Thomas Struth

Galerie Rudiger Schottle

This show was comprised of 21 photographs taken in Naples, Tokyo, and Rome. Thomas Struth’s photographs of Neapolitan streets do not correspond to our image of this city, for almost no one is to be seen in them. Like the photographer who fills books with pictures of significant architectural monuments, Struth arrives at his locations at dawn in order to experience the architecture in its pure state. His creative principle is rooted in an abstract, formal thinking. The edges of buildings are straightened by the large-format camera, and the viewpoint is selected in such a way as to produce compositions of planes that adhere to classical compositional principles. In his earlier works, Struth preferred a central perspective. In more recent pieces, however, the horizon keeps moving farther and farther to the side—or it is made almost invisible by the interlocking structures of the architectural

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