David Zwirner is pleased to present The Point Is Matter, a solo exhibition of new and recent work by Wolfgang Tillmans at the gallery’s location in Hong Kong. The exhibition’s title stems from Tillmans’s long-term understanding of his work sitting between the physical reality and presence of the world he works and lives in and the conceptual, sociopolitical, sensual, and spiritual concerns that underpin his practice. Presented across both floors of the gallery, the works on view include depictions of changing forms of atmosphere and elusive natural phenomena; pictures that explore notions of time and temporality; and images that engage with the artist’s expansive conceptions of the still life and the portrait. Tillmans punctuates the exhibition with works made in Addis Ababa, Berlin, Lagos, and Mongolia, along with those taken in Hong Kong and Shenzhen, sensitively invoking resonant associations between the local and the world at large, while advocating for an experience of connectedness that is rooted in the process of looking.
In each of the gallery spaces, distinct subject matter emerges. Among them is a room that focuses on images that picture the cycle of water as it transitions from a liquid to a solid (ice) to a gas (water vapor). In Lunar Landscape (2022), the Atlantic Ocean glows at great luminosity, the image colliding the celestial plane with the surface of the Earth. Sirius Through a Defocused Telescope, a–f (each 2023) show Sirius, the brightest star visible to the human eye, at distinct moments as the star “twinkles.” The works depict air currents and air cells of different densities that result in an ever-changing flicker, blur, and display of spectral colors and shapes. Astronomy represents the artist’s earliest passion, having trained his eye through the observation of the physical universe, the sky, and celestial phenomena.
Tillmans further indicates the subtle geological movements and natural states of matter in a world undergoing historic and rapid changes. In Ulaanbaatar Still Life (2023), arranged in Mongolia, silk flowers rest on a heating unit in front of a window that overlooks a snowy landscape and a ger, a portable tent that can withstand fierce winter winds, used in the region as a nomadic, adaptable home. Summer Storm Rain Drops Freeze Frame (2023) captures rain droplets outside the artist’s studio in Berlin in an otherwise imperceptible moment of transition.
Other works in the show delicately evince a sense of temporality. These pictures evoke the cumulative passage of time in the distinct moments they depict. Filled with Light, a (2011) exposes in large scale the luminous shifts that Tillmans observed in his studio, rays of light casting the shadows of window frames onto the bare floor, walls, and ceiling. In Window Left Open (2023), another work Tillmans made in his studio, we see a layered interplay between light and shadow, interior and exterior architecture, and domesticized vegetation. In other works on view, Tillmans reflects further on transformative processes. In Office Paper For Food Wrapping Recycling, Addis Ababa (2019), discarded business papers are repurposed as packing material. In Temporary Shoe Shop (2022), a car hood and windscreen are covered in trainers—the surfaces effectively converted into a retail outlet in Lagos.
Tillmans’s expanded approach to still life and the portrait are emphasized throughout the exhibition. In a large still life, citrus fruit and a smoked cigarette in an ashtray are laid atop a copy of the Los Angeles Times from 2001. In Badehose, photocopy II (1996), the sculptural qualities of swimming trunks are translated into two-dimensionality, their folds abstracted further by the photocopying process. Though recognizable, the otherwise distorted, crumpled form is suggestive of the way in which figuration and abstraction coexist within Tillmans’s oeuvre, as well as the relationship of photography to surface and three-dimensionality.
Tillmans’s portraits are at times long-planned, at other times the result of unexpected interactions or in-the-moment encounters. The portraits shown in this exhibition range from Anders Stretching On the Carpet (2022), of his oft-photographed long-term friend, the Danish artist Anders Clausen, to Zaur Abduraimov (2023), a Crimean Tatar refugee whom Tillmans shot in Toronto, where Abduraimov works; from Jodie Foster, an actor long admired by the artist, photographed in his kitchen, to the women of Maraljingoo, Sambuunyam & Norimaa in their ger (2023), which shows multiple generations of a Mongolian family in their home. Tillmans’s portraits have served as an ongoing investigation: what does it mean to depict a person?
