╨╧рб▒с>■  79■   6                                                                                                                                                                                                                                                                                                                                                                                                                                                ье┴aЁ┐)jbjbД,Д,m:юNюN)       Иpppppppжюююю · ж√xrtttttt,sR┼ Ьаpа^pp╡^^^6ppr^ДШppppr^^pp^ rvД├юH^^╦0√^a ^a ^^pжж$╩$жж╩ Belgium / Facades-series GЎtz DiergartenТs work is about typology Ц as is the work of his famous teachers Bernd and Hilla Becher, with their comparable series of furnaces and half-timbered houses. Although DiergartenТs artistic concept is similar, he has chosen a very special type of building to document: the beach hut. (Е) GЎtz Diergarten was born in 1972 in Mannheim. His typological approach continues the great legacy of the Becher School into the second generation. His photographs have the same conceptual rigour and exactness, but instead of exploiting the sculptural effect of the subject in its rendering, he uses the painterly effect of color. Color as a means of pictorial expression is not accidental for Diergarten. It gives expression to what is individual within the standard category of Сbeach hutТ. (Е) DiergartenТs color images caused a sensation at this yearТs Armory Show in New York and at the Art Basel. He gives every indication of repeating the great success of his artistic predecessors from the Becher School. However, it would be a mistake to view Diergarten as merely the keeper and successor of a great tradition (which is not exhausted by the name Becher). His affinity to American color photography Ц for example to William Eggleston and Stephen Shore Ц should be kept in mind. DiergartenТs originality is based above all on the conceptual coupling of typology and color. Accompanying the four series of Belgian beach houses, the Gallery Kicken Berlin is also showing a selection of work from an earlier series on the theme of facades. DiergartenТs picture sequencing transforms the apparent banality of plaster, imitation siding, window, glass and garage doors into a typology of the respectable German middle class world. The serial repetition of this unsophisticated facade aesthetic in its ever-renewed look of the 60Тs and 70Тs tells quite a lot about the everyday world, although (or because) Diergarten is so thoroughly artificial in his method. Within his visual scheme Ц frontal view, diffuse light and close cropping Ц the type exhibits its variations. It may be surprising to realize that an apparently subconscious leaning towards abstraction can be found in the otherwise cautious German way of life. Without DiergartenТs exploration into typology, this would have possibly never come to light. With his attention focused on the signs and spaces of everyday culture, Diergarten establishes a connection with artists such as Walker Evans, Albert Renger-Patzsch and Werner Mantz, or Bernd and Hilla Becher. Diergarten also takes the everyday world as an aesthetic phenomenon seriously. Beach hut or house facades are not solely in service to their function, but also deserve to be noticed for the qualities of their form and color. Every nuance of the type is a part of our culture. 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