Michael Inmann Sold at Auction Prices

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  • ›Donaustraße Objekt No. 1‹ (from the series ›Left Spaces‹) by Michael Inmann
    May. 29, 2010

    ›Donaustraße Objekt No. 1‹ (from the series ›Left Spaces‹) by Michael Inmann

    Est: €1,900 - €2,100

    ›Donaustraße Objekt No. 1‹ (from the series ›Left Spaces‹) by Michael Inmann

    WestLicht
  • ›Donaustraße Objekt No. 13‹ (from the series ›Left Spaces‹) by Michael Inmann
    May. 29, 2010

    ›Donaustraße Objekt No. 13‹ (from the series ›Left Spaces‹) by Michael Inmann

    Est: €3,500 - €4,000

    ›Donaustraße Objekt No. 13‹ (from the series ›Left Spaces‹) by Michael Inmann

    WestLicht
  • ›Donaustraße Objekt No. 4‹ (from the series ›Left Spaces‹) by Michael Inmann
    May. 29, 2010

    ›Donaustraße Objekt No. 4‹ (from the series ›Left Spaces‹) by Michael Inmann

    Est: €1,900 - €2,100

    In the years 2005/06 Michael Inmann worked on his photo series Left Spaces. The abandoned rooms he captured are all situated in and around Vienna and most of them had been discovered by an estate agent friend of his. Mostly the photographer had no idea about the past of these rooms, the people who used to live there or the reasons for giving them up. But the spaces speak for themselves. Dark, used, shabby, they narrate the story of their inhabitants in their own way. Inmann gives his full photographic attention to theses sceneries - he takes what he finds, does not change decoration or lighting, nor does he rearrange their contents in any way. Instead he re-acts to the situation and concentrates his perception by precisely framing the images and individually laying the plane of sharpness into these spaces, thus portraying them in compositions of great density. [Michael Ponstingl] ›Donaustraße Objekt No. 4‹ (from the series ›Left Spaces‹) In den Jahren 2005/06 realisierte Michael Inmann die Serie Left Spaces. Diese unbewohnten bzw. verlassenen Räume befinden sich allesamt in Wien und Umgebung, die meisten von ihnen wurden von einem befreundeten Immobilienmakler vermittelt. Nur selten weiß der Fotograf etwas über die Geschichte dieser Räume und ihrer Bewohner - und über die Gründe, warum sie aufgegeben wurden. Jedoch vermögen die düster, abgewohnt, lädiert wirkenden Räume selbst Zeugnis vom einstigen Leben in ihnen abzulegen. Diesem Setting gehört die ganze lichtbildnerische Aufmerksamkeit des Künstlers. Er nimmt, was er vorfindet, nimmt das vorhandene Licht, arrangiert nichts neu oder um, sondern re-agiert auf die Situation, indem er seine Wahrnehmung mithilfe einer präzisen Wahl des Ausschnitts und einer individuell gelegten Schärfenebene zu einer Bildkomposition verdichtet. [Michael Ponstingl]

    WestLicht
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