{"id":2148,"date":"2023-06-27T14:29:37","date_gmt":"2023-06-27T12:29:37","guid":{"rendered":"http:\/\/wasmuth-verlag.de\/en\/?post_type=product&#038;p=2148"},"modified":"2023-06-27T14:29:37","modified_gmt":"2023-06-27T12:29:37","slug":"andreas-rost-3-oktober-90","status":"publish","type":"product","link":"https:\/\/wasmuth-verlag.de\/en\/shop\/design-photography\/andreas-rost-3-oktober-90\/","title":{"rendered":"Andreas Rost: 3. Oktober 90"},"content":{"rendered":"<p>Through the lens of his camera, photographer Andreas Rost looks at the clock on a man&#8217;s arm: it is five past twelve.<br \/>\nHe was taking pictures there like hundreds of other people on the night of October 3, 1990, when the crowds gathered at the Brandenburg Gate to celebrate this accession. With a strong flash and, as they say in Berlin, &#8220;feste druff&#8221;&#8230;.<br \/>\nEarly on, Rost saw himself as a big-city photographer, seeking out the city where it most clearly comes to itself: at the edges of its social topography. At the places of the discharge of feelings, which are at the same time places of the accumulation of masses. He has been everywhere. At every demonstration, at shareholders&#8217; meetings, porn fairs, love parades, car shows, on beer streets or the gatherings of Christian fundamentalists. All places where the most diverse archaic urges can be sublimated in a consumerist or ideological way. Rost responds to the suggestion of the masses with suggestive images.<br \/>\n(From the preface by Matthias Fl\u00fcgge)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Through the lens of his camera, photographer Andreas Rost looks at the clock on a man&#8217;s arm: it is five past twelve.<br \/>\nHe was taking pictures there like hundreds of other people on the night of October 3, 1990, when the crowds gathered at the Brandenburg Gate to celebrate this accession. With a strong flash and, as they say in Berlin, &#8220;feste druff&#8221;&#8230;.<br \/>\nEarly on, Rost saw himself as a big-city photographer, seeking out the city where it most clearly comes to itself: at the edges of its social topography. At the places of the discharge of feelings, which are at the same time places of the accumulation of masses. He has been everywhere. At every demonstration, at shareholders&#8217; meetings, porn fairs, love parades, car shows, on beer streets or the gatherings of Christian fundamentalists. All places where the most diverse archaic urges can be sublimated in a consumerist or ideological way. Rost responds to the suggestion of the masses with suggestive images.<br \/>\n(From the preface by Matthias Fl\u00fcgge)<\/p>\n","protected":false},"featured_media":2176,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false},"product_brand":[],"product_cat":[1786,1783,1809,2061,1785],"product_tag":[],"class_list":["post-2148","product","type-product","status-publish","has-post-thumbnail","product_cat-art-culture","product_cat-design-photography","product_cat-art-exhibition-catalogues","product_cat-new-releases","product_cat-photography","first","instock","taxable","shipping-taxable","purchasable","product-type-simple"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Andreas Rost: 3. 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Early on, Rost saw himself as a big-city photographer, seeking out the city where it most clearly comes to itself: at the edges of its social topography. At the places of the discharge of feelings, which are at the same time places of the accumulation of masses. He has been everywhere. At every demonstration, at shareholders&#039; meetings, porn fairs, love parades, car shows, on beer streets or the gatherings of Christian fundamentalists. All places where the most diverse archaic urges can be sublimated in a consumerist or ideological way. Rost responds to the suggestion of the masses with suggestive images. 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