Detlef Orlopp (*1937) began his apprenticeship as a photographer in 1955, and today, some seventy years later, he can look back on an impressive oeuvre. Until 1973, Detlef Orlopp held a professorship at the Werkkunstschule in Krefeld. In 2015, the Folkwang Museum in Essen acquired a significant part of his estate. Fully committed to analog black-and-white photography, the artist “paints” with light, structure, line and shading in the thematic field of landscapes and portraits. He selects for example sections of the earth’s surface and conceals their representational origin, and reduces their expansiveness to the perspectival depth of the picture surface. The absence of any comparative scale leads to a pictorial reorganization that, in its degree of abstraction, results in a formal autonomy. Detlef Orlopp’s landscape excerpts are timeless and spaceless abstractions that have been transformed into structural pictorial elements. As such, the artist positions himself in twentieth-century modernism. The tachism of Wols, the “all-over” structure of Jackson Pollock’s drippings, and the gestural style of Hans Hartung, as seen at Documenta 2, for instance, were to define the linear structure of his photographic images, frequently resembling brushstrokes. Works from this recent series of glaciers will be exhibited for the first time at the Kunstverein Heilbronn. The exhibition title is taken from a poem by André du Bouchet. From: Dans la chaleur vacante, Le Glacier, Suhrkamp Verlag, 1989 A catalogue will be published. Ed. by Kunstverein Heilbronn, with a text (german., engl.) by Daniel Kothenschulte, 24 x 32 cm, softcover, 48 pages, 31 illustrations, Snoeck Verlagsgesellschaft, 29,80 Euro (24 Euro for members of the Kunstverein Heilbronn)