andreas gursky photographer subtitles

8/18/2019 Andreas Gursky Photographer Subtitles

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Andreas Gursky Photographer 1 /4

12:35 to 12:50The existing changing rooms provided not the proper material for Andreas Gursky. 10

months before the exhibition opening, he runs into another mine. At Hamm (name of a town).

12:02 to 12:30One can think of romance, one can think of Caspar David Friedrich (Seascape withCapuchin). A picture that was also important for Jackson Pollock. Being in the image.Drowning in the picture. There are many pictures of Gursky, where one has the feeling thatone while watching the picture almost drowning in what is presented.

11:30 to 12:02One can think of a certain serial austerity and severity. Which he discovered by BerndBecher in Düsseldorf. It's an absurd image. It is an image without objects, no products andno people. Although he - on the other side - a great human performer is. The effect is soimmense, because Gursky uses the big format.

10:43 to 11:30 A very taciturn image. Compared with the tumult that we see in other pictures by Andreas

Gursky. And yet, in this picture - one might say - brings together all the basic elements thatdetermine its imagery. The color. The light. The architecture. And structure (in a word).What structure is it? Finally, a structure that is aligned to an abstract, geometric art. Onecan think of Minimal Art, you can think of Dan Flavin.

9:45 to 10:10 And what is interesting you so special? What is the attraction?I often come across images that way. I saw a picture of such a locker room and that mademe just interested. It has something to do with people. It has a lot to do with space, with

three dimensionalty. These are themes of my work.

9:14 to 9:45I come from the employee magazine of the mine. I have a few short questions for anarticle. What exactly are you doing here? We have not done anything, but first visited thelocation, the various dressing rooms. My assistant has researched and photographed thesites here already digital, so that I could imagine me something. If I had seen at firstsomething of which I would say, we do that, I would going to unpack the camera, but Iprefer to look in all locations first.


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8:04 to 8:30So, I think this space better here. ... I find this very homogeneous ... I mean the ordinary,as this things are hanging here ...

7:30 to 8:04They come in their private dresses in the "Weißkaue", undress and get naked in here inthe" Schwarzkaue" and move to the work clothes. After the shift, they come back hereagain, undress, go into the shower and pull back to their home clothes.How long this will take? When the first to come out and when to go the last?This happens 24 hours a day.

6:28 to 7:30Here hang no boots. Do they go barefoot in the tunnel? That can not be. Absolutely not!But over there, there are also boots. They store them differently here. Here it may be that

people are coming from the showers.How is that when people come to the shift change? Then the clothes pulled down. Theyhave numbers. Every miner has a number. So they can get their clothes. Every miner hasa personal key.

5:58 to 6:17What is your impression?I think it is hanging very low.Yes. This is also what bothers me right now.

I think the "Schwarzkaue" is more interesting than the "Weißkaue".

5:40 to 5:58So these are now the clothes worn downhole? Yes, this is the "Schwarzkaue" for pitclothes. There is the "Weißkaue" for street clothes.But why hang clothes here now. Are not all miners working?Yes, they have several shifts.

4:17 bis 4:19What ist this? This is the "Weißkaue" (for the street clothes). Over there is the "Schwarzkaue" (for the pitclothes).

3:50 to 4:10One year before the opening of a major retrospective of his work, Andreas Grusky beginswith the research for a new photo that will be shown in this exhibition.

He looks at the changing rooms, the so-called "Weiß- und Schwarzkaue" in the few minesin the Ruhr area which are still in operation.


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3:00 to 3:40 At the beginning of this work, we always had east wind and the wind direction while slidingtowards the river and the water is very smooth. But I wanted a roughened surface. For thatI needed a very specific wind from the opposite direction.

That is what is at taking pictures so beautiful that you creep into something. That one isreally so busy working and not on hopes that something will happen by the wayaccidentally.

2:24 to 3:00No. That's not all. And here at the front and there?The foreground, the road and the entrance to the water is completely untreated.That's crazy!

Yes! What is not to say that I went there and just did a photo. This is my jogging track and Iknow the place very well. When I had decided to take the photo and I looked at the firstcontact sheets, my initial impression was not at all recognize. And this initial impression Ihad laboriously restore.

