’What I create is a world without hierarchy in which all the pictorial elements are as important as each other.’—Andreas Gursky, German photographer
which used live music to capture the rhythm, colour and complexity of Gursky’s photography, I visited Gursky’s exhibition in another day. And that’s the 1st time I felt it’s truly worthy to see a photography exhibit in person, instead of seeing online.
The ‘new reality’ composed by Gursky’s ‘democratic’ hands makes you stunned, wander and drift.
Here are some notes from my visit of his 1st UK retrospective in Hayward Gallery.
Also, warm thanks to Veronika Hanl, the lovely and talented Salzburg-born composer,
and Bryan Borcherds, very clever drummer, nice ‘expert’ as the marketing manager at Arturia
—you’re my happiest memory in Tileyard, take care 🤠 ⚽
♞ Mini review below is following the photos's order:
Dolomites, Cable Car (1987) : Stand in front of the super-scale scene, you’re such small within the grand Nature.
Salerno I (1990) : Aggregate states—small repeating elements/structures merge into a single entity.
Tokyo, Stock Exchange (1990) : uniformly dressed, simultaneous interaction, no need for central focus—every moment could be decisive, perhaps?
Turner Collection (1995) :
gallery orderly setting which gives equal attention to the works, walls, floor and labels ⇋ unruly painting, then both are framed again in Gursky’s figurative sight.
Bahrain (2005) : Formula One Grand Prix, multiple roads lead to nowhere.
Amazon (2016) :
books, furnitures, sometimes with toys and sportswear mixed up, the worker navigate the chaotic shelves with the aid of a digital tracking system in Arizona.
Review (2015) :
4 of Germany’s most recent chancellors sit in front of a painting by Barnett Newman titled “Man, Heroic and Sublime “(Vir Heroicus Sublimis,1950-51).
Gursky allows us to speculate wether Newman’s belief is true, that is,
encountering with artwork is no different from meeting another person.
Slower ur pace : Taiwan (24hr arrival)
shooting_London, United Kingdom