Event series
PAPER CINEMA: On Photography & Moving Images of Wim Wenders

Let’s have a close look on the photographs by the German film director Wim Wenders who is known for his profound directing in various films, such as The Road Trilogy: Alice in the City (1974), The Wrong Move (1975), and Kings of the Road (1976), Paris, Texas (1984), Wing of Desires (1987) or his most recent work Perfect Days (2023).

Directing films is not his only vocation. Wim Wenders is also active as a writer and a photography artist. He has been constantly working on his photography exhibitions and writing books. Many might notice that to include a piece of photograph is more-or-less made mandatory for the films of Wim Wenders, be it colourless polaroids marking a journey across the continent, a photo of an old house losing its way back home, a faded photo of a vacant land for sale sign, a photobooth picture from Berlin’s underground station, or hazy lights flickering through leaf shadow capturing in black-and-white. All these photos are what signifies the core of each story, not to mention the presence of photographer characters or those with a camera in their hands. It is safe to say that the heart of Wim Wenders’ storytelling lies in nothing else but a `photograph´.

Photographs taken by Wim Wenders are not only to be admired through cinematic scenes. His photography exhibitions are occasionally held inside museums. Besides, he also compiled his own works and published them along with his writing on photography. His working on several media and embracing the limitlessness of his products has proven the correlations of the two storytelling principles: ´photograph´ and ´film´: a dialogue between the moving and the stagnant. With that in mind, ´photo´ is no longer bound by one single principle and is allowed to break free from its established label.

The works of Wim Wenders have long ignited the aspiring artists, readers and film lovers across the globe.

Join us for upcoming events on Wim Wenders and his works this August and September.