1:37 to 2:24You said that you feel somehow that something has changed. Can you describe morespecific?I would imagine here on the site, something is missing. Do you have something put right?It has become so suspiciously smooth, as if drawn with a ruler and I am not quite buying

that. The fact is that in this image the cleanup has took place really economical. So at the point

it was pretty much what it is, but here is actually the coal power plant. And that's all?

0:50 to 1:37I liked the picture very very much. But Bernd did not like it and we have fought us. He hasargued it would be too abstract for him, so that it no longer works. I think it is of coursevery abstract. One can clearly see that something is gone, what was there in reality. But I

really like this over-abstraction, where the Rhine runs through the area like a slime or apudding. The picture shows something that really is the Rhine.

0:39 to 0:50Hilla Becher visits Andreas Gursky in the photo-depot of his studio. In the early 80s hestudied by her husband Bernd Becher at the Dusseldorf Art Academy.

Andreas Gursky Photographer 2 / 4

11:15 to 14:05Would you give me the Polaroid cassette? Yes. ... So the color temperature is identical.


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Now we go down a little. Half a stop, I would still dim.Then we do 11 and 1 / 3 and 16. Well, next setting!....Oschi? Sync cable? Synchro!

10:45 to 11:10 The neon lights were turned off. That's better. You can see it here. If one goes up here, wemust have definitely a lower angle shot. We can actually do it with the others. So weshould first go to that situation here. Then I adjust the light.

9:27 to 10:18I tell you just now, what we do, yes? So here we were last time. It's now much more empty.Now it's almost better here. So you could set up the camera here before. That is one thing.

Now we go through again. This is not so bad. Then we are with the light a little moreflexible. And then we can in the front entrance ... look, here it is a bit higher ...

8:15 to 8:30Seven months before the opening of the exhibition, Gursky and his assistant go for thesecond time to the mine Hamm. For the background of the proposed photo they still needshoots of single clothes.

7:00 to 7:50I would say that we also load 40 pieces, if we have 40 ... 30 ... fits ... 40! Where's thebrush? I do not know how many times I've done it. My father in his whole life - in allseriousness - did not allow to insert the cassettes by someone else. Really? He hasalways made it himself. He enjoyed it, probably. No, he was suspicious. He only trusted tohimself.

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In Andreas Gursky's Düsseldorf studio, a former power station, Gursky and his assistantprepare the next shoots before.Where did you get the 150's? They're here? 180's, 90's, 115's ... ?.. For the 90's ... Exactly,exactly ... and then we take the Balkan (?) flash unit ... exactly ... and you have the multi-flash ... exactly ... We have a lot more light than the last time, actually, which aresynchronized with each other? So we can trigger the Balkan (?) and yours flashestogether!

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Now we have to search ... around now ... well ... Siemens, Karlsruhe. This is a very earlypicture. In the mid-80s I was interested in manufacturing enterprises. In Germany. Thereare design considerations to these columns, whereby a photo is only like an image of


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architecture. The separation of the ceiling and the floor in this image is eliminated, by afortunate circumstance. These electric devices are powered from the top, and thus there isno separation between top and bottom.

4:20 to 4:40In my early industrial photographs I have noticed, for example, Siemens in Karlsruhe,where this is achieved with a simple shoot without digital intervention.But here I will of course intervene.

3:28 to 4:16The destination now is to increase the space - at least in the picture. In fact the space is somuch greater. One can not shoot this with the camera in one picture. If you would do that,it would be a lapidary architecture photo. My concern was only about the clothes. The

destination now is to reconstruct the clothes of 1500 people below the ceiling. Without anyintermediate support ... exactly ... and ultimately to remove me from the authentic place.

2:40 to 3:22It is always the decision whether working digitally or analog. This time we did both. I havenow decided to work analog, based on the material that we already have, then to scan theslides and from this to produce the image. It was only just one setting with differentexposures. The light is actually very good.

2:27 to 2:35"That's not right!" In this respect, this is not pure photography, what I do.

1:37 to 2:27My pictures are almost always interpretations of places. I work with real, authentic stuff,but compose entirely free. It's almost like a memory of the place. Yes, exactly. You couldsee a place ... as one for example would describe a place verbally. The description is valid,

even if certain details shown exaggerated or poetized. Literature is perceived as truthful,even if details are not really. In photography that is often criticized.

1:20 to 1:30 Are the flashes set up? What's down there for a blooming? Is it the neon light? Maybe weneed to turn off.

