Selected projects by Florian Böhm


Curated by William Ewing, Bartomeu Marí and Holly Roussell Perret-Gentil. National Museum of Modern and Contemporary Art, Seoul, Korea
October 18, 2018 - February 17, 2019

Wait for Walk – 48th St./ 5th Ave, New York 2005

Civilization: The Way We Live Now features more than two hundred works from one hundred international photographers. The show addresses and illuminates major aspects of our increasingly global civilization and stresses the fact that contemporary society is an extremely complex collective enterprise.

Further Events & Exibitions:

Booklaunch at Flowers Gallery, Kingsland Road, London
November 5 - 22 December, 2018

Ullens Center for Contemporary Art, Beijing
March 9, 2019 - May 26, 2019

National Gallery of Victoria, Melbourne, Australia
September 20, 2019 - February 2, 2020

Museum of European and Mediterranean Civilizations (MUCEM), Marseille, France
January 16, 2021 - April 16, 2021

Civilization: The Way We Live Now
Published by Thames & Hudson
Willam A. Ewing, Holly Roussell

Information about the project

Florian Böhm: Wait for Walk

Born into the tradition of post-war German photography, Böhm tenaciously grasps the objective formalizing methodologies of his predecessors and reworks their techniques through the socially engaged photographic styles of the conceptual, American, post-modern epoch. In the series, Böhm's temerity manifests itself in photographs of New Yorkers literally waiting for the walk signal to cross the street. A process of such banality, it casually escapes the attention of those waiting.
Böhm's technique underscores the repetition involved in waiting for the walk signal. Using a medium format 6 x 7 or 6 x 17 camera, Böhm positions himself across the street from his waiting subjects. Going largely unobserved, he shoots at the same level as his subjects, in well-lit conditions, at busy intersections thereby establishing a photographic paradigm that illuminates similarities and differences between his photos and the subjects. Though certainly influenced by American street-photography, Böhm's methods recall Bernd and Hilla Becher, whose style highlighted the individuality of things through strict, repetitive photographic tactics. Böhm's focus on people in the schizophrenic network of New York City, however, highlights the commercial urbanism of the 21st century in a conceptual manner reminiscent of Philip Lorca diCorcia. The shared experience of waiting becomes a sociological platform upon which Böhm investigates "the attempt of the individual to maintain the independence and individuality of his existence against the sovereign powers of society," as German sociologist Georg Simmel puts it.
With regard to these "sovereign powers of society," the prevalence of shopping bags in Böhm's work serves as the most obvious signifier. A group of Asian tourists giggle and grasp their identical coach bags, all caught up in the casual whimsy of spending the day shopping. Lord and Taylor, GAP, red plastic bags from Chinatown corner markets, businessmen and women on their lunch break with bags from Mangia, Subway, Hale and Hearty: it all bespeaks the dominating power of 21st century consumerism. Store signs loom enticingly in the background marking their territory and appropriating the urban environment. It is as though Baudelaire's flaneur, out for a pleasant stroll in 19th century Paris, has become a hyper-consumer, chugging caffeine while on his or her cell phone on the way to Saks. Yet, It is here, amidst the depersonalizing powers of the city, that the subject's individuality displays itself most clearly. Gestures, posture, body language all come into relief. By focusing on this momentary cessation of action, Böhm simultaneously elucidates the individual in the subliminally daunting metropolis, while highlighting a moment of social, economic and racial transcendence: everybody has to wait as the cars speed by: individuality, through the mannerisms exhibited during the simple act of waiting, flourishes.

Exhibition views
Young Gallery, Brussels, May – September 2008

Wait for Walk – Broadway / 45th Street, New York, 2005

Wait for Walk – 48th St./ 5th Ave, New York 2005

Wait for Walk, Bowery / Grand, New York City, 2005


Florian Böhm – Wait for Walk
On the physiology of the street, or: The drama of urban life
by Ulrich Pohlmann

Aren't all our metropolitan landscapes battles of mathematics?
Ludwig Meidner, Anleitung zum Malen von Grossstadtbildern,1914

