Berlin Mehringdamm, 2009
Photography : C-print · 33 x 80 x 0.1 cm 13 x 31.5 x 0 inch
$468
468 $US
Delivered in time for Christmas
One of the last works available by this artist
Shipping & delivery
Shipped from: Germany
Delivery to: United States , $ 61
Estimated delivery: Less than one week
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Verified Reviews : 9.6/10
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About the artwork
Type
Photography : numbered and limited to 5 copies
1 copy available
Condition
Artwork sold in perfect condition, not framed
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Signature
Signed artwork
Dimensions ( cm • inch )
33 x 80 x 0.1 cm 13 x 31.5 x 0 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2023
Description
In 1998 Wolf-Dietrich Weissbach began the project of photographing subway stations worldwide as much as possible with the panorama camera (Noblex U 150) on color negative film (negative format: 5 x 12 cm). So far, pictures have been taken in Stockholm, Paris, London, Barcelona, Prague, Stuttgart, and Berlin. The project was funded by the cultural foundation of the Verwertungsgesellschaft Bild-Kunst (Bonn).
Weissbach's works are analog photographs. This means that the moment of exposure remains the sole decisive factor. Digital post-processing is not possible here. This requires a concentration on the creative use of the technical possibilities offered by the camera. One of the photographic design tools is the combination of long-exposure and multiple exposures (sometimes up to thirty exposures on the same piece of film). This reduces the moving people, the passing subways, and other moving objects in the pictures to transparent ghosts that float or stumble, jump, or repeat themselves through the image. In contrast, the architecture becomes even brighter, sharper, and more foregrounded. The rotating lens of the panorama camera offers further possibilities, where only a narrow vertical strip in motion from left to right is exposed at any time. This allows for an expanding tracking of moving objects in the direction of the exposure strip out of the image field. Conversely, people and objects moving against the exposure are squeezed together up to the line. Surreal situations emerge and thus the warning "Mind the Gap" becomes double-edged. It concerns not only the gap between the subway and the platform but also the abysses that can creep into our perception.
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