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Anton Corbijn was born in Strijen, Holland in 1955. His passion for rock and his desire to follow the local musical scene helped him to develop his interest for photography at a very young age. In 1979 he moves to London in the middle of the post-punk fervor and he starts to collaborate with the prestigious British music magazine NME. After a few years he had already portrayed some of the most important and charismatic personalities of the rock and new wave scene. He soon enlarged the gallery of his subjects to cinema, literature and then also to fashion, sport and the art world.

Corbijn has been a witness, for the past thirty years of border culture that moves between music and image. His most popular subjects are icons of the star system that he portrays using a language that appears bare and minimal, through a style that as Bono said, allowed him to photograph “the music more than the musician”, and that brought him, during the ‘80s and the ‘90s, to collaborate with the most famous magazines (Vogue, Rolling Stone, Stern, Max, Glamour, Elle…) and to become the creator of artistic projects that go further than photography. Around the middle of the ‘80s, in parallel to the photograph activities, Anton Corbijn started to direct music videos for artists as David Sylvian, Joni Mitchell, Nick Cave, Red Hot Chili Peppers, Mercury Rev, Depeche Mode and of course U2. In 1993 he is the winner of the MTV Music Award for the best video of the year with Heart Shaped Box by Nirvana.

Johnny Cash, Ian Curtis from the Joy Division, David Bowie, Iggy Pop, Henry Rollins, Frank Sinatra e Miles Davis, as well as William Burroughs, Allen Ginsberg, Salman Rushdie, Wim Wenders, Martin Scorsese, Robert De Niro, David Lynch or Michael Schumacher and Naomi Campbell are some of his subjects. In Anton Corbijn’s photographs, the subjects are striped from the patina and portrayed in common behaviours, in Corbijn’s attempt to go further than the public image and impose the real person to the character.

A plain and austere atmosphere surrounds his portraits, often monochromes, where the subjects seem to develop some kind of intimacy with the camera. Corbijn declared, “What interest me is building a connection with who I photograph. There is me, him and the camera therefore, in the end it is almost a personal matter. The images have to reflect the encounter between two people”.



This attitude will bring Corbijn to build almost symbiotic relationships with some of the bands he works with, such as Depeche Mode for whom he directed several videos and designed CD covers and, most of all, the Irish group of U2 to whom he is also attached by a strong and long friendship.

From this twenty year long relationship is the core of the show at LipanjePuntin artecontemporanea. Anton Corbijn writes: “I had for almost 10 years already the idea to do something with all the photos I had done with U2 over the then 13 years but every year I postponed it as I knew there would be too much time involved in the making of it until last year, when I thought it is now or never and took the time for it. The thing that made it interesting and hard at times was the daunting realization that it is also 22 years of my own life that is in those photos and that I never ever can start something like this again”.

Paul Hewson, in arts Bono, wrote about Corbijn: “When I first met Anton I had one request… make me look tall, skinny, intelligent it a sense of humor. So you want to look like me, was his reply. So there goes Anton Corbijn, God’s height, new Dutch master, a funny man, a serious photographer, a silent moviemaker who can dance, with a retrospective in one of the great museum of the world. So what’s his problem? Anton, as it turns out, wants to be a drummer”.

Talking about the relationship between Corbijn and the Irish band Michael Stipe declared: “There is a marriage between Anton Corbijn and the gentlemen of the U2, a marriage that I often find myself jealous of. There I a connection between his eye and their collective brain, between their complete lack of fear and his brain. It is a stunning dance to watch, with a soundtrack to match”.

In U2&i the photographs, that are realized in varied size and print techniques, show how the members of the band got older, how the photographer developed his technique and how the U2 changed in their behaviours in front of the camera.

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Testo tratto dal sito ufficiale di LipanjePuntin ArteContemporanea (www.lipanjepuntin.com).