A new video work on view, Build from Here (Video Room) (2024), extends Tillmans’s fascination with the interplay between his video and music-making languages and showcases his interest in sound and movement. The video features tracks from the artist’s forthcoming album, Build From Here, to be released on April 26; Tillmans will be working on the video right through the installation period, in response to the exhibition. The video consists of footage recorded by Tillmans at different times and locations. In the opening and closing sequences we see Tillmans’s body at moonrise, silhouetted as the full moon illuminates the ocean; he performs gestures with a large stick-like form that exaggerates the body’s improvised movements as he effectively draws in space. Another sequence shows telescopic imagery of the surface of the moon: shot in real time, it reveals the rotation of the earth as the moon gradually moves across the screen. Punctuating the footage is close-up imagery of an industrial offset printer in action: ink rollers covered in paint show the different stages of the analogue printing process.
Tillmans has visited and returned to Hong Kong and Shenzhen on numerous occasions in his extensive travels and across his body of work. HKG Airport Interior (2023) shows a largely dysfunctional informational display wall, with a pixelated screen frozen in a moment of technological rupture. In HK drive (2018), an image of an outreached hand on the back of a Hong Kong bus merges with the porticoed stairwell on the street—the public built environment seamlessly flowing into the visual excesses of advertising. Portraits such as those of a young woman, Yixue, seated in a banquet hall, and a scene of packages toppling onto a Shenzhen street connect the presentation to the surrounding metropolis and region.
This exhibition follows his 2023 solo exhibition Fold Me at David Zwirner New York and his major 2022–2023 traveling retrospective To look without fear at The Museum of Modern Art, New York, the Art Gallery of Ontario, Toronto, and the San Francisco Museum of Modern Art. This will be the artist’s fifth solo exhibition with the gallery and his second at David Zwirner Hong Kong.
Wolfgang Tillmans was born in 1968 in Remscheid, Germany, and studied at Bournemouth and Poole College of Art and Design in Bournemouth, England, from 1990 to 1992.
Few artists have shaped the scope of contemporary art and influenced younger generations more than Tillmans. In a career spanning almost four decades, he has consistently redefined the medium of photography through a seamless integration of genres, subjects, techniques, and exhibition strategies. His inventive practice pairs intimacy and playfulness with a commitment to social awareness and a persistent questioning of existing values and hierarchies. Guided by a profound sense of curiosity and care towards his subjects, Tillmans seeks to expand the poetic possibilities of the medium while addressing the fundamental question of what it means to create pictures in an increasingly image-saturated world. As the artist states, “The underpinning of my work has always been the use of my medium and everything it offers in order to make a new picture.”1
In 2000, Tillmans was the first photographer and first non-British artist to receive the Turner Prize, an award given annually by Tate in London. From 2003 to 2009, Tillmans served as a professor at the Städelschule in Frankfurt. In 2009, he was selected to serve as an artist trustee on the board of Tate. He has been a member of the Akademie der Künste, Berlin, since 2012 and was appointed a member of the Royal Academy of Arts, London, in 2013. Tillmans was the recipient of the 2015 Hasselblad Foundation International Award in Photography and in January 2018, he was awarded the Kaiserring (Emperor’s Ring) prize from the city of Goslar in Germany. Tillmans was named one of the TIME100 Most Influential People of 2023.
Since the early 1990s, Tillmans’s work has been the subject of prominent solo exhibitions at international institutions, including Tate Britain (2003); P.S.1 Contemporary Art Center, New York (2006); Museum of Contemporary Art Chicago (2006), which traveled to Hammer Museum, Los Angeles (2006–2007), Hirshhorn Museum and Sculpture Garden, Washington, DC (2007), and Museo Tamayo, Mexico City (2008); Serpentine Gallery, London (2010), which traveled to venues in South America including Museu de Arte Moderna de São Paulo, Museo de Arte del Banco de la República, Bogotá, Colombia, Museo de Arte de Lima, Peru, and Museo de Artes Visuales, Santiago, Chile; Kunsthalle Zürich (2012), which traveled to Les Rencontres d’Arles, France (2013); Moderna Museet, Stockholm (2013); and The National Museum of Art, Osaka (2015). Also in 2015, Book for Architects, a two-channel video installation, was on view at The Metropolitan Museum of Art, New York. In 2016, a solo show of the artist’s work was hosted by Museu Serralves, Porto, Portugal.
In 2017, Tate Modern, London, held a major survey of Tillmans’s work. The artist also presented a new immersive installation featuring his work in music and video in the South Tank at the museum. Later that year, solo shows of Tillmans’s work were on view at the Fondation Beyeler in Basel, marking the institution’s first comprehensive examination of photography as a medium, as well as at the Kunstverein in Hamburg.