'Man is a movable, sensitive daguerreotype on which even the minutest traces of things are imprinted. He is a mutating reflection of the course of events, the movement of the city, the changing physiognomy of public opinion, the attitudes, sympathies and antipathies of the crowd.' 1 Chroniclers have been celebrating the street as the 'arena of modern life' for more than 150 years, as the above quotation from Ce qu`on voit dans les rues de Paris (What You See in the Streets of Paris) indicates.2 From the mid-19th century, when Paris not only claimed to represent the political centre of the Second Empire but also advertised itself as the most progressive metropolis, the street developed into an ideal platform for 'society to write its own captions,' 3 , as a kind of well-informed 'mirror of social change.' 4
The boulevards of Paris were a metaphorical representation of a psycho-social reality such as Baudelaire expounded in his treatise The Painter of Modern Life. As a new technology oscillating between craft and art, photography – a creature of industrial progress – began to set up itinerant studios on the street. Thus the earliest photographic pictures include Daguerre's famous shots of the Boulevard du Temple, or Boulevard du Crime as it was popularly called in Paris. In capturing the transient space-time continuum, these constitute an outstanding image, leading rather incidentally to what is apparently the first photographic representation of a human being, a shadowy man who allows his shoes to be cleaned for the twenty-minute exposure time.
On the street, modernism 'is the transient, the fleeting, the contingent', as Baudelaire put it, which despite being incidental merits particular, close attention from us. We 'have no right to despise this transitory, fleeting element.' If we do, we 'inevitably fall into the emptiness of an abstract and indefinable beauty.' 5 Baudelaire had an alert eye for the physiological expressions of reality, and was always ready to perceive distinctions and differentiations therein. Our notions today as to the behaviour of city dwellers are largely based on the ideas of Baudelaire, who saw the modern artist as embodied in the figure of the dandy or flâneur. 'The crowd is his domain, just as the air is the bird's, and water that of the fish. His passion and his profession is to merge with the crowd. For the perfect idler, for the passionate observer, it becomes an immense source of enjoyment to establish his dwelling in the throng, in the ebb and flow, the bustle, the fleeting and the infinite. To be away from home and yet to feel at home anywhere; to see the world, to be at the very centre of the world, and yet to be unseen of the world, such are some of the minor pleasures of those independent, intense and impartial spirits, who do not lend themselves easily to linguistic definitions. The observer is a prince enjoying his incognito wherever he goes. … The lover of life may also be compared to a mirror as vast as this crowd: to a kaleidoscope endowed with consciousness, which with every one of its movements presents a pattern of life, in all its multiplicity, and the flowing grace of all the elements that go to compose life. It is an ego athirst for the non-ego, and reflecting it at every moment in energies more vivid than life itself, always inconstant and fleeting.' 6
The role of the flâneur has been taken over in modern times by contemporary photographers, who see the street as a representation of social and psycho-social changes and interpret this perception and render it visible in various ways. One such photographer is New York and Munich-based artist Florian Böhm, who is among the most consistent interpreters of the life culture of cities. In the Endcommercial project7 , a joint undertaking with Luca Pizzaroni and Wolfgang Scheppe, he drew up an inventory of more than 60,000 photos subjecting the urban area of New York and its street furniture etc. (including its complex sign culture) to a search for aesthetic clues for classification purposes. Advertising hoardings, kerbs, street signs, traffic light colours, street vendors, parking meters, plastic maps, lettering fonts, rubbish and many other things belong, alongside specific body attitudes, to an impressive stock-taking of a constantly changing living world, whose complexity is largely a function of mobility and a constantly changing material economy. In Böhm's photos, these phenomenal and organisational forms of modern life acquire a provisional system. With documentary scrupulousness, they continue what Fox Talbot defined in The Pencil of Nature as the photographic experience of urban space: the camera registers every detail with the same care, regardless of whether it is an advertising slogan, the chimney of a house or the Belvedere Apollo. Wait for Walk is a further component in Florian Böhm's visual exploration and investigation of the metropolitan culture of New York, though the findings are applicable to other large cities. Without the camera and photographer being visible at first glance to passers-by, Böhm photographed groups of people at major crossroads in Manhattan where the flow of traffic was regulated by traffic lights. The series was made within clearly defined general conditions. The camera focuses on people, while the urban environment such as advertising, traffic, architecture etc features largely in the background, even during the photographic sessions. In limiting the field of vision and concentrating on the physiognomies of the people depicted, Böhm's Wait for Walk series stands apart from contemporary documentation projects on modern urbanity thematicising the relationships between passers-by and large billboards featuring consumer advertising.8
'Everything that happens on the street is unique, touching, funny and moving, because this is where we see the drama of life – fortunately without a director.' 9 A comparison of the street system with the complex branchings of the human organism's blood circulation system is probably applicable to New York more than to any other metropolis. There is a non-stop throng of people pulsating down the streets (the veins of the urban organism) hastening to its bodily organs (the public buildings), where they remain a while before leaving again and returning through the meandering network of veins. Day after day, hundreds of thousands stream down the streets of the metropolis and are forever in transitional motion that is constantly changing and being briefly interrupted at the major junctions. This 'gyrating world' (in Alfred Polgar's phrase) needs permanent freeze-frame documentation, the way shopkeeper Auggie Wren (played by Harvey Keitel) in Paul Auster's film Smoke films the neighbouring crossroads every day at the same time year after year from the same angle.
A complete standstill in the incessant movement in a city like New York would be difficult to imagine, and can probably be induced only by an abrupt shock or a particular event. In the case of the present work, Wait for Walk, photographs effected this 'shock', rather like the head of Medusa, and as it were imposed an artificial standstill in order to single out the specific state of waiting in the flow of unceasing bustle.
Though the experience of waiting is an everyday event, it is at the same time an anachronism in a way of life that is steadily speeding up. Yet we spend a good part of our lives waiting, whether at airports, stations, on motorways etc. In such moments we can recharge our batteries, accepting the interruption as a welcome break, a moment of deceleration in a hyper-dynamic world, and maybe even take stock of our own lives. In the photos of Wait for Walk, the people shown are not presented as anonymous mass decoration but are discernibly individual, permanently rescued from facelessness and historical oblivion. We recognise a differentiated spectrum of city dwellers of all ages and ethnic identities. But who are these people, where do they come from and whither are they bound? One is tempted to raise these existential questions, like Gauguin in his famous picture Where do we come from? Who are we? Where are we going?
In answer, we could describe human behaviour typologically, as Rudolf Binding did in the 1930s when he identified pedestrians by their walking habits, and in a comparison concluded from his observations that in the street German passers-by were more inhibited and inflexible than their European and American neighbours.10
At first glance, it is no easy thing to distinguish between tourists and local urbanites. In few cases does (casual) dress allow safe conclusions as to social status. Other characteristics such as full shopping bags from stores, boutiques or museums make a good starting point for a bit of detective work, but are only of limited use for identifying the people concerned because they relate mainly to commerce and trade.
The photos record the intimacy of unobserved moments, like a hidden camera. They register different reactions and forms of human behaviour, states of mind and temperaments that add up to a rich vocabulary of non-verbal communication. As observers, we experience the situations shown, the facial expressions and the gestures, as we would a silent film. No sounds or smells from the normal polyphonic backdrop of noises and smells on the street break through or flow into the picture. Instead, a simultaneous scenario takes place before our eyes, a game of pantomime expressions. Swedish writer August Strindberg vividly describes a comparable phenomenon when, leaning from the upper floor of his rented flat in Stockholm, he watched the 'pantomimes on the street' unfolding before his eyes. 'Mini-scenes are acted out in front of him, briefly and in haste, as in the eye of an Impressionist painter recording the moment; he sees people in situations they really are in, because they think they are unobserved, and, without having to act the odious eavesdropper, he sees how they give themselves away in the honest idiom of gesture, which cannot not conceal thoughts as thoroughly as the spoken word and mendacious eyes.' 11
