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Curriculum Vitae Andreas Baier

The author: Andreas Baier is an artist playing with all instruments of creativity: photography, writing, painting, music and directing commercials. Since the artist does not exhibit his work anymore, this catalogue is entitled providing art collectors a proper insight into Andreas Baier‘s work – dealing preferably with his amazing analogously manufactured flashlight paintings – and informs about the world he mentally lives in.

Essay: Klaus Honnef about Andreas Baier‘s work: pages 50 - 58.

Bibliografische Information der Deutschen Nationalbibliothek: Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über abrufbar.

Herstellung und Verlag: BoD – Books on Demand, Norderstedt

ISBN 978-3-7347-5365-7






HAMMER. (private collection)



(private collection)



je m‘appelle Andreas Baière, je suis né en Allemagne, un artiste et vais continuer avec ma petite ouverture en anglais:

Welcome to the facts of my curriculum vitae.

Avec mes salutations les plus distinguées: A ndreas Baier





MICHELANGELO (private collection)



The image «Henry with Perrier bottle» is his very first staged photograph ever created: 1991 in Hong Kong.

It won the 1st prize for «The most beautiful Christmas card». A competition organized by Sweden‘s «FOTOGRAFISK».

«Nessie in Garmisch-Partenkirchen», the essential cornerstone of Andreas Baier‘s flashlight paintings.

A ndreas Baier was born in GarmischPartenkirchen, which is a small town in Bavaria, the homeland of lederhosen and so it’s only natural that he loves Scotland. For him it was more than clear to combine two of his favourite subject in one picture.

Can you see how Nessie enjoys swimming in mashed potaoes? Well, after he did it, for some reasons he just suddenly began to think of how he could create

a photograph in this style of a painting, something that would be just as colourful and bright and be a complete world in the way that a painting can be. That was the beginning of his flashlight painting technique.

A few days after his birth, his familiy packed up and left the famous resort town to move to the city of Mainz, where his parents soon openend an avangarde art gallery as well as pub-


lishing an art journal called Magazin KUNST.

The family enviroment couldn’t have been better for the upbringing of a man who now considers art to be «an indespensable nourishment for the spirit.» He hadn’t even learned to count to ten, when Baby Andreas met artists like Jan Voss, Walter Stöhrer or Joseph Beuys among a lot of others who passed his parents office:

He started his own career doing photo-essays for magazines like Stern, Merian, Globo, Geo and the supplements of the Handelsblatt and the Süddeutsche Zeitung:

Carl Laszlo, art collector, publisher, philosopher and survivor of the Holocaust at his residence in Basel‘s Sonnenweg 24.

During this period he also met people like Sir Peter Ustinov, Gerhard Schröder, Gerhard Richter or Bill Gates:

In 1991 he won the 1st prize for «The Magazin KUNST, No.50, 1973, designed by Joseph Beuys. Cover part of Tate Collection:

most beautiful Christmas card», a competition organized by Sweden‘s «FOTOGRAFISK».

Hopper entitled Nighthounds» went under the hammer at Sotheby‘s.

Additionally, he writes and produces advertising spots including for the fictional. company «Mr. Sandman‘s Finest Funerals» as seen in Cannes, on MTV and on CHANNEL 4 featured in the pilot FRONTAL «Things to do when you‘re dead».

A s a copy writer and executive producer he created a music project which has been released by BMG Ariola Classics in November 2002. Sherlock Holmes Café in London‘s Bakerstreet, published in GLOBO «Breakfast on Thames».

W hile moving to London in 1993 he already studied «Fine Arts» in lower Saxony at the «HBK Braunschweig» for two years where he developed his flashlight painting technique. In between times his flashlight paintings have been exhibited and published throughout the world, from STERN, MAX to ZOOM and even as far as PEOPLE MAGAZINE in China. They are part of many private art collections. His «Homage to Edward

Hans Paetsch was Germany‘s most famous voice, best known through his unforgetable performance as the one and only fairy tale teller of a whole nation‘s childhood:


As William Sommerset Maugham once said: ÂŤThe best way to eat in the U.K. is having breakfast three times a day,Âť for Andreas a Full English Breakfast (FEB)


is surely the best way to give his creativity all the goodness and strenght it needs for a great and successful day. (Hazlitt‘s Hotel)



Martin Sigrist, „Feelings and Moods, Emotional Creativity“ - [„Gefühle und Stimmungen - Die emotionale Kreativität“] - in: PHOTOGRAPHIE, No.5, pages 22-28 (1 b/w print), Schaffhausen.

