Dortmund, 2009

“I stand at a distance, like a person who comes from another world. I just record what I see.” - Andreas Gursky in interview with Carol Squiers, "Concrete Reality" Ruhr Works

In Dortmund from 2009, Andreas Gursky captures a moment of urban modernity with his signature precision and use of grand scale. Gursky’s photography is characterized by a distinct style of large-scale, high-resolution photographs that often involves digital manipulation to achieve a heightened sense of reality. Known for his ability to transform the mundane into compelling visual stages, Gursky documents humanity in a unique light, generating an alternative understanding of common, real-world experiences. In Gursky’s own words, he ‘stands at a distance, like a person who comes from another world,’ allowing him to explore a detached, yet profoundly insightful perspective on contemporary life.

His building of a visual encyclopedia of life continues in Dortmund, where he uses a sports game to investigate the human experience, generating a scene that is at once familiar and abstract. The photograph is part of a series created during a time when Gursky was delving deeply into the theme of mass culture and collective behavior. This period in Gursky’s career is marked by a growing curiosity in the ways individuals become part of larger social systems and structures, an interest that resonates with the broader cultural and political landscapes of the early 21st century.

From the rows of similarly uniformed fans to the sheer physical scale of the piece, Gursky emphasizes the presence of the mass, diminishing the individuals making up the crowd into a larger herd. Yet, simultaneously, despite the sense of reductionism that Gursky’s presentation of the mass might perform on the viewer, his capturing of the crowd’s thrill generates a scene that evokes individual feelings, drawing viewers into the collective emotion of the moment. This tension between the collective and the individual is a recurring theme in Gursky’s work, and it is poignantly rendered in Dortmund.

The year Dortmund was produced, 2009, provides context for the piece. This era, rife with global struggle and significant economic and social challenges, undeniably influenced the art created at the time. Gursky’s piece, with its focus on mass gatherings and collective experiences, can be seen as a reflection on the interconnectedness and fragility of contemporary society. Dortmund succinctly captures the dichotomy of human existence in a globalized world—where individual identities are both shaped and overshadowed by larger social and economic forces.

Dortmund exemplifies Gursky’s ability to find patterns and rhythms in the seemingly chaotic, highlighting his fascination with the structure and organization of modern life. The precision and clarity with which he renders every detail—from the meticulously arrangement of the goalpost to the dynamic movement of the spectators—underscores his reputation as a unique master of contemporary photography.