Bio­gra­phy

Cur­rently living in Leip­zig, artist Loreen Hinz (born 1983) has esta­blis­hed her­self as a fix­ture in inter­na­tio­nal Fashion & Beauty Pho­to­gra­phy. Her work can be found in nume­rous pho­to­blogs and on the web­sites of renow­ned labels. In balan­ced, pho­to­gra­phic com­po­si­ti­ons, strong con­trasts of light and color often emerge, as well as an expe­ri­men­tal moment in the form of motion blur, which occurs while cap­tu­ring an image with the camera. Only occa­sio­nally does Hinz carry out post-processing. The results are images of grace­ful female beau­ties inte­gra­ted into a mys­te­rious, dif­fu­sed environ­ment that lacks pro­per spa­tial defi­ni­tion. In con­junc­tion with blur­red con­tours, there ari­ses sen­sa­tion of dema­te­ria­liza­tion and trans­cen­dence.
On this basis, Hinz attri­bu­tes her fashion and por­trait pho­to­gra­phy to what she con­siders gene­tic raw mate­ri­als, clas­si­cal por­trait pain­ting from the 16th to the 19th cen­tu­ries. Refe­ren­ces to Old Mas­ters such as Titian, Cara­vag­gio, or Ing­res are inten­tio­nally cal­cu­la­ted, yet she avo­ids rep­li­ca­ting par­ti­cu­lar pain­tings by these artists. Instead, she cap­tures and sta­ges deli­cate color pala­tes, poses, attri­bu­tes, and blur­ri­ness only as a dis­tant sty­listic ideal wit­hout ever directly repea­ting them. In this man­ner, for­mal auto­nomy is pro­tec­ted, des­pite sty­listic pro­xi­mity to the arche­type. In con­nec­tion with her technically-perfect imple­men­ta­tion, this body of work has deve­l­o­ped an out­stan­ding visual effect and has achie­ved museum qua­lity.
Loreen Hinz’s per­so­nal style is not only tan­gi­ble through her elaborately-staged stu­dio ses­si­ons but also in her spon­ta­neous nude pho­to­gra­phy. Authen­tic images of a young couple making love, in the work “In Vivo,” mana­ges to create a dis­tance bet­ween the par­ti­ci­pants and the viewer by means of dif­fu­sed motion blur, which also allows the couple to recede from an all too voy­eu­ristic view. At the same time, this blur­ri­ness reflects the redu­ced per­cep­tion of the actors during love­making and relea­ses the act of love­making to an unrea­listic sphere. Added to this is the depiction’s well-thought-out com­po­si­tion that has also com­ple­tely achie­ved artistic merit. Ano­ther series “Lepi­d­op­tera” is dedi­ca­ted to the bal­let, and Loreen Hinz has suc­cee­ded in giving aes­the­tic charge to the theme through move­ment and dyna­mism found in the layout’s for­mal expres­sion. Since con­tri­bu­ting pho­to­graphs from her series “InVivo” to the Ger­man web­site art—Das Kunst­ma­ga­zin and hol­ding an exhi­bi­tion of select works withVogue Italy in Milan, Loreen Hinz has been reco­gnized as a high-caliber pho­to­gra­pher. Her sen­si­tive tre­at­ment of expe­ri­men­tal tech­ni­ques and portraiture-oriented design prin­ci­ples have ele­va­ted her images to the sta­tus of con­vey­ing supe­rior, sen­sual experiences.