Fragile, a major solo exhibition of the artist’s work, opened in 2018 at the Musée d’Art Contemporain et Multimédias in Kinshasa, Democratic Republic of Congo, organized by Institut für Auslandsbeziehungen, Stuttgart, Germany, and traveled throughout Africa, with its last stop at Art Twenty One and Centre for Contemporary Art, Lagos, Nigeria. Qu’est-ce qui est différent? was presented at Carré d'Art - Musée d’art contemporain, Nîmes, France, in 2018. Rebuilding the Future was on view at Irish Museum of Modern Art, Dublin, in 2018–2019. The exhibition Today Is The First Day was presented at WIELS, Brussels, in 2020. Sound is Liquid was on view at the Museum moderner Kunst Stiftung Ludwig Wien, Vienna, in 2022. A major traveling exhibition of Tillmans’s work, To look without fear, opened at The Museum of Modern Art, New York, in September 2022, and subsequently traveled to the Art Gallery of Ontario, Toronto, in the Spring of 2023; and to the San Francisco Museum of Modern Art in November 2023–March 2024.
The artist has operated the nonprofit exhibition space Between Bridges since 2006. Located in London until 2011, Between Bridges has exhibited a range of work by artists, including David Wojnarowicz, Ull Hohn, Charlotte Posenenske, and Charles Henri Ford. In January 2014, it reopened in Berlin with a solo show of work by Patrick Caulfield.
Tillmans considers the printed page to be an important venue for his work. He is deeply involved in the publication of artist books and monographs, and regularly contributes to magazines. Publications that have been designed and edited by the artist include manual (Verlag der Buchhandlung Walther König, 2007); Lighter (Hatje Cantz, 2008); Abstract Pictures (Hatje Cantz, 2011); FESPA Digital / FRUIT LOGISTICA (Verlag der Buchhandlung Walther König, 2012); Neue Welt (Taschen, 2012); The Cars (Verlag der Buchhandlung Walther König, 2015); What Is Different? (Sternberg Press, 2018); and four books (Taschen, 2020); amongst others. In 2019, the artist guest edited Aperture’s “Spirituality” issue.
