|
Artist |
Philip Topolovac |
|
Artwork |
Vedute |
|
Date of Work |
2020 |
|
Dimensions |
50 x 66 cm | 61 x 76 cm (Framed) |
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Material |
Heliogravure on Canson Arches 250g White |
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Edition |
50 + 20AP | Hand-signed by the Artist and numbered. |
About Artist
Philip Topolovac (b. 1979, Würzburg) is a contemporary artist based in Berlin. In his sculptures, photographs and installations he scrutinizes the conditions of estrangement in contemporary society as a result of technological progress and historical developments.
Topolovac’s work is included in collections such as Deutsches Architekturmuseum, Frankfurt; Julia Stoschek Collection, Berlin, Düsseldorf; Wurlitzer Collection, Berlin; Barbara Gladstone, New York, Brussels; Sammlung Koestlin, Berlin.
About Artwork
Topolovac produced a heligravure print in the style of ar- chitectual etchings remeniscent of baroque „vedutes“- i.e. views of famous italian sites, produced for wealthy travel- lers on their „grand tour“, an educational trip, obligatory at the time. Topolovac depicted a contemporary and inter- nationally known place of longing, the Berghain in Berlin. For many young travelers on their grand tour today, the Berghain is an arcane dream destination that is not reached by everyone. It ́s myth is based on its policy of opacity. It is prohibited to take pictures inside, and there is a certain difficulty to get past the bouncer. Inside its walls, the promise of excess is celebrated without restraint by a chosen few. Topolovac produced a heligravure print in the style of ar- chitectual etchings remeniscent of baroque „vedutes“- i.e. views of famous italian sites, produced for wealthy travel- lers on their „grand tour“, an educational trip, obligatory at the time. Topolovac depicted a contemporary and inter- nationally known place of longing, the Berghain in Berlin. For many young travelers on their grand tour today, the Berghain is an arcane dream destination that is not reached by everyone. It ́s myth is based on its policy of opacity. It is prohibited to take pictures inside, and there is a certain difficulty to get past the bouncer. Inside its walls, the promise of excess is celebrated without restraint by a chosen few.
The print celebrates the iconic status of the famous club, by referencing the impressive architecture of antique tem- ples in an oldfashioned technique which both promotes its fame and reflects on its temporality. The cork model of Berghain with the title “I have never been to Bergahin” is on show at Messe in St. Agnes until the 20th of September. (The edition is signed and numbered on the front.)
Each print is signed and numbered by the artist.
This print is only available framed.