Cur­ri­cu­lum Vitae
1983 born in Groß­röhrs­dorf, Baut­zen district, Saxony
2005–2007 Stu­dies of busi­ness manage­ment, Staat­li­che Stu­di­en­aka­de­mie Brei­ten­brunn; diploma
2009–2012 Stu­dies of com­mu­ni­ca­tion design and expe­ri­men­tal pho­to­gra­phy, Fach­hoch­schule Wis­mar; diploma
2012 Free­lance pho­to­gra­pher and artist
Loreen Hinz lives and works in Leipzig
Exhi­bi­ti­ons (S = Solo show, G = Group exhibition)
2017 “Sta­ging of the Female Body” (G), Ingo Seu­fert — Gal­lery for Con­tem­porary Pho­to­gra­phy, Munich, Germany
“Sony World Pho­to­gra­phy Awards” (G), Somer­set House, Lon­don, UK
“untag­gable” (G) and talk with Audi Ita­lia and Vogue Ita­lia, Palazzo Morando, Milan, Italy
“Der Akt” (G), Gale­rie Irr­gang, Leip­zig, Germany
2016 “win­ter­collec­tive III” (G), Gale­rie Irr­gang, Leip­zig, Germany
“Beyond Beauty” (E), Ingo Seu­fert — Gal­lery for Con­tem­porary Pho­to­gra­phy, VIO­life, Luxembourg
“Pho­to­vogue Fes­ti­val” (G), with Vogue Ita­lia, BASE, Milan, Italy
“Melting Point” (G), Gale­rie Irr­gang, Leip­zig, Germany
CAB — Con­tem­porary Art Baden-Baden“ (G), Gale­rie Irr­gang, Baden-Baden, Germany
2015 “Kunst­tüte” (G), Zone B, Ber­lin, Germany
“White Cube” (G), Art­ville via Dock­ville, Ham­burg, Germany
“45 Frames of Pho­to­vogue” (G), with Vogue Ita­lia, Leica Gal­lery, Milan, Italy
(G) with Elec­tric Art­cube in Tay­lor Wes­sing House, Munich, Germany
“Month of Pho­to­gra­phy Den­ver” (G), 3 shows, Den­ver, Colo­rado, USA
2014 “Scree­nings” (G), GoSee­Award , Ber­lin, Paris, New York
“Loreen Hinz” (S), Tabori, Leip­zig, Germany
“Lon­don Life” (G), L A Noble Gal­lery, Lon­don, UK
“The Second’s Daze” (S), Ingo Seu­fert — Gal­lery for Con­tem­porary Pho­to­gra­phy, Munich, Germany
“Clu­pea” (S), Gal­lery Erd­mann Con­tem­porary, Aar­gau, Switzerland
“A Pro­cess” (G), with “Der Greif” maga­zine, New Gal­lery in Höh­mann­haus, Augs­burg, Germany
2013 “Intro 15” (G), Ingo Seu­fert Gal­lery for Con­tem­porary Pho­to­gra­phy, Munich, Germany
“The rea­lism of Loretta Ha” (S), Pro­jek­tor Hamburg
“A glim­pse at Pho­to­vogue” (G), with Vogue Ita­lia, Gal­le­ria Carla Soz­zani, Milan
2012 “Stran­gers” (S), Pro­jek­tor Hamburg
2010–2011 “Neue Sub­jek­ti­vi­tät” (G), with Knut Wolf­gang Maron and stu­dents, Baum­haus Wismar
Biblio­gra­phy – Selection
2016 “Akt Now: Loreen Hinz”, art-magazin.de (3/23/2016)
“‘The Rea­lism of Elisa K’ – A Series of Works by Loreen Hinz”, FineArtSeen.com (3/7/2016)
“Niep­ce­book #01. Pho­to­gra­phies Con­tem­poraine”. Cor­ri­dor Ele­phant, Paris 2016, pp. 91–93
2015 “Fashion Pho­to­graph­ers”, in: Brand Maga­zin (2015) pp. 94–95
2014 Chris­tine: “Exclu­sive: Anouschka by Loreen Hinz”, c-heads.com (2/7/2014)
“Loreen Hinz”, stamspy.com (2/4/2014)
2013 Just­Pi­rez! Maga­zine, facebook.com (5/4/2013)
“Loreen Hinz – End­less Sum­mer: Fleurs du Mal”, in: Creem Maga­zine, Issue 08 (8/2013) pp. 10–13, see also creemmag.tumblr.com (8/2013)
“Pho­to­graphs by Loreen Hinz”, vogue.it (6/22/2013)
“Inter­view with pho­to­gra­pher Loreen Hinz”, silksofine-blog.com (6/18/2013)
“Loreen Hinz”, in: Creem Maga­zine, Issue 07 (4/2013) pp. 60–61
“Hom­mage to Spring and Death”, in: Coco Maga­zine, Issue 014 (2013) pp. 40–47, see also
issuu.com/cocomagazine/ (3/2013)
“Loreen Hinz”, in: Deve­l­o­ped Maga­zine, Issue Num­ber One (2013)
“Loving J”, papercut.mag (2/25/2013)
2012 “Akt Now: Loreen Hinz”, art-magazin.de (12/21/2012)
“‘I dream in Win­ter, Sum­mer­dreams’ by Loreen Hinz”, c-heads.com (11/8/2012)
“Alina by Loreen Hinz for C-Heads Sum­mer Issue #29”, c-heads.com (10/1/2012)
Emmi-Liia Sjöholm: “Uudet kuva ja kujeet”, cosmopolitan.fi (7/10/2012)
“Heads in clouds”, positive-magazine.com (6/28/2012)
“Glo­ria”, thepetfanclub.blogspot.no (6/5/2012)
“Glo­ria by Loreen Hinz”, c-heads.com (5/8/2012)
2012–2013 Blog von Loreen Hinz: “Faces”, elle.de (4/2012–05/2013), see also ELLE 7 (2012)
2012 “Ana­log Film Love by Loreen Hinz”, c-heads.com (3/25/2012)
Posts Tag­ged ‘Loreen Hinz’, smagazine.com (1/26/2012, 2/28/2012)
„Loreen Hinz, Ger­many“, photovogue.artandcommerce.com (2012)
2011 “Inter­view mit Aus­nah­me­ta­lent Loreen Hinz”, pregolifestyle.de (12/29/2011)
Chris­tine Gug­gen­ber­ger: „Loreen Hinz“, c-heads.com (12/13/2011)
Marit Beer: “Im Gespräch mit Loreen Hinz”, kwerfeldein.de (11/7/2011)

Loreen Hinz

Loreen Hinz

In the early days of pho­to­gra­phy, we saw this medium as an abso­lu­tely rea­listic rep­re­sen­ta­tion of nature. We trus­ted it more than our own eyes, because it reflec­ted details that – in a mere exami­na­tion of nature – could escape the human eye. Howe­ver, I use the pho­to­graph to build rea­li­ties, to fool the human eye, and to amaze the obser­ver. Through a skill­ful app­li­ca­tion of light, time, and small objects in front of the camera’s lens, I create min­ced light, smea­red moments and con­tai­ned move­ments that have a strong affi­nity to clas­si­cal pain­ting. In other respects, I agree with Max Ernst: ‘Please, gent­le­men. Art has not­hing to do with taste. Art is not there to be ‘tas­ted’.“ (Loreen Hinz)