about hannes schmid

HANNES SCHMID a journey into perspectives

ContentS About Hannes Schmid

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The features special to Hannes Schmid‘s imagery

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Rockstars the Trilogy

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HAnnes Schmid rockstars

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Undying Friends

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Blackstage

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DIVAS+Heroes

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Cowboy

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a mythic figure

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Never Look Back

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For Gods Only

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Teochew Chinese Street Opera

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Biography

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I left Switzerland in the early seventies to discover the world. I used my eight-year travel through Africa and South East Asia with my photo camera as a learning field. The key experience took place in Irian Jaya, where I spent over a year living with Danis and Lanis, crossing the island following the footprints of Michael Rockefeller who has been missing since ten years. Carrying with me 60 rolls of photographic film and realizing that I would not be able to look at my photographs for over one year changed my view. The process of taking a picture became pivotal, more than the final photograph. This experience changed my future way and it still influences the process of creating my work. My artistic concept starts with an immersion into the surroundings and I employ the means of a participant observer. I am a mediator between human beings, the various cultural and social systems and beyond. In my projects I create a tension between perceived reality and artificial orchestration. The camera confers power, access and respect on me. It is a part of me, and my visions. The process of developing the pictures I have in mind can take a long time. When I am interested in a subject, my commitment to aesthetic autonomy compels me to become a member of the relevant scene. Accordingly it is in my mind that I create the pictures and well before I open the shutter on my camera. I heighten my work’s visual and emotional impact by reducing its pictorial vocabulary. In this book I would like to let the reader gain insight into my work of three significant projects which help me carrying on my art and striving for my visions. All projects which are presented in this book (Rockstars, Cowboy and For Gods Only) being shown in museums and institutions in Europe and the USA as well as other works, have comparable leads.

Hannes Schmid

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ABOUT Hannes Schmid (b. 1946) Swiss photographer and artist

The features special to Hannes Schmid‘s imagery 1 Lighting

The Swiss photographer and artist Hannes Schmid first came to public notice in the 1970s with

The lighting of Hannes Schmid‘s pictures, whether colour or black-and-white, whether indoors or out,

a body of important work that has continued to find acclaim in the international art world ever since.

possesses a magical quality. Through his use of light, he succeeds in creating a special, atmospheric

In the 1990s he created his cowboy, who achieved iconic status worldwide and even left his mark

closeness to the picture‘s content. In his “Short Stories” project (derived from the F1 series) Schmid

on Conceptual Art. In Switzerland, interest in Schmid’s art began with a weighty tome containing

draws on the metaphorical significance of light. By rotating a moving disk, he continuously alters the

a unique collection of his rock star images, which was published by Patrick Frey in 2009. In 2010,

angle of the incident light and symbolizes the interaction of object and surroundings.

the Swiss Foundation of Photography stages a one-man show of Schmid‘s cowboy portraits, the first after New York. And in 2012, the Kunstmuseum in Bern will be putting on a large-scale

Directness

retrospective of Schmid’s work. Other major projects such as “For Gods Only”, “Maha Kumbh Mela”

Hannes Schmid‘s enormously complex way of working is based on participant observation, which

and “F1 Moment of a Moment” are currently the subject for exhibitions. Hannes Schmid has also

enables him to make the observer of the photograph feel even closer to the situations he selects for

made films parallel to many of his projects, and of these the feature film “Bonneville: The Final Run”

his projects. For Schmid, experiencing and coming to terms with individual human beings and groups

deserves special mention.

is one of the most important aspects of the project.

For Hannes Schmid, the emotional and visual impact of his images is paramount. He questions the

Icons

observer‘s perceptions and operates on various levels of reality. He creates the scenes with real

Hannes Schmid relies on the emotional and visual impact of his images. His portraits are orchestrated

backdrops. His projects allow him to address social behavioural patterns and rituals, to ask questions

to depict his subjects in ways determined by the uniqueness of a specific situation, and lead him to

about ideological and cultural systems, and to move with ease between the two.

innovative and striking solutions.

