25.05.2023 – 07.01.2024
Curated by Urs Stahel and Andreas Gursky
FreeFree admission
Andreas Gursky’s first major retrospective in Italy: forty pictures spanning more than forty years of work, selected by Urs Stahel together with the artist, who lives and works in Düsseldorf.
Production sites, distribution centres, temples of consumption, transport hubs, places of energy and food production, seats of the finance industry: Gursky’s photographs open new ways of looking at work, the economy and globalisation, dissecting the present without losing sight of the whole.
Gursky’s name has been associated, especially in the 1990s, with large-format photography. His pictures helped establish photography as art and as a collectable for museums and private collectors alike.
The show ran from early works to the most recent, from Salerno to Hong Kong, from the tourist industry of Rimini to the age-old production processes of the salt pans.
Krefeld, Hühner, among the earliest works
Salerno
Rimini, the tourism industry
Hong Kong
Salinas, an age-old way of producing
V&R II and V&R III, the most recent works






Free with booking, Tuesday to Sunday at 11 am, 3 pm and 5 pm: an hour and a half, in Italian, up to 15 people.
Extra tours on Wednesdays at 7.30 pm, with entry to MAST reserved for those who had signed up.
From 9 October to 22 December 2023, Tuesday to Friday, 10 am – 12 noon: a visit to the technology Gallery and the exhibition, then a workshop on how human action reshapes natural and artificial spaces.
A journey into images (primary): printed landscapes to analyse, enrich and transform with questions and interpretations.
Maps of other landscapes (lower secondary): a graphic reworking, with different materials, of the landscapes Gursky photographed.
Details for new landscapes (upper secondary): Gursky calls himself a “sculptor of images”: groups rework his pictures on an iPad with a photo-editing app.
Published for the tenth anniversary of Fondazione MAST and the centenary of G.D, with a foreword by the President, Isabella Seràgnoli, and an essay by Urs Stahel.