A water tower outside the Old Electricity Factory, shown here next to Bernd and Hilla Becher’s Water Towers (1988).
This connection feels especially meaningful in the context of Hypertopographics. The title of the series refers partly to the New Topographics movement, crystallized by the landmark 1975 exhibition New Topographics: Photographs of a Man-Altered Landscape. The Bechers were among the defining figures of that shift: They photographed industrial structures, water towers, blast furnaces, gas tanks, and mineheads with a rigorous, frontal, typological method, treating anonymous infrastructures as subjects worthy of sustained visual attention.
Their influence on contemporary photography is enormous. Through Bernd Becher’s teaching at the Kunstakademie Düsseldorf, their approach helped shape what became known as the Düsseldorf School of Photography, influencing artists such as Andreas Gursky, Thomas Ruff, Candida Höfer, and Thomas Struth.
Their systematic approach to photography has been one of the foundations of my artistic thinking.
In that sense, encountering this tower at the exhibition site is not just a visual coincidence. Hypertopographics grows out of that historical lineage but pushes it into another condition: From the clear typologies of industrial modernity toward the overwhelming, layered, hyperconnected systems of the present. The “hyper” in Hypertopographics brings Timothy Morton’s idea of hyperobjects into dialogue with New Topographics: systems so vast, distributed, and entangled that they can no longer be grasped from a single viewpoint.