In recent years, Tillmans has been more directly involved in political activism. In tandem with his ongoing Truth Study Center project (begun in 2005), he has created posters for the anti-Brexit campaign in Britain and in response to right-wing populism in Germany.
Work by the artist is held in museum collections worldwide. Tillmans lives and works in Berlin and London.
1 Tillmans, “Interview with Julia Peyton-Jones and Hans Ulrich Obrist,” in Sophie O’Brien and Melissa Larner, Wolfgang Tillmans. Exh. cat. (London: Serpentine Gallery, 2010), p. 23.
For all press inquiries, contact:
Victoria Kung vkung@davidzwirner.com
沃爾夫岡‧提爾曼斯
《本質為重》
2024年3月25日至5月11日
香港 | 中環皇后大道中80號
H Queen’s 5–6樓
卓納畫廊欣然於香港空間呈現沃爾夫岡·提爾曼斯（Wolfgang Tillmans）的新近作品個展《本質為重》。 展覽標題源自提爾曼斯長期以來對他作品的理解：它們介於他所生活工作之世界的物質現實與存在，以及構成他實踐基礎的種種觀念性、社會政治性、感官性與精神性的焦點議題之間。 藝術家的作品呈現於畫廊兩個樓層的空間，展出了刻畫時刻在變化的氛圍以及難以捉摸的自然現象、探索時間及時空性觀念的作品，以及藝術家深入靜物及肖像門類之開闊觀念的攝影。 同時，提爾曼斯拍攝於亞的斯亞貝巴、柏林、拉各斯、蒙古等地，及香港和深圳的作品也將展出，它們敏銳地喚起地方性與開闊世界之間的共鳴， 同時還倡導一種植根於觀看過程的、能夠產生彼此連結的經驗。
展廳中每個空間都顯現獨特的主題：其中一個展廳專注呈現水從液態到固態（冰）再到氣態（水蒸氣）的循環過程。 在作品《月球景觀》（2022）中，大西洋在宏壯的光輝下閃耀著，這幕景象將空中星辰與地球表面碰撞在一起。 《散焦望遠鏡中的天狼星，a-f》（皆創作於2023年）則展現了天狼星，這顆人眼可見的最亮的恆星，在不同的時刻有如眨眼般閃爍。 這些作品描繪了不同密度的氣流及氣團，最終呈現出不斷變化的閃爍、模糊與光譜的顏色和形狀。 天文學是藝術家最早的興趣所在，他透過觀察物理性的宇宙、天空和天體現象來訓練自己的眼睛。
提爾曼斯也進一步展現了這個正在經歷歷史性快速變化的世界中，微妙的地質運動以及各種物質的自然狀態。 在創作於蒙古的《烏蘭巴托靜物》（2023）中，一扇窗前的暖氣裝置上放著絹花，窗外是一幕皚皚白雪的景緻，其中有個蒙古包。 這種可以抵禦冬季狂風的便攜式帳篷，在當地被廣泛使用，成為遊牧性、機動性的住所。 《夏季風暴雨滴在窗戶上凝結》（2023）所捕捉的是藝術家位於柏林的工作室外的雨滴，一個很難被察覺到的過渡性瞬間。
展覽中的其他作品微妙地體現了一種時間性的感受。 透過它們所描繪的獨特瞬間，這些作品喚起了不同時間的累積過程。 《充滿光明，a》（2011）以其大尺幅的體量，展露出提爾曼斯在其工作室中觀察的光照變化，光線將窗框的陰影投射到空蕩的地板、牆和天花板 上。 而在另一幅提爾曼斯創作於其工作室的作品《開著的窗戶》（2023）中，我們看到了光與影、室內與室外的建築，以及居家植物之間層次分明的相互作用。 在其他展覽的作品中，提爾曼斯進一步反思了有關轉折過渡的種種過程。 作品《辦公用紙回收為食品包裝，亞的斯亞貝巴》（2019）裡廢棄的商業用紙，被重新用作包裝材料。 《臨時鞋店》（2022）裡，運動鞋堆放在一輛汽車的引擎蓋和擋風玻璃上——它們有效地被臨時改造成位於拉各斯的一家零售小店。
提爾曼斯處理靜物和肖像的拓展性方式也體現在整場展覽中。 在一件大尺幅的靜物中，柑橘類的水果和放著一支煙的煙灰缸與2001年的《洛杉磯時報》並置在一起。 在作品《泳褲，影印件II》（1996）中，泳褲所具有的雕塑性特質被轉化為二維，其褶皺則在影印過程中被進一步地抽象化。 雖然可以被辨識出來，但這種扭曲、皺褶的形式提示了提爾曼斯作品中具象與抽象的共存，以及攝影與二維畫面及三維空間的關係。