1987 Ella Kienast, „Andreas Baier: I want this picture!“ - [„Andreas Baier: Das Bild will ich haben!“] - (Portfolio „Rock am Ring“), in: Nikon News, No.2, pages 23-27 (8 b/w prints), Zurich.

1989 „25 Years HBK Braunschweig“ - [„25 Jahre HBK Braunschweig“] - (Portfolio), in: HQ - High Quality, Issue 13, pages 64-67 (6 b/w prints), Heidelberg.

Martin Sigrist, „Carl Laszlo“ (Portfolio), in: PHOTOGRAPHIE, 11th year, No.11, pages 69-74 (6 b/w prints), Schaffhausen. 1988 Hans-Eberhard Hess, „Stroll in the Arcades“ - [„Passagenbummel“] (Portfolio „Kö Series“), in: PHOTO Technik International, No.5, pages 52-57 (11 b/w prints, Munich. Christine Miller, „Bremen Broker“ [„Bremer Börsianer“] - (Portfolio), in: fotoMAGAZIN, No.12, pages 2833 (12 b/w prints), Munich.

„A cure in St. Peter-Ording“ - [„Kur in St. Peter-Ording“] - (Portfolio and accompanying text), in: PHOTONEWS, No.8, page 45 (10 b/w prints), Hamburg. Karl Lukas, Arles „Photographer meets Photographers“ - [„Fotograf trifft Fotografen“] - (Report in the form of a portfolio), in: Color Foto, No.7, pages 40-45 (12 b/w prints), Stuttgart. Andreas Baier, „Willkommen im Club! – The Maine Photographic Workshops“ – („Welcome To The Club – The Maine Photographic Workshops“) in: PHOTO Technik

International, No.6, pages 12-14 (5 b/w print and text), Munich.

deutsche Zeitung Magazin, No.45, page 47 (11b/w prints), Munich.

„How‘re you doing? Nice to meet you - in Rockport, Maine“ (Report in the form of a portfolio, with accompanying text), in: fotoscene, No.5, pages 32-41 (10 b/w prints), Frankfurt.

Hans-Eberhard Hess, „Backyard Society“ - [„Die Gesellschaft vom Hinterhaus“] -(Portfolio), in: PHOTO Technik International, No.3, pages 69-71 (5 b/w prints), Munich.

Gabriel Bauret, Arles, „History/Story of a creation“- [„Historie d‘une création“] - (Report in the form of a portfolio), in: Photographies magazine, No.7, pages 58-59 (8 b/w prints), Paris.

Katalog ART 1991 Basel, „Impressions“ - [„Impressionen“] - 8 double pages with 39 b/w prints, Basel.

1990 Walter Ego, „Cure in the North Sea“ - [„Cure en mer du nord“] - (Portfolio), in: ZOOM, No.153, pages 45-50 (9 b/w prints), Paris. Catalogue ART 1998 Basel, „Impressions“ - [„Impressionen“] - 10 double pages with 50 b/w prints, Basel. 1991 „Major treatment“ - [„Die große Anwendung“] -(Cure in St. Peter-Ording“ - [„Kur in St. Peter-Ording“] - with accompanying text), in: Süd-

Gabriel Bauret, „Rockport, Maine“ in: Photographies magazine, No.8, (5 b/w prints), Paris. Hans-Eberhard Hess, „Buddha is everywhere“ - [„Buddha ist überall“] - (Portfolio), in: PHOTO Technik International, No.3, pages 60-63 (8 colour prints), Munich. Christine Miller, „The art of photographing art“ - [„Von der Kunst, Kunst zu fotografieren“] - (Portfolio), in: fotoMAGAZIN, No.2, pages 40-45 (5 b/w prints), Munich. „Highlight Special“, publication about the „1st International photo congress

1993 Hans-Eberhard Hess, „Homages and Metamorphoses“ - [„Hommagen und Metamorphosen“] - (Portfolio), in: PHOTO Technik International, No.4, pages 26-33 (8 color prints and cover), German and English issues, Munich. Eberhard Grames, „Behind my Sunglasses“, in: Catalogue 2nd International Photo Exhibition in Herten 1993, pages 92-95 (3 color prints), Herten. Cover PROFIFOTO, No.1, 1994, Düsseldorf: Homage to Goya

in Herten“, (38 prints in b/w) including the „Mega-Group-Folder“, (10 prints in b/w), Leverkusen. 1992 Salzgitter Picture Portrait, 260 pages (378 b/w and color prints), Salzgitter. Andreas Baier, „Gastkommentar“ – in: PROFIFOTO, No.1, Jan/Feb ‚92, page 15 (copy), Düsseldorf.