Schmid‘s approach to his work is highly complex, its content determined by the surroundings. The

Orchestrated reality v. real orchestration

various themes continue to develop on an ongoing basis, compatibly in time. This is one of the reasons

In all his projects, Hannes Schmid attempts to come to terms with the interplay between reality

why the ways in which he depicts his projects in exhibitions likewise depend on the given situations.

and orchestration. The observer moves between levels of perceived reality. In his cowboy project,

This is where his talent for orchestration comes into its own. He translates his own wide-sweeping

he underscores the transitory nature of this perception by painting the images in oil.

experience of dealing with unusual situations, events and fates in his images and transforms it impressively into an experience his public can share. His projects are manifold and profound. Nevertheless,

Fashion and advertising photography

Schmid constantly aims to reduce his visual language and to distil the statements in his work.

Hannes Schmid‘s talent for using his life and experience creatively to form his own personal visual language is also reflected in his fashion photography, which led him to work with well-known maga-

Hannes Schmid is largely self-taught, tirelessly accumulating and honing his manual and visual skills

zines. Here, it was the settings against extraordinary realistic backdrops that led to a new language

in his long and fearless circumnavigations of the globe. As a result, he has found his own original

in the fashion industry of the 1980s. He was the winner of awards such as “Best Fashion Photographer”

approach to the photographic image and created new visual languages. It was for this reason that

(1988) and “Best Fashion Picture of the Year” (1992, Life magazine). His most outstanding commis-

his pictures were so valuable in advertising and fashion. The unique quality of his presentation and

sioned works include his cooperation with Phillip Morris, BAR Honda, IntelSat and others. Schmid

the consistency with which he translates his material have made Hannes Schmid one of the foremost

has succeeded in transforming much of this work into part of his own personal artistic oeuvre.

exponents on the Swiss art scene. The artistic assessment of Hannes Schmid and his work is based on the words of Markus Schürpf, Office for the History of Photography, Bern, and adviser to the Kunstmuseum Bern.

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Rockstars the trilogy

ROCKSTARS THE TRILOGY

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HANNES SCHMID Rockstars

Undying Friends

These photographs are the antidote to celebrity glitz and paparazzi vulgarity – they are real

The Rockstars Project is mainly built out of three autonomous series of works and phases. They

and they are honest and they have never been seen before.

are the Backstage, the Blackstage and the Divas and Heroes images. A distinguished selection of the backstage images has recently been published and discussed in a voluminous book titled

Gail Buckland, New York, 2009

“Hannes Schmid Rockstars”. Hannes Schmid shared his four walls with stars of the pop and rock scene in the 1970s and 80s just as he had lived with the El Molos in Kenya, with the Danis and Lanis in West Papua, and with orangutans in Sumatra. His application of this same approach – that of a participant observer – to the former communities has produced a photographic record of intimate moments akin to a family album and offers us unique access to a world that would otherwise remain remote from our everyday lives. It quickly becomes apparent that Schmid has gone a considerable distance with his rockstar subjects in the name of his work. Although his photographs afford us insight into alien societies and an intriguing glimpse at contemporary history, Schmid is manifestly uninterested in the documentary character of his pictures. Rather, his main concern is to explore the emotional potential of his subject and to reconstruct the process by means of which that subject has become an icon. Since they are in essence a response to the human need for an affective dimension, the images are at their most moving when offering a glimpse behind the curtains of their subjects’ private life. For his part, Schmid is circumspect in his formulation of the way ordinary mortals morph into icons, eschewing a serial approach for the development of a discrete vocabulary for each individual picture. He chooses the moment for a given exposure ad hoc, proceeding at first without the aid of a linear logic. His figures are embedded in their story, and grant the viewer’s imagination free rein. Schmid entices his viewers onto the scene and offers them a congenial abode, a visual home. excerpts from Ildegarda E. Scheidegger, in:“Hannes Schmid Rockstars”, Ed. Patrick Frey, Zurich, 2009

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Status Quo, John Coghlan 1980/2009 Pigment Print 100 x 150cm 12

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Kraftwerk 1981/2009 Pigment Print 100 x 150cm 14

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Nina Hagen and Cosma Shiva 1981/2009 Pigment Print 100 x 150cm 16

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Depeche Mode 1981/2009 Pigment Print 100 x 150cm 18

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Blackstage In the Blackstage pictures, which were taken before a dark stage background, Hannes Schmid zoomed in on the subjects and lit them up; everything else is reduced down to mere context. The surroundings can be intuited and provide additional descriptive clues.

