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Thomas Florschuetz, Enclosure (Brasilia) 12, 2008–10, C-print, 72 x 89 3/4".

Thomas Florschuetz

DIEHL

Thomas Florschuetz, Enclosure (Brasilia) 12, 2008–10, C-print, 72 x 89 3/4".

For his exhibition “Durchsicht” (Vista), Thomas Florschuetz selected seven photographs from several different series, yet perspective played a central role in all of them. Also, many involved a tension between a monumental aesthetic and everyday reality (or functionality). In Untitled (Wonder Valley) #01, 2010, for instance, the open facade of a ruined building reveals a small window with a view of a mountain landscape, a glimpse of scenic beauty in an otherwise unprepossessing picture. Here, perspective makes the image appear less real; actual depth is compressed and hence reads as abstract.

Florschuetz has a knack for finding sculptural or painterly moments in architecture; this is where his perspective becomes distinctive. Enclosure (Brasilia) 12, 2008–10, taken in Brazil’s Supreme Court building designed by Oscar Niemeyer, presents a view out of the edifice. On the left, gleaming

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