„Romeo and Juliet“ - [„Romeo und Julia“] – in: Der Feinschmecker/“Reference“ section, No.7, pages 103-131 (1 color print), Hamburg. German Photo Exhibition Catalogue, „Contemporary German Fashion Photography“ - [„Zeitgenössische Deutsche Modefotografie“] – page 41 (1 color print), Frankfurt. Bernd Mellmann, „2nd International Photo Exhibition in Herten 1993“ [„2. Internationale Fototage Herten ‚93“] - (Portfolio), in: PHOTOGRA-

„Homage to homages“ [„Hommage an die Hommage“] in: Süddeutsche Zeitung Magazin (supplement), No.3, pages 30-37 (10 color prints), Author: Jörg-Uwe Albig, Munich, 1994.

PHIE, No.12, pages 52-53, Schaffhausen. Freddy Langer, „Cult - Barbie - Cult“ - [„Kult - Barbie - Kult“] - (participation), in: Max, No.12, page 127, Hamburg. „Have you ever tried to melt chocolate coated Marshmallows in the microwave? [„Haben Sie eigentlich schon einmal versucht, Negerküsse in der

Mikrowelle zum Schmelzen zu bringen?“] - (Portfolio with accompanying texts), in: HQ - HighQuality, No.25, pages 48-52 (5 color prints), German and English issues, Heidelberg. „Behind my Sunglasses“, in: Nikon News, No.2, pages 30-31 (4 color prints), Küsnacht. T. Mahlow, „In search of the essenti-

al - selected works by Wiesbaden photographer Andreas Baier“ - [„Auf der Suche nach dem Wesentlichen - ausgewählte Arbeiten des Wiesbadener Fotografen Andreas Baier“] - in: Der Wiesbadener, No.6/93, pages 71-77 (8 b/w and 4 color prints), Wiesbaden. Contribution to the stage setting „Code word Lonely Heart“ - [„Kennwort einsames Herz“] - Musical by Rainer Bielfeldt, Edith Jeske and Christine Vogeley, Director: Anselm Lipgens; Schauspielhaus Bautzen. 1994 „Behind my Sunglasses“ (Portfolio and interview), in: PROFIFOTO, No.1, Jan./Feb., pages 34-40 (7 color prints and cover), Düsseldorf. „The New Wild Ones“ - [„Die Neuen Wilden“] - in: fotoMAGAZIN, No.3, pages 24-27 (3 color prints and cover), Munich. Jörg Uwe Albig, „Homage to homages“ - [„Hommage an die Hommage“] - in: Süddeutsche Zeitung Magazin, No.3, pages 30-37 (10 color

prints), Munich. „Kunst, Design & Barbie“ in: PROFIFOTO, No.2, March/Apr. ‚94, page 12 (1 color print), Düsseldorf. „Barbie - Artists and designers create for and around Barbie“ - [„Barbie – Künstler und Designer gestalten für und um Barbie“] - in the catalogue for the exhibition of the same name in the IDZ/ Martin Gropius Building in Berlin, pages 68, 105-151 (3 color prints), Rowohlt Publishing, Reinbeck near Hamburg. Marje Alleman, „The standard may improve ...“ - [„de standaard mag steigeren ...“] - in: BLAD, pages 1213 (1 colour print), Amstelveen. „The Fruit Cure“ - [„Die Frücheheilung“] - cover: PHOTOPRESSE, No.37, Hann.-Münden. Catalogue „PICTURE SCENES Pictures around photokina“ - [„BILDERSZENE - Bilder um die photokina“] - pages 10-11 (2 colour prints), Cologne.

