A group of photographic diptychs by 14 artists. Sizes vary. Edition: 45, all prints signed and numbered by the artists.
The editorial idea of Sequences was turned into a photo print project, using a photographic term as a title. The prints of this project are not double exposures in the literal sense, but the term seemed appropriate to represent the concept of two photographs.
Vogue Hommes 2002 Two Pigment prints on photo rag paper, 61 x 49 cm (24 x 19¼") ea. Edition of 45, with a signed and numbered certificate.
Vanessa Beecroft (born 1969 in Genoa, Italy, lives and works in New York) does something that nobody else does - she does images live, and that changes everything. Even though most viewers probably only know her work through photographs and videos, it´s the staging and theatricality of the live event that make these images of girls, whose vacancy and seductive appeal are equally pronounced, so compelling. In Beecroft´s body arrangements, there is a charged and yet restrained atmosphere created by the tension between broken taboos and ancient ideals of beauty, between eroticism and the charm of naked show-window dummies. The artist makes contemporary versions of the complex figurative compositions that have challenged painters from the Renaissance onwards.
Pile (Stapel) 2001-2002 Two Lambda prints, 60 x 50 cm (23½ x 19¾") ea. Edition of 45, signed and numbered.
»I think photography is less about representing than constructing its objects.« In his pictures, Thomas Demand (born 1964 in Munich, lives and works in Berlin) has deconstructed photography as the dominant visual medium of our time. The act of physically building a model of something after a photograph and then re-photographing the re-construction obstructs the link between represented and representation, leaving us uncertain about: should we believe what we see or should we see what we believe? The anonymously empty places in Demand´s forever open-ended pictures offer our imagination endless leeway and stimulation for reconstructing the events that have taken or might have taken place in these sceneries of enigmatic ordinariness. In these images, with anonymous piles of paper, Demand recreates the surrealistic scenery of the controversial re-counting of the ballots from the Florida 2000 Presidential election.
Jökulsgilskvisl 2003 Two C-prints, mounted on Forex, 40 x 60 cm (15¾ x 23½ ") ea. Edition of 45, signed on both images
Olafur Eliasson (born 1967 in Copenhagen, lives and works in Berlin) belongs to a younger generation of artists who in the nineties explored and expanded the boundaries between art, science and nature and the perception thereof. For years, the artist has transferred natural phenomena such as water, light, wind, temperature and movement into the art context using simple technical aids, always clearly emphasizing for the viewer the technology involved. In his sculptures, installations, and photographs, Eliasson´s artistic interest is focused on dialogic processes occurring between the viewer and his perception. The elemental naturalness of the materials employed - like water and earth - produce an open structure to his work. Due to the potential for dynamic transformation inherent in the materials, the viewer experiences himself as being subject to the movement of time and space. The two photographs, Jökulsgilskvisl, map volcanic rock formations, erosion, sediment, ice, water, and vegetation: complex configurations of earth´s evolutionary processes depicting aspects of the wild beauty of Iceland.
Joey in my mirror 2002 Joey in my mirror, Berlin 1992 Joey in my mirror, NYC 1999 Two Cibachromes, 51 x 61 cm (20 x 24") ea. Edition of 45, signed on left image.
»My work derives from the snapshot. It is the form of photography that most closely stands for love.« Nan Goldin, born 1953 in Washington DC, lives and works in Paris. Every one of Goldin´s photographs is like a window opening on a labyrinthine body of stories - some happy, some tragic. Her work is documentary in the best sense: it hews close to the world she knows, but it also indulges in the self-dramatization and pathos that together constitute a post-modern version of Romanticism. Nan Goldin´s photographs have become touchstones of the contemporary visual imagination, avidly collected all over the world and assimilated into the mainstream.
Universitätsbibliothek Hamburg A 2000/02 Two C-Prints, mounted on Forex, 61 x 61 cm (24 x 24") ea. Edition of 45, signed and numbered ea.
Since the end of the 1970s, Candida Höfer (born 1944, lives and works in Cologne) has been photographing interiors in public and semi-public spaces from different architectural epochs, spaces that are accessible to the public - gathering spaces, places of communication, science, or recreation: hotels, lobbies, museums, libraries, universities, banks, churches, health resorts, zoological gardens. The works are not studies in typological registration, rather they are looking for the similarities and the differences behind the similarities. Höfer´s photographs, for the most part exclusive of people and shot with the natural lighting of the shooting scene, evoke different overlaying time levels: the one of the origin of the architecture, the one of the present use of it, and the one of the shooting itself. »My work derives from the snapshot. It is the form of photography that most closely stands for love.«
Sunset 1 and Sunset 2 2002 Two Cibachromes, mounted on Plexiglas, 50 x 60 cm (19¾ x 23½ in) each. Edition of 45, signed on both images.
Axel Hütte (born 1951, lives and works in Düsseldorf) has developed a singular approach to his photographic compositions: his landscapes, flora, waterfalls, and bridges each focus on a single motif - sky, water, or plant take up the entire image. They convey a sense of the infinite: the subject isn´t framed, its position as sole element suggests its continuation out of the frame, on and on. Geometric composition is a central theme in his work, and he finds and represents the lines, circles, and repetitive shapes that exist in nature.
Walking 2002 Two Fujiflex prints, mounted behind plexiglas, 61 x 40,5 cm (24 x 16") ea. Edition of 45, signed on both images.
For over two decades, Alfredo Jaar´s work has focused on photography as political witness. Born 1956 in Santiago, Chile, and living in New York, he has used a hybrid of installation, photography, text and sculpture to create metaphoric images dealing with the antagonism between industrialized and developing countries. »I witnessed this scene in 1994 in Zaire, today called Congo. A refugee is walking. His appearance is similar to most refugees, with bare feet and a cane. He carries just one bag filled with old garments; he has lost everything. This man was just one out of four million Rwandan refugees seeking refuge outside Rwanda or being displaced within Rwanda. I was unable to assist this man in his desperate journey. I remember him walking.«
#3839/#3561 2000-2002 Two chromogenic prints, 26,5 x 30,5 cm (10½ x 12 in.) ea., mounted on Museum board, 48,5 x 54,5 cm (19¼ x 21½ in.) Edition of 45, signed on both images.
Bill Jacobson (born 1955, lives and works in New York) has been making diffused, out-of-focus photographs since 1989. They refer to the way the mind works, as opposed to the way the camera traditionally "sees". A crisp, modern snapshot tends to render the world with far more detail and clarity than our brains can ever comprehend. Jacobson´s images from the early and mid-nineties were mostly close-ups of figures silhouetted against white or black, suggesting past lives, past relationships, or friends who have passed away. The more recent color work, shot on the streets of New York, emphasizes presence rather than loss. Yet still, the lack of clarity speaks to the fragility, and tenuousness, of life itself.
Untitled #1 and #2 2001 Two light jet prints, mounted on plexiglas, 50.5 x 60.5 cm (20 x 24") ea. Edition of 45, signed on left image.
Malerie Marder (born 1971, lives and works in Los Angeles) sets up unconventional nude portraits and scenes using friends, family and herself as models. Inspired by film, her disturbing and enigmatic images have a strong cinematic quality, where tension is created through the uncertainty of the scene and the uncertainty of the relationships. The subjects at times appear to be caught off guard, further enhancing the awkwardness of the image and cleverly orchestrating a sense of uncomfortable voyeurism.