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AC/DC #1 1981/2009 Pigmentprint 100 x 150 cm 22

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Queen 1981/2009 Pigmentprint 100 x 150 cm 24

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AC/DC #2 1981/2009 Pigmentprint 100 x 150 cm 26

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DIVAS+HEROES In “Divas+Heroes”, Hannes Schmid presents us with a project completed only in 2008. In this collection of works, he empathizes with the iconic status imposed upon the pictured stars. Hannes Schmid gives his rock and pop idols a superhuman stature with powers of attraction that are difficult to resist. Typically, he refrains from general characterization and accepts individual personalities within a society. Hannes Schmid makes deliberate use of dimension to strengthen the emotional reaction evoked in the observer. A special printing process highlighting the visible halftoning gives the rock stars the illusion of inviolability and immortality. Hannes Schmid took the structure for his pictures from the star cuts that appeared in pop magazines in the 1970s and 80s, which, when stuck together, resulted in a poster. The adolescents who put these posters up on their walls were then surrounded with an illusion that was subjected to their desire for reality.

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David Lee Roth / Van Halen 2008 Pigment Print 154 x 226 cm 30

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Debbie Harry 2008 Pigment Print 154 x 226 cm 32

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Kim Wilde 2008 Pigment Print 154 x 226 cm 34

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COWBOY One of the central aspects of Hannes Schmid’s work is undoubtedly his original and impressive portrayal of the American cowboy. This work, which was initially commissioned, immediately had an enormous impact on both the general public and the art world. Schmid elevated his protagonists from their status as simple cowhands and gave them a heroic, decidedly masculine persona. His photographs are shown to the public in the NEVER LOOK BACK exhibition from 12th June to 29th September 2010 at the Swiss Foundation of Photography. Starting with his photographs, Schmid painted pictures in oil on canvas and, in this way, turned the photograph into the original. By then repeating the photographic process, Schmid plays another games with our senses. This confirms that the photograph alone stimulates the various levels of perception of representation and reality in the observer.

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a mythic figure More than an invention, the Marlboro cowboy is a mythic figure. Hannes Schmid has put his stamp on the iconic figure of the cowboy, which in the 1990s essentially took root even in the world of conceptual art. What intrigues Hannes Schmid is to look into coteries, into private, closed groups and to analyze their social behavior patterns, thus introducing his viewers to those groups’ rituals. He does this without judgment, but with respect; he is not their judge but rather one of them. For Hannes Schmid a picture’s value lies in its impact. His heroes, representatives of a unique world, are likable, and viewers can easily imagine themselves belonging to them, to their world. Indeed, questions regarding one’s own personal reality do not even arise. The cowboy is an archetypal figure from the world of dreams and serves as a shining example or hero. Not only in his native land but all over the world, he embodies the desire for freedom and thus symbolizes a longed for masculine way of life. Even in the detailed view the cowboy’s iconic attributes remain clearly recognizable. Hannes Schmid’s perspective reveals that here culture and subject come together and change places. What emerges at this meeting point is not trivial by any means. Thanks to the added photo-realistic reproductions of Schmid’s works on canvas, the artist here is playing with two levels of perception: representation and reality. The picture first enters our awareness boldly and simply and then penetrates into our depths. This shifting relationship between representation in photographs and in paintings could be pursued further and ultimately lays bare the nature of the world as malleable. Hannes Schmid is not interested in the fleeting glance out the window as the world rushes by. His pictures are to affect us; they are intended to make a difference. They stimulate our senses and evoke nostalgic feelings. The artist deliberately chooses and places his colors, and by using predominantly warm hues, he evokes a feeling of an almost sacred space, of safety and protection, of home. Viewing the pictures in succession leads to a sense of defamiliarization and this makes the cowboy all the more into a mythic image. Ildegarda E. Scheidegger, Zurich, 2008

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COWBOY # 31 2010 Oil on Canvas 200 x 300 cm 40

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COWBOY # 1 2007 Oil on Canvas 120 x 240 cm 42

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COWBOY # 28 2010 Oil on Canvas 120 x 260 cm 44

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COWBOY # 36 2010 Oil on Canvas 180 x 210 cm 46

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COWBOY # 25 2010 Oil on Canvas 120 x 220 cm 48

