Double Exposure, 2002

From Double Exposure
Two Lambda prints, 60 x 50 cm (23½ x 19¾ in) each. Edition of 45, signed and numbered.

Demand questions photography as the leading visual medium by recreating real scenes in elaborate paper models and then capturing them photographically. This process dissolves the connection between image and reality and questions the perception of reality. His deserted, anonymous scenes open up a space for association and interpretation. In this edition, Thomas Demand uses seemingly randomly scattered piles of paper to reconstruct the surreal scene of the controversial recount of votes in the US presidential election in Florida in 2000.

From Double Exposure
Two C-prints, mounted on Forex, 40 x 60 cm (15¾ x 23½ in) each. Edition of 45, signed on both images.

The two photographs of the edition Jökulsgilskvisl capture the raw aesthetics of Iceland's geological formations. They document volcanic rock structures, erosion processes, sedimentary deposits and the interplay of ice, water and vegetation. These complex configurations point to the dynamic forces of the earth's history and reveal the untamed beauty of the Icelandic landscape.

Set EUR 6,000

From Double Exposure
a: Joey in my mirror, Berlin 1992
b: Joey in my mirror, NYC 1999
Two Cibachromes, 51 x 61 cm (20 x 24 in) each. Edition of 45, signed on work a.

"My work derives from the snapshot. It is the form of photography that most closely stands for love." – Nan Goldin

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 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.

From Double Exposure
Two C-Prints, mounted on Forex, 61 x 61 cm (24 x 24 in) each. Edition of 45, signed and numbered each.

Candida Höfer’s edition Universitätsbibliothek Hamburg A captures the symmetrical elegance of the library’s interior. Taken from slightly different vantage points, the two photographs reveal the quiet rigor of the neoclassical architecture, while reinforcing Höfer’s preoccupation with symmetry, space, and repetition. White arched arcades and a central skylight lend the space a bright, almost otherworldly atmosphere, while the parallel arrangement of shelves evokes the spirit of focused academic study. The varying light conditions across the three floors not only create a sense of mystery but also transform the composition into a subtle color study. 

From Double Exposure
Two Cibachromes, mounted on Plexiglas, 50 x 60 cm (19¾ x 23½ in) each. Edition of 45 + 10 A.P., signed and numbered on verso each.

Axel Hütte cultivates a distinctive visual language in his photographic compositions: his depictions of landscapes, vegetation, waterfalls, and bridges focus on a singular motif; elements such as the sky, water, or a plant dominate the entire image surface. This reduction creates a sense of boundlessness – the subject extends beyond the frame, suggesting an infinite continuation into space. Geometric structuring forms a central element of his oeuvre; with a precise eye, Hütte captures and stages the hidden lines, circles, and repetitive formations found in nature.

Set EUR 2,000

From Double Exposure
Two Fujiflex prints, mounted behind plexiglass, 61 x 40.5 cm (24 x 16 in) each. Edition of 45, signed on both images.

Alfredo Jaar on his edition Walking: "I witnessed this scene in 1994 in Zaire, today known as the Democratic Republic of the 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."

Set EUR 1,800

From Double Exposure
Two chromogenic prints, 26,5 x 30,5 cm (10½ x 12 in) each, mounted on Museum board, 48.5 x 54.5 cm (19¼ x 21½ in). Edition of 45, signed on both images, numbered.

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.

€ 1,500  € 900 / $1,000  shipping costs included

From Double Exposure
Two digital pigment prints (LightJet), mounted on plexiglas, 50.5 x 60.5 cm (20 x 24 in) each. Edition of 45, signed verso of 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.

Set EUR 1,000 

From Double Exposure
Two photographs, mounted on Dibond, 40.5 x 61 cm (16 x 24 in) each. Edition of 45, signed on both images.

Set EUR 1,500

From Double Exposure
Two C-prints, mounted on Forex, 59 x 42 cm (23¼ x 16½ in) each. Edition of 45, signed on both images.

In this diptych edition, Thomas Ruff combines two motifs from outer space. The left-hand image stems from his newspaper photographs series, a project in which Ruff collected and reprinted press images from German-language newspapers. Removed from their original context and enlarged to double-column width, these everyday visuals – once chosen for editorial, not aesthetic reasons – become enigmatic fragments of a collective visual memory. The right-hand image comes from the Stars series, for which Ruff worked with archival negatives from the European Southern Observatory. Rather than photographing the night sky himself, he appropriated scientific data to create stark, minimal compositions of stars, nebulae, and galactic formations. Though both images depict outer space, they reflect very different visual systems – one shaped by mass media and the circulation of images on Earth, the other by scientific observation and data from deep space.

Set EUR 2,000

From Double Exposure
Two chromogenic prints mounted behind plexiglas, 51 x 61 cm (20 x 24 in) each. Edition of 45, signed on left image.

As the work title indicates, this edition is based on photographs taken in Red Hook, Brooklyn, New York. James Welling has spent much of his life in New York and created several works based on images of various elements of this neighbourhood around 2001/2002. 

Set EUR 1,500

From Double Exposure
Two Ilfochrome prints, mounted behind plexiglas (Diasec), 60 x 50 cm (23½ x 19¾ in) each. Edition of 45, signed on both images.

Set EUR 2,000