Tim Wolff

lives and works in Vienna and Munich

CV:

born 1976 in Romania
2000 Academy Of Fine Arts, Munich, Germany
2004 Residency, FAAP, Sao Paulo, Brazil
2006 Master Student -Prof. Olaf Metzel
2013 Bavarian Art Award for Drawing, Bavarian Ministry of Culture and Science
2015-2016 USA-Grant, Bavarian Ministry of Culture and Science

Find more at:www.nusserbaumgart.com

Urban motion and rhythmic structures

Tim Wolff's work reflects the dynamics of social, political and architectural structures in big cities. In his drawings, installations and videos, the artist explores the relationship between the individual and the group in a ever changing urban context stigmatized by noise, disorder and confusion. Faced with this constant bustle and sense of disorientation, Tim Wolff uses rhythm to structure and organize, facilitating an understanding of reality and creating the illusion of control.
In his drawings, rhythm is visible during the creative process. The artist approaches the surface almost choreographically, letting his XL marker glide in short but determined movements. There are no interruptions, no hesitations. He reduces reality to its simplest graphical expression and creates rhythmic compositions by repeating archetypal figures and constructive elements. In many of his drawings, like 3,2,1! (2009), time is brutally interrupted, creating a moment of great tension. However, in his later works, he tries to surpass the inevitable suspension of time – inherent to drawing – by representing several instants of movement simultaneously. Thus, in quality check (2013), the actions of a worker on an assembly line become a swarm of almost illegible lines that translate the complexity of motion onto a still image.
The sculptures and installations of Tim Wolff also follow rhythmic patterns. Early works like BAAM (2002) or o.T. - vorwärts kippender Stuhl (2003) integrate different stages of movement into a single polymorphic object. The installation Warten und kein Ende (2013), created in the scaffolding-like structure of the Schaustelle at the Pinakothek der Moderne (Munich), required audience motion. Here, rhythm was not only present in the work of art, a 3D drawing made from lines of black bubble wrap, but was also forced upon the public, who had to move around the site to identify the image of a soldier, only visible from an specific position. In Working Class Quarter (2014), one of his last works, in which he represented a monotone working-class neighbourhood in perspective, rhythm is defined by the repetition of urban and architectural elements (lampposts and buildings façades).
Although rhythm is a fundamental element in Tim Wolff's drawings and sculptures, the structuring of reality through it becomes more clear in his videos. In them, the city appears as both scenario and raw material for creation: traffic jams, people walking, construction sites, and the corresponding sounds are captured by Tim Wolff's camera. In Guten Morgen! (2006) and London Streets (2008), he extracts short scenes from their urban context and reorganizes them, forming audiovisual compositions: collages in motion that follow musical patterns. But it is not only the city that inspires the artist. Madness to Society – 3D shows an insane mix of scenes from TV advertisements in different languages. This accumulation of short sequences results in a rhythmic cacophony of images and sounds that reveals the consumerist hysteria to which we are victims.

Text: Maria Inez Plaza

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In sein Werk integriert Tim Wolff (*1976) Video, Zeichnung und großflächige Wandzeichnung. Bezeichnend für die Künstlergeneration seiner Zeit gelingt es Wolff, sich mühelos zwischen verschiedenen Medien zu bewegen und Abgrenzungen bzw. künstlerische Kategorien aufzulösen. Wolff schafft neue Kombinationen innerhalb der verschie- denen Medien und lotet die Möglichkeiten der Vielfalt und das spannungsreiche Potenzial der Schnittstellen aus.

In seinen Arbeiten setzt sich der Künstler stets mit urbanen, architektonischen, gesellschaftlichen sowie ökonomi- schen Strukturen auseinander. Seine graphischen oder bewegten „Bilder“ entstehen meist aus der Beobachtung des Banal-Alltäglichen. Durch die spezielle Form der Visualisierung verleiht Wolff Szenen des Alltags eine eigene Struktur, die somit Anlass zur kritischen Auseinandersetzung geben. In formaler Hinsicht spielen Dynamik und Rhythmus immer eine wichtige Rolle; in seinen Zeichnungen und Wandzeichnungen arbeitet Wolff mit breiter Linie und kraftvollem, aber kontrolliertem Duktus. So entstehen reduzierte, doch gleichzeitig dynamische Kompositionen. Gleichzeitig löst der Künstler Motive auf, indem er Perspektive und Umrisse in vielschichtige Strukturen auffächert. Wolffs Videoarbeiten sind häufig von extrem schnellen Schnitten und den daraus entstehenden stark rhythmischen Tonabfolgen geprägt, die die Filme zu einem visuellen und akustischen Erlebnis von enormer Wucht für den Betrachter machen.

>Text:Nusser&Baumgart