Stefan Heyne

Between 1987 and 1992, Heyne studied stage design under Volker Pfüller at the Kunsthochschule Berlin-Weißensee. He continued his studies there from 1992 to 1993 as "Meisterschüler" of Pfüller. Since 1995, he is working as a freelance stage designer. In 2004, he began to photograph.

In autumn 2014, Heyne and German art critic Ralf Hanselle wrote the Manifesto of Tabularism. It advocates a radical renewal of the photographic medium in contemporary art. The renewal of photography – seven theses: • From today photography is dead. All pictures are rendered, all reproductions are made. And yet we did not get closer to the world. The last images are still due. Tabularism encompasses the last images of photography. • Tabularism is a sign and not a signifier. It does not show what the world is made of; it is itself the world. It is the image itself and never a picture of it. With Tabularism photography comes back to itself. • Tabularism is a destroyer. It shakes the shell of space und subverts what contains all visible things. It breaks perspective distortion. It is at war with every line. • Tabularism is a creator. It takes its light from the edges of the visible, its shadows from the residue of perception. Light and darkness are its true motives. • Tabularism is a game. It is dance and dissipation; approach and disengagement. It does not search for the truth, for truth is always deception. Tabularism is only genuine in relation to itself. • Tabularism is art. And as art it is freedom. It bursts the corpus of apparatuses; it breaks the will of the camera boxes. Every hard shell is a block in the way to freedom. • Tabularism is the future. And yet it is embedded in a story. It follows traditions; it has mothers and fathers. In the darkness of Enlightenment they are waiting for a return of the light

• Illustration — Exhibition view of Naked Light. Die Belichtung des Unendlichen at the Städtische Galerie Dresden – Kunstsammlung, 2014 Heyne has participated in various solo and group exhibitions including the 2nd photofestival Mannheim-Ludwigshafen-Heidelberg Reality Crossings (2007).

• 2014 Städtische Galerie Dresden – Kunstsammlung: Naked Light. Die Belichtung des Unendlichen • 2012 Kunstverein Eislingen: Maximalahnung • 2012 Kunstsammlungen und Museen Augsburg: Die Magie der Leere. Fotografien 2006-2012 • 2012 Kunstmuseum Dieselkraftwerk Cottbus: Speak to Me. Fotografien • 2011 Kommunale Galerie Berlin: Woran denkst Du? Fotografien • 2010 Stadtmuseum Groß-Gerau: Gegendarstellung • 2010 Stiftung Schloss Neuhardenberg: Erkenntnisschatten • 2009 Kunsthalle Brennabor, Brandenburg an der Havel: The Noise. Die Belichtung des Ungewissen • 2008 Lippische Gesellschaft für Kunst, Detmold: Fotografie • 2008 Kunstraum Potsdam: The Noise. Die Belichtung des Ungewissen • 2005 Sächsisches Staatsministerium der Finanzen, Dresden: Nachtwache • 2005 BrotfabrikGalerie, Berlin: Fahrtenschreiber

• 2016 Kunstmuseum Bochum: Das autonome Bild. Fünf Konzepte aktueller Fotografie • 2015 Museum im Kulturspeicher Würzburg: Lichtbild und Datenbild. Spuren Konkreter Fotografie • 2014 Goethe-Institut Hong Kong: Positions 1. New Photography from Germany • 2012 Kunstsammlungen und Museen Augsburg: Neue Sammlung VI • 2011 Kommunale Galerie Berlin: Neue Werke 2011. Malerei, Grafik, Fotografie, Objekte • 2007 Wilhelm-Hack-Museum, Ludwigshafen: Reality Crossings. 2. Fotofestival Mannheim, Ludwigshafen, Heidelberg • 2004 BrotfabrikGalerie, Berlin: Wo liegt Berlin? Fotografische Annäherungen an eine Stadt