A particular charm of Wait for Walk lies in chance or unintended encounters of people moving through this transitorium like unseeing sleep-walkers unaware of others. It is great drama that takes place before our eyes, an interplay of rhetorical gestures and forms of behaviour. It reminds me of the children's game 'Freeze', in which everyone taking part has to stand stock-still at a secret command, frozen in the strangest of interactions. There is a similar kind of theatricality about the people frozen in the camera frame in Wait for Walk. Yet how can these photos, or more specifically how can the physical language of the people photographed, be interpreted in the social or political context?
When Florian Böhm set up his camera to capture passers-by as freeze frames, the visual appearance of public life in New York had moved on from what it had been in the eighties. The disciplining of public space ordered by the New York authorities was under way, and on the principle of a zero-tolerance policy the homeless were driven from the streets, and in a (for New York) unique campaign the sidewalks and streets were kept clean, as a symbol and expression of the city's economic boom. The 'urban nomads', as Walter von Hollander calls the street vendors, beggars, ice-cream sellers, day labourers and streetwalkers who generally populate street life gradually disappeared from the field of vision, and they are also absent from Florian Böhm's Wait for Walk series.
Regulations had also been introduced by the city administration to ban widespread jaywalking in traffic. Jaywalking means crossing busy streets anywhere, ignoring traffic signals, and was for a time branded as anti-social and monitored by cameras. Then a degree of liberalisation crept in again after a camera recording found the mayor himself guilty of jaywalking, though of course no legal proceedings ensued in that case.12
When we study photos of the behaviour of passers-by, a certain (self-)discipline would seem to be evident, perhaps also a suppressed tension or restlessness as people gear up for the waiting to end. In fact, an unwritten behavioural code governs public life in the metropolis, and this system of rules harbours a strange ambivalence. Theoretically, the anonymity of the crowd offers individuals the potential for unlimited freedom of self-expression. In practice, a clearly defined code governs human behaviour in public space. So anyone just watching the stream of urban life arouses suspicion in others and is put down as a voyeur whose intentions and curiosity are difficult to fathom. It breaches the general tacit agreement for a pedestrian to withdraw from the universal hustle and bustle. Among the behavioural norms expected of a socialised pedestrian are not only a requirement to move inconspicuously but also developed skills in swerving to avoid confrontations. A complex system of gestures and non-verbal communication governs public life in the cities, and as a rule ensures frictionless co-existence. This is the daily experience of urban inhabitants not only in the street but also in public buildings, public transport and during events.13
Of course, the identity and physical presence of the observer, the colour of his skin, dress, sex, age etc. play an important part. They govern the relationship between photographer and subjects long-term, provoking, inhibiting or setting off discrete reactions.
For many decades, photographers directed their cameras on the street from the balconies or windows of high-level apartments. This privileged position registered goings-on from a safe distance, unremarked by passers-by. Snapshot records of busy street life with cabs and passers-by only became possible in quantity through vues instantanées – small-format stereo or calling-card photography. The simultaneity of events provided users with a completely new visual experience of the city. In the photos, urban life seemed abruptly frozen in time, rather like in a film still. The three-dimensional experience of stereoscopy created an illusion of being able to locate oneself in the scene shown. In photography and Impressionist paintings that took the street as a subject, the street was the arena of chance encounters. It represented a stage on which the dynamism of urban life could unfold in all its facets.14 Particularly in London, Paris, Naples, New York and Berlin, scenes of this kind were produced that manifest an atmosphere of vitality, in many cases going behind the facades to penetrate middle-class living rooms. At the beginning of the twentieth century, 19th-century static bird's-eye views gave way to more mobile standpoints. With the spread of high-performance lenses and improved photochemistry and technology, snapshot recordings of street scenes gradually became a matter of fractions of a second. Photographers – mostly amateurs equipped with mobile 'detective cameras' and hand-held cameras without tripods – were found in the midst of passers-by with their lens at eye or midriff height, focusing on the darker sides of city life. They documented everyday life, markets, sporting events, parades and other leisure events, but the desolate existence of the homeless and day labourers is also captured on film in true-to-life scenes.15
Post-1945, American street photographers – with outstanding representatives such as Lisette Model, Sid Grossman, Helen Levitt, William Klein and Gary Winogrand – recorded the chance encounters, pleasures and dark sides of street life alike. Many pictures range in expression between the melancholy gaze of Robert Frank and the aggressiveness of William Klein's New York street scenes.16 The art of making oneself invisible as a photographer was one of the outstanding features of skilled operation. Particularly Magnum photographer Henri Cartier-Bresson had masterly expertise in such camouflage that enabled him to disappear and be totally integrated in the situation. This stopped subjects from involuntarily lapsing into reflective self-perception, which according to Barthes always overcomes people when they sense a camera lens is being directed at them.
Admittedly, Florian Böhm's works are closer to the conceptual approach of Jeff Wall, Beat Streuli or Philipp Lorca diCorcia than the aesthetics of (in Walker Evans's term) 'documentary-style' street photography, which in the seventies turned its sombre gaze on the consequences of the Vietnam War and economic depression in New York. Even in the model street scenes of Canadian artist Jeff Wall, a latent or openly displayed hostility intrudes into encounters between urban inhabitants. Characteristic of Wall's works are compressed, posed shots that set up a critical moment in which events reach a confrontational climax or eruptive discharge are, though they do at the same time retain the state of suspense of an open narrative. In formal terms, Wall's compositions, which are preceded by careful planning, are reminiscent of the 'living pictures' of the Goethe period, when famous paintings or literary subjects were replicated for the moral instruction of the public. In contradistinction to documentary reportage photography, which also seeks to capture critical moments, the artist works with actors whose emotional outbursts and states of mind are precisely laid down and follow the artistic ideas of a specific rhetoric. 'The representation of the body depends upon the construction of expressive gestures which can function as emblems.' 17
Another incidental rendering of the urban scene is offered by the portrait works of Beat Streuli. In his portraits of major cities, Streuli avoids direct contact with pedestrians by bringing the subject into the field of vision with a telephoto lens.18 The result is that the people concerned appear to have been detached from the stream of humanity, and in their carefree, self-confident attitudes as city-dwellers awaken associations with figures from advertising. At the same time, they appear to be devoid of specific references to the world of commercial imagery, and are reproduced in their 'normal' behaviour.
Philip Lorca diCorcia is another recorder of the New York streets, having since 1993 taken photos of passers-by at precisely calculated moments, isolating them from the human throng by means of flash. In the cinematic realism of diCorcia's portraits, the street becomes the stage for an existentialist drama, theatrically charged with potential conflict like Jeff Wall's works.
In Florian Böhm's photos (living pictures), the sidewalk is likewise turned into a stage and becomes an arena of short-lived constellations. Though the aggressive tension of the earlier-mentioned works is absent, they can be perhaps viewed through a surreal, Lautréamont-style lens. In their precise record of the scene, Florian Böhm's works offer the kind of inexhaustible visual pleasure that for Baudelaire and his contemporaries the boulevards of Paris offered a century and a half ago. Photos as tangible memories of space and time become an impressive mirror of the complex identities of modern city dwellers.