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Never Look Back exhibition at the Swiss Foundation of Photography The lonesome cowboy hero riding across the plains without so much as a glance back is a modern icon, largely informed by the photographs that made up the legendary Marlboro ad campaign. Over a period of ten years, Swiss artist and photographer Hannes Schmid created countless pictures for the campaign. His intricately staged images, popularized worldwide by ads and posters, were a constant source of wonder. So what is the secret behind this figure? How does Hannes Schmid create images so electrifying that they have entered our collective unconscious? The exhibition at the Swiss Foundation of Photography wants to reveal the origin of Schmid‘s precisely choreographed images and traces its peculiarity. The photographs show us the full extent of its power to seduce and to create a screen on which we could project our fantasies. Also and amazingly, it was enough merely to cite the details: the colours of a landscape at twilight, the cloud of dust kicked up by a rider on the prairie, or the reflection of the campfire on a belt buckle: all these evoked the emotions that at the end had made the brand so amazingly successful. Hannes Schmid has transformed the Cowboy Photographs into monumental, photorealistic paintings. In the course of a painstaking process lasting several months, they are stripped of the ephemeral quality that inevitably attaches to images created in fractions of a second. Schmid’s paintings, however, are a source of provocation mainly because they endow a prominent symbol of American mass culture – one that is infinitely reproducible through the anonymous medium of photography – with the same level of uniqueness as signed works of art in a museum. Ironic excess in place of deconstruction: Schmid’s interpretations in oil on canvas add a new and fascinating twist to the heroic status of a figure who, in reality, has never existed. Peter Pfrunder, Winterthur, 2010

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COWBOY # 11 2008 Oil on Canvas 120 x 180 cm 52

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Cowboy # 208 2003/2010 C-Print 110 x 165 cm 54

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Cowboy # 226 2002/2010 C-Print 110 x 165 cm 56

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Cowboy # 213 2001/2010 C-Print 110 x 165 cm 58

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Cowboy # 15 2008 Oil on Canvas 120 x 240 cm 60

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FOR GODS ONLY Swiss art photographer Hannes Schmid (born 1946) is guided by the principle of coincidence: ever

whose redness renders the world of the Gods vividly present. The ideograms themselves, applied

vigilant, he travels the world, pausing only for the unusual; and yet his method is routinely premised

directly to the photographs in acrylics, underscore the ritual, its premises and the invocation of the

on meticulous preliminary study of a given motif. Such an empathic approach requires not only time

Gods, while the imagistic nature of the Chinese characters harmonizes with this photographic record

and patience, but respect and understanding as well, as in the case of the Chinese theatrical ensemble

of a particular theatrical world. Indeed, the characters chosen have an expressive weight that goes

whose performances are traditionally reserved “for Gods only”, but which granted Schmid the privilege

well beyond their immediate significance. What is more, the Chinese calligraphy used in this work is

of working with them after the artist had paid his dues over years of attendance.

performative and requires bodily action for its realization, a balance of cognition and intuition and thus one of Schmid’s recurrent topics. It inspires physical and spiritual calm in its viewers, a tribute to nature

In 1998 Schmid had what seemed to be a clandestine encounter in the mean streets of Singapore,

surely worthy of emulation by the players as well.

where a troupe of Chinese players were performing a religious ceremony-cum-Gesamtkunstwerk for an imaginary audience. The musical drama Schmid witnessed was an outgrowth of the Teochew clan’s

“For Gods Only” comprises 138 photographic pieces and a multipart video work; a new edition of the

rendition, itself a sub-genre of Chinese ritual street opera. The form, handed down by oral tradition from

2008 documentary film of the same name is in preparation. Its contribution to the preservation of world

generation to generation within a given clan via secret rites, was brought to Singapore, Malaysia and

culture has won the art project the patronage of UNESCO.

Thailand by south Chinese immigrants in the early 19th century. The operatic ritual, governed by a strict symbolism and preordained casting, comprises theatre, music and singing, as well as dance enriched

