Andreas Gursky (b. 1955)
Andreas Gursky (b. 1955)
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Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY FROM A PRIVATE INTERNATIONAL COLLECTION
Andreas Gursky (b. 1955)

Mercedes (Rastatt)

Andreas Gursky (b. 1955)
Mercedes (Rastatt)
signed, titled, numbered and dated 'Mercedes Raststatt 1993 2/5 Andreas Gursky' (on the reverse); signed, titled, numbered and dated 'Mercedes Raststatt 1993 2/5 Andreas Gursky' (on the reverse of the frame)
c-print face-mounted on acrylic, in artist’s frame
image: 48 7/8 x 68 7/8in. (124 x 175cm.)
overall: 63 x 80¾in. (164.7 x 212.7cm.)
Executed in 1993, this work is number two from an edition of five
Galerie Monika Sprüth, Cologne.
Acquired from the above by the present owner in 1995.
J-P. Criqui, 'Von der Melancholie der Standorte', in Parkett, vol. 44, 1995, pp. 61, 62 and 65 (another from the edition illustrated, p. 62).
A. Alberro, 'The Big Picture: The Art of Andreas Gursky', in Artforum, vol. 39, no. 5, 2001, p. 110.
E. Witzel, Die Konstitution der Dinge: Phänomene der Abstraktion bei Andreas Grusky, Bielefeld 2011, pp. 167 and 185.
Hamburg, Deichtorhallen, Andreas Gursky Fotografien 1984-1993, 1994, p. 125, no. 113 (another from the edition exhibited, illustrated in colour, p. 113). This exhibition later travelled to Amsterdam, De Appel Foundation.
Paris, Centre National d'Art et de CultureGeorges Pompidou, Les Peintres de la vie moderne, 2006 (another from the edition exhibited).
Karlsruhe, ZKM Zentrum für Kunst und Medlen, Faster! Bigger! Better!, 2006-2007, p. 42 (another from the edition exhibited, illustrated in colour p. 143).
Dortmund, Dortmunder U Center for Arts and Creativity, Bild für Bild - Film und zeitgenössische Kunst, 2011 (another from the edition exhibited).
Amsterdam, Huis Marseillle Museum for Photography, Bernd, Hilla and the Others - Photography from Dusseldorf, 2018 (another from the edition exhibited).
Special notice
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent. On occasion, Christie’s has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the work. This is known as a minimum price guarantee. Where Christie’s holds such financial interest we identify such lots with the symbol º next to the lot number.
Further details
Another from the edition is in the collection of the Centre national d'art et de culture Georges-Pompidou, Paris.

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Lot Essay

Presented on a monumental scale, Andreas Gursky’s Mercedes (Rastatt) depicts the humming frenzy of the Mercedes-Benz plant in Rastatt, Germany, the company’s main production site. A lattice of endless conveyor belts and half-finished cars fills the photograph, crisply captured in the bright fluorescent light. Created in 1993, another edition from the series is held in the collection of the Centre Pompidou, Paris. Turning a characteristically dispassionate lens onto the factory floor, Gursky stitches together a heightened reality in which microscopic details are rendered alien and abstract. Mercedes (Rastatt) is flooded with information, owing to the artist’s ‘god-like’ vantage point: ‘I stand at a distance,’ Gursky has said, ‘like a person who comes from another world. I just record what I see’ (A. Gursky, quoted in C. Squiers, 'Concrete Reality’, Ruhr Works, September 1988, p. 29). Gursky’s images bear the hallmarks of Bernd and Hilla Becher’s tuition, his instructors at the Düsseldorf Kunstakademie whose deadpan photographic aesthetic was hugely influential for the young artist. Like the Bechers, who documented architectural typologies across Europe, Gursky too embraces a sense of objectivity, producing sharp and utterly absorbing images that transcend what the eye can observe. Exploiting the photograph’s capacity as both an engine of construction and a vehicle for truth, he offers a thrilling visual spectacle and composite understanding of a complex reality. Mercedes (Rastatt) shows the world as uncanny and disquieting, but also sublime.

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