0:37 to 0:54... so we shoot that from here, as deep as possible ... taking the ceiling with ... it is theinside ... and goes down but only up here ... so before these chains ...


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Andreas Gursky 3 / 4

9:30 to 10:15 Although it is not ready yet but I like it quite well. Color is good. Contrast is good. We might

make it even a tiny light. Down at the chains, it is still not resolved. Has the image still itsspatial alignment? So here was in reality an alignment. Here was a corner and then ...recognize it? No, that's been lost. So, below it is not yet o.k. ... above it is very good ...even the nice transition into the Black ...

8:20 to 9:00Well, for starters very good, right? Do we want to keep the print from noon today once nextto it? This is not the print by noon today. This is the print from last week. Maybe we shouldhang left of it, then we have a good comparison. The correction has worked beautifully.

7:27 to 7:40The Photo Studio Krieger in Dusseldorf prints large-format images for many photographicartists. After he made several test prints, Gursky shall determine the final exposure of hisphoto.

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It is the view from the top, that tells for distances, for fear of contact. That certainly sayssomething about the nature of Gursky, in addition to all the friendship and confidence,always pulls back on himself. It has something reserved. These reservations about theworld he represents, is visible in all his pictures.

6:15 to 6:50In general, Gursky loves the view from the top. It is a kind of "Google Earth view" withwhich he looks at the world. He works, I think, very pleased by the helicopter. Used to becalled "Rider's Perspective" as the artist did not have any helicopters, in the Renaissance,

but then were like riding in top of the level of their motives.

5:30 to 6:15The biggest spectacle in the world. Nothing in this image is imagined. Everything is reality. All 20,000 or 30.000 characters and actors who appear here are real in the stadium inPjöng Jang gathered and perform synchronous gymnastics and ballet exercises. This is alldone for only one pair of eyes for the leader of North Korea. For him, this picture is made.

4:55 to 5:25Thomas! The Portuguese men who move the terrazzo floor, but tomorrow they are stillthere? Ah yes! I need for a shoot some people. I think they would be suitable. Yeah, just


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announce that and maybe ask if they can. They would appear in a background of a photo.They are not really visible. It's very dark. It's just that one will suspect people there. Theywill be photographed only from behind.

4:10 to 4:53The man then disappears, of course. Yes, we have to ... But I also think the color great.We must again make a little back. The man I would leave it as it was, I liked that. Sincesuch a magical space created in the background. Perhaps we should have a whole groupback there. These are accidents that were not planned, but we then discovered details, geta great importance at a time and then we discussed this.The water drop effect, we have now! Yes!

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What is important in this composing that the items are photographed from the rightperspective because perspective is of course no longer manipulable.Then we have up there, everything darkened. That was before a lot softer. See that? Yes,yes. Important is that the chains do not at first perceived as chains, but the first thought is,are that pearls, does it rains?

2:05 to 2:29That looks much softer. You can see it clearly on the chains. The clothes still missing somecontrast. More contrast. The lights you had already darkened. Yes.

Not brighter! Only a little more contrast in the details.

1:55 to 2:053 months before the opening of the exhibition ,Andreas Gursky and the image processorReinhard Ottenlinger, add the single image elements to one photo.

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If they were going to shoot from one angle, the building would have a distortion on thesides, and not these frontal access to the interior. And that's why I chose for two angles ofvision. There is, strictly speaking, two escape points in the image, which would bother menormally, but there is no spatial depth, it works. The advantage is that each room issupposedly head looks from the front. And that you can really clean look to the buildingand that's the important thing.

0:07 to 1:01Yes, here we are again. He has the big and the very small. He has the macro-cosmos and

micro cosmos. This combination, you can create only with photography and not with theeye. Impossible. Just as a building or a street in New York you can not really see how it is,


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you can compose it only partially. And here's the great thing about that is the very big andvery small. This little hint of intimacy in the little ones who put in there.

Andreas Gursky 4 / 4

12:55 to 13:30I grew up in a very industrial city and have also worked in such a work place. There I hadthe same work clothes, which was also stored similarly. It was neither particularly beautifulor ugly. It was the normal dress of a miner. That is why I have such things very near andfamiliar and remind me of my past.

12:08 to 12:49Contains the work, the essence of our time?Yes. Exactly! I did it in a better way to understand modern trends. It is one of the bestillustrations.

