Wolfen is about a lost dirty icon, and about the distant future. The town of Bitterfeld-Wolfen was home to ORWO-Werke, East Germany’s largest film factory. ORWO’s black-and-white and color films helped define the style of movies and photography throughout the Eastern Bloc. Until the Wall fell. The sprawling plant once employed 15,000 people; now two dozen work here. The rest was liquidated, the factory halls torn down. What is left of the factory manufactures an especially durable archival film designed to preserve analog pictures and digital data in the form of QR codes for over a thousand years. Who, one wonders, will read the information a millennium from now? Extraterrestrials (who speak English)? We see photographs Zielony took on the scene, some on that very long-lasting film. And we read short texts based on Zielony’s conversations with employees who worked in the factory’s darkroom. The plant’s notorious contamination with toxic chemicals, the degrading labor conditions, the dependency on the Soviet Union come up, as do the collapse of the industry and questions of the past and the future, of knowing and ignorance, understanding and incomprehension, light and darkness.
Wolfen, 2022
2–Channel video installation and glass display case
The work Wolfen was initially produced for the exhibition Mining Photography at Museum für Kunst und Gewerbe Hamburg und the festival Osten in Bitterfeld in 2022.
2–Channel video projection, color, approx. 18 min loop
Glass display case with 15 b/w photographs, film box, film rolls
Edition of 6 + 2AP
Tobias Zielony
Tobias Zielony is known for his photographic depictions of young people living on the fringes of affluent societies and social acceptance. For the past 20 years, Zielony has focused on suburban milieus that, from Canada to England, Ukraine, Israel, and Japan, have in common that they have fallen out of the promises of modernity's progress and are establishing a temporary life in their own cultural niches. What goes hand in hand with melancholy at the same time reveals a great human tenderness in the cohesion of precarious communities, which Zielony approaches and gives the space to stage themselves. In the process, Zielony's critical approach to documentary manifests itself in a specific aesthetic and relationship to fiction. His numerous institutional exhibitions include the German Pavilion in Venice 2015. Tobias Zielony is a professor in Hamburg since 2022.
Zielony´s work has been shown in many solo and group exhibitions recently such as Watching TV in Narva (KOW Berlin 2023), Dark Data (Marta Herford 2022) and Touch. Politiken der Berührung (EMOP Berlin, c/o Amtsalon 2023), Nach August Sander Menschen des 21. Jahrhunderts (Museum für Gegenwartskunst Siegen 2022).
- Anna Boghiguian
- Candice Breitz
- Marco A. Castillo
- CATPC
- Alice Creischer
- Chto Delat
- Clegg & Guttmann
- Eugenio Dittborn
- Heinrich Dunst
- Anna Ehrenstein
- Estate of León Ferrari
- Peter Friedl
- Sophie Gogl
- Estate of Barbara Hammer
- The Cabinet of Ramon Haze
- Hiwa K
- Simon Lehner
- Renzo Martens
- Chris Martin
- Frédéric Moser & Philippe Schwinger
- Oswald Oberhuber
- Mario Pfeifer
- Dierk Schmidt
- Tina Schulz
- Santiago Sierra
- Michael E. Smith
- Franz Erhard Walther
- Clemens von Wedemeyer
- Tobias Zielony