Dieter appelt biography

Dieter Appelt

Dieter Appelt, der sich bereits als Jugendlicher mit der Ausrüstung seines Vaters autodidaktisch die Grundlagen der Photographie beigebracht hat, begann seine Laufbahn zunächst mit einer Ausbildung als Sänger an der Felix-Mendelssohn-Bartholdy Akademie zu Leipzig. setzte er sein Studium an der Hochschule für Musik in Berlin fort, wo er sich gleichzeitig an der benachbarten Hochschule für Bildende Kunst einschrieb und u.a. bei Heinz Hajek-Halke Photographie studierte. erhielt er eine Anstellung als Sänger an der Deutschen Oper, setzte sein Kunststudium jedoch fort. kam er anlässlich eines Gastspiels in Japan mit dem Zen-Buddhismus in Berührung, der ihn nachhaltig künstlerisch beeinflusste. Es folgten längere Studienreisen nach Italien, wo u.a. seine frühen, wichtigen Sequenzen ‚Monte Isola‘ () und ‚Erinnerungsspur‘ () entstanden. kündigte er sein Engagement an der Deutschen Oper, um sich fortan vollständig der Kunst zu widmen. Von bis war Appelt als Professor für Photographie, Film und Video an der Hochschule der Künste tätig, wurde er zum Dekan der Hochschule berufen. Dieter Appelt lebt und arbeitet in Berlin.


Endecken Sie die aktuelle Ausstellung von Dieter Ap

Dieter Appelt – Photographs

The existential themes of being, such as birth, life, time, pain and death make up the core subjects of the often archaic-seeming black and white photography of Dieter Appelt where he is concerned with the relationship between people and nature, emotion and perception, ‘Erinnerungsspuren’ (Memory traces), as the title of one sequence implies.  

The exhibition assembles works from various creative phases of the artist: works in which the influence of Joseph Beuys and the latter’s action art is recognised– although Appelt’s works are executed without an audience and mostly as self-presentation using his own body – and later pieces, in which he turns to technical experiments with the camera such as long and multi-exposures and camera-free pictorial techniques such as the photogram and montage process in his autonomous pictorial creations. Many tableaus and single works illustrate the spectrum of his photographic oeuvre.  

The exhibition on the occasion of his 90th birthday is a homage to the universal artist Dieter Appelt, who was appointed Professor of Photography, Film and Video at the University of Arts in Berlin and was Vic

Né en en Allemagne, Dieter Appelt vit et travaille à Berlin. Son étude de la musique à l'Académie de Leipzig comme sa carrière de baryton solo ont été tout autant formateurs dans son parcours artistique que ses études à l'Ecole des Beaux-arts de Berlin. A la fin des années 70, il décide de se consacrer essentiellement à l'image. Au début de son activité Dieter Appelt se consacre à des « actions » dans lesquelles il se met en scène. La photographie et le film ont rapidement pris une place de plus en plus importante et un statut à part entière. Nommé professeur à l'université des Arts de Berlin en , il n'a jamais interrompu sa carrière artistique. L'Art Institute de Chicago, le Stedelijk Museum d'Amsterdam, le Guggenheim de New York, le Centre National de la Photographie à Paris, le SMACK de Gand ou plus récemment le Centre Canadien d'Architecture à Montréal lui ont consacré d'importantes expositions personnelles.

Dieter Appelt est marqué par la Seconde Guerre mondiale, la destruction, mais aussi la renaissance. Inspiré par la lecture d'une phrase de Raymond Roussel dans Nouvelles Impressions d'Afrique (« La tache attristant la glace où l'haleine a pris »), son autoportrait le

Many of Dieter Appelt’s works address his traumatic post-World War II experience of Germany through a series of photographed performances or “actions”—as he calls them, after Joseph Beuys. This emphasis on dramatic performance may stem from the fact that Appelt was trained as an opera singer, and worked with the Deutsche Opera Berlin for eighteen years before turning to photography in Focusing on detailed photographic studies of elements of his body in performance, he utilizes extreme physicality and labored temporality to allude to issues of death, decay, rebirth, and the ephemeral. “I want to unmask time in a picture,” Appelt has said. “I’m interested in having a succession of movements layered in one image. I use time like a mechanic, permanently layering memories and actual experiences … like a time montage.” His image of breath on a mirror breaks down that evanescent moment into a series of concrete actions, and distills time into a frame-by-frame sequential performance.


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