1: Victor Fournel, Ce qu`on voit dans les rues de Paris, Paris 1858, p. 263, quoted from cat. Die Eroberung der Strasse. Von Monet bis Grosz, eds. Karin Sagner, Matthias Ulrich, Vittorio Lampugnani, Max Hollein, Schirn Kunsthalle, Frankfurt/Munich 2006, p. 317.
2: Cf. Karin Sagner, op. cit., p. 15. Cf. also Nancy Forgione, 'Everyday Life in Motion: The Art of Walking in Late-Nineteenth-Century Paris', in: The Art Bulletin, Dec. 1, 2005, pp. 663-687.
3: Michael Ponstingl, Strassenleben in Wien. Fotografien von 1861 bis 1913, ed. Monika Faber, Vienna 2005, p. 8.
4: Gustave Kahn, 'L`Esthétique de la rue', Paris 1897, p. 220, quoted from catalogue Die Eroberung der Strasse, op. cit., p. 282.
5: Quoted from Charles Baudelaire, 'The Painter of Modern Life', in: Charles Baudelaire, Baudelaire: Selected Writings on Art and Literature, trsl. P. E. Charvet (Viking 1972), pp. 395-422.
6: lbid..
7: Endcommercial® / Reading the City, Ostfildern 2002.
8: Cf. for example works by Mona Breede. Catalogue Mona Breede. Der Hintergrund der Existenz, Goethe Institute, Lyons 2006.
9: Eugenie Schwarzwald, 'Auf allerlei Strassen', in: Menschen auf der Strasse, Stuttgart 1931, p. 253.
10: Rudolf G. Binding, 'Menschen- und Strassengeplauder', in: Menschen auf der Strasse, Stuttgart 1931, p. 18f.
11: August Strindberg, 'Pantomimen auf der Strasse' (1889), in: August Strindberg. Ein Werk-Porträt in einem Band, ed. Renate Bleibtreu, Hamburg 1999, p. 464.
12: Cf. reports on jaywalking on the Internet.
13: Cf. Nicholas H. Wolfinger, 'Passing Moments. Some Social Dynamics of Pedestrian Interaction', in: Journal of Contemporary Ethnography, vol. 24, no. 3, October 1995, pp. 323-340. Information kindly supplied by Florian Böhm.
14: This follows my outline in: Ulrich Pohlmann, Johann Georg von Hohenzollern (eds.), Eine neue Kunst? Eine andere Natur! Fotografie und Malerei im 19. Jahrhundert, Munich 2004, p. 211f.
15: Cf. for example Ponstingl, op. cit. Cf. also Ulrich Pohlmann, 'Die Fragilität des Augenblicks', in Gabriele Münter. Die Reise nach Amerika. Photographien 1899-1900, ed. Helmut Friedel, Munich 2006, pp. 203-215.
16: Colin Westerbeck and Joel Meyerowitz, Bystanders. A History of Street Photography, Boston 2001.
17: Jeff Wall, quoted from Open City Street Photographs since 1950, Museum of Modern Art, Oxford/Ostfildern-Ruit 2001, p. 15. Cf. also Jeff Wall: Figures & Places. Selected Works from 1978-2000, ed. Rolf Lauter, Munich 2001, pp. 90-94.
18: Cf. Beat Streuli: New York City, Ostfildern-Ruit 2003. and Beat Streuli, Bondi Beach/Parramatta Road 1998, exh. cat. Sprengel Museum, Hanover 1999.