Ildegarda E. Scheidegger, Zurich, 2010

with martial posturing. Since the foundation of the Thian Hock Kheng temple in Singapore in 1840, the spectacle has been produced on or near the grounds of the Taoist shrine, where a simple wooden stage has been erected especially for the performances. Its ad hoc character and improvised theatrics, together with the incineration of paraphernalia and paper costumes, are an index of the ephemeral and otherworldly aspects of an operatic genre virtually fated for extinction by natural attrition. The Gods provide the true occasion for the ceremonial production, which aims at once to honour and to propitiate them, as well as to secure their support for the members of the immigrant community; and thus the performance of piety also includes contact with the divinities and the making of votive offerings. At the same time, brief apotropaic interludes serve to ward off evil spirits and to purge the stage of profanity before the ritual proper commences. In his series “For Gods Only”, created between 2005 and 2007 and inscribed in its present form in 2010 by Chinese master calligrapher Simon Huang, Schmid addresses the work – and inevitable disappearance – of the Kim Eng theatre troupe, which he accompanies faithfully until the preparations for their very last show. The photographer’s intention is to join the perception of the reality and authenticity of each production with that of its supernatural and imaginary aspects – in which aim he is successful, not only in terms of the typically reduced, deliberately monochrome vocabulary of his prints, but in his conveyance of their symbolic content as well. Collaborating with the calligraphic artist and in homage to the tradition’s inscribed stage sets, he superimposes on his photographs meticulously selected Chinese characters, 62

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木 Mu - the state of non-expression and non-thinking 2005/2010 Acrylic on Baryt Photo Paper 120 x 120 cm 64

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乞 Qi - requesting the gods 2006/2010 Acrylic on Baryt Photo Paper 120 x 120 cm 66

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点 Dian - a stroke of make up, reflection of the different expressions and roles played in Chinese Opera 2005/2010 Acrylic on Baryt Photo Paper 120 x 120 cm 68

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忊 Ding - state of awaiting before the opera performance 2006/2010 Acrylic on Baryt Photo Paper 120 x 120 cm 70

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幻 Huan - the surreality of the ritual 2005/2010 Acrylic on Baryt Photo Paper 120 x 120 cm 72

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孑 Jie - the sense of lonesomeness 2006/2010 Acrylic on Baryt Photo Paper 120 x 120 cm 74

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孓 Jue - beauty of the art and the costume 2006/2010 Acrylic on Baryt Photo Paper 120 x 120 cm 76

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饰 Shi - mixing the colours for the make-up 2005/2010 Acrylic on Baryt Photo Paper 120 x 120 cm 78

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仪 Yi - the ceremonial rites 2006/2010 Acrylic on Baryt Photo Paper 120 x 120 cm 80

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Teochew Chinese Street Opera This is a brief introduction to the Chinese Street Opera and the way its originality had been preserved in Singapore. The Chinese Street Opera catered to the religious needs of the Chinese community. In a religious context such as the birthday celebration of a particular Chinese deity, the Chinese Opera actors and actresses impersonate the deities and entertain both gods and ghosts. The venues of the performances could be anywhere like temples, cemeteries, local housing area etc. One reason for the demand of Chinese Street Opera was the need to satisfy the deities or Gods during religious festivities. It was a common belief that many temple owners feel that the correct form of paying respects to the deities was no other than the Opera performance. Due to the deteriorating political and economical situation in China during the late Qing period ~1900, opera troupe’s actors and actresses travelled to Southeast Asia in search of wealth and opportunities. The immigrant society slowly expanded and prospered economically and temple festivities were celebrated in grander scale. From reports, we know that Teochew opera troupes had been travelling between Singapore, Penang and Thailand in the 1890s. It can be conjectured that opera troupes had been visiting or stationed in Singapore ever since the opening of the Thian Hock Kheng temple in the 1840. As reflected in the Lat Pau, the earliest Chinese newspaper of Singapore, ritual performance served as a major theatrical form of Chinese opera in 19th century Singapore. In fact, the street opera in Singapore was a continuation of a long established tradition of the Chinese drama culture. From an academic point of view, it is believed that the street opera culture of Singapore had preserved the performance practices and religious culture that might have been lost in Mainland China during the Cultural Revolution. In the past 30 years, street opera in Singapore has attracted much attention from overseas scholars of various academic backgrounds, including anthropology, ethnomusicology and Chinese studies. For Gods only Project is under the patronage of UNESCO Switzerland (United Nations).

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BIOGRAPHY

SOLO EXHIBITIONS

Hannes Schmid was born 1946 in Zurich, Switzerland, trained as an electrical- and light engineer

2010

For Gods Only, Installation presented by Bank Julius Baer

and studied photography at the Ruth Prowse School of Art in Cape Town, South Africa.



