Thomas Ruff returns to Galería Helga de Alvear to present his latest work. Entitled ma.r.s. -an acronym of Mars Reconnaissance Survey-, one of the leading expo- nents of the so-called School of Düsseldorf draws from a series begun in 2010 in which he transforms images captured by satellite into large-scale and slightly eerie photographs that convey the sensation of flying over Mars. Although this is not Ruff’s first incursion into the Universe, with ma.r.s. he seems to be completing the photographic sequence of his monumental series jpeg (2004–10) – which is inclu- ded in the display and can be seen for the first time in Spain – and prints acquired from La Silla Observatory in Chile which resulted in the work Sterne (1992).

Thomas Ruff’s work can be placed within the tradition of German photographers and direct successors of the conceptual aesthetics and teachings of Bernd and Hilla Becher who, in the 1980s, reinterpreted the original project behind the New Objectivity to arrive at a unique way of facing the world. He shares with former classmates of the Kunstakede- mie of Düsseldorf Andreas Gursky, Candida Höfer, Axel Hütte and Thomas Struth, in particular, a common conceptual ground: a pertinacious practitioner of the view camera, his neutral and disaffected gaze and his aloof aesthetic make for ‘flat’ and technically perfect images, with a richness of detail, however, that evinces Ruff’s formal preoccupa- tion for nakedness and purity of register.

Under the generic name of the “School of Düsseldorf”, all the above-mentioned artists have reworked the long tradition of genres such as architecture photography and portrai- ture. Indeed, it is precisely with the latter that Ruff irrupted onto the artistic scene: his faces, enlarged to a crushing scale, revealed the absolute impossibility of connecting with reality through the senses or the emotions, and ultimately exposed the crisis of the scien- tific paradigm inherited from Positivism and in particular the systematisation implemented by Galton and Bertillon at the end of the 19th century.

After an absence of many years, Ruff now returns to the Galería Helga de Alvear to present his latest work. Entitled ma.r.s.—an acronym of “Mars reconnaissance survey”—he draws from a series begun in 2010 in which he transforms images captured by satellite into large-scale and slightly eerie photographs that convey the sensation of flying over Mars.

With ma.r.s., Ruff seems to be revisiting his interest in the mysteries of the Universe and the practice of stargazing, assisted by images culled from the European Southern Obser- vatory, in the inhospitable desert of Atacama (La Silla, Chile), and which resulted in Sterne (1992). On this occasion, almost two decades later, he resumes his spatial adven- ture with the help of NASA’s public internet archives: black-and-white pictograms of the planet Mars are submitted to colour insertion and saturation, yielding novel and markedly fluid textures that offer a fresh perspective of the red planet, somewhat warmer and more introspective than the original icy-cold images.

The exhibition also includes a display of his monumental series jpeg (2004–10), which has never before been seen in Spain. Ruff has drawn on it to explore the distribution and reception of images in the digital era: using as a starting point images obtained from the internet, the photographer has enlarged them massively, exaggerating the patterns of pixels to convert them into geometric forms laden with colour in which the original figures can only be intuited.

Since Thomas Ruff irrupted on the artistic panorama with his large-scale hieratic portraits, his choice of subject matter has clearly changed—from portraits to strange night visions, landmark buildings, constellations of stars, pornographic nudes, re-photographed publici- ty off the internet, and industrial objects—and he uses digital manipulation to eliminate unwanted detail, but his treatment of the themes remains the same.

Dates.- 9 May - 29 June 2013. Opening.- 9 May 2013, 20:00 h. Opening Hours.- Tuesday - Saturday.- 11:00 - 14:00 h. | 16:30 - 20:30 h.
Venue.- Galería Helga de Alvear. Doctor Fourquet 12 | ES–28012 Madrid. T. +34 91 468 0506 | F. +34 91 467 5134 galeria@helgadealvear.com

 

Read more
Read less

Thomas Ruff, (Zell am Harmersbach, Germany, 1958). Lives and works in Düsseldorf, Germany. The oeuvre of Thomas Ruff belongs to a tradition of German photographers directly indebted to the conceptual aesthetics and teachings of Bernd and Hilla Becher, whose unique artistic approach turned to the original New Objectivity project and adapted it to the eighties. Ruff shared similar conceptual concerns and approaches with his colleagues at the Düsseldorf Kunstakedemie, who included Andreas Gursky, Candida Höfer, Axel Hütte and Thomas Struth. An obstinate user of large-format cameras, Ruff adopts a cold style, his gaze is as neutral and disaffected as possible, and his flat and technically impeccable images are rich in details, evincing his formal concern with bareness and pure captures.

Under the generic name of the School of Düsseldorf, these artists reinvented the long standing tradition of genres such as architectural photography and portraits, and it was precisely in the latter that Ruff burst on to the art scene. His faces, enlarged to an overwhelming scale, proved the absolute impossibility of a sensitive emotional approach to reality and ended up revealing the crisis of the scientific paradigm derived from Positivism, to be precise, the systematisation suggested by Galton and Bertillon in the late nineteenth century.

In spite of obvious changes in his subject matter—that ranged from portraits, peculiar nocturnal visions and emblematic buildings to astronomical constellations, pornographic nudes, advertisements re-photographed from the Internet and industrial objects—and even though he has occasionally made use of digital manipulation in order to eliminate superfluous details, the truth is that Thomas Ruff's essential approach to his themes has remained unchanged.

Read more
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...