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About 'Veruschka' Vera Lehndorff & Holger TrĆ¼lzschA UNIVERSE TO ONESELF With his masterpiece Blow-Up (1966) Michelangelo Antonioni cemented Vera Lehndorffās status as fashion-world icon āVeruschka.ā From the time of the legendary photos by Richard Avedon, shortly before the film was made, it was self-evident that the top model would be up to the role. In Antonioniās movie, swinging Londonās fashion photographer David HemmingsBACKGROUND INFORMATION
A UNIVERSE TO ONESELF
With his masterpiece Blow-Up (1966) Michelangelo Antonioni cemented Vera Lehndorffās status as fashion-world icon āVeruschka.ā From the time of the legendary photos by Richard Avedon, shortly before the film was made, it was self-evident that the top model would be up to the role.
In Antonioniās movie, swinging Londonās fashion photographer David Hemmings attempts during a photo shoot to take possession of the womanās thin, long body, which in its filigree, nearly fragile-seeming proportions always gave off the aura of inapproachability. Solely with the cameraās lens is he able to snatch a moment of this womanās mystery. Her distinctive elegance seems to elude any worldly estimate. Had Veruschka modeled for a sculptor, then presumably the emerging sculptures would not have looked unlike Giacomettiās figures.
In the photographic series that Vera Lehndorff designed in collaboration with Holger TrĆ¼lzsch, the aesthetic figure Veruschka refuses to be a projection of beautyās ideals, yet in these portraits she retains her completely individual aura. Diffused in bolts of energy, in bizarre particle streams, and in psychedelic plays of color that reflect London of the 1960s, Veruschka transcends her body and delves into a world that translates the glamour of an icon into a sensually experiential image.
Even if the forms into which Veruschka transforms cannot be grasped, they always bear the artistās female touch. Her body constructs an in-between universe, one which plays by its very own set of rules. Here the artistās aura meets the blackness of an endless nothing. If these photographs could emit sound, it would be the spherical tones of Pink Floyd. Even if body parts have been alienated into unrecognizability, for the viewer they always remain the eyeās reference point to a world that lies outside of human experience. Never will a human be closer to not being from this world, come so close, as in these photographs. A privilege Hemmings could only dream of.
David GƤrtner
ON HOLGER TRĆLZSCH
The sculptor, photographer, and video artist Holger TrĆ¼lzsch undertakes large artistic projects, most often in multimedia, which always hinge on a desire for autonomy and a conceptual approach. This approach is committed to the concrete manifestation of ideas and the materialization of phenomena. His conceptual projects for the most part have to do with architecture and public space. They take up the subject of current political and social relationships and reveal the res publica as the absolute concern of his production.
The artistās works show an excellent handling and mastery of space ā the dynamics and tension between forms become visible. They appear in both static and shifting visions and are portrayed by their intellectual application of the mass, by relevant plays of transparency and reflection. The majority of his installations ā whether permanent or temporarily, whether sculpture, painting, or photography ā deal with light. TrĆ¼lzschās signature can immediately be recognized in the collaboration with Vera Lehndorff, aka Veruschka, in the series āSigns.ā In these photographs, the philosophical, analytical discourse is implemented with critique and irony in the two artistsā unique artistic language.BIOGRAPHY
John David Morley, One for the Road, Sunday Times, London, 19 October 1986
Death of Photography, Village Voice, 30 September 1986
Susan Sontag, Fragments of an Aesthetic of Melancholy, Art in America, September 1986
David Lurie, Persona Non Grata, Arts, December 1985
Sanford Kwinter, Art in America, July 1985
Gary Indiana, Ex-Model Found in Wall, Artforum, May 1985
