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Andreas Gursky September 12–November 14, 2020 Sprüth Magers, Berlin

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Andreas Gursky September 12–November 14, 2020 Sprüth Magers, Berlin Press Release Andreas Gursky September 12–November 14, 2020 Sprüth Magers, Berlin Monika Sprüth and Philomene Magers are pleased to present a substantial exhibition of new photographs by Andreas Gursky, his first new body of work in almost three years, in which he takes up a range of themes that he has investigated for decades. Despite the continuity in theme and subject matter—our built environment, humankind’s impact on the natural world—the new pictures embed his analyses in current events, offering altered settings and situations to explore. Rhine III (2018) revisits his important work Rhine II (1999)—the dimensions, setting and composition of both are all almost identical. And yet, just twenty years later, the mood is drastically altered. The drought of summer 2018 reduced the river to a record low, and the new picture offers a dystopian vision of the once flourishing river landscape. Cruise (2020) also brings to mind an important earlier work, Paris, Montparnasse (1993). The same grid-like structure appears, but instead of a large apartment building, here there are hundreds of windows on the side of an enormous cruise ship. As with the Paris picture, Cruise shows a human environment atomized into a modernist architectural grid. Politik II (2020) directly follows Gursky's work Rückblick (2015), also included in the exhibition, to create a new series that looks at political structures. Over a period of several months, Gursky closely observed the activities of the members of parliament in the German Bundestag. Politik II features thirteen politicians in animated conversations, the figures filling the entire width of the picture. The arrangement and number of people in the image, as well as the fact that only one person stands aside, looking into a newspaper, emphasizes the echoes between Gursky’s picture and a typical depiction of the Last Supper. While the humor is only faintly perceptible in Rückblick—as expressed, for example, in the plume of smoke above Helmut Schmidt as an identifying feature of the former chancellor—the humor is bolder in Politik II. Who takes on the role of the savior in this implied depiction of the Last Supper? Is it Angela Merkel, who has moved slightly out of the center of the picture, or Anton Hofreiter, whose shoulder-length hair alone seems to qualify him? As early as 1994, Gursky photographed the high-rise headquarters of HSBC in Hong Kong. Designed by British architect Sir Norman Foster, the building is still a dominant feature of the Hong Kong skyline. While one can still clearly see the employees on the www.spruethmagers.com different floors in Hong Kong Shanghai Bank (1994), in Hong Kong Shanghai Bank I (2020) a red-orange diode curtain obscures the windows, a screen against prying eyes. In Hong Kong Shanghai Bank II (2020), the façade seems to reflect the current events in front of the bank: A sea of colorful umbrellas, with patterns, faces and slogans of the 2014 Umbrella Movement. In another photograph, Hong Kong Shanghai Bank III (2020), words in horizontal bands stretch across the façade of the building. Highlighting everything from cultural figures to political flash points, the words invite the reader to reflect on the powerful structures that filter our interpretation of historical events. In October 2019, Gursky's portrait Jonathan Ive was unveiled at the National Portrait Gallery, London, showing the Apple designer in the company's new headquarters, which was designed by Foster + Partners in close cooperation with Sir Ive. Gursky made a second photograph, Apple (2020), at the exact same spot, which will be shown in the Berlin exhibition. Apple features iPhones and various generations of computers in the same position as the designer in the earlier photograph, but placed on pedestals and lined up along the curved window as if in a museum. The urban living space, and the constant balancing of efficiency with quality in contemporary life, is one of the themes Gursky addresses in his work Bauhaus (2020). The functional building with the logo of the DIY store, commonplace across Germany, is shown by the artist in its cold and precise aesthetics, which at the same time brings to mind the famous art school in Weimar. The functional, minimalist architecture designed for modern living is diametrically opposed to the mood in Pigs (2020). Here, Andreas Gursky portrays the animals in an unusual close-up, seemingly warm and comfortable in a bed of golden hay. Alongside his new works, previous pictures such as Utah and Tokyo (both 2017) are also on display, and this exhibition overall offers a chance to observe a range of continuities and new developments in the artist’s oeuvre. Exhibited