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Florian Maier-Aichen

April 12–May 25, 2013
Davies Street, London

Installation view, photo by Mike Bruce

Installation view, photo by Mike Bruce

Installation view Photo by Mike Bruce

Installation view Photo by Mike Bruce

Works Exhibited

Florian Maier-Aichen, Untitled, 2013 Chromogenic print, 72 ⅞ × 92 11/16 inches (185 × 235.5 cm), edition of 6

Florian Maier-Aichen, Untitled, 2013

Chromogenic print, 72 ⅞ × 92 11/16 inches (185 × 235.5 cm), edition of 6

Florian Maier-Aichen, Untitled, 2013 Chromogenic print, 63 ¾ × 86 ⅜ inches (162 × 219.5 cm), edition of 6

Florian Maier-Aichen, Untitled, 2013

Chromogenic print, 63 ¾ × 86 ⅜ inches (162 × 219.5 cm), edition of 6

Florian Maier-Aichen, Untitled, 2013 Chromogenic print, 93 ½ × 73 inches (237.5 × 185.5 cm), edition of 6

Florian Maier-Aichen, Untitled, 2013

Chromogenic print, 93 ½ × 73 inches (237.5 × 185.5 cm), edition of 6

Florian Maier-Aichen, Untitled, 2013 Chromogenic print, 68 5/16 × 92 ⅛ inches (173.5 × 234 cm), edition of 6

Florian Maier-Aichen, Untitled, 2013

Chromogenic print, 68 5/16 × 92 ⅛ inches (173.5 × 234 cm), edition of 6

Florian Maier-Aichen, Untitled, 2013 Chromogenic print, 95 ⅝ × 72 ¼ inches (243 × 183.5 cm), edition of 6

Florian Maier-Aichen, Untitled, 2013

Chromogenic print, 95 ⅝ × 72 ¼ inches (243 × 183.5 cm), edition of 6

About

Photography used to be like alchemy in the nineteenth century. It was the medium of the few; now it is a mass medium—and slightly dead. Maybe it is reactionary to turn backwards, to try and establish art history again, but that is the most interesting part of the process—not just the black box.
—Florian Maier-Aichen

Gagosian Gallery is pleased to present recent photographs by Florian Maier-Aichen.

A photographer schooled on both sides of the Atlantic, Maier-Aichen’s work reflects on the dual influences of the history of photography and the history of painting. Focusing on the camera’s consummate power to establish typologies of thought, perception, and feeling, he produces images that, in mining the past, come to embody a matrix of issues highly relevant to photographic practice today.

Approaching his chosen field like a painter approaches a canvas, Maier-Aichen does for the contemporary image-world what pictorial photographers attempted in the nineteenth and early twentieth centuries, using the strategies and motifs of then-contemporary genre painting. In a creative process that is as intensive as it is subtle and opaque, he combines an exhaustive range of staged effects and traditional photographic techniques with drawing and current computer-imaging processes, sandwiching all sources together to develop different levels and frequencies of information within a single image.

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