Zhang Yao, „Andreas Baier“, in: Photog., No.253/1994, pages 8-16 (10 color prints and cover), Hong Kong. Hans-Jürgen Kruppa, „Creative flash“, part1 - [„Kreatives Blitzen“, Teil 1] in: fotoMAGAZIN, No.12/94, pages 90-95 (10 color prints), Munich.

Cover photog, No.253/1994, Hong Kong: Shot to Fashion

Dan Foulkes, „Light Entertainment - Andreas Baier uses a lighting technique as old as photography itself to produce his extraordinary images“ in: HOTSHOE INTERNATIONAL, No.72, pages 42-43 (5 color prints), London. Gösta Flemming, „Expo Cologne 1994“ - [„Expo Köln 1994“] - in: fotografisk, No.5/94, page 22 (1 color print), Stockholm.

1995 Andreas Baier, „From Mice and Lobsters, Photographers and Parties“ - [„Von Mäusen und Lobstern, Fotografen und Parties“] - in: Photog., No.254/1995, pages 8-16 (10 color prints and cover), Hong Kong. Feature by Andreas Baier, „25 Jahre PROFIFOTO“, in: PROFIFOTO No.1, Jan./Feb. ‚95, page 43 (Poem „Hall Of Fame“ and digital imaging), Düsseldorf. Hans-Jürgen Kruppa/Andreas Baier, „Creative flash“, part 2 - [„Kreatives Blitzen“, Teil 2] - in: fotoMAGAZIN, No.1/95, pages 88-91 (6 color prints), Munich. Hans-Jürgen Kruppa, „Creative flash“, part 3 - [„Kreatives Blitzen“,

people Magazine, No.34, pages 122-129, (5 color prints and 9 portraits by the author Zhang Yao), INTERCULTURE Publishing Inc., 1995, Taiwan.

Teil 3] - in: fotoMAGAZIN, No.2/95, pages 88-91 (7 color prints), Munich.

PROFIFOTO, No.4, July/August, page 12 (1 color print), Düsseldorf.

Claudia Jaekel, „Andreas Baier - Painter with a camera/Career in a flash“ [„Andreas Baier - Maler mit Kamera/ Blitzkarriere“] - in: „Topics of today“ - [„Themen der Zeit“] - Sparkassen Magazin, No.1/95, 20th Year, pages 16-17 (1 color print), Munich.

Michael Nischke, „Studio Fotoschule“ (Book), page 188 (1 color print), Verlag PHOTOGRAPHIE, Schaffhausen.

Report about „AWI-Convention“ in:

Manfred Butler, „Andreas Baier“, in: ZOOM, July/August 1995, pages 2225 (5 color prints), Milan.

„flashlight paintings“ (Portfolio and Text), in: PROFIFOTO, No.3, May/June, pages 24-29 (3 color prints), 1998, Düsseldorf.

Heiner Henninges, „Andreas Baier: Stone Age - Landscapes with weltschmerz“ - [„Andreas Baier: Steinzeit -Landschaftsbilder mit Weltschmerz“] - in: schwarzweiss 6, July 1995, page 49 (8 b/w prints), Umschau Breidenstein Publishers, Frankfurt. Heiner Henninges, „Andreas Baier“ in: Leica Fotografie International, No.4/95, pages 93-94 (4 color prints), Umschau Publishers Breidenstein, Frankfurt. Claudia Jaekel, „Bright and colorful Andreas Baier‘s expressive Light Paintings“ - [„Schrill und bunt - Andreas Baier‘s expressive Light Paintings“] in: W&V (Artwork), No.34/95, pa-ges 139-142 (7color prints and cover), Europa-Fachpresse Publishers, Munich.

Feature by Andreas Baier „Vision October ‚96“ in: W&V (Artwork), No.50/95, page 106 (2 colour prints and poem „Golden Autum“ - [Oh güldner Herbst! ]), Europa-Fachpresse Publishers, Munich. Nessie in Bavaria - [Nessi in Garmisch-Partenkirchen] (Interview) in: HAI-lights, No.12, November 1995, page 10 (1 color print and cover), Wiesbaden. Andreas Baier „Fantastic Flashing – Practical Workshop, Part 1, Step by step» – [„Fantastisches Blitzlichtgewitter – praxisbezogener Workshop, Teil 1, Schritt für Schritt“] - in: „PHOTO ASIA“, 1995 – Oktober 1995 – Volume 5, No. 10, pages 38 43 (10 colour prints), VFPR & Media

„Nighthound“ in: Catalogue Sotheby‘s, „Art, Design & Barbie“, lot 37, (1 color print), 1995, London and Düsseldorf.

