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Jens Nagels
The unfocused in art has a long history dating back to the Renaissance and inseparable from the witnessing of natural phenomena. Environment, darkness and fog take us into the diffuse and secretive.… Read more
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Background Information about Jens Nagels
Introduction
The unfocused in art has a long history dating back to the Renaissance and inseparable from the witnessing of natural phenomena. Environment, darkness and fog take us into the diffuse and secretive. In traditional photography textbooks, focus was deemed most valuable and, until the emergence of automatic cameras, made taking photographs visibly difficult for amateurs. Thus, the production of out of focus photographs did not begin it’s triumphal procession as an art form until the last 20 years of the 20th century, with the exception of a brief stint in post-impressionist 1900. One may ask if the differentiation between focus and unfocused qualifies as a stylistic criteria. Let’s say that the variety of the artist who experiments with unfocused photography, is similarly comparable to that of the photographer who is committed to focused pictures.
Jens Nagels develops a very special acquaintance with the stylistic device of “unfocusing.” His career as a photographer was preceded by his painting studies in Düsseldorf. It is unmistakable that his photography, which as a rule does not reproduce nature but rather second hand reality through foreign color intensified visions, perpetuate his beginnings as a painter. As a gourmet sorts out his delicacies from what gushes out of of the television in his apartment: “ I am not a hunter, but rather a collector,” Nagels says. His two part work conveys the impression of the romantic and closure, the grains themselves lost in a logical color gradient, apparently striving to flow into each other in the assigned pictures, and simultaneously becoming quelled through the sharp edges of the picture border. The photographs live for a disoriented balance: limitation vs. liberation, traditional photographic images vs. pictorial photography, images vs. a denial of information. And that convesys itself to the viewer whose viewpoint ideally swings between the desire for concrete identification and the desire for free interpretation.
Dr. Boris von Brauchitsch
Jens Nagels develops a very special acquaintance with the stylistic device of “unfocusing.” His career as a photographer was preceded by his painting studies in Düsseldorf. It is unmistakable that his photography, which as a rule does not reproduce nature but rather second hand reality through foreign color intensified visions, perpetuate his beginnings as a painter. As a gourmet sorts out his delicacies from what gushes out of of the television in his apartment: “ I am not a hunter, but rather a collector,” Nagels says. His two part work conveys the impression of the romantic and closure, the grains themselves lost in a logical color gradient, apparently striving to flow into each other in the assigned pictures, and simultaneously becoming quelled through the sharp edges of the picture border. The photographs live for a disoriented balance: limitation vs. liberation, traditional photographic images vs. pictorial photography, images vs. a denial of information. And that convesys itself to the viewer whose viewpoint ideally swings between the desire for concrete identification and the desire for free interpretation.
Dr. Boris von Brauchitsch
Bio
| 1950 | born |
| 1970-1975 | Completed painting studies in Düsseldorf under Professors Andre Thomkins and Alfonso Hüppi. |
| 1981-1986 | Completed studies in visual communications at the University of Kassel |
| 1990-1995 | Photography university teaching position |
| Lives and Works in Kassel |
Collections
Dr. Wolfgang Zippel-Stiftung
Documenta Archiv
Documenta Archiv
Publications
| 1997 | Süddeutsche Zeitung (56) |
| 1995 | Photog (263), The world´s leading Chinese Photographic Magazine |
| 1993 | APEX No. 18 |
| 1991 | Museum für Photographie, Kulturlandschaften (Cultural Landscapes) |
| 1988 | Graphis (232), Abschlussarbeiten (Thesis Project) |
| 1987 | HNA |
Exhibitions
| 2004 | "Contemplation", Kunsttempel Kassel |
| 2003 | Galerie Palladion, Basel, Switzerland |
| 1997 | DOK4, Kunsthaus der Stadt Kassel |
| 1995 | Krefeld, Photo Gallery in Fabrik Heeder |
| 1994 | Fridericianum, Kasseler Kunstverein, Kassel |
| Kleve, Photo Gallery in Schwanenburg | |
| 1993 | Galerie eye-genart, Cologne |
| 1992 | Photogalerie International, Hannover |
| Galerie Brennpunkt, Berlin | |
| Museo de Arte Moderno, Buenos Aires | |
| 1991 | Palais Bellevue, Kulturamt, Kassel |
| 1989 | Bildzone, Munich |
| Raum F, Zurich | |
| 1985 | G.A.L. Art, Bogotá |
Solo Exhibitions
| 2009 | Gemeinsam in Bewegung, Zeitgenössische Kunst aus Deutschland und China, Wuhan, China |
| Gemeinsam in Bewegung, Zeitgenössische Kunst aus Deutschland und China, Technische Universität Budapest, Hungary | |
| Tatort, ein Vergnügen, Kunsttempel Kassel, Germany | |
| 2008 | TÜV Rheinland Japan, Yokohama, Japan |
| 2007 | out of focus, Galerie f:7.2, Mönchengladbach und Kunst- und Galeriehaus, Bochum-Wattenscheid, Germany |
| 2006 | Kennen Sie jemanden hier?, Kulturbahnhof Kassel Südflügel, Germany |
| 2004 | "Contemplation" , Kunsttempel Kassel |
| 2003 | Galerie Palladion, Basel, Switzerland |
| 1997 | DOK4, Kunsthaus der Stadt Kassel |
| 1995 | Krefeld, Photo Gallery in Fabrik Heeder |
| 1994 | Kassel, Kasseler Kunstverein, Fridericianum Kleve, Foto Gallery in der Schwanenburg |
| 1993 | Cologne, Galerie eye-genart |
| 1992 | Hannover, Photogalerie International Hannover Berlin, Galerie Brennpunkt Buenos Aires, Museo de Arte Moderno |
| 1991 | Kassel, Palais Bellevue, Kulturamt |
| 1989 | Munich, Bildzone Zurich, Raum F |
| 1985 | Bogotá, G.A.L. Art |
Group Exhibitions
| 2002 | "in between", Kunsthaus Langenthal, Switzerland |
| 2001 | "4 Fotografen - 4 Positionen" (4 Photographs – 4 Positions) Galerie Weigand, EttlingenDie Kunst des Autos (The Art of Cars) Kunsthalle Osnabrück10 Jahre - Dr. Wolfgang Zippel-Stiftung, (10 Years-Dr. Wolfgang Zippel Prize) Staatliche Museen Kassel - Neue Galerie |
| 1999 | "Portrait & Selbstportrait" (Portrait & Self Portrait), Kunstverein Plön"...imagine", Galerie Weigand, Ettlingen |
| 1998 | Kassel, ICE Bahnhof "In the summertime", Galerie Weigand, Ettlingen/Karlsruhe |
| 1997 | "Einblicke" (Insights), Kassel, Kasseler Kunstverein |
| 1994 | Kleve, Fotogalerie in der Schwanenburg |
| 1992 | La Otra Cara, Galeria Suipacha, Buenos Aires |
| 1991 | Museum für Photografie, Braunschweig |
| 1987 | Gießhaus , Kassel |
| 1986 | Ministerium für Wissenschaft und Kunst (Ministry for Science and Art), Wiesbaden |
| 1984 | Kunstverein, Frankfurt/Main |