Translation from german: Paul Aston



Florian Böhm - Wait for Walk
Published by: Hatje Cantz
Distributed in the US by D.A.P.
Distributed Art Publishers, New York,
128 pages, 66 color illustrations
Publication Date: June 2007


Florian Böhm - Wait for Walk
Chinatown NYC, January – March 2005
Newspaper, 51x31,5cm, 16 pages, b&w
Published on the occasion of the exhibitions:
FORUM 011 for contemporary photography (25.01. – 23.03.2008)
Galerie f56 (01.02. – 29.03.2008


Florian Böhm - Wait for Walk
Centre / Canal
7.14 Minutes, New York 2007

Florian Böhm, Luca Pizzaroni, Wolfgang Scheppe

EndCommercial® documents impromptu strategies of making ends meet in the contemporary city. Both an index and a story of urban phenomena and street life, this project portrays usually marginalized but ubiquitous objects and patterns that define the city's behavior and structure. This selection of over 1000 photographs is an inventory of the overlooked, organized into a multivalent classification system. Florian Böhm, Luca Pizzaroni and Wolfgang Scheppe have extracted Endcommercial® from their project Digital Slum, a body of ongoing photographic research that includes over 60,000 digital photos taken of cities on a daily basis since 1997.

The widespread availability of digital technologies for consumer markets has radically increased the capacity for mass digital-image production, storage and dissemination. This potential for unlimited image proliferation drives the Digital Slum both conceptually and physically. For one aspect of the project, Böhm, Pizzaroni and Scheppe have focused on amassing images of cities around the world through a daily practice of taking photos and publishing them on the web. Using the camera as a digital notebook, they record singular elements from the barrage of sensory information in the city. This array of informal and empirical photographs demonstrates the distinction between an unconscious visualization of singularities and an intelligent perception of generality. Within this expanding visual dictionary, reoccurrences and types emerge, suggesting patterns and structure in the seemingly chaotic urban flux.

Endcommercial® is a representative taxonomy of these urban elements. Drawing on different methods of scientific classification, these typologies are ordered into a hierarchical system of three main categories, nine subcategories and 32 chapters. Though the structure of classification appears rigorous, and is illustrated with a diagram that resembles the periodic table, the content of the categories is often poetic or open ended. While the main categories are general concepts System, Order and Identity the chapters illustrate a higher level of both specificity and whimsy A Barrier (A is for Barricade: Control); Misspelling (Instant Corporate Identity: Dysfunctional Speech Act) and Street Vendors (Trade Route: Commerce), etc. The subjective nature of some of these categories also suggests the possibly of infinite recategorizations and reinterpretations of the original data.

Although, New York was the primary site of research for Endcommercial®, this lexicon of images illustrates phenomena that could exist anywhere: folding tables and blankets become temporary shops for street vendors, plastic bags indicate broken parking meters and empty shops anticipate future development. Through empirical and visual means, EndCommercial® unveils the contradictions and co-existence of different social and economic forces shaping urban life.

Sarah Herda (Storefront for Art and Architecture)

Exhibition view
Storefront for Art and Architecture, July 18 - August 24, 2002

ENDCOMMERCIAL® / Reading the City
Hatje Cantz, 2002

"ENDCOMMERCIAL is a striking book of photographs
that isn't really about photography. Instead it's a book
of images that locates the soul of New York City in its
details - encoded into broken bicycles, markings on pavement,
words on signs, on concrete, on buildings, on people...
Here no distinctions are made between
garbage and luxury, advertising and handwriting,
and in the end this beautiful book becomes a celebration
of the order found in chaos, and the chaos in order."

"This book to me is a declaration of love
and a visual guide to New York -- its street life,
its buildings, its iconography, its almost secret
Big City life details and mysteries, all recorded
with love which is the basis of all photography
that really matters."

