As part of the 11th Darmstadt Photography Days themed ‹Bizarre Escapes: Humour in Photography› the Kunsthalle Darmstadt realises two exhibitions.
In the 1960s, Heide Uta Stolz (1939-1985) created a groundbreaking photographic oeuvre, which—as with many female artists of her generation—has only been (re-) discovered in recent years. The exhibition ‹Heide Stolz: Affairs›, curated by Stefan-Maria Mittendorf and presented by the Kunsthalle Darmstadt and the 11th Darmstadt Photography Days, shows a selection of 62 of her pictures, some of them being displayed publicly for the first time.
Heide Stolz's photographs from the sixties, shot with a two-eyed Rolleiflex camera, focus on man, its socially standardized roles, and interpersonal relationships. The staged motifs are a means and essential feature of Heide Stolz's photographic work, which raises socio- and media-critical issues. Similar to the meticulously composed photographs of William Egglestone, Jeff Wall, or Cindy Sherman, Heide Stolz questions the photography’s role as a credible eyewitness and hence anticipates postmodern photographic theories.
The work of Heide Stolz gained early, but only temporary recognition. In 1965, she exhibited at Heiner Friedrich’s Munich-based gallery, whose program also included artists such as Cy Twombly and Georg Baselitz. The exhibition ‹Heide Stolz: Affairs› strives to contribute to a wider recognition of her impressive photographic work. Still affecting today, it has lost none of its topicality and enlightening impact.
Heide Uta Stolz was born in 1939 in Kupferzell, Baden-Württemberg. In the 60ies she lived and worked in Munich and Aschhofen. After the suicide of her husband, painter Uwe Lausen, in 1970, she and their two daughters permanently lived in Aschhofen. In the years that followed, she worked with resin inclusions and created colour pencil drawings. As in the case of her early sculptural work of the 50ies, only few originals have been documented or survived. In 1985, Heide Stolz died of cancer at home in Aschhofen.
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