Wolfgang Bellwinkel | Fotograf
Wendezeit, 1989/90
The Everyday Nature of War, Bosnia 1993-1994
After the War, Bosnia 1995-1996
Switch off the heater when you go
Eight Women, Indonesia 2001
Heimat, Germany 2003
Heimat II - Germany - 2005
Babel I - 2007/8/11

Babel II - 2007/8
Lunchtime, 2008-2010
12 Years After, 1996/2008
City of Angels, 2010
weg - 2006 (Trailer)

Wolfgang Bellwinkel born in Bochum/Germany, lives in Berlin and Bangkok

Sojourns in Central America, Asia and Australia
Work as freelance photographer, extensive thematic works: "Fall of the Wall", "Civil war in Sri Lanka", "Kurdistan"
Frequent stays in former Yugoslavia
Master in Communication Design at the University of Essen/Germany
Book BOSNIA in cooperation with P. M. Schäfer
Award Winner, Photography as Art Competition, Pforzheim
Assignments for German and international Magazines: SZ-Magazin, Stern, Telegraph Magazine, Zeit-Magazin, Allegra, Details,Spiegel Special, Der Spiegel, Manager Magazin ... and for companies: German Stock-Exchange, Veba, Goethe Institut...
Award Winner BFF (German Association of Freelance Photographers)
Scholarship of DAAD (Deutscher Akademischer Auslandsdienst) for a project on the peace process in Bosnia
Workshops: Photofestival Herten - Mutesius Hochschule , Kiel - Temasek Polytechnic , Singapore - Lasalle School of Art , Singapore, Goethe Institut, Kabul....
Purchase of the series "Nachkriegszeit" by IFA (Institute of Foreign Relations)
Visiting Lecturer for one year at NgeeAnn Polytechnic , Singapore
Member of the photo agency "Ostkreuz"
Participant of an "Artist in Residence" program by the Alliance Francaise/ Bangkok
Extensive workshops (3months) at Goethe Institut Kabul ( see results )
Release of the documentary film "weg"
Visiting Lecturer at Silapakorn University , Bangkok
Visiting Lecturer at Muthesius Hochschule, Kiel
Visiting Lecturer at Chulalongkorn University , Bangkok
Curator for the exhibition FOREIGN FAMILIAR assigned by the Goethe Instituts Bangkok, Jakarta, Manila and Hanoi.
New book: No Land called Home - Kehrer Verlag, Heidelberg

Exhibitions (excerpts):
HEIMAT, Dokumenta Halle, Kassel
SZENEN UND SPUREN EINES FALLS, Max Liebermann Haus, Berlin Max Liebermann Haus
HEIMAT, St.Mathaeus Church, Berlin
HEIMAT II - in connection with the exhibition "Neueinstellung", Berlin and in various Goethe Institutes
HEIMAT - Museum der Arbeit , Hamburg / Berlinische Galerie , Berlin
HEIMAT - Pinakothek der Moderne , Munich
SWITCH OFF THE HEATING WHEN YOU GO - Daelim Contemporary Art Museum , Seoul
BEYOND PARADISE - solo exhibition - Gallery M , Bochum
BEYOND PARADISE - solo exhibition - Goethe Institute Singapore
SWITCH OFF THE HEATING WHEN YOU GO - Goethe Institut Singapore, Goethe Institut Manila
10 ASIAN PICTURES - Gallery Photography Now, Berlin
AFTER THE WAR - in connection with the exhibition "Die Welt als Ganzes", Cologne, Sydney, Singapore, Jakarta, Seoul, continues in Southamerica and USA
TRANSITION - Photofestival Herten
AFTER THE WAR - solo exhibition - Museum voor Fotografie , Antwerpen, Belgium
THE EVERYDAY NATURE OF WAR - solo exhibition - Stedelijk Museum, Sint-Niklaas, Belgium
THE EVERYDAY NATURE OF WAR - in connection with the exhibition "The German Eye", Deichtorhallen , Hamburg
THE EVERYDAY NATURE OF WAR - in connection with the presentation of the German Photography Prize in Stuttgart, Frankfurt and Arles/France
THE EVERYDAY NATURE OF WAR - Portrait Gallery, Tuzla/Bosnia and Photofestival Herten
THE EVERYDAY NATURE OF WAR - National Gallery, Sarajevo/Bosnia
FINDINGS - Photography as Art, Pforzheim
WAR - in connection with the presentation of the German Photography Prize in Stuttgart, Cologne, Arles
WOJNA - Gallery Stodola, Warsaw/Poland
WAR - Bochum Museum

 HeimatMy series Heimat at Dokumenta Halle Kassel.
December 6th 2012 - January 6th 2013  Das Vertraute im Fremden/Foreign Familiar in Manila und YogyakartaLanggeng Art Foundation Yogyakarta/Indonesien
March 20 until April 9 2012  Foreign FamiliarIn June 2011 the exhibition FOREIGN FAMILIAR, curated by Wolfgang Bellwinkel was opened at the BACC in Bangkok.
Participating photographers: Ferit Kuyas, Olivier Pin-Fat, Marrigje de Maar, Nick Nostiz, Bruno Quinquet, Laurence Leblanc, Graziella Antonini, Peter Steinhauer, Wolfgang Bellwinkel.
 RuptureThe exhibition "Rupture" opened on November 25th.
Photographers: Agnes Dherbeys, Olivier Pin-Fat, Manit Srivanichpoom, Piyatat Hemmatat, Wolfgang Bellwinkel.
Kurator: Olivier Pin-Fat.