"ENDCOMMERCIAL is a remarkable research into
the subtle relationships informing New York City's urban
fabric...the usually 'obviated' layers of urban patterns that
are portrayed are a strong part in defining the city's
character specially in an ever growing regulation and
monopoly of use and rights over public space."
- SARAH HERDA (Director Graham Foundation)


ENDCOMMERCIAL® / Reading the City
Florian Böhm, Luca Pizzaroni, Wolfgang Scheppe

Published by: Hatje Cantz Publishers, english 2002
544 pp., more than 1000 color illus.
17 x 23 cm, hardcover

ISBN 978-3-7757-1221-7 Printed in Germany


US Distribution by: D.A.P., Distributed Art Publishers, Inc.

Book Review:

Work in progress
Linda Eerme, Robin Kilross in: DOMUS February 2003

The Endcommercial® project started in earnest in 1997 as the collaboration of three individuals (Florian Böhm, Luca Pizzaroni, Wolfgang Scheppe) who began making daily excursions into New York to photograph the residue of intense commercialization. Their digital images have come to form a constantly expanding database. To date, more than 60.000 photographs make up this dense visual archive. At first, the forays into the city were directionless, almost haphazard, exploratory. But symbols tend to reveal themselves through such an accretion of images, and themes emerge along with identifiable icons - empty milk crates used as improvised seating, A-shaped barricade supports, street vendors' tables and paraphernalia, the remains of locked bicycles with their components stripped to paralysis. And so these symbols were actively sought out. The project, which began as an investigation of urban culture, now manifests itself in various forms. A Web site presents the near-daily acquisition of material, allowing us to see the work in progress, prior to any editing or culling. Beyond this, extracts from the archive find form in the more conventional presentations of photographic imagery: the exhibition and the book.
Work from the Endcommercial® archive has been exhibited in Europe and in New York. The movement has been from the display of individual images seen in isolation to the "exploded book", with blow-ups of page spreads mounted on gallery walls, to a single-evening slide presentation. And now the Endcommercial® book has been published. This compendium of images is a conundrum: is it a photography book? Certainly it holds over 1.000 photographs with its 544 pages. The work itself owes something to the forerunners of urban photography - Eugène Atget, Berenice Abbott and Lee Friedlander come to mind - though the digital era facilitates a radically different method for the systematic documentation of "the city". For his exhaustive record of Paris, Atget worked with cumbersome equipment, gradually building up an inventory of images over the course of 30 years. Later, high-speed film and smaller hand-held cameras allowed for "street photography" of Henri Cartier-Bresson, Garry Winograd and Friedlander, but nothing as extensive as this project could have been realized so quickly, and so economically, before the advent of digital photography. Yet the book is not made up purely of digital images; it also includes detail-rich photographs taken with a conventional large-format camera. As ideas coalesced, the editors recognized that certain subjects demanded more formal representation. Later on, video stills slipped in. But this thick book is more in the mould of recent monographs on graphic designers and architects, such Lars Müller's Freitag or MVRDV's excursions into urbanism. Is it perhaps a "design" book, or a visual sourcebook? While the publishers suggest that it is both a photographic and architectural title, rarely does a contemporary photography monograph run to such length or treat its images so brutally: bled off the page's edge or abutted against one another, with sometimes as many as nine fighting for space. In some sequences, a single image gracefully inhabits a single page, bordered in white; elsewhere details are arranged in a grid, again with white borders creating a little calm. There are fullpage views, particularly of luxury storefronts, that demand the book be turned first one way for isolated, exclusive viewing and then the other for the facing page. Such a selfconscious design decision serves to slow down the "reader", to stop what could become a quick canter through the densely illustrated pages. Similarly, the use of different page layouts precludes any monotony of rhythm. But here the decisions are those of graphic design. A conventional photographic title would present isolated images, edges intact, elegantly bordered. More often than not, the aim of such a contemporary monograph is to promote the work and career of the photographer - solidifying a reputation, encouraging collectors, generating sales. With Endcommercial®, it is hard to imagine what might be for sale, other than the book itself and a vision of the modern city. Not surprisingly, the designers of this book are also its editors, as well as the exhibition designers and principal photographers. And so the book becomes the main product of the Endcommercial® project. It is the distillation of an unruly archive into typological order. In this, the book seems a European view of American culture. Again, there's an unavoidable echo of Robert Frank's work, especially as it culminated in the publication Les Américains (1958). But the Swiss photographer's vision had none of the typological imperative we find here. It presented a severe scrutiny of 1950s America, but one that relied upon the convention of narrative. Endcommercial® imposes a quasi-scientific classification system in the form of variously helpful organizational diagrams introducing the book and each section. A cartographic abstraction of Manhattan provides clues to rather marginal sites and to the ubiquity of urban elements. Beyond this, there is no text. Whether we understand this body of work as a "primer on the city" or an "artist's project" depends on how we read the book. The accumulation of seemingly disparate observations, thematic chapters and meandering structure can be seen as a provisional way of understanding the chaos of urban life. However, the book's trajectory - beginning with the letter A end ending with a panoramic view over a cemetery and a street sign reading "END COMMERCIAL" - draws directly upon a dark European vision of America, for which New York has always been an object of intense fascination, at once mesmerizing and repellent. And then there are glimpses of other cities, of San Francisco, Venice and beyond. The book is more than it appears at first glance.