Grace Glueck, Vera Lehndorff, Holger TrĆ¼lzsch: Oxydationen, New York Times, 12 April 1985
Imitation and Its Double, Village Voice, 9 April 1985
Edith Newhall, A Body of Work, New York Magazine, 8 April 1985VITA
"Veruschka" Vera Lehndorff 1939 born May 14, 1939 as Vera Lehndorff in Kƶnigsberg (now Kaliningrad, Russia) Studied at the Technical School of Design, Hamburg, Germany 1966 Film debut in Michelangelo Antonioniās Blow-Up 1971 Participation in the Alice Schwarzer-initiated media happening Wir haben abgetrieben! Main role in the Italian feature film Veruschka by Franco Rubartelli 1983 Collaboration on the documentary film Vom Zusehen beim Sterben 1984 Leading role in Ulrike Ottingerās The Image of Dorian Gray in the Yellow Press 2005 Concept and script for TV documentary Veruschka ā (m)ein inszenierter Kƶrper, directed by Paul Morrissey and Bernd Boehm 2007 Cameo appearance in Martin Campbellās Casino Royale Holger TrĆ¼lzsch 1939 born in Munich, Germany 1960-1964 studied at Art Academy Munich, Germany 1967 co-founder HSK Munich 1960-1968 studied sociology and psychology in Munich, Germany 1969 founded experimental music group "Popol Vuh" 1970 TrĆ¼lzsch meets Vera Lehndorff. Parallel to his personal creative work, he begins an artistic cooperation with her: body painting, performance, film shorts, and photography 1973 moved to New York, USA 1983 moved to Paris, France with further stays in the US and Germany 2002 TrĆ¼lzsch and architect/artist Natascha Bindzus receive the first prize Concours du Val de Marne du Parc DĆ©partemental des Cormailles in Ivry-sur-Seine, France Exhibitions
"Veruschka" Vera Lehndorff and Holger TrĆ¼lzsch 2007 Lehndorff / TrĆ¼lzsch, Ninfa Moderna, Galerie Isabella Czarnowska, Berlin, Germany 2003 Lehndorff / TrĆ¼lzsch, Oxydationen, Arcadia University Gallery/Art Center, Philadelphia, USA 1999 Lehndorff / TrĆ¼lzsch, Oxydations, Browne Gallagher Gallery, New York, USA 1989 Lehndorff / TrĆ¼lzsch, 150 Years of Photography, National Gallery of Art, Washington DC, USA Lehndorff / TrĆ¼lzsch, MOCA, Los Angeles, USA Lehndorff / TrĆ¼lzsch, Art Institute of Chicago, USA 1987 Lehndorff / TrĆ¼lzsch, Museum of Modern Art, Oxford, USA Lehndorff / TrĆ¼lzsch, The Art Institute of Chicago, USA Lehndorff / TrĆ¼lzsch, Boca Museum of Contemporary Art, USA 1983 Lehndorff / TrĆ¼lzsch, La Photographie Creative, Pavillon des Arts, Paris, France 1982 Lehndorff / TrĆ¼lzsch, MusĆ©e Nationale d'Art Moderne, Centre Georges Pompidou, Paris, France 1981 Lehndorff / TrĆ¼lzsch, Palais des Beaux Arts, Brussels, Belgium Lehndorff / TrĆ¼lzsch, Galerie Centre Americaine, Paris, France 1979 Lehndorff / TrĆ¼lzsch, Museum fĆ¼r Kunst und Gewerbe, Hamburg, Germany "Veruschka" Vera Lehndorff 2008 Veruschka Self-Portraits, Galerie Isabella Czarnowska, Berlin, Germany 2007 Don't cry baby - work!, Galerie Isabella Czarnowska, Berlin, Germany 2006 Veruschka Self-Portraits, performance: Vera Lehndorff; photographs: Andreas Hubertus Ilse, Helmut Newton Foundation, Berlin, Germany 2004 Photo installation, video installation: Burning City, LE OPERE E I GIORNI-TRE, Padula, Italy Holger TrĆ¼lzsch 2003 Sous Le Sable, Le PĆ©trole ā The hereo lies in you, Galerie MichĆØle Chomette, Paris, France TrĆ¼lzsch / Bindzus, "FADING and it fades, fades, fades ...", Stadtgalerie, Kiel, Germany 2002 TrĆ¼lzsch / Bindzus, "FADINGā, Stadtgalerie, Kiel, Germany 2000 TrĆ¼lzsch / Bindzus, Terra Humana ā Terrains Humains, Erschaffung in der Galerie Nei Licht, Dudelange, Luxemburg 1998 Le Mont Des Oliviers ā Die Welt der Oliven, Galerie MichĆØle Chomette, Paris, France / Mois de la Photographie, Paris, France 1993 Le Champ Dynamique de la Tension, Galerie Zoumboulakis, Athens, Greece Fire and Forget, CREDAC, Ivry sur Seine, France Fire and Forget, Galerie MichĆØle Chomette, Paris, France 1991 Verlichtungen ā Onement, Salle Saint Jean, town hall, Paris, France Verlichtungen ā Onement, Galerie Antoine Candau, Paris, France 1990 Nicolas Ledoux ā MusĆ©e Carnavalet Collection, Paris, France and Architecture Center Zaragossa, Spain, then traveling exhibition in Spain 1989 Le garage de Hegel, Parking Odeon, Paris, France Le garage de Hegel, Galerie MichĆØle Chomette, Paris, France