Abstract:
This master’s thesis explores the coming about of the cameraless photography of Wolfgang Tillmans
out of his conventional photography and how chance and control play a role in their realization.
Tillmans’ cameraless photographs originate from his figurative works, in which he allows chance to influence the picture. In his cameraless work, he purposely takes a coincidence and
starts using it in a controlled way. His cameraless works are a way of broadening his
photographic vision, they are concrete photographs. Tillmans combines these works with his figurative photographs in his installations in a postmodern manner. In his concrete works, he purposely tries to influence the interpretation of the viewer, by connoting these non-referential photos. On the other hand, he leaves a part of the interpretation open for the viewer by placing his photographs in a non-narrative way. By mixing photos, the connotation lies in the reception of the viewer.