FICTION - A project for Vitra

"Fiction" offers a glimpse into our homes through the lens of a movie camera. In locations in and around Rome, photographer Florian Böhm worked together with Paolo Bonfini to recreate typical scenes from everyday life. In a series of short films – which are shown either as video clips or as stills in a new Vitra Home Catalogue – furniture and objects are part of an ensemble cast, enacting exceptional moments and everyday situations. (Vitra)

When reality turns into fragments of fiction, a full range of imaginations and memories drop into one's mind. In his recent project for Vitra, Florian Böhm counts on this effect and conceives furniture and people as part of a mise-en-scène. Instead of documenting the real every day life the German photographer and artist suggested the Swiss manufacturer a new way to communicate and switched from reality to fiction. He integrated furniture in single scenes that were recorded by video and photo camera. Together with a professional film crew, the narrative sequences were produced at six different locations in Rome and Munich. The result of the demanding logistic is far away from classical product photography and opens up a new perspective to its readers: It seduces them to immerse into story fragments and familiar situations. (Sandra Hofmeister)

Interview Damn Magazine #33

Commedia dell'Arte – Couture Edition
Edited by Florian Böhm

With texts by: H.R.H. Duke Franz of Bavaria, Thomas Bärnthaler, Patrizia Dander, Georg Diez, Rolf Hughes, Ronald Jones, Tan Lin, Eckhart Nickel, Jörg Richtsfeld, Alfred Ziffer

Participating fashion designers include: Christian Lacroix, Viktor & Rolf, Gareth Pugh and Vivienne Westwood.

The origins of the Commedia dell'Arte go back to 16th-century Italian street theatre. An impromptu form of comedy, it developed as a reaction to elitist character drama and the opera, and often satirised current political and social events.
Taking Nymphenburg's seminal Couture Edition project that brought together fine porcelain and haute couture as its starting point, the Collector's Book examines the Commedia dell'Arte as a whole and its extraordinary impact, right up to the present day, on fields as diverse as literature, the circus, painting, fashion, theatre, cinema and advertising.

Florian Böhm, compiled over 500 images, from paintings and prints to film stills and ads, and commissioned texts from a select group of authors who have approached the subject from a variety of angles and so set new focal points for the perception of the project. His associative visual response to the Commedia dell'Arte, juxtaposing images from a wide range of sources, brings together the past and the present, tradition and the avant-garde – with everything in flux, this kaleidoscopic array of visual material gives this celebration of the Nymphenburg's Couture Edition an almost cinematic dimension.
At the beginning of a new millennium, two fundamentally different media which, in an age dominated by mass production and standardisation, are united by an uncompromising commitment to quality and uniqueness.

The book's many themes are richly illustrated with prints, paintings, drawings, photographs and advertisements by numerous artists and photographers, including Picasso, Antoine Watteau, William Hogarth, August Macke, Andy Warhol, David LaChapelle and Johannes Kahrs. The many colourful characters we meet on the way range from Buster Keaton and Charlie Chaplin to David Bowie and Freddie Mercury, Saul Steinberg and Truman Capote to Gene Kelly and Marcel Marceau, Batman and Heath Ledger.

Florian Böhm visited the participating fashion designers in their studios around the world, creating glimpses into an otherwise hidden world in two series of photographs – designers' portraits and studio stills of their workplaces.

Portrait Gareth Pugh, London
Archival pigment print on cotton paper, Edition 1 of 7
85 × 68 cm (106 × 89.5 cm)

Studio Igor Chapurin (2), Moscow
Archival pigment print on cotton paper, Edition 1 of 7
100 × 79.5 cm (123 × 103 cm)


The Collector's Book is available in three special editions:

Edition by Birkhäuser
Commedia dell'Arte – Couture Edition, edited by Florian Böhm
First Edition: 2010
Book 35 x 24 cm, 320 Pages, 500 Illustr., English
ISBN: 978-3-0346-0544-1

Limited to 400 numbered copies, including:
Book 35 x 24 cm, 320 Pages, 500 Illustr., English
Box 41,2 x 33 x 7 cm
1 Print 29 x 38 cm
ISBN: 978-3-9812205-3-7

Exclusive Collector's Edition
Limited to 25 numbered copies, including:
Book 35 x 24 cm, 320 Pages, 500 Illustr., English
Box 41,2 x 33 x 7 cm
16 Prints 29 x 38 cm
ISBN: 978-3-9812205-4-4

Red dot award 2010
iF Communication Design Award 2010
Silver at DDC Graphic Fine Art Award 2010