Can we talk about the work you have recently purchased?Yes, of course! For this work I have a special relationship. It is a very "Ukrainian" work,because Ukraine - like Germany - is a very industrial country. We have a lot of heavyindustry and mining. Therefore, the work reminds me of my home.

11:25 to 12:05Right in the swan palace, which took place in 1945, the Yalta conference with Stalin,Churchill and Roosevelt, I have hanged up "Kuwait Stock Exchange. This workdemonstrates how the Western economy and civilization, the financial center gradually

shifted to Asia, to the East, to China and India. This is one of the strengths of AndreasGursky. Contrary to the politicians he reflects the situation of the world.

10:35 to 11:25 I love very much Andreas Gursky's work. His aesthetic is very close to me. We alreadyhave some of his works in our collection, iconic works of which I very happy and proud.For example the work "Kuwait Stock Exchange". I recently held an internationalconference in Yalta, which dealt with the future of Ukraine in Europe and the world afterthe crisis.

10:05 to 10:32The steel-and media-business man from Kiev Victor Pinchuk is one of the biggestcollectors of contemporary art in the former Soviet Union. He has many works by DamienHirst, Jeff Koons, Takashi Murakami, one of the largest Gursky collections in the world. Inthe "Pinchuk Art Center" he presents exhibitions of contemporary art, and he alternateswith exhibitions of young Ukrainian art.

8:42 to 9:25The first image he has shown in public, is the "gas stove" from 1980 and the very latest


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image you'll see there in the other house "Hamm Mine East". So a big arc, from his first job until his latest, which was previously never shown publicly. It is the exhibition by Andreas Gursky with most works of him ever had. An encyclopedia of his previous work,an encyclopedia of life - he once said - from the "gas stove" to "Hamm Mine East".

8:08 to 8:42Ladies and gentlemen, such an abundance of visitors we did not had in a long time in amuseum in Krefeld. However, it is no wonder, an exhibition of Andreas Gursky now attractsthe masses. Ladies and gentlemen, I am not exaggerating when I declare the exhibition"Andreas Gursky 80-08" as the most important art event of the year organized in Germany.It is a retrospective, a summation of his work. A reunion with Andreas Gursky, after 19years.

6:10 to 6:20Now it's right on place. I will then darken it so that it looks exactly like the man in theoriginal photo.

5:02 to 5:41This is one ... the mask ... Okay, Andreas has given me this picture later, and has chosentwo men who still should be mounted in this picture. Click the image to the chains withoutadditional people, and in this way I have to mount the men of the later-made image.

4:50 to 5:00The photograph "99 Cent" from 1999 was auctioned for 3.3 million dollars at Sotheby's.

4:25 to 4:50He does not use dramatic perspectives, or dynamic image creation, but he is as straight assimple and primitive as possible to the picture. So Gursky achieved such an elementaryresult.

4:00 to 4:25 Actually, that is - although it is only a very specific 99 Cent-store - the symbol of thesupermarket itself, this image stands for "supermarket" anywhere in the world. Gursky isgetting to the point. All you could do because of tricks and nonsense, he has omitted.Gursky is focused on the thing itself, he does not see things through a certain frame.

3:30 to 3:50These prints are printed ourselves. Then they will be framed and then displayed.


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2:43 to 3:30Yes. This is the photo, I just spoke of. Have you seen anything like this before? This is theclothing of miners working underground. And what I wanted, so I've asked you ... here youcan still see faint a person who belongs to the original image. Which is still somewhatenlarged and clarified. You will then appear in the background of the image. Okay.

And here - if you are interested - small images that we print just for the exhibition.

1:39 to 2:30Please be more look up towards the ceiling, exactly. A bit to go in and spin around. More.Even more. More around. Yes. Now please be turn away from the camera. So, yes. Okay. And changing a bit your posture, holding hands differently. Yes. Very good.

0:15 to 1:33Sorry! I may pass. Well, the situation is this: I took a picture in the locker room of a mine.This is the area where the miners change their clothes. Now I need a group of people juststanding and seen from behind or the side. That is all. After I'll show you the image so thatyou can project that. So, then you placed here once. I'm here with the camera. Now pleasedo not stare into the camera, but just look up or down. It is important that you are notmoving during the shoots.

andreas gursky photographer subtitles

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