Consultants Pte Ltd., Singapore. Learjet – [Learjet] (Feature) in: Graphis Alternative Photography 95, Annual, page 194 (1 colour print), Graphis US. Inc., New York City + Graphis Press Corp., Zürich. Andreas Baier „Fantastic Flashing – Practical Workshop, Part 2, Step by step» – [„Fantastisches Blitzlichtgewitter – praxisbezogener Work-

shop, Teil 2, Schritt für Schritt“] - in: „PHOTO ASIA“, November 1995 – Volume 5, No. 11, pages 38 - 41 (7 colour prints), VFPR & Media Consultants Pte Ltd., Singapore. Zhang Yao, „Andreas Baier“, in: people Magazine, No.34, pages 122-129 (5 color prints and 9 portraits by the author), INTERCULTURE Publishing Inc., Taiwan.

1996 Eva-Maria Schulz, „One-Man-LightShow“ – [Die Ein-Mann-Licht-Show] in: Nikon-Pro, Spring 1996, pages 47-50 (5 color prints), Düsseldorf and London. Pia Lanzinger, „The Multitalent“ – [Das Multitalent] in: Color Foto, 9/96, pages 78-91 (3 prints in b/w and 5 portraits by the author), Munich. 1997 Hans-Eberhard Hess, „Dinner for one“ (Portfolio), in: PHOTO Technik International, No. #?, pages 68-73 (6 prints), German and English issues, Munich. Peter Funken, „Partie 5 – eine Kunstausstellung in Drewen“, in: Catalogue „Partie 5. Brandenburgische Kunsttage 1997“, page 13 + 17 (2 prints in b/w), Drewen bei Kyritz. David Daye, „Special Effects Photography“ (Book), pages 2-3 and 86-87 (2 color prints), Rotovision Publishers, Pro-Photo-Series, Hove.

1998 Essay: „Andreas Baier on Paparazzi“, in: PROFI FOTO, No.2, pages 54-58 (5 color prints and Text), Düsseldorf. Wolfgang Heinen, „Flashman“ in: CLIP, No.8, pages 4-7 (6 color prints and cover), Leverkusen. Commercial „Why aren‘t you still alive?“ in: W&V, „Die weltweit besten Werbespots“ – [Best commercials worldwide], No.19/98, page 151 (4 color prints), Europa-Fachpresse Publishers, Munich. Commercial „Why aren‘t you still alive?“ in: HORIZONT, No. 20/98, Gallery, (4 color prints), HorizontVerlag, Frankfurt. „flashlight paintings“ (Portfolio and Text), in: PROFI FOTO, No.3, May/ June, pages 24-29 (3 color prints), Düsseldorf. Claudia Jaekel, „Spot Lighted Brands“ – [Marken im Licht] in: W&V (Artwork), No.37/98, pages 200-201 (3 color prints and cover), Europa-Fachpresse Publishers, Munich.

Antje Domann, „The Meyer-BaierProject“ – [Das Meyer-Baier Projekt] in: Page, No.10/98, page 10 (10 color prints), Hamburg. 1999 „max“-Jubiläumsheft“ (Review) in: MAX, No.5/99, page 93 (1 color print), Milchstrassenverlag, Hamburg. Commerzbank IPO-broshure „DAS WERK AG“, July, the 30th of 1999, (1 color print on cover), Frankfurt:

Eva-Maria Mann, „Phantasy creats beautiful pictures“, [Phantasie erzeugt erst schöne Bilder in]: Börse-Online, No.33, page 28 (1 color print), Munich. Book production „Spuren der Fantasie“ – [Marks of Imagination] published by PRO FUTURA (Bertelsmann) in cooperation with World Wildlife Found (WWF), (1 colour print on Cover + 1 spread sheet), Gütersloh.

*** 2000 to present No more exhibiting and publishing activities by principle reason.




Exposition avec des photos de Jeanloup Sieff pendant les


«Rencontres Internationales de la Photographie» à Arles».