提爾曼斯的肖像作品有些是歷經長久的規劃，另一些則是意外的互動或一期一會之邂逅的結果。 這次展覽中的肖像包括《安德斯在地毯上伸展》（2022），其中是他經常拍攝的多年好友、丹麥藝術家安德斯·克勞森（Anders Clausen）；《扎烏爾·阿卜杜賴莫夫》（2023），一位提爾曼斯在多倫多拍攝的、在當地工作的克里米亞韃靼難民；藝術家在他的廚房裡為他仰慕已久的演員朱迪·福斯特（Jodie Foster）拍攝的肖像；還有《馬拉爾金古、桑布永岩和諾里瑪在他們的蒙古包裡》（2023）中的幾位女性，照片展現的是一個多代同堂的蒙古家庭的生活。 提爾曼斯的肖像一直在探討此問題：描繪一個人物究竟意味著什麼？
展覽中的全新視頻作品《從這裡建構（放映室）》（2024）延續了提爾曼斯對其視頻和音樂創作語言之間的相互作用的迷戀，並展現了他對聲音與動態的興趣。 視頻中所用的音樂出自藝術家即將於4月26日發行的專輯《從這裡建構》；提爾曼斯將在整個布展期間持續創作這件視頻作品，以回應展覽。 影片中的素材記錄了身處在不同時間和地點的提爾曼斯本人。 在開端和結尾，我們得以看見提爾曼斯在月初時分的身軀的輪廓剪影被一輪滿月映照到海面上；隨著他利用巨大的棍狀物體進行身體演出，誇張地演繹在空間中流暢動的即興動作。 在另一段影片中，則呈現瞭望遠鏡捕捉的月球表面視像：作品為即時拍攝製作，隨著月球逐漸在螢幕上移動揭示了地球的旋轉。 最後，鏡頭呈現了工業用膠印機在運作的特寫效果，其中覆蓋著油漆的墨輥展示著印刷過程的不同階段。
提爾曼斯在其涉足廣泛的旅行以及他的攝影創作中，都多次到訪並返回香港和深圳地區。 作品《香港機場內景》（2023）展現的是一面功能基本失調的信息顯示牆，其像素化的屏幕凝固在了技術斷裂的瞬間。 在《香港駕車》（2018）中，香港巴士汽車尾部張貼的廣告上那只伸展而出的手臂，與平行於道路的懸架連在一起——公共建築環境毫無縫隙地融匯到了廣告的視覺之中。 如端坐在宴會廳裡的一位年輕女性（一雪）的肖像，以及一幕深圳街頭包裹散落一地的場景，都將展覽與其周邊的大都市關聯到了一起。
此次展覽前不久的2023年，提爾曼斯在紐約的卓納畫廊舉辦了個展《摺疊我》。 2022-2023年，他於紐約MoMA現代藝術博物館、多倫多的安大略美術館以及舊金山現代藝術博物館舉辦了巡迴回顧展《無畏地看》。 這將是藝術家在畫廊的第五場個展，也是他在畫廊香港空間的第二個個展。
沃爾夫岡·提爾曼斯1968年出生於德國雷姆沙伊德，他曾在1990到1992年間求學於英格蘭伯恩茅斯和普爾藝術設計學院。
鮮少有藝術家能夠像沃爾夫岡·提爾曼斯那樣塑造當代藝術的面貌並對年輕一代影響至深。 在將近四十年的職業生涯中，他渾然一體地結合著不同的門類、主題、技術和布展策略，以此持續地重新定義著攝影媒介。 他新穎的實踐將親密感、趣意玩味，同致力於社會意識的覺醒以及對既定價值和階級的質疑都融合在一起。 提爾曼斯對自己的創作主題有著深刻的好奇與關注，他試圖拓展攝影媒材中詩意的可能，同時持久地探討一個基本問題：在這樣一個影像日漸飽和的世界裡，圖像的創作究竟意味著什麼？ 正如藝術家所說：“我作品的基礎，向來都是擅用我的媒介及其提供的一切，以此去創作一幅嶄新的圖像。”1
2000年，提爾曼斯成為首位獲得「透納獎」的攝影師和非英國籍的藝術家，這是一項每年由倫敦泰特美術館所頒發的殊榮。 2003到2009年，提爾曼斯在法蘭克福的德國國立造型藝術學院擔任教授。 2009年，他
以藝術家顧問的身份加入了泰特美術館委員會。 自2012年起，他一直擔任柏林藝術學院的成員，並在2013年被任命為倫敦皇家藝術學院的成員。 提爾曼斯是2015年度「哈蘇基金會國際攝影獎」的獲得者，而在
1 沃爾夫岡·提爾曼斯，《與朱莉婭·佩頓-瓊斯（Julia Peyton-Jones）和漢斯·烏爾里希·奧布里斯特（Hans Ulrich Obrist）的對談》，收錄於由索菲·奧布萊恩（Sophie O'Brien）和梅麗莎·拉納（Melissa Larner）合著的《沃爾夫岡·提爾曼斯》，展覽圖冊（倫敦：蛇形畫廊出版，2010 年），第23頁。
2018年1月，他榮獲了德國戈斯拉爾市所授予的「凱撒琳獎」。 2023年，提爾曼斯入選《時代》週刊「年度最具影響力100人」的榜單。