St. Moritz Art Masters, Hotel Suvretta, St. Moritz, Switzerland

2010

Never Look Back, The Marlboro Man and Oil paintings

2008-2010 Learned to paint and realized the Cowboy series in oil on canvas



Swiss Foundation of Photography, Winterthur, Switzerland

2001-2006 The Bonneville Project - “Bonneville The Final Run”

2009

Hannes Schmid ROCKSTARS, Nicola von Senger Gallery, Zurich, Switzerland



2009

Art Cologne, Nicola von Senger Gallery, Zurich, Switzerland

2008

Men and Machismo, Mitchell Algus Gallery, New York

2008

DIVAS+HEROES, Petit Palais of the Montreux Palace, Switzerland

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DIVAS+HEROES, Cultural Centre in Zermatt, Switzerland

Formula 1 cinema film and photography

1998-2010 “For Gods Only” - photography of a Chinese ritual street opera in Singapore combined with calligraphy (Patronage of UNESCO Switzerland/United Nations) 1998-

Charity projects and campaigns for the Swiss Paraplegic Association and



Pro Infirmis, Switzerland

1993-2002 Re-creation of the Marlboro Man for Leo Burnett/Phillip Morris (some of the images

were later used by Richard Prince in his Cowboys’ series)

1984-

Private essays on Daytona’s bike week, the live of Belize’s Mennonites, the widows



of Potosi in Bolivia, Maha Kumbh Mela in India, Thaipusam in Singapore etc.

GROUP EXHIBITIONS 2010

A Star is Born, Museum Folkwang, Essen, Germany

1984-2002 Fashion photography for magazines and fashion designer labels;

2009-2011 Who Shot Rock: Photographers of Rock and Roll



Brooklyn Museum, Brooklyn NY, Worcester Art Museum, Worcester,

“Best Fashion Photographer” in 1988, Live Magazine, “Best Picture of the Year” in 1992

1977-1984 Rock‘n’Roll stars, band portraits, backstage, private and live performance images,



Memphis Brooks Museum of Art, Memphis, Akron Art Museum, Akron,





Columbia Museum of Art, Columbia

Accompanied bands on tour from A like ABBA to Z like Zappa.

1974-1977 Travelled through South East Asia, Sumatra, Borneo, Irian Jaya (Dani & Lani tribes in

2008/2009 Born of the Moment and Method, Photography, Scans & Video





Walter Randal Gallery, New York

1970-1974 Travelled through Africa. Photographed landscapes and portraits of inhabitants

2008

FIAC Paris, Nicola von Senger Gallery, Zurich, Switzerland



like the El Molos on Lake Turkana. Climbed the Kilimanjaro, Mount Kenya, Ethiopia,

2008

Looking Back: The White Columns Annual



Sudan and Egypt etc.



works selected by Jay Sanders. White Columns Gallery, New York

2001

TRIBEART, Moment of a Moment with Hussein Chalayan



in London, Barcelona, Tokyo, Milan, Jakarta, Shanghai

2001

TRIBEART, Moment of a Moment with Julian Opie



in London, Milan, Jakarta, Shanghai

West Papua, Indonesia), China, India, Tibet etc.

WORK PUBLISHED IN Vogue, Männer Vogue, GQ, Cosmopolitan, Elle, Depèche Mode, Marie Claire, Donna, Harper’s Bazaar, DU, Stern, Das Magazin (Tages Anzeiger, Zurich), Condé Nast Traveller, Travel & Leisure, Max, Amica, Gala, Pop, Musik Express

COMMISSIONS Kenzo, Armani, Bally, Joop, Sisley, Swatch, Levis et al.

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UP COMING 2011

The Flow of Life, The Maha Kumbh Mela in India



Rubin Museum of Art, New York

2012

Hannes Schmid Retrospective



Museum of Fine Arts, Bern, Switzerland

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Editorial & Concept

© 2010 Schmid+Zoller Communications, Zurich



Ildegarda E. Scheidegger, Zurich

Photographs

© Hannes Schmid, Zurich

Texts

Ildegarda E. Scheidegger, Zurich

Translations

Sabine H. Seiler, New York, Rafaël Newman, Zurich

Design

Jürg Wey, Schmid+Zoller Communications, Zurich

Printing

Ast & Fischer, Wabern

First limited edition Printed in Switzerland

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www.hannesschmid.ch