Thomas Struth
Galerie Max Hetzler is pleased to present a solo exhibition of works by Thomas Struth at Potsdamer Strasse 77-87 in Berlin. This exhibition offers visitors a new and, at times, surprising insight into Struth鈥檚 oeuvre over the past four decades.
Thomas Struth鈥檚 work is characterised by his long-term and careful pursuit of themes that revolve, in various guises, around the relationship between people and their environment. His photographs, which harmonise forms of documentation and contemplation, capture today鈥檚 society through images of cultural spaces, as well as the natural world, portraiture and places of industrial and technological innovation.
The most recent work in the exhibition, Hinakapo驶ula, Hawai驶i 2024, draws viewers into the depths of densely wooded Hawaiian mountains. In contrast, Semi Submersible Rig, DSME Shipyard, Geoje Island 2007 depicts an industrial megastructure on the southern coast of South Korea. Its monumental size and four mighty pillars are emphasised by the perspective of the steel colossus which stretches up to the upper edge of the picture.
The earliest portraits in the exhibition, taken in the 1980s, constitute some of the artist鈥檚 most rarely seen works. Struth has long been interested in the depiction of people, as exemplified in his celebrated Family Portraits, which convey the intricacies of family dynamics. By contrast, the portraits in this exhibition focus on the relationship between subject and photographer. They seek to capture the presence of the individual and thus make visible an incomprehensible yet universally recognisable facet of humanity.
Since the late 1980s, Struth has also explored the special relationship people have with works of art, and the places that house them. His Museum Photographs depict viewers confronting their own civilisation across the ages. In 2023, the artist spent several days at The Metropolitan Museum in New York, where he photographed visitors in front of 脡douard Manet鈥檚 The Execution of Maximilian, 1867鈥�1868 and Edgar D茅gas鈥� The Bellelli Family, 1958鈥�1967. In the resulting diptych, titled The Metropolitan Museum of Art (Diptych), New York 2023, Struth alludes to a historic connection between the two artists: following his death, Manet鈥檚 family cut up his painting to sell it in parts; the surviving fragments were later acquired by Degas, and were eventually reassembled in the late 1970s. Adding further layers to the work, Struth captures present-day museum visitors as they photograph the painting with their luminous smartphones. Spaces, times, cultures and attitudes are layered and combined, mediated via the artworks and their audience, and the viewer of the photograph.
The New Pictures from Paradise represented in this exhibition date from the early 2000s, the decade that saw a heightened awareness of the fragility and importance of the natural world. In these photographs, Struth aims to depict a diversity so dense that individual components are no longer identifiable to the human eye and an impression of inaccessibility prevails instead.
鈥婣 similar experience is at play in Struth鈥檚 Nature & Politics photographs, initiated in 2007. In the present exhibition, these are represented through scenes from aerospace technology and nuclear fusion test centres. In High Harmonic Generation Spectrometer, Weizmann Institute, Rehovot 2009, a bewildering tangle of colour-coded wires and technical instruments conveys the unfathomable reality of advanced technology to the untrained eye. Its promise of future innovation remains abstract and intangible.
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Galerie Max Hetzler is pleased to present a solo exhibition of works by Thomas Struth at Potsdamer Strasse 77-87 in Berlin. This exhibition offers visitors a new and, at times, surprising insight into Struth鈥檚 oeuvre over the past four decades.
Thomas Struth鈥檚 work is characterised by his long-term and careful pursuit of themes that revolve, in various guises, around the relationship between people and their environment. His photographs, which harmonise forms of documentation and contemplation, capture today鈥檚 society through images of cultural spaces, as well as the natural world, portraiture and places of industrial and technological innovation.
The most recent work in the exhibition, Hinakapo驶ula, Hawai驶i 2024, draws viewers into the depths of densely wooded Hawaiian mountains. In contrast, Semi Submersible Rig, DSME Shipyard, Geoje Island 2007 depicts an industrial megastructure on the southern coast of South Korea. Its monumental size and four mighty pillars are emphasised by the perspective of the steel colossus which stretches up to the upper edge of the picture.
The earliest portraits in the exhibition, taken in the 1980s, constitute some of the artist鈥檚 most rarely seen works. Struth has long been interested in the depiction of people, as exemplified in his celebrated Family Portraits, which convey the intricacies of family dynamics. By contrast, the portraits in this exhibition focus on the relationship between subject and photographer. They seek to capture the presence of the individual and thus make visible an incomprehensible yet universally recognisable facet of humanity.
Since the late 1980s, Struth has also explored the special relationship people have with works of art, and the places that house them. His Museum Photographs depict viewers confronting their own civilisation across the ages. In 2023, the artist spent several days at The Metropolitan Museum in New York, where he photographed visitors in front of 脡douard Manet鈥檚 The Execution of Maximilian, 1867鈥�1868 and Edgar D茅gas鈥� The Bellelli Family, 1958鈥�1967. In the resulting diptych, titled The Metropolitan Museum of Art (Diptych), New York 2023, Struth alludes to a historic connection between the two artists: following his death, Manet鈥檚 family cut up his painting to sell it in parts; the surviving fragments were later acquired by Degas, and were eventually reassembled in the late 1970s. Adding further layers to the work, Struth captures present-day museum visitors as they photograph the painting with their luminous smartphones. Spaces, times, cultures and attitudes are layered and combined, mediated via the artworks and their audience, and the viewer of the photograph.
The New Pictures from Paradise represented in this exhibition date from the early 2000s, the decade that saw a heightened awareness of the fragility and importance of the natural world. In these photographs, Struth aims to depict a diversity so dense that individual components are no longer identifiable to the human eye and an impression of inaccessibility prevails instead.
鈥婣 similar experience is at play in Struth鈥檚 Nature & Politics photographs, initiated in 2007. In the present exhibition, these are represented through scenes from aerospace technology and nuclear fusion test centres. In High Harmonic Generation Spectrometer, Weizmann Institute, Rehovot 2009, a bewildering tangle of colour-coded wires and technical instruments conveys the unfathomable reality of advanced technology to the untrained eye. Its promise of future innovation remains abstract and intangible.
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