Wolfgang Bellwinkel continues his ongoing series on "the metropolis", a city in flux, a cacophony of scrambled visual over load - all expressed beneath the advertising tag-line - that delves into the very heart of rapid change, rapid decay and human isolation amidst both these bewildering dreams and sobering nightmares. In this sense he provides a powerful and multi-layered "context" that goes beyond historical documentation. Whilst viewing his 18 enormous prints, we find ourselves literally getting lost in detail, everything is sharp, every minute element as important as the other. When we pull away to try and make sense of this "context", we realize the images are rupturing, if not literally burning, the metropolis he has depicted is certainly smoldering. Its an apocalyptic vision that gives no precedence to one thing over another. All is important.
Olivier Pin-Fat, November 2010
25th.  Shantaram Shantaram
Shantaram is a global bestseller from ex-bankrobber, ex-junky and ex-smuggler Gregory David Roberts.
The book will be made into a film soon, directed by Mira Nair, starring Johnny Depp.
I met Roberts some 20 years ago in a cheap hotel in Colaba/Bombay and did a extensive portait of him at that time.
Here is a little teaser:  Announcement New agency
With immediate effect i will be represented by the Cologne based agency laif
 Berlin, August 2008There is a new series on this site: Lunchtime
You will find it under art work.
An interesting article about my new project in Bosnia - in german - is here: WELT  Bosnia 1996/2008 Bosnia 1996/2008
12 years after his last visit Wolfgang Bellwinkel recently revisited places he photographed shortly after the end of the war in 1996. The combination of old and new images show the changes in a war-torn country, but moreover they convince as a reflection about time.  Bangkok Bangkok 2008
After short soujourns in Japan and Hanoi i'm back in Bangkok, probably until early April 2008.  Exhibition Exhibition of "Heimat"
From November 5th until February 10th my series "Heimat" will be shown together with artworks of Sigmar Polke at the St.Mathaeus Church in Berlin.  Berlin, 1. July 2007After 6 years it's been time for a relaunch of my website. And here we are: There are new photographic works, a trailer of my film "weg" and a improved, user-friendly design. With the new site I'm able to upload images and texts myself without beeing dependent on a webmaster. I'm sure that leads to a less static and more informative site. I hope you will enjoy spending some time with it.  ...back in BerlinSince July 22th I'm back in Berlin.
 (ohne Titel: ce194)My documentary film "weg" will be shown on October 13th at the Worldfilm Festival in Bangkok.
This documentary film by German photographer and film-maker Wolfgang Bellwinkel, protrays three foreigners whose home has become Bangkok - either through circumstance or choice.
We meet ex-junkie Chris, an American walking the edge between survival and recovery; English teacher Alex who has transformed the exotic into the ordinary, and underground photographer Nick who is fascinated by Bangkok's nightworld of crime and passion.
The film probes the central question: "Is home a physical reality or simply a state of mind?"

After the War, Bosnia 1995-1996

Wolfgang Bellwinkel's almost epic series of Bosnian landscapes, interiors and portraits hark back to the war that ruined that country.
Louise Maral
The University of Sydney News

Wolfgang Bellwinkel works somewhere between that which is hidden and that which we hide, between that which is unseen and that which we do not want to see anymore. As in Paul Graham's pieces on the clash in Ireland, all we see in the Bosnian conflict in Bellwinkel's work is what it has written on the landscape, the marks left by the consequences of war and a difficult transition to a civil society. But these traces are so insistent and ineradicable that they shift this work out of the realm of landscape photos and into a domain of emblematic images whose character is universal or charged by our collective imagination.
A clump of bushes in a landscape so dry and desolate that it seems destined to be used as a dump is garlanded with bright bits of debris, red and yellow wires carried along by the wind until they come to rest on these naked branches. This vision of a possible magic blossoming, sublime and unknown is fogged by a feeling of woundedness, of spilled blood, of bodies dumped and abandoned. In a magnificent clearing, a group of people in blue and brown work clothes bustle around a pit without the viewer being able to see who is doing what. In the foreground, we glimpse a fuzzy image of barbed wire. Two of the figures, wearing protective masks, are carrying a stretcher with a corpse wrapped in a sheet. A third person watches. Another photographs the scene. What are they doing there? What have they found? Any interpretation seems possible.The scene is outside of time; the drama, though invisible is almost palpable. Yet we are looking at something very precise: a mass grave near Nova Kassaba.
Sophie Ristelhuber showed us the Gulf War through a scarred and pitted land. In Bellwinkel's work, war seems to have spilled across the landscape like guts of a corpse: intestines have become flowers, and we behold the idyllic beauty of the landscape in which an open pit has been dug. Debris remains and filth rise to the surface of the reality of this geography like images in a photographic emulsion.
Charles-Arthur Boyer
in artpress Nr. 232, February 1998

...A winter landscape features two white and almost identical houses: one is still intact with the laundry hung out on the balcony to dry, while the other has been totally gutted by fire. Yet, like a trite fable of hubris, the ruined house is still protected by an elaborate fence and its two gaunt chimneys stand out against the pale sky like admonishing fingers.
Another example of painful symmetry shows two hastily organized cardboard boxes placed on a careworn school desk to serve as makeshift voting booths. The necessity for peaceful coexistence, for pluralism, has yet to be relearnt - the calm clean surfaces of the cartoons contrast starkly with the restless patterns of the floor tiles. The scanty soil on which democracy is supposed to grow seems poor indeed.
Bellwinkel exploits the photographic essay as his starting point, in the sure knowledge that one doesnt have to dream up a story to allow history to speak for itself. He combines landscapes, interiors, and portraits - each implying shock and a moment of awareness. The position the photographer takes is the opposite to that of the zealot. His complex formal language, his careful use of color, intimate to the viewer that here is a task that has to be solved, and that all the deception, devastation, malice, and accident will have to be filtered through for what can endure as common ground.
Ulf Erdmann Ziegler
in "The World as One"

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After the War, Bosnia 1995-1996