Friend or Foe / The Years to Come
04/16 – 05/07/2005
Opening: Saturday, 04/16/2006 at 6 p.m.
- The Years to Come, Wall Street, 2004, series of 7 c-print, 33 x 48 cm, edition 3+1 a.p
- The Years to Come, Wall Street, 2004, series of 7 c-print, 33 x 48 cm, edition 3+1 a.p
- The Years to Come, Wall Street, 2004, series of 7 c-print, 33 x 48 cm, edition 3+1 a.p
- The Years to Come, Wall Street, 2004, series of 7 c-print, 33 x 48 cm, edition 3+1 a.p
- The Years to Come, Wall Street, 2004, series of 7 c-print, 33 x 48 cm, edition 3+1 a.p
- The Years to Come, Wall Street, 2004, series of 7 c-print, 33 x 48 cm, edition 3+1 a.p
- The Years to Come, Wall Street, 2004, series of 7 c-print, 33 x 48 cm, edition 3+1 a.p
Eiko Grimberg
Trading Floor 2005
C-print
180 x 125 cm
Edition 3+1 a.p.
<-- (for further pictures, please, click on image)
On a wall of the JP Morgan Company building traces of an event, that took place more than 80 years ago, can be found. On september 16, 1920 a horse-drawn vehicle, packed with dynamite and shrapnells, exploded at the crossway of Broadstreet and Wallstreet. After 9/11 there no longer ist he possibility for tourists to visit the New York stock exchange in Wall Street. The financial district is rated as highly relevant to assaults, with the apropriate safety arrangements. Pick-ups are positioned crossways and block the access roads, the entrance itself is protected by an armored vehicle. The installation The Years to come by eiko Grimberg investigates the place, where the past and present fold in a peculiar way.
- Friend or Foe, 2005, series of 15 c-prints, each 30 x 40 cm, edition 3+1 a.p.
- Friend or Foe, 2005, series of 15 c-prints, each 30 x 40 cm, edition 3+1 a.p.
- Friend or Foe, 2005, series of 15 c-prints, each 30 x 40 cm, edition 3+1 a.p.
- Friend or Foe, 2005, series of 15 c-prints, each 30 x 40 cm, edition 3+1 a.p.
Andreas Schulze
Friend or Foe 2005
Series of 15 c-prints
Each 30 x 40 cm
Edition 3+1 a.p.
Exhibition view
<-- (for further pictures, please, click on image)
In his tableaux Andreas Schulze composes a state of abeyance between recognition and mysterious haziness, of image composition and background narration. He blurs the borders between pure colour setting and concrete representation playing intentionally with the variety of distance and familiarity. Schulze manages to achieve a balance between formal consequence and subliminal emotion. By avoiding all directly and concretely ascribed depiction he creates by means of photography inner images of intensive effect.













