The Personal Is Political

Wolfgang Tillmans said at the opening of his landmark solo exhibition at the Tate Modern — the first major showing of his photographs in the UK since winning the Turner Prize at the turn of the millennium — that he wanted everyone to be “encouraged by the curiosity I have for the world.” And he noted that his work has always been political because “the private and political cannot be separate.”

As if to stress this point, he’s done away with the usual labels next to each image spread out across 14 rooms, to better encourage the interaction between them. He’s also insisted that they remain unframed, fixed to the wall by tape or bulldog clip. The result is a stream of large and small photographs that is artfully managed by the artist, who always curates his own exhibitions.

Wolfgang Tillmans: 2017, Feb 15 – Jun 11, 2017, Tate Modern, London

Arms and legs, 2014

Still life (photographic vegetables), 2014

Shiny shorts, 2002

La Palma, 2014

Tukan 2010

Dan, 2008

Lampedusa, 2008

Anders pulling splinter from his foot, 2005

Weed, 2014

Arnd, 1991

Still life (watermelon), 2012

The Cock (Kiss), 2002

Greifbar 29, 2014

Collum, 2011

Frank Ocean, 2016

Moby lying, 1993

Still life (Calle Real II), 2014

Iguazu, 2010

Alejandro, Prinzessinnenstrasse, 2015

Heartbeat / Armpit, 2003

Astro crusto, 2012

Lutz and Alex sitting in the trees, 1992

Locker Lutteurs, 1994

Juan Pablo & Karl, Chingaza, 2012

Engadin, 2012

Zimmerlinde, 2006

Like Praying, I, 1994

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