Portfolio III from students
Bogdan Ablozhnyy
Alan B. Brock-Richmond
Elisa Caldana
Lennart Constant
Timothy Furey
Nikolas Gambaroff
Tue Greenfort
Judith Hopf
Christa Näher
Rudi Ninov
Riccardo Paratore
Tobias Rehberger and students
Willem de Rooij
Katharina Schücke
Amy Sillman / Monika Baer and students
Simon Starling
Thomas Bayrle (sold)
Lars Karl Becker (sold)
Billa Burger (sold)
Ian Edmonds (sold)
Peter Fischli (sold)
Douglas Gordon (sold)
Douglas Gordon (sold)
Michael Krebber (sold)
Flo Maak (sold)
Tobias Rehberger (sold)
Willem de Rooij (sold)
Amy Sillman (sold)
Portfolio II of Students (sold)
Portfolio I of Students (sold)
Wolfgang Tillmans (sold)

Flo Maak (sold)


"Why focus the lights at night, it won't enlighten the sight so better cross while it is blurry and the body will appear as nothing other than an idea. (Brooklyn Bridge, NYC, February 2007)", 2007


Picture dimensions: 30 x 45.2 cm, frame size: 63 x 83 cm

Number of copies

20 + 5 artist copies, each including a numbered and signed certificate


Inkjet print, archive passe-partout, aluminium frame


No longer available

Flo Maak (*1980 in Fulda/DE) studied fine art at the Städelschule from 2004 to 2009, initially under Prof Wolfgang Tillmans and then from 2006 under Willem de Rooij. Since 2013 he has been professor of fine art photography at the Chung-Ang University in Seoul, South Korea. This edition came about during a six-month study trip to New York in the spring of 2007.

Maak has occupied himself with photography for many years, with his interest being more in an individual image than in a series. The artist has been engaged in exploring the relationship between the image space and the real space, whereby the handling of presentation conditions becomes a necessary part of his work. As a result, Maak’s exploration of photography leads to large installations, objects and video work. The titles comprise parts of several sentences and attempt to contextualise what can be seen. Time and again their subject is the relationship between words and pictures.

I’m interested in whether the blurred image, the abstract form becoming light as an exhibition of the material of the film itself, coincides with the edges of what is visible and conceivable, whether it contributes to an understanding of these uninhabitable places and can make room for their ghostly inhabitants to appear. It seems to me that the bridge to downtown Manhattan is predestined for this.