Posts Tagged ‘Snow Machine

27
Sep
09

Exhibition: ‘Snow Machine’ by Florian Maier-Aichen at Gagosian Gallery, Britannia Street, London

Exhibition dates: 3rd September – 3rd October 2009

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Florian Maier-Aichen. 'Der Watzmann' 2009

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Florian Maier-Aichen
‘Der Watzmann’
2009

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Florian Maier-Aichen. 'Untitled' 2008

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Florian Maier-Aichen
‘Untitled’
2008

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'Snow Machine' by Florian Maier-Aichen installation view at Britannia Street, Gagosian Gallery

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'Snow Machine' by Florian Maier-Aichen installation view at Britannia Street, Gagosian Gallery 2

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‘Snow Machine’ by Florian Maier-Aichen installation view at Gagosian Gallery, Britannia Street, London

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“Florian Maier-Aichen’s images reinterpret landscape photography for the 21st century. Often shot at obscure angles or from aerial views, his estranged vantage points are both alien and familiar; a sensation enhanced by his subtle manipulation of the images. Conceiving the representation of sites with a sense of dislocation, Maier-Aichen’s work addresses issues of globalisation and virtual perception. In Untitled, Maier-Aichen’s coastline is far from postcard perfect: a virgin beach lined with superhighway and luxury homes expanding into the misty distance. Tinting the surrounding forest in an unnatural shade of red, he casts an apocalyptic glow over the seascape, framing wilderness and human intervention as a scene of science fiction portent.”

Text from the Saatchi Gallery website

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Florian Maier-Aichen. 'Untitled' 2009

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Florian Maier-Aichen
‘Untitled’
2009

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“I have always been interested in the making of things. Most products and materials conceal their process of manufacture. It’s the same with photography, which turned from a discipline that was subject to the mastery of the few (alchemists) into a readily available industrial mass product, too transparent and too technical.”

Florian Maier-Aichen

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Gagosian Gallery is pleased to present an exhibition of recent photographs by Florian Maier-Aichen. This is the artist’s first solo exhibition in London.

A photographer schooled on both sides of the Atlantic, Maier-Aichen’s work reflects on the dual influences of the history of photography and the history of painting, whether drawing on such dichotomies as German Romantic painting and the pioneers of German “objective” photography, or applying his post-factum experience of American frontier art – from the Hudson River School and Abstract Expressionism to Land Art and West Coast conceptualism – to his own topographical depictions of landscape subjects. He focuses on the camera’s consummate power to establish typologies of thought, perception, and feeling, producing images that, in mining the past, come to embody a matrix of issues salient to recent photographic practice.

Approaching the photographic field like a painter approaches a canvas, Maier-Aichen does for the contemporary image-world what pictorial photographers attempted in the nineteenth and early twentieth centuries, using the strategies and motifs of Romantic and Luminist painting. Unnaturally high-keyed or delicately tinted images of soaring mountain ranges, moody seas, and the industrial architecture of bridges, waterways, and dams carving through the natural landscape are all emanations of a rich and diverse imagination where a keen and critical grasp of art history coexists with more pronounced literary and cinematic conceits.

In a creative process that is as intensive as it is subtle and opaque, Maier-Aichen combines an exhaustive range of staged effects and traditional photographic techniques – albumen, silver-gelatin, and c-printing – with drawing and current computer-imaging processes. Weaving together often disparate elements from distinct sources, he applies myriad creative adjustments to each in order to produce seamless photographs that do not betray their intricate and layered compositions. Multiple negatives, digital manipulation, and elaborate studio techniques are employed to produce seemingly straightforward photographic landscape subjects while other images that engage the most conventional photographic techniques may themselves be subjects of pure fabrication.”

Text from the Gagosian Gallery website

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Florian Maier-Aichen. 'Untitled' 2009

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Florian Maier-Aichen
‘Untitled’
2009

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Florian Maier-Aichen. 'Untitled' 2009

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Florian Maier-Aichen
‘Untitled’
2009

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Florian Maier-Aichen. 'Untitled (St. Francis Dam)' 2009

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Florian Maier-Aichen
‘Untitled (St. Francis Dam)’
2009

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Gagosian Gallery
6-24 Britannia Street
London WC1X 9JD
T. 44.207.841.9960 F. 44.207.841.9961

Opening Hours: Tue-Sat 10-6

Gagosian Gallery website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His work explores the boundaries of identity and place. He writes the Art Blart blog which reviews exhibitions in Melbourne, Australia and posts exhibitions from around the world. He has a Dr of Philosophy from RMIT University, Melbourne and is currently studying a Master of Art Curatorship at The University of Melbourne.

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