TINA WINKHAUS

Tina Winkhauses work is incomprehensible. 

Thats actually amazing because her works are structured, clear. subversive and offensive and feminist. That’s all true and at the same time it isn’t. Tinas works wanders through completed photos studies in Munich, New York and London through the area of photography and juggles with their strategies: Collage, engraving, entropy, and indexicality. One gets the sense that Winkhaus has studied Barthes and Adorno. But there is even more ; digital, electrical fragments, manipulation and reference.Her works reflects back at us and allows us a certain insight ,without which we would begin to doubt reality itself. Just one glance at a work from Winkhaus and the world dilapidates into dust and glitter. Winkhaus blends the private with the tasteless and manipulates in a fully unscrupulous manner.She doesn’t need any allies, her enemies are her sword and shield.Winkhaus made a conscious decision to sell her art on her own website. She consistently mixes the private with the public, art with commerce, strangeness with familiarity. Everything that is being displayed here is for sale. Winkhaus sells her own art , having only  certain editions, and without any extra charge. She is the one who decides whos going to own the pictures and that the pictures are exhibited where she wants them to be; in our home. It is the vehemency of the first impression coupled with consistent figures that distinguishes Winkhaus amongst the international elite: Idea, composition, post production, the fusing together of dozens if not hundreds of large pictures  that have previously been taken separately. And ultimately what we see in them !. Winkhaus has never been interested in “snapshot” photography, she doesnt care about the perfect moment. She displays pictures on her website that don’t need any explanation although there would be a lot of explanations. Her works are eccentric and cannot be captured in words. The artists that she has anything to do with are either musicians or fashion designers or have been dead for centuries. Strictly literal interpretations versus a personal point of view. Magic versus documentation. Art versus commerce. 

“ What can certainly be said is that her art is not just a diary of a singlular eye” ( EugenTaran) 2008.

Tina Winkhaus ist nicht zu fassen

Das ist erstaunlich, da ihre Arbeiten strukturiert sind, klar, subversiv und verletzend, feministisch. Das ist alles wahr, aber eben auch nicht. Tina Winkhaus streift nach abgeschlossenen Photostudien in München, New York und London durchaus das Gebiet der Photographie und jongliert mit deren Strategien: Collage, Entropie, Gravur und Indexikalität. Spur und Verfall. Das ist alles ist zu ahnen, auch daß Winkhaus ihren Barthes und Adorno studiert hat. Aber da ist noch mehr: Digitale, eklektische Fragmente, Manipulation und Referzialität. Ihre Werke leuchten uns dunkel entgegen und ermöglichen uns Erkenntnisse, ohne die wir an der Realität verzweifeln. Ein Blick auf einen Winkhaus genügt und die Welt zerfällt zu Staub und Glitzer. Winkhaus verschmilzt Privatestes mit Abgeschmacktem und manipuliert völlig gewissenlos. Sie braucht keine Verbündeten, ihre Feinde sind ihr Schwert und Schild. Winkhaus hat sich ganz bewußt entschieden, ihre Kunst auf ihrer Webseite selbst zum Verkauf anzubieten. Konsequent vermischt sie so Privates mit Öffentlichem, Kunst mit Kommerz, Fremdheit mit Zuhause. Alles, was hier gezeigt wird, ist käuflich. Nur in bestimmten Auflagen, aber ohne Aufschlag, Winkhaus nimmt ihre Kunst selbst in die Hand und verkauft sie. Sie entscheidet, daß man ihre Bilder besitzt und diese ohne Umwege dorthin gelangen, wo sie diese zeigen möchte: in unserem Heim. Es bleibt die Vehemenz des ersten Eindrucks gepaart mit beständigem Gestalten, die Winkhaus auch in der internationalen Elite so auszeichnet: Idee, Komposition, Nachbearbeitung, das Zusammenschmelzen dutzender, wenn nicht hunderter Großbilder, die vorher separat aufgenommen wurden. Und zuletzt dem, was wir darin sehen. Tina Winkhaus hatte noch nie etwas für „Schappschuß“-Ästhetik übrig, der perfekte Moment ist ihr gleichgültig. Auf ihrer Webseite zeigt sie ihre Bilder, die kaum Erklärungen brauchen, obwohl es viele gäbe. Ihr Werk exzentrisch, eher nicht in Worte zu fassen. Die Künstler, mit denen sie überhaupt etwas zu tun hat, sind entweder Musiker oder Modemacher oder seit Jahrhunderten tot. Überwörtliche Interpretation gegen persönlichen Standpunkt. Magie gegen Dokumentation. Kunst gegen Handel.

„What can certainly be said is that her art is no longer just a diary of a singular eye“. (Eugene Taran, 2008)

"You´ve got the looks, I´ve got the brain, lets make lot of money."

Even as a little child she took care that everything what she was doing  is elitaer, she came from one of the last influended families, who made their money out of the industrie of the cole mines. When she became two years old she was already strong willed to sourround herself  just with the beautiful things of life. So it standed to reason that she was taking riding lessons and she went to ballett school. Her father bought her a horse called Xanadu and she learned very early how to get  invited to all glamourose partys. Her well edjucated past was geared to get married to a rich enviroment, and that life is not boring her so much she should get some destroying hobbys. But life went a different way:

Tina became addicted to gambling when she was 16 and  gambeled away her  fortune between accapulco and rio de janiero. To be forced by her family to either get a job or go to therapy, she decided for the first and became a cirsus photographer.  There she got in touch with this kind of  humans she loved most: acrobats, artists and conmans. When she was on the raod with the circus in bavaria she got to know a  young man, who was doing music with mashines. He was taking her with to the night clubs and they got married. Finally she  could go after her destination again and went to parties. Because of her, as genteely as consequently,  father  freezed her funds and   invested the money rather in cheap  stocks and expensive wines and music out of mashines can not support a luxory life style, tina starts here where she sotps taking pictures: she starts taking pictures of artits: in the rooms, which are called backstage.  After the show. Here pictuers arised sharp like knifes.