Work from On the Prowl.
"Throughout history, art has served society’s rich and powerful individuals and institutions, helping to raise their public profile as has been the case with the church, the royalty and the bourgeoisie upper class. In modern times, politicians and CEOs are known to be photographed in front of a favoured piece of modern art, often wearing a tie suited to match the painting, to give the impression that they are intellectually ready to tackle complex situations, as Wolfgang Ullrich notes in his book “Mit dem Rucken zur Kunst.”1 Company art collections complete the corporate identity. This is a topic I will examine more closely here, since, in my opinion, today‘s corporate culture is an especially interesting aspect of modern society.
Corporations largely began expanding their art collections in the 1980s. During this time, many companies were merged or acquired and gave up their local identity in favour of a globally oriented image. Furthermore, many companies were no longer producing goods but instead offering technology and services, which are not visually appealing. Art therefore became useful for representation, helping to create a corporate identity and a positive atmosphere for clients and employees. Corporate art collections and globalisation, as we know it today, developed in tandem. When I took a closer look at what kind of companies are collecting art, or engaging in contemporary art, I found that it’s not just small and middle-sized companies, but also the largest international firms with great economic power. Art continues to serve the mighty and powerful and now it also serves corporate needs.
For my body of work “Inventory” (since 2006), I have been travelling to corporate headquarters, equipped with a camera. My aim for this project is to photograph the world headquarters of the global 500.”3 Each company has several locations but only one world head quarters, usually in the country of origin. While taking the pictures, it is important for me to have a subjective view of the building. Trees, cars, lampposts, people and anything that surrounds the building are part of the picture. I do not need special equipment nor do I ask for permission. In that sense, my method is different from Bernd and Hilla Becher’s documentary photos of industrial buildings, because for me it is a personal view - I am appropriating the building as a sculpture. For me, it is an adventure to visit these sites; it feels like being on the prowl. Sometimes, I even call the companies and ask them about their corporate art collection – information not easily obtained!
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