Andreas Gursky (b. 1955)
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Andreas Gursky (b. 1955)

Mercedes Bremen

細節
Andreas Gursky (b. 1955)
Mercedes Bremen
signed, titled, numbered and dated 'Mercedes Bremen 1991 5/6 A. Gursky' (on the reverse)
c-print face mounted on Diasec in wooden artist frame
68 x 82 1/8in. (172.7 x 208.6cm.)
Executed in 1991, this work is number five from an edition of six
來源
Galerie Chantal Crousel, Paris.
Acquired from the above by the present owner.
展覽
Zurich, Zurich Kunsthalle, Andreas Gursky, 1992.
Hamburg, Deichtorhallen, Andreas Gursky Fotografien 1983-1993, February-April 1994, no. 93. This exhbition later travelled to Amsterdam, De Appel Foundation, May-July 1994.
注意事項
No VAT will be charged on the hammer price, but VAT at 15% will be added to the buyer's premium which is invoiced on a VAT inclusive basis. 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.

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拍品專文

In Mercedes Bremen Gursky uses the visual language of modernism to describe the everyday aesthetics of late twentieth century industrial society. Although specificity is indicated in the title of the work, information actually presented is generalised. The factory assembly line becomes a formalist grid of intersecting lines and planes. This emphasis on pictorial design, discernable in images Gursky made in the 1990's, marks a shift from the photographer's previous practice. As he has himself identified, and numerous critics, his work moved towards greater abstraction away from the early documentary and observational concerns. "My pictures are becoming increasingly formal and abstract. A visual structure appears to dominate the real events shown in my pictures. I subjugate the real situation to my artistic concept of the picture. You never notice arbitrary details in my work. On a formal level, countless interrelated micro and macrostructures are woven together, determined by an overall organizational organisational principle. A closed microcosm which thanks to my distanced attitude towards my subject, allows the viewer to recognise the hinges that hold the system together." In other words, his ways of working and thinking about his work coalesced in the early 1990's into the mature aesthetic that has since predominated in his art.

From 1991 to 1993 Gursky photographed dozens of German factories. Under the auspices of a corporate funded cultural program he set out to capture the look of modern manufacturing. This formed part of a larger project to depict the machinery of our global capitalist society. But rather than an idealised model of high-tech efficiency what the artist presents is an artful questioning of this ideology. Subverting the visual logic of corporate promotional imagery Gursky distils a compelling glimpse of contemporary life. From the familiar, or even banal, the artist has fashioned a vivid image of the complex phenomena of modern life.