TIFFANY‘S. (private collection)


EXHIBITIONS (SELECTION) 1986 „Kur in St. Peter-Ording“, photokina ‚86 (Bilderschauen), Köln. 1990 „Buddha ist überall“, Image Hongkong ‚90, Hong Kong. 1991 „Ein Tag in Oggersheim“ (S), 1. Internationale Fototage Herten ‚91, Herten. 1993 „Behind My Sunglasses“ (S), 2. Internationale Fototage Herten ‚93, Herten. „Zeitgenössische Deutsche Modephotographie“, Deutsche Fototage ‚93, Frank-furt. 1994 „Künstler und Designer gestalten für und um Barbie“. IDZ, Martin-Gropius-Bau, Berlin, Hamburg und München.

Cover „Der Wiesbadener“, 1993, Wiesbaden: Homage to Michelangelo

„Borderlines“, Neuer Berliner Kunstverein (NBK), Berlin. „PERSÖNLICH“ – Aus der Kunstsammlung von Alexander Baier und Gabriele Baier-Jagodzinski, Museum Schloß Salder, Salzgitter-Salder. „Behind My Sunglasses“ (S), AGFAFörderprogramm Fotografie, photokina ‚94, Köln. „Barbie – Nymphe und Biest (Ku-

rator Freddy Langer), Foto Forum Frankfurt, Frankfurt. 1995 „Art, Design and Barbie: The evolution of a Cultural Icon“, Liberty Street Gallery, World Financial Center (WTC), New York. 1996 „Art, Design and Barbie: The evolution of a Cultural Icon“, Cranbrook Art Museum, Bloomfield Hills, Michigan.

Cover „HAIlights“, No.10/1995, Wiesbaden: Homage to Edgar Allan Poe

rator Freddy Langer), „Bilderszene“, photokina ‚94, Köln. „Inszenierte Photographie – Blitzlichtmalerei 1991 – 1994“ (S), Kunstverein Wolfenbüttel e.V., Wolfenbüttel. „Inszenierte Photographie – Blitzlichtmalerei 1990 – 1994“ (S), 1994 Kunsthalle Darmstadt, Darmstadt. „Barbie – Nymphe und Biest“ (Ku-

„Art, Design and Barbie: The evolution of a Cultural Icon“, Montreal Museum of Decorative Arts, Montreal. „Art, Design and Barbie: The evolution of a Cultural Icon“, Hollywood Wax Museum, Hollywood, Los Angeles, California. 1997 „Partie 5“, Brandenburgische Kunsttage 1997“ (Kurator Winfried Muthesius), Drewen bei Kyritz. „Art, Design and Barbie: The evolution of a Cultural Icon“, BOCA Museum of Art, Boca Raton, Florida.

SCREENINGS (SELECTION) Mr. Sandman‘s Finest Funerals (fictional commercial) 1996 MTV EUROPE (Commercial breaks) 43th International Adverstising Festival Cannes Featured in FRONTAL on CHANNEL 4 (UK): „Things to do, when you‘re dead“ (Pilot)

Two of four print ads for «Mr. Sandman‘s Finest Funerals».

1996 Commercial «Mr. Sandman‘s Finest Funerals» on You Tube: CLICK ».... 1997 Public Awareness «On The Motorway» on You Tube: CLICK ».... 1998 Public Awareness «Why aren‘t you still alive?» on You Tube: CLICK »....


On the motorway (Road safety) 1997 MTV EUROPE (Commercial breaks) VIVA and VIVA2 (Commercial breaks) 44 th International Advertising Festival Cannes. 1998 Featured on LWT (UK): TARRANT ON TV

Why aren‘t you still alive? (Road safety) 1998 VIVA and VIVA2 (Commercial breaks) 45th International Advertising Festival Cannes.

MUSIC PROJECT HANS PAETSCH – DER MÄRCHENPRINZ Hans Paetsch was the legendary fairy tale teller of not only my own youth but of a whole generation‘s childhood. In Germany his voice was as famous as the Paddington Bear which might be seen as a perfect cultural reference.

Over a period of six years Andreas worked with him and several highly respected music producers on his album «Hans Paetsch – Der Märchenprinz».

He wrote the lyrics, convinced Hans Paetsch to participate, picked the producers, developed the marketing concept and made the record deal with BMG Classics.

The ZDF created two gorgeously loo-

The release was on November 2002.

king and sounding Christmas-trailers promoting the CD and the national press was filled with euphoric reviews.