自1990年代初開始，提爾曼斯的作品就一直在各大國際機構舉辦重要的個展，包括：泰特不列顛美術館（2003）；P.S.1當代藝術中心，紐約（2006）；芝加哥當代藝術博物館 （2006），後巡展至洛杉磯哈默美術館（2006-2007）、華盛頓特區的赫希洪博物館和雕塑園（2007），以及墨西哥城的塔馬約當代藝術博物館（2008）；蛇形畫廊， 倫敦（2010），後巡展至南美的多個場館，包括聖保羅現代藝術博物館、波哥大的哥倫比亞共和國藝術博物館、秘魯的利馬藝術博物館，以及智利聖地亞哥的視覺藝術博物館；蘇黎世藝術博物館（2012），後巡展至法國的阿爾勒攝影節（2013）；斯德哥爾摩現代博物館（2013）；日本國立國際美術館，大阪（2015）。 同樣在2015年，他的雙屏影像裝置作品《建築師之書》在紐約大都會藝術博物館展出。 2016年，葡萄牙波爾圖的塞拉維斯當代藝術博物館為其舉辦了個展。
2017年，倫敦的泰特現代美術館為提爾曼斯的作品舉辦了大型專題個展。 藝術家還在博物館的「南油罐」中展出了一件以音樂和視頻為主題的全新的沉浸式裝置作品。 同年晚些時候，提爾曼斯的作品個展舉行於巴塞爾的貝耶勒基金會，這也是該機構首場將攝影作為一種媒介進行全面研究的展覽，此外他還在漢堡藝術協會美術館舉辦了個展。
藝術家的大型個展《脆弱》，於2018年在剛果民主共和國金沙薩的當代及多媒體藝術博物館拉開序幕，展覽由斯圖加特的德國對外關係研究所主辦，在非洲各地巡迴展出，其最後一站舉行於尼日利亞拉各斯的「藝術二十一及當代藝術中心」機構。 他的個展《有何不同？》於2018年呈現於法國尼姆的當代藝術博物館。 《重建未來》於2018-2019年在都柏林愛爾蘭現代藝術美術館舉行。 《今天是第一天》於2020年在布魯塞爾的WIELS當代藝術中心舉行。 《聲音是液體》於2022年在維也納的路德維希基金會現代藝術展覽館舉行。 提爾曼斯作品的大型巡迴個展《無畏地看》，於2022年在紐約MoMA現代藝術博物館開幕，並於隨後在2023年春季巡展至多倫多的安大略美術館，在2023年11月到2024年3 月巡展至舊金山現代藝術博物館。
自2006年起，藝術家一直在經營他所創辦的非營利展覽機構「橋樑之間」（Between Bridges）。 2011年前，「橋樑之間」一直在倫敦設立空間，廣泛地展出了許多藝術家的作品，包括大衛·沃伊納洛維奇（David Wojnarowicz）、烏爾·霍恩（Ull Hohn）、 夏洛特·珀森斯科（Charlotte Posenenske）以及查爾斯·亨利·福特（Charles Henri Ford）等。 2014年1月，「橋樑之間」在柏林重新開張，首展為藝術家帕特里克‧考菲爾德（Patrick Caulfield）的作品。
提爾曼斯將印刷品視為自己實踐的重要部分，他廣泛深入地參與了各種藝術家書和專著圖錄的出版與製作，並且定期為各類雜誌撰稿。 由藝術家設計、編輯的出版物包括：《手冊》（manual，由Verlag der Buchhandlung Walther König出版，2007年）；《感光》（Lighter，由Hatje Cantz出版，2008年）；《抽象圖像》（Abstract Pictures ，由Hatje Cantz出版，2011年）；《FESPA 數碼印刷博覽會/果蔬博覽會》（FESPA Digital / FRUIT LOGISTICA，由Verlag der Buchhandlung Walther König出版，2012年）；《新世界》（Neue Welt，由Taschen， 2012年）；《汽車》（Cars，由Verlag der Buchhandlung Walther König出版，2015年）；《有何不同？ 》（What Is Different?，由Sternberg Press出版，2018年）；以及《四本書》（four books，由Taschen出版，2020年）等等。 2019年，藝術家客座編輯了《光圈》雜誌（）以「靈性」為主題的特輯。
近年來，提爾曼斯越來越多地直接投身於政治活動中。 除了他正在持續進行的計畫「真理研究中心」（開始於2005年），他還為反對英國脫歐運動以及回應德國右翼的民粹主義創作了許多海報。
藝術家的作品被廣泛地珍藏於世界各地的博物館館藏中。 提爾曼斯日前生活工作於柏林和倫敦。
1 沃爾夫岡·提爾曼斯，《與朱莉婭·佩頓-瓊斯（Julia Peyton-Jones）和漢斯·烏爾里希·奧布里斯特（Hans Ulrich Obrist）的對談》，收錄於由索菲·奧布萊恩（Sophie O'Brien）和梅麗莎·拉納（Melissa Larner）合著的《沃爾夫岡·提爾曼斯》，展覽圖冊（倫敦：蛇形畫廊出版，2010 年），第23頁。
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龚凯欣 Victoria Kung vkung@davidzwirner.com