Struth changes the context of the technological sublime by transferring the motives into the gallery space: Anonymous sculptures reveal structures that are incomprehensible to the majority of spectators while the viewer is confronted with alienated forms of industrial and technological progress. Titles, such as Tokamak Asdex Upgrade periphery, intensify the formality in photographs that analyze and document the human ambition and the progress of today’s industries. Also on view are photographs that record architectural sites in Korea, including an oil platform and a shipyard, strongly contrasting with the advanced technologies of the former. The depiction of the image’s architecture seems to create iconographic and hyperreal manifests of the present.
lire la suite sur le site de la galerie Max Hetzler
vues de l'exposition
Illustration: Thomas Struth, Chemistry Fume Cabinet. The University of Edinburgh, 2010. Digital C-Print, 120,5 x 166 cm.
