotografen - 4 Positionen" (4 Photographs – 4 Positions) Galerie Weigand, EttlingenDie Kunst des Autos (The Art of Cars) Kunsthalle Osnabrück10 Jahre - Dr. Wolfgang Zippel-Stiftung, (10 Years-Dr. Wolfgang Zippel Prize) Staatliche Museen Kassel - Neue Galerie
1999 "Portrait & Selbstportrait" (Portrait & Self Portrait), Kunstverein Plön"...imagine", Galerie Weigand, Ettlingen 1998 Kassel, ICE Bahnhof "In the summertime", Galerie Weigand, Ettlingen/Karlsruhe 1997 "Einblicke" (Insights), Kassel, Kasseler Kunstverein 1994 Kleve, Fotogalerie in der Schwanenburg 1992 La Otra Cara, Galeria Suipacha, Buenos Aires 1991 Museum für Photografie, Braunschweig 1987 Gießhaus , Kassel 1986 Ministerium für Wissenschaft und Kunst (Ministry for Science and Art), Wiesbaden 1984 Kunstverein, Frankfurt/Main