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Transitorische Vorgänge
Die Bildwelt von Andreas Gursky hat, seit seine Arbeiten zu Beginn der neunziger Jahre einem breiten Publikum bekannt geworden sind, sofort eine starke Faszination ausgeübt, ihn und den Stil seiner Arbeiten schnell berühmt werden lassen. Es ist mitunter der verblüffend einfache Vorgang der Nahsicht der einzelnen Teile und der klassische Betrachterwechsel, der in der Addition der Teile zu einem großen, mächtigen Bildeindruck führt, dem diese Faszination zu verdanken ist.
Genauso lassen sich noch andere Merkmale feststellen, etwa die Bildlichkeit transitorischer Vorgänge, die das Zeitzeichengleiche in den Arbeiten Andreas Gurskys besonders stark sichtbar werden läßt. Kein anderer Künstler, der mit Fotografie arbeitet, hat so zielgerichtet und bereits in seinen ersten Arbeiten ein Wechselspiel verschiedener optischer wie semantischer Welten in seinem Werk vorgeführt. Ob das nun beispielsweise die in den Regalen wie Skulpturen aufgestellten Nike-Schuhe sind, deren Präsentation in Vermehrung und strenger geometrischer Ausrichtung zu einem minimalistischen Akt selbst werden, oder so scheinbar nichtssagende Sujets wie die des Rheins bei Düsseldorf, in denen das Abwesende zur Darstellung kommt. In seinen neuen Arbeiten zeigt er in dieser ihm völlig eigenen Bildsprache den Kosmos des bekannten und nicht erfahrbaren Exotismus, des vermeintlich global abrufbaren Zeichens.
Erstmals wieder seit 1998 kommt es jetzt zu einer überblicksweisen Präsentation von Arbeiten Andreas Gurskys in Deutschland, der Katalog mit eigens vom Künstler ausgewählter und zusammengestellter Bildstrecke ist die erste Publikation seit der großen Einzelausstellung 2001 im Museum of Modern Art in New York.
Transitory Procedures
Andreas Gursky’s pictorial world has exerted a strong fascination ever since his works became better known to a wider audience at the beginning of the 90s, making both him and his style famous. This fascination is thanks in the main to the amazingly simple procedure of viewing the individual elements in close-up and the classical change of viewing perspective, which, in the sum of the parts, adds up to a truly powerful compositional visual impression.
Other characteristics can be singled out, too, for example the pictorial nature of transitory procedures that reveals in particular, an essence akin to a sign of the times in Gursky’s works. No other artist working in the field of photography has been able to present – even in his early works – such a bold interplay of different optical and semantic worlds. Whether is be Nike trainers arranged like a sculpture on shelves for example, whose presentation en masse and in strict geometrical order is a minimalist act in its own right, or such apparently inconspicuous subjects such as the Rhine near Düsseldorf, in which absence itself is represented. In his recent works and by means his very own pictorial language, he shows the cosmos of a familiar and yet unlived exoticism, of the supposedly globally accessible sign.
For the first time since 1998 there is a comprehensive presentation in Germany of Andreas Gursky’s work; the catalogue, complete with a series of images selected and compiled by the artist himself, is the first publication since Gursky’s major solo exhibition in the Museum of Modern Art in New York.
Andreas Gursky’s pictorial world has exerted a strong fascination ever since his works became better known to a wider audience at the beginning of the 90s, making both him and his style famous. This fascination is thanks in the main to the amazingly simple procedure of viewing the individual elements in close-up and the classical change of viewing perspective, which, in the sum of the parts, adds up to a truly powerful compositional visual impression.
Other characteristics can be singled out, too, for example the pictorial nature of transitory procedures that reveals in particular, an essence akin to a sign of the times in Gursky’s works. No other artist working in the field of photography has been able to present – even in his early works – such a bold interplay of different optical and semantic worlds. Whether is be Nike trainers arranged like a sculpture on shelves for example, whose presentation en masse and in strict geometrical order is a minimalist act in its own right, or such apparently inconspicuous subjects such as the Rhine near Düsseldorf, in which absence itself is represented. In his recent works and by means his very own pictorial language, he shows the cosmos of a familiar and yet unlived exoticism, of the supposedly globally accessible sign.
For the first time since 1998 there is a comprehensive presentation in Germany of Andreas Gursky’s work; the catalogue, complete with a series of images selected and compiled by the artist himself, is the first publication since Gursky’s major solo exhibition in the Museum of Modern Art in New York.