It only took four weeks to reach breakeven point. Happy faces all over the place. End of project after ten years.

Awards for Hans Paetsch Website (selection) 2004 Annual Multimedia 2004 Gold ADC Award; Germany Merit ADC Award; New York Distinctive Merit 51st International Advertising Festival Cannes Shortlist Red Dot Design Award Red Dot London International Advertising Award Finalist iF communication design award Gold

Hans Paetsch – Der Märchenprinz

New York Festivals Interactive Finalist Hans Paetsch - Schneeweisschen und Rosenrot

2005 Cresta Awards Finalist

ZDF-Trailer: Wir knacken die Nuss_1 ZDF-Trailer: Wir knacken die Nuss_2

2006 Designpreis der Bundesrepublik Deutschland Nominee


Kubach-Wilmsen-Team‘s «Stone Newspaper» (marble) in


front of «Museum Schloß Salder» in Salzgitter-Salder.


Klaus Honnef The floor suddenly begins to move under our feet. Looking at the large Flashlight Paintings by Andreas Baier for a while, makes you go into a tailspin. Dizziness grips the viewer as the contours of the world begin to crumble as if in an earthquake, but in slow motion. Seams of seemingly solid cemented forms are tossed around helter-skelter, colours run together, a flimmering whirlwind meets you head-on.

The same thing happens when you get to close to impressionist paintings. And yet: These pictures are photographic paintings, based on solid photographic skills and are devoid of any laboratory tricks that might possibly serve as a crutch for their being. There’s not a doubt: These are pictures of a special kind.

Several allusions in the legends to the pictures serve as a signpost to art, whether contemporary art or art of earlier epochs. Its characteristic structure with the strange breaks and jumps, the dancing objects, the juxtaposition of light and shade, the frequently unreal colour spots and the smears as though shot from a foto-veristic painter’s spray-gun, are reminiscent of important artistic models, that became famous under “Noms de guerre“ labels - impressionism, cubism, tachism. At the same time, the construction of most of Andreas Baier’s pictures appears to be almost classic, grounded in centrally gridded horizontals and verticals, which are frequently personified by female and male models. But, if the impressive photographic paintings have a message to convey, then it is this: “You

can’t believe what you see.“

Ever since the artist adopted photographic as a self-understood artistic means of expression, it has been a field for experimentation for him as well. Granted that this is often the result of a series of practical and at times not calculated experiments rather than methods of exact scientific research, however, since *Fox Talbot’s positive / negative theory which generally won recognition and still counts for much in the collective consciousness, even if only for a short time -, that a photographic shot represents faithfully, so to speak, a visible section in time and therefore portrays veritable the image that was in front of the camera at the moment of exposure.

To undermine this demand for authenticity that photography claims - which coincides with the postulate of art claiming autonomy - and to shatter its reliability is the special intent of artistic strategy of recent times. And not without reason: Political propaganda and commercial advertising have long discredited photography’s veracity. By means of photography it is possible to still prove anything, even the most unlikely thing. And in relation to the extremely suggestive power of the photographic paintings, suspicion is more than justifiable. Andreas Baier uses skills that were popular during the analogue and completely manually oriented stage of photography, otherwise he moves within the borders of “straight photography“.

How is this possible when it is a contradiction to what the naked eye sees? For this reason it is important to make clear first of all what the pictures are not. It is indeed the case: Baier’s striking incidental scene descriptions (tableaux) are neither photo montages nor have anything to do with simulated pictorial worlds of virtual reality coming from the computer lab. They are neither the result of complicated double exposures nor have they been produced of the Sandwich technique. Despite their truly baffling effect - the artist’s photographic instruments consist of the camera, the tripod, filmstrips, the portable flash, various



colour filters and his own body. Th principle is quickly explained by Baier: “I use a series of high-energy light sources and mix their colours, like a painter mixes his colours on the palette“, he says.

His photographic paintings can be best described as “staged photographs“, even though the term is not adequate for bringing to mind an artificial world in place of an empirical one. Then add the most important ingredient, the element of spatial time. What looks like a montage of diversified elements which the expert mechanic carefully welds without seams and then photographs again to achieve a homogenous surface, is actually situation with human actors and their requisites, especially designed for the camera, and by means of the photographic image is certified aesthetically plausible.

