|I. Genzken: Yes, almost always. You take
a photo of the situation and then you think about what’s missing.
W. Tillmans: And is it important that they are your pictures? I mean, that they are your views of the situation that you work with? Or could people send you photos, too?
I. Genzken: It’s better for me to see the situation and take the photo myself.
W. Tillmans: I am always astonished just how little you can see in professional interior views of museums and so on. Although you are familiar with the rooms, the photos don’t mean anything to you. Although they are usually perfectly done. I prefer to work with a casual snapshot I’ve taken myself. How often do you have your camera with you?
I. Genzken: Well, when I get invited to do something, I pick it up and take it with me.
W. Tillmans: And other times? In the studio? Do you have a camera there?
I. Genzken: Very rarely. I have to really force myself to take photos of my new sculptures.
W. Tillmans: As notes?
I. Genzken: Yes, because that’s important, too.
W. Tillmans: To see how far you are?
I. Genzken: Yes, I recently found some photos of my glass sculptures that show the ideas I started out from. It is interesting to see.
W. Tillmans: Have you always taken photos?
I. Genzken: What do you mean?
W. Tillmans: Well, I know you were already taking photos in the seventies. Did this medium play a particular role for you? Or rather, did there come a point when you realised that it might be for you, too?
I. Genzken: If you have an idea to photograph an ear or hi-fi equipment… that’s a big difference to the pictures I take now when I’m working on a project.
|Page 01 l 02 l 03 l 04 l 05 l 06 l 07