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Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY FROM A VERY IMPORTANT PRIVATE COLLECTION

Love Parade

Love Parade
signed 'Andreas Gursky' (on the reverse); signed again 'Andreas Gursky' (on a gallery label affixed to the backing board)
c-print, diasec mounted, in artist's frame
image: 39 3/8 x 95 ¼in. (100 x 241.8cm.)
sheet: 44 ¼ x 100 1/8in. (112.4 x 254.4cm.)
overall: 47 3/8 x 103 ¼in. (120.4 x 262.4cm.)
Executed in 2001, this work is number four from an edition of four
Sprüth Magers, Berlin.
Ben Brown Fine Arts, London.
Acquired from the above by the present owner in 2012.
Basel, Kunstmuseum Basel, Andreas Gursky, 2007-2008, p. 121 (another from the edition exhibited, illustrated in colour, pp. 114-115).
London, Ben Brown Fine Arts, Dusseldorf Photography, Bernd and Hilla Becher & Beyond, 2015 (illustrated in colour, pp. 24-25).
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.

Brought to you by

Keith Gill
Keith Gill Vice-Chairman, 20th and 21st Century Art, Europe

Lot Essay

A monumental vision spanning over two-and-a-half metres in width, Love Parade is an iconic work that takes its place within Andreas Gursky’s celebrated depictions of rave culture. Executed in 2001, it captures a scene from the electronic dance festival of the same name on the outskirts of Tiergarten, which began on the streets of West Berlin in 1989 with the aim of promoting love, understanding and international peace through music. Photographed from an elevated vantage point, and manipulated to impossible levels of detail, the surging crowd of individuals dissolves into a sublime panorama of colour, rhythm and form. For Gursky, the techno and trance music scene during the 1990s and 2000s encapsulated the subversive, hedonistic spirit that prevailed among the German youth during a time of recession. More broadly, it spoke to his fascination with large gatherings of people, captured in landmark images of stock exchanges, factories and other sites of global economic transformation at the turn of the millennium. In major works such as Union Rave (1995), his landmark May Day series (1997-2006) and his depictions of the Cocoon nightclub in Frankfurt, he transformed split-seconds of wild ecstasy into powerful portraits of the human condition, distilling moments of order and unity from chaos. In Love Parade, lines, structures and chromatic relations emerge from the throng of people, resolving into a vision of lucid, hyper-real clarity.

At the Kunstakademie Düsseldorf, Gursky studied under Bernd and Hilla Becher: the duo celebrated for their stark documentary photographs of the industrial German landscape. His works are visibly informed by their distinctive typological approach: where the Bechers captured water towers, coal mines and other utilitarian landmarks, Gursky charts the spaces of modern life, depicting shops, trading floors, hotel lobbies, festivals and other instances of human activity. At the same time, however, his works revel in the potential for transformation, seeking out moments of abstract congruence and discord and enhancing them through spatial and chromatic manipulation. The present work’s aerial perspective forces the disparate mass of individuals into a writhing, cellular whole, as dense and pigmented as the forest that lines the top of the composition. Close up, however, singular narratives and curious moments of repetition emerge, amplified with crystalline rigour. The entire chromatic spectrum flickers across the work in fleeting, near-painterly flashes of colour, quivering with the dynamic range of a Jackson Pollock drip painting. An unheard beat pulses through the spectacle, rising and falling with the undulation of light and shade.

The curator Nina Zimmer has likened Love Parade to Gursky’s 1999 masterpiece 99 Cent—a staggering vision of a Los Angeles discount store—for its ability to ‘capture the essence of the economic and social situation of the late twentieth century’ (N. Zimmer, Andreas Gursky, exh. cat., Kunstmuseum Basel, Basel 2007, p. 69). Indeed, for all its pictorial virtuosity, the work speaks to a universal cultural phenomenon: the act of congregating en masse to music, filtered here through the rise of underground music scene in post-reunification of Germany. The Love Parade festival, which came of age during this time, embodied a Zeitgeist of anti-establishment disillusionment, capturing the moment at which raves in basements and house parties began to spill out onto the streets. The sprawling composition of the present work seems as though it might extend indefinitely, capturing the wild, carefree furore of a new generation emerging onto the world’s stage. By zooming out to an eagle-eyed vantage point, Gursky seals the spectacle for the ages, preserving it forever in luminous, intoxicating detail.

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