Wim Wenders

The first-ever exhibition curated by Peter Lindbergh himself, shortly before his untimely death, Untold Stories at the Düsseldorf Kunstpalast served as a blank canvas for the photographer’s unrestrained vision and creativity. Given total artistic freedom, Lindbergh curated an uncompromising collection that sheds an unexpected light on his colossal oeuvre. This book offers an extensive, firsthand look at the highly personal collection. Renowned the world over, Lindbergh’s images have left an indelible mark on contemporary culture and photo history. Here, the photographer experiments with his own oeuvre and narrates new stories while staying true to his lexicon. In both emblematic and never-before-seen images, he challenges his own icons and presents intimate moments shared with personalities who had been close to him for years, including Nicole Kidman, Uma Thurman, Robin Wright, Jessica Chastain, Naomi Campbell, Charlotte Rampling and many more. This volume presents more than 100 photographs—many of them unpublished or short-lived, often having been commissioned by monthly fashion magazines such as Vogue, Harper’s Bazaar, Interview, Rolling Stone, W Magazine, or The Wall Street Journal. An extensive conversation between Lindbergh and Kunstpalast director Felix Krämer, as well as an homage by close friend Wim Wenders, offer fresh insights into the making of the collection. The result is an intimate personal statement by Lindbergh about his work.

This volume documents the first exhibition curated by Peter Lindbergh himself shortly before his untimely death. With more than 150 photographs from the early 1980s to the present, it offers new and unexpected insights into the work of the legendary photographer. The selection is complemented by detailed texts on the exhibition’s origins and a tribute by Wim Wenders, a close friend of Lindbergh’s.

As well as being an acclaimed filmmaker and a member of the New German Cinema movement, Wim Wenders (b. 1945) has also made an international name for himself as a photographer, with shows all over the world. He now opens a treasure chest of Polaroids taken during the 1970s and 1980s. Here are portraits of friends, actors and personal heroes; souvenirs of places and events from the life of a young travelling filmmaker; impressions of his first trips to the US, shots of movie icons on American TV screens, the cinemas of provincial Germany in the 1970s, and much more. The adventure of shooting films around the world becomes an almanac of adventure, curiosity and tranquillity. Wenders’ instant photographs are interwoven with his own stories, memories and flights of fancy that weave the images into an intimate and poetic journey. Instant Stories is a photographic road movie of the director’s early years, as he rose to global fame with films such as The Scarlet Letter, Alice in the Cities, Wrong Move, Kings of the Road and The American Friend. With 403 illustrations

The Pixels of Paul Cezanne is a collection of essays by Wim Wenders in which he presents his observations and reflections on the fellow artists who have influenced, shaped, and inspired him." How are they doing it?" is the key question that Wenders asks as he looks at the dance work of Pina Bausch, the paintings of Cezanne, Edward Hopper, and Andrew Wyeth, as well as the films of Ingmar Bergman, Michelanelo Antonioni, Ozu, Anthony Mann, Douglas Sirk, and Sam Fuller. He finds the answer by trying to understand their individual perspectives, and, in the process revealing his own art of perception in texts of rare poignancy.

Inventing Peace revolves around the question of how we look at the world, but do not see it when there is so much war, injustice, suffering and violence. What are the ethical and moral consequences of looking, but not seeing, and, most of all, what has become of the notion of peace in all this? In the form of a written dialogue, Wim Wenders and Mary Zournazi consider this question as one of the fundamental issues of our times as well as the need to reinvent a visual and moral language for peace. Inspired by various cinematic, philosophical, literary and artistic examples, Wenders and Zournazi reflect on the need for a change of perception in the everyday as well as in the creation of images. In its unique style and method, Inventing Peace demonstrates an approach to peace through sacred, ethical and spiritual means, to provide an alternative to the inhumanity of war and violence. Their book might help to make peace visible and tangible in new and unforeseen ways.

This volume tells the story of the cinema of Germany in 24 essays, each concerning an individual film, in a fresh and concise way. It describes a 'national' film industry which successfully met the demand of a 'national' audience from the 1910s to the 1960s. The book represents this system by focusing on films which were very popular with contemporary German audiences such as Metropolis (1927), Three from the Filling Station (1930), The Great Love (1942), The Heath is Green (1951) and The Treasure of Silver Lake (1962). As a consequence of World War II, the system of popular German cinema declined during the 1960s and early 1970s. Films from these decades such as Yesterday Girl (1966) and Germany in Autumn (1978) broke with the film form as well as with the mode of production that the popular narrative cinema had established. From the 1980s on, a new generation has tried to re-establish a popular German cinema with films such as The Boat (1981), Run Lola Run (1998) and Goodbye Lenin (2003).

Der Titel ist bescheiden, das Unternehmen einmalig, das Buch ein Fest fürs Auge: Ein prachtvoller Kunstband, ein Bilder- und Lesebuch, ein Buch der Stars und Städte mit farbigen Panorama-Fotos und einzigartigen Schauspielerporträts. Mit über 200 Fotos von Wim und Donatha Wenders. Großformat 24 x 30 cm. Kunstdruckpapier. "Sicher ist das eines der schönsten Filmbücher, das je veröffentlicht wurde." (epd-Film) "Mit MEINE ZEIT MIT ANTONIONI legt Wim Wenders nach EINMAL wieder ein fotografisches Tagebuch vor, das wegen des luxuriösen Querformats zum Schwelgen einlädt. Die über 200 Fotografien vom Drehset ziehen einen sofort in den Bann. Das Bilderbuch des Ehepaares Wenders wird man kaum aus der Hand legen können, ehe man auf seiner letzten Seite angelangt ist." (Filmdienst) "Der Band in Großformat ist ungeheuer aufwendig ausgestattet, und vor allem eine Hommage an den Großmeister, der keinerlei ästhetische, stilistische Nachfolger noch Schüler hinterläßt. Das Buch ist seiner würdig." (Radio Bremen) "Ein Buch wie ein Film mit allem, was gute Filme ausmacht. Darüberhinaus ein Buch über das Hand-Werk des Filmemachens." (Süddeutsche Zeitung) "Nicht nur für Cineasten ist der prächtige Band ein Schatzkästlein, in dem ehrfurchtsvoll geblättert werden darf." (Die Presse)

Unter der Hand und scheinbar absichtslos entwirft Wim Wenders eine eigene kleine Theorie der Wahrnehmung. Er spricht über sein Handwerk, über das Drehbuchschreiben und über die Gefahren und Chancen der neuen visuellen Techniken. "Wenders' Wahrnehmungsfibel." (taz) "THE ACT OF SEEING bietet Gelegenheit zum Wiederlesen. Der Vorteil des Bandes liegt in der Vollständigkeit, in der Möglichkeit zur Lektüre auch der abseitigeren Artikel und Gespräche." (epd Film) "Wenders' Sprache hat etwas mit den Bildern seiner besten Filme zu tun. Bilder, in denen, wer mag, mit den Augen spazierengehen kann. Es mag sein, daß Wim Wenders dies weniger gern hört: Seine Texte erscheinen mir oft genauso wichtig wie seine Filme." (filmwärts)