| Immo Klink |
(Marbach, 1972)
The work of Immo Klink is informed by two direct influences: his study of law and his love of photography. The combination of both facets, together with his three-month collaboration with German photographer Wolfgang Tillmans, has given rise to an artistic project with a markedly documentary vein, which from early on began to attract the interest of different art magazines and specialised publications. This documentary task, which is always tempered by a clear critical conscience, delves into the miseries of our society of well-being. Advertising as an element of mass manipulation and the globalisation of culture give shape to a new landscape of conflicts and confrontation between two sides with diametrically opposed aims: those who seek to maintain the status quo and those who struggle to overturn the established order in the name of what they deem to be social justice. |
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 | | | | | | | Mayday at Mayfair (selection: Chanel, DKNY, YSL, Prada, Versace, McDonalds) (2002)
Colour photograph.
Dimensions variable
Edition: 1/5 + 1 A. P. |
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In the photographic series Mayday at Mayfair, Immo Klink examines the ways in which the confrontations between opposing ideological and economic spheres reveal themselves. Large international companies, multinational producers of mass-market consumer goods or exclusive brands that are out of reach to the majority, recoil in fear at the anti-globalisation rallies that pass by their establishments. The not-always-spontaneous acts of vandalism that may arise during these demonstrations prompt those in charge of these companies to come up with emergency measures to thwart their effects, boarding up their shop windows to protect themselves from physical violence. The premises of these large emporiums are turned into unassailable fortresses, accentuating the differences that separate the two realities and that are, in the final analysis, the cause of their very appearance. Klink's camera transforms these experiences into bona-fide installations in which the store managers are unwitting participants. The decontextualisation to which these images are subjected takes us into a space for pure aesthetic experience, but from which the critical factor is never absent.
C.O. |
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