for the first time at the Berlin gallery, the group of new photographs will join many of his most iconic works for the artist’s retrospective at MdbK Leipzig in December 2020. Andreas Gursky (*1955, Leipzig) lives and works in Dusseldorf. Solo exhibitions include his upcoming retrospective at MdbK Leipzig (December 2020), Hayward Gallery, London (2018), National Museum of Art, Osaka (2014), National Art Center, Tokyo (2013), Stiftung Museum Kunstpalast, Dusseldorf (2013) and Louisiana Museum of Modern Art, Humlebaek, Denmark (2012). A solo exhibition organized by the Museum of Modern Art, New York (2001) toured to Centro de Arte Reina Sofia, Madrid, Centre Georges Pompidou, Paris, Museum of Contemporary Art, Chicago and San Francisco Museum of Modern Art. His first retrospective, Retrospektive 1984–2007, was shown at Haus der Kunst, Munich and toured to Istanbul Modern and Sharjah Art Museum (2007), then to Ekaterina Foundation, Moscow and National Gallery of Victoria, Melbourne (2008). Andreas Gursky: Werke 1980–2008 opened at the Museum Haus Esters Haus Lange, Krefeld (2008) and toured to Moderna Museet, Stockholm and Vancouver Art Gallery (2009). For further information and press inquiries, contact Felix Lorenz-Wohnhas ([email protected]). www.spruethmagers.com Opening hours: By scheduled appointment, Tuesday–Saturday, 11pm–6pm www.spruethmagers.com Press Release Andreas Gursky 12. September–14. November 2020 Sprüth Magers, Berlin Monika Sprüth und Philomene Magers freuen sich, eine umfangreiche Ausstellung mit neuen Arbeiten von Andreas Gursky anzukündigen. Der neue Werkkomplex führt seine kontinuierliche Beschäftigung mit gesellschaftlichen Fragestellungen unserer Zeit thematisch und motivisch fort: die Konstruktion unserer Umwelt, der Einfluss des Menschen auf die Natur und der dadurch bedingte Wandel. Die monumentale Fotografie Kreuzfahrt (2020) erscheint als Symbol für unsere aktuelle Lebensrealität, in der gesellschaftliche Normen des Miteinanders und die damit zusammenhängenden Konzeptionen von Raum und Abstand neu definiert werden. Bereits vor drei Jahren begann Gurskys Arbeit an diesem Abbild einer immensen schwimmenden Stadt als Sinnbild für Opulenz und Konsum und deren Auswirkung auf unser Ökosystem. Damals konnte noch niemand voraussehen, dass dieses Motiv einmal ein starkes Symbol für die Angst und Verwirrung zu Beginn der gegenwärtigen globalen Krise sein würde. Nicht zuletzt erinnert Kreuzfahrt formal an das wegweisende Werk Paris, Montparnasse (1993), welches vor fast 30 Jahren eines der größten Sozialwohnungsprojekte Frankreichs als architektonisch definierten, gitterhaften Mikrokosmos portraitierte. Heute wie damals wirft Andreas Gursky die Frage auf, wie wir leben, unseren Lebensraum gestalten und dieser im Rückschluss unser Leben formt. Das Werk Rhein III (2018) nimmt Bezug auf eine der wichtigsten Fotografien im Œuvre des Künstlers: Rhein II (1999). Die Stimmung des Motivs hat jedoch in den vergangenen zwanzig Jahren, die zwischen den beiden Arbeiten liegen, einen drastischen Wandel durchlaufen: Der Wasserstand des Flusses befindet sich infolge der Dürre des Sommers 2018 auf einem Rekordtief, wodurch das jüngere Werk wie eine dystopische Vision der einst blühenden Flusslandschaft anmutet. Über einen Zeitraum von mehreren Monaten beobachtete Andreas Gursky Abgeordnete im Deutschen Bundestag. Politik II zeigt eine Gruppe von dreizehn Politiker*innen in ihrem Alltag - vom angeregten Gespräch bis hin zur Lektüre der Tageszeitung. Die horizontale Anordnung der Akteure, die Anzahl der Personen sowie die abgewandte 13. Figur erinnern an eine Darstellung des biblischen Abendmahls. An Stelle der zentralperspektivischen Architektur, welches den Hintergrund von da Vincis Meisterwerk aus dem 15. Jh. gestaltet, ist der Hintergrund von Politik II mit dem Gemälde einer überdimensionalen Uhr von Ed Ruscha ausgefüllt, das hier wie ein Memento Mori über der Zusammenkunft schwebt. Zugleich visualisiert Gursky eine Momentaufnahme der Verteilung von Macht, ähnlich wie das Werk Rückblick (2015), welches Oranienburger Straße 18 10178 Berlin +49 30 / 2888403 0 www.spruethmagers.com auch in der Ausstellung zu sehen sein wird. Die Werkgruppe Hong Kong Shanghai Bank zeigt das von Sir Norman Foster entworfene Hauptquartier der HSBC Bank in Hongkong. In Hong Kong Shanghai Bank II (2020) scheint die Fassade das aktuelle Geschehen vor dem Gebäude widerzuspiegeln: Ein Meer aus bunten Schirmen, mit Mustern, Gesichtern und Slogans rufen sofort Bilder der Regenschirm-Bewegung von 2014 ins Gedächtnis und weisen auf die noch immer aktuellen Forderungen nach freien Wahlen. In Hong Kong Shanghai Bank III (2020) ziehen sich Spruchbänder über die gesamte Höhe der Fassade. Indem sie unter anderem auf kulturelle Persönlichkeiten und brisante politische Themen verweisen, laden sie die Betrachter*innen dazu ein, jene
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