© Robert Komarek

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(…) For a long time he had learned to understand the feminine beauty as a constant and treacherous source of monstrous disasters. He had tried to guard. But in vain. The black, cool metal of his camera was magnetic to young goddesses; just these delicious, fragrant, sweet creatures who never got enough: thus insuring themselves by everlasting new photos of their divinity; Narcissism in blonde and black and very blonde – no matter. They all sensed how fabulously his finger on the trigger was actually magnifying their grace, and they all were mad on that distinguished rank of immortality, even if it was true that it would last only to the next corner. At the age of 17 or 18 even real beauties already had their fear of getting old secretly on their neck.

Tanner knew it, and he knew about his photographic eye, too, which even made explicitly ugly ones complacent, and he let himself in for all sorts of things.

In the end he wore the reputation of the last bohemian of his high school, and he did not know whether with pride or disgrace. His art threatened to grow on his head, and the number of entangled relationships had become legion. So he turned away from the subject of female beauty, even with a certain consistency, took the job at Reuter’s and devoted himself to more current topics. As he believed. (…)

from the novel “Da Capo” © Robert Komarek

(…) Seit langem schon hatte er die weibliche Schönheit als stete und heimtückische Quelle monströser Desaster begreifen gelernt. Hatte versucht sich zu hüten. Umsonst. Das schwarze, kühle Metall seiner Kamera wirkte auf junge Göttinnen magnetisch; eben diese köstlichen, duftenden, süßen Wesen, die niemals genug bekamen: sich so anhand immer neuer Photos ihrer Göttlichkeit versichern ließen; Narzissmus in Blond und Schwarz und Sehr Blond – egal. Sie alle witterten, wie fabelhaft sein Finger am Auslöser ihre Anmut geradezu potenzierte, und sie alle waren verrückt nach diesem erlesenen Rang von Unsterblichkeit, wenn er vielleicht auch nur bis zur nächsten Ecke galt. Mit 17 oder 18 saß selbst wirklichen Schönheiten bereits die Angst vorm Altwerden heimlich im Nacken.

Tanner wusste es, wusste auch um sein photographisches Auge, das sogar explizit Hässliche noch gefällig gemacht hätte und ließ sich auf allerlei ein.

Am Ende trug er den Ruf des Letzten Bohemien seines Gymnasiums, und er wusste nicht, ob mit Stolz oder voll Schande. Seine Kunst drohte ihm über den Kopf zu wachsen, und die Zahl verwickelter Beziehungen waren Legion geworden. So wendete er sich fortan ab vom Sujet weiblicher Schönheit, sogar mit einer gewissen Konsequenz, nahm die Stelle bei Reuter’s an und widmete sich aktuelleren Themen. Wie er glaubte. (…)

from the novel  “Da Capo” © Robert Komarek

Nikon F – Poros / Greece 1977

1956

Born in Vienna/Austria under the sign of Taurus

1970-1972

Famous Photographers School, Westport/Conn., U.S.A.

1974

Graduation

1977-78

Numerous works published by literary magazine FRISCHFLEISCH/Vienna

1978

Lectureship for Fine Arts and German Language

1999

Marriage at Pienza/Tuscany, Italy

2002

Move to Paltmuehl/Lower Austria

2008

Move to Grundlsee/Styria

2008 – 2018

Editor of www.bildstoerung.eu / website for art photography

2010

Move to Lower Saxony/Germany

2016

Move to Carinthia

THE WIEN MUSEUM hosted the Suedbahnhof-Photos (“We Wanted Workers …”) from 1973 into their archives

2017

In Interview with www.1x.com from Uppsala/Sweden:

https://1x.com/blog/permalink/8187

THE WIEN MUSEUM shows as a part of the encompassing exhibition Moving History some of the Suedbahnhof-Photos from Oct 5th 2017 to February 11th 2018

 

Exhibitions:

Vienna – Linz – Krems/D. – Kassel – Osnabrueck