In view of the paradox interrelationship, an appropriate term reveals itself, to be sure - in the flickering picture structure - not only as the essential tool of the pictorial setting - the rest of the stage setting happens just before the shutter clicks, - but these characteristic structures manifest the picture’s dominate theme concurrently: “They arrest fleeting time in leaps and bounds. Without a doubt the most astonishing thing about Andreas Baier’s pictures is that: They make time visible.”

After the artist arranges his model and props indoors in front of the camera like a director arranging his idea for a stage setting, he darkens the scene completely. Total darkness is necessary. In this darkness he moves with an open lens like a dancer towards the spotlight, and exposes the scene on the film negative with many precisely directed flashes, and by means of different coloured filters over his light source. He colours, so to say, the surface of the photographic paintings with spots of light, somewhat like the pointillist does when covering the canvas of his impressionist painting with dots of colour. The flickering spots of light virtually tarrest the progression of time, and also create the decisive parts of the entire pictorial setting. This is the reason why viewers often initially get a

wrong impression about what the origins of the pictures are. Even though on the one hand, the central theme of the „Flashlight Paintings“ is the visual reflection of time, on the other hand, it is also the decisive formal means of the pictorial expression. Beyond this, the artist succeeds in rendering visible the psychological dimension of time. If the pictures are read as texts - in his youth Andreas Baier made traditional paintings and graphics his own in this way - it becomes evident, that time passes in jumps, that is. discontinuously and not in regular progression, so that something of the element of deconstruction of time occurs in these pictures.

If the etiquette didn’t already belong to the taste of old Franconian wine one could label Andreas Baier’s „Lightpaintings“ PAR EXCELLENCE. He „paints“ more or less with light. He is an artist, but also a professional photographer of rank as well. Illustrations of his pictures appear in important magazines. His name in connection with his portraits has drawn attention. He approaches people who he makes portraits of in the same way as he carries out his „Flashlight Paintings“ - according to an exact plane that he works out beforehand. He gets to know them first, he visits them in their familiar surroundings, he studies them, and now and then, the large formatted coloured Light-Paintings reveal themselves as intelligent variants to classic portrait photography.

Andreas Baier surrounds his subjects with props that have a specific meaning to them. They lend the category „portrait“ a narrative character-context, in that they give information about the liking, longings, preferences and peculiarities about the person he portrays.

At times contemporary art itself is the main motive of his photographic work - sometimes hovering beneath the surface, at other times the dominant theme. These range from Homage to Goya of his Flashlight Paintings, to the series of dedications to artists ranging from Robert Mapplethorpe, Marcel Duchamp to Joseph Beuys - the latter, as a triplex bearing the ironical title Crisp bread in the



morning after 48 hours. A touch of satire drifts through his photographic pictures, by no means a typical German trait for the artist who likes to spend time in the rough landscape of Scotland, but a trait which testifies to stubbornness and brilliance of style. He says, “art is necessary, but it is not religion, so why should I forego humour in my work?“

This is the reason why viewers often initially get a wrong impression about what the origins of the pictures are. Even though on the one hand, the central theme of the Flashlight Paintings is the visual reflection of time, on the other hand, it is also the decisive formal means of the pictorial expression. Beyond this, the artist succeeds in rendering visible the psychological dimension of time. If the pictures are read as texts - in his youth Andreas Baier made traditional paintings and graphics his own in this way - it becomes evident, that time passes in jumps, that is, discontinuously and not in regular progression, so that something of the element of deconstruction of time occurs in these pictures.

Andreas Baier is an unusual artist in every sense - creative and inventive, while purposely moving within the arena of great art of the western world. In doing so, he allows photography to serve him in the same way as the painter the palette and paint brush and the graphic artist pencils - photography is indeed one among many artistic techniques, the craft, technical (and electronic), a technique, however, that Baier has a great preference for creating his works of art.

* William Henry Fox Talbot (1800-1877) British inventor; pioneer in instantaneous photography





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Profile for Andreas Baier

Andreas Baier Curriculum Vitae  

Andreas Baier's curriculum vitae dealing preferably with his analogue flashlight paintings as well as with his early work as a photographer...

Andreas Baier Curriculum Vitae  

Andreas Baier's curriculum vitae dealing preferably with his analogue flashlight paintings as well as with his early work as a photographer...