Werner Nekes, a notable figure born in 1944 in Erfurt, Germany, embarked on an academic journey, pursuing degrees in linguistics and psychology at Freiburg's esteemed institution. His academic pursuits took a dramatic turn in 1964, as he relocated to Bonn, where he would go on to occupy the esteemed position of head of the University Film Club.
As his professional trajectory continued to unfold, Nekes would later ascend to the role of chairman of the FIAG, a prestigious organization that would provide him with opportunities to form lasting bonds with influential film directors, sculptors, and painters. Among his closest acquaintances was Dore O., a long-time companion and collaborator, whose creative partnership would have a profound impact on Nekes' work.
Nekes embarked on a creative odyssey in 1965, delving into a diverse array of materials and objects to craft one-of-a-kind paintings that would soon set the stage for his subsequent artistic explorations. Coinciding with this visual experimentation, Nekes also began to dabble in filmmaking, initially utilizing 8mm and later transitioning to 16mm formats as his medium of choice. As he navigated the realm of cinema, Nekes sought to shatter the conventional shackles of traditional narrative structures and psychological undertones, instead opting to organize his films according to temporal units and structural systems that would liberate his artistic vision from the constraints of traditional storytelling.
In the year 1967, Nekes' cinematic endeavors were met with rejection by the esteemed Kurzfilmtage of Oberhausen, a development that ultimately inspired him to take a bold step and orchestrate a counter-event of his own. Following this setback, Nekes made the significant decision to relocate to the city of Hamburg, where he would soon find himself surrounded by a new circle of creative influences.
It was during this time that Nekes would meet and eventually marry Dore O., an individual who would become a significant figure in his life. The year 1967 would prove to be a pivotal one for Nekes, as it was also during this period that he co-founded the Hamburg cooperative of filmmakers, a collective that would provide a platform for like-minded individuals to come together and share their passion for the art of filmmaking.
In addition to his work with the cooperative, Nekes would also play a key role in organizing the "Hamburger Filmschau" in 1967, an event that would serve as a testament to his dedication to the art of film and his commitment to fostering a sense of community among his fellow filmmakers.
For nearly a decade, from 1973 to 1981, Nekes embarked on a global journey, delivering seminars on the intricacies of film theory and showcasing captivating retrospectives in various parts of the world.
In 1978, he decided to relocate to the city of Mülheim an der Ruhr, where he would go on to make significant contributions to the world of cinema.
In the years that followed, Nekes played a pivotal role in the establishment of two esteemed organizations. In 1980, he co-founded the Filmbüro NW, a groundbreaking initiative that aimed to promote and support the art of filmmaking.
Fast forward to 1988, Nekes once again collaborated with like-minded individuals to establish the ICNC (International Center for New Cinema) in the historic city of Riga. This ambitious venture served as a hub for creatives to come together, share ideas, and push the boundaries of cinematic innovation.
Nekes' body of work has been showcased at a plethora of renowned international museums and festivals, boasting an impressive list of notable institutions, with The Museum of Modern Art in New York and the Kassel Dokumenta serving as a testament to his far-reaching artistic influence.
Throughout his illustrious career, Nekes has held a variety of esteemed professorships at prestigious institutions, including the Academy of Fine Arts in Hamburg, Wuppertal University, the Kunsthochschule Offenbach, and the Academy of Media Arts in Cologne, solidifying his reputation as a leading figure in the art world.
Nekes' most remarkable accomplishments include the meticulous compilation of a private collection, meticulously curated to showcase a remarkable 500-year journey through the realm of pre-cinematographic experiments and early film developments, with a specific emphasis on the fundamental spatial and temporal principles that govern the representation of visual information.
