Vom Augenblick des Überzeitlichen


60 Einzelwerkbetrachtungen zu Ingolf Timpner (1963 - 2018)

widmet sich dem multiperspektivischen Blick auf das Werkschaffen des 2018 verstorbenen Düsseldorfer Künstlers Ingolf Timpner. Ingolf Timpner hat sich stets als Künstler verstanden, der „mit den Mitteln der Fotografie“ (Timpner über Timpner) seinen Blick auf das über-

zeitliche Prinzip alles Seienden in eine eigenständige künstlerische Form von großer Stringenz verwandelt. 18 Autorinnen und Autoren, Künstlerinnen und Künstler widmen sich anhand 60 ausgewählter
Arbeiten von Ingolf Timpner dem Künstler als Mensch und seinem an die Grenzen von Philosophie und Metaphysik stoßenden Oeuvre.

N. Saimeh (Hrsg.), ITNS Verlag, Düsseldorf ISBN 978-3-9825504-0-4, 34,- €

INGOLF TIMPNER – GIARDINO SEGRETO  - SECRET GARDEN

Ingolf Timpner is a scupltor by background - that, too, is an (inherent) allusion - and not a photographer. Nevertheless, photography is his medium. While Monet deliberatley allowed the haystacks to dissolve on the surface of the picture, in Timpner's images, the haystacks have preforce been irrevocably arrested on th eplane, basically, under protest. They leap out visually and stimulate the tactile sense. You want to touch them. They float in a black photochemical sea like heavenly bodies in orbit - they are placeless and weightless. 

Alexandra König, Museum Ratingen
Text: Klaus Honnef
ISBN 978-3-926538-40-6

INGOLF TIMPNER – LICHTGESTALTEN

“Timpner’s images often include people, sometimes focusing on contemporaries in clearly staged settings. For the Bad Arolsen project in the Christian Daniel Rauch-Museum, Timpner has chosen to go in another direction; he is still looking at people, but this time on effigies of those who died a long time ago and are now little known by the general population. The collection contains a dozen portraits of busts, sculptured from plaster or marble, are traditionally photographed from the front in order to show their full dimensions and highlight their physical presence, depth of substance and inescapable volumes, but Timpner chooses to shed them of their weight and volume. He relieves his chosen sculptures of their earthly and physical parameters, their original or ideal destiny; he frees them from time and space, releasing the sensitive spirit which is also contained in the hard material of the bust. Timpner releases them from the rigid demands of ‘pure art’. From the two-century-old and supposedly sacrosanct pieces of artwork, he creates unexpectedly accessible people. By leaving undefined the space in which the busts are standing, even allowing the edges of the pictures to fade out softly according to the historical photographic technique of the 19th century, he lends the once sculpturally portrayed people a wholly unusual air of floating lightness.”

Bernhard Maaz - Ingolf Timpner  Überwürfe, Entwürfe

Editor Museum Bad Arolsen, Birgit Kümmel, 2015
ISBN 978-3-930930-33-1

INGOLF TIMPNER – UNZEITGEMÄSSE BETRACHTUNGEN

„The fact that someone calls out aura and addresses it outside the realm of painting is therefore surprising. Timpner seeks a closeness to painting. His photographic works bring untimely observations to light that make the eyes bright.”

Heinrich Heil – Eyebright

Museum Bad Arolsen, 2004
ISBN 3-930930-16-1

INGOLF TIMPNER – DE PROFUNDIS

„All of Timpner’s work shows that photography is capable of taking on tasks that have been the prerogative of painting; of satisfying and even of outdoing them.”

Reinhold Mißelbeck – Ingolf Timpner  Life most Still

Editors Galerie Bugdahn und Kaimer, Düsseldorf und Elke Dröscher Kunstraum Falkenstein, Hamburg, 1998
ISBN 3-930898-03-9