KGID Konstantin Grcic Industrial Design
edited by Florian Böhm

Designing a book about Konstantin Grcic has caused me to reflect not only on his work, but also on the time that I've known him, which goes back almost to the period of his early projects shown here. An overview of this period reveals a relationship between the evolution of his work and his personal development, a world with its own inherent logic and contradictions, subject to a dynamic set of external forces. While working on the book, the idea of a shared journey began to emerge – a journey that would be treated as a design project. Thus, this publication became an interesting reflection on the represented and its representation, a project about projects, a process looking at a process, design focusing on design.
We didn't think the projects needed to be complete, nor in chronological sequence in order to tell a coherent story. My role as editor was to comment and reflect on the work of KGID as a critical external filter. The challenge was to find a way to portray the spirit and commitment that has created KGID's particular signature. It was a search for the why and how rather than the what and when that could authentically capture the aura of the creative process, the office as a laboratory, the simultaneity and alliance of projects, as well as Grcic's particular brand of efficiency and pragmatism, which also allows for quirkiness and humour.
A cardboard prototype can tell more about the true identity of a design than a studio photograph of the final product. A drawing can show something of the momentum with which design ideas are born. A picture of a product detached from its usual context can reveal the beauty or originality of the object. Snapshots of meetings and working sessions in the studio and of different stages of the production bear witness to the design process and its transformations in time.
As another way of examining the work of KGID, I produced new series of photographs as a personal interpretation, trying to challenge common perceptions by capturing products outside of their traditional context. Sometimes the form of the object motivated the image, at other times it was the idea of the design. For example, I imagined the Authentics baskets as water lilies on the surface of a remote pond. These images are not only surprising, but they also reveal something extra about the nature and material of the objects (plastic floats, it is weatherproof, it can get dirty, etc.). Moreover, the reflection on the water plays with their specific silhouette, while the daylight reveals the translucency of the material. The setting of these images is strange yet familiar, reminding us of the multitude of plastic objects that are dumped in nature and of the half-life and relative value of plastic industrial products.
Being given complete access to the office's archive was a privilege – such wealth of material usually remains the secret of a design office. Selecting and reviewing this archive was an intense process from which solutions for structure and format needed to evolve.
Step by step, individual sections of the book were considered and their content defined. What started out as an open idea with seemingly endless options became a system with its own logic. I liked the concept of a high density of material that was not, however, overwhelming or imprecise. We turned the floor of my studio into a giant layout pasteboard – a canvas of ideas – on which we spread out hundreds of print-outs, shuffling around pages and ideas. Once the first few pieces of our jigsaw puzzle had been put into place, they triggered a chain-reaction of consecutive decisions that created the right flow for the book. Now, not a single page could be moved anywhere else in the book. The alternation between archive materials and new image production gives the book its particular rhythm. In the end the projects tell a continuous story, which is recounted here in a single chapter.

Florian Böhm

Florian Böhm, 2-Hands water lilies, 2006

Florian Böhm and Konstatin Grcic (Foto: Frank Stolle)

KGID Konstantin Grcic Industrial Design, showcases a remarkable portfolio of products and design concepts with especially commissioned photographs and original drawings. It also offers a rare insight into his design process by showing the various stages of a product's development through sketches, models, computer renderings and snapshots at the workshops of KGID and several manufacturers. With texts by Konstantin Grcic, Pierre Doze, and Francesca Picchi, and conceived by Florian Böhm and Konstantin Grcic, this is the first publication on one of the most interesting and prolific designers of the 21st century.

Published by Phaidon Press Limited
First published 2005
© 2005 Phaidon Press Limited
ISBN 0 7148 4431 4

Binding: Hardback
Trim Size: 270 x 205 mm (10 5/8 x 8 1/8 in)
Extent: 240 pages
Illustrations: ca.300 colour, b&w and drawings


MIURA stool

A conversation between Konstantin Grcic and Florian Böhm

KG: I remember when Michael Plank first talked to me about the idea of producing a special catalogue or book about MIURA. What he had in mind was not purely a sales tool but rather something that would bring out the product's spirit and particular gesture, telling a whole story. You immediately came to my mind as perfect for such a project. Together we had often discussed about the issue of product photography and how there must be ways of creating new visual languages.
FB: In order to tell a story of a product like MIURA I couldn't just place it in front of a studio backdrop. Instead it seemed more intriguing to find a dynamic scenario for the photography in which the object is exposed to constantly changing parameters. Working outdoors in a real life situation also gives the photographs a documentary quality; they become less static or fabricated. Taking MIURA into the street also helped to avoid any reference to a specific lifestyle or functional environment. The unusual approach worked fine for such an unusual product.
KG: You had known MIURA already in its early development stages and now as a final product. What do you like about the stool?
FB: I was fascinated by the stools sculptural and angular presence that reminded me of a character or animal. One of the first pictures that came to my mind was an image of a large group of white Maura's on a green field of grass, like a herd of sheep. I liked the idea of showing the stool in groups of 20 or more in various arrangements and locations and to bring them alive as their own specie. I can't imagine a better piece of furniture to do this with. MIURA has so much of a personality. I can see a head, mouth and feet making me think of a fusion of a shark and a sheep.
KG: Since years you partially live and work in New York. Your work within the ENDCOMMERCIAL® project is an extensive study of Manhattan's iconography; you know the city like the palm of your hand. Was it an obvious choice to take MIURA to New York?
FB: I was in New York at the time when Plank called me. Also they had seen the photos I take in New York of accidental and improvised solutions of every day life. So, it seemed the perfect setting to shoot MIURA in New York City.
KG: What was your approach for the images and how feasible was it to do?
FB: It was very challenging having to come up with a series of images of one and the same object. I questioned how a series of photos could remain interesting if the motive was always the same. Besides this, what I don't like about most product still life images is that they can be reproduced over again any time. Also you become more of a stylist than a photographer. I thought for the project it would be more interesting if there was the element of chance and time involved, with something unexpected happening, like in a real snapshot.
KG: Looking at your images everything seems to be totally real. Your camera is the detective's eye following the stool around the city. One senses the feverish chase through crowds of people, traffic. There are the sounds and smells, the heat, the stress - like a cop movie.
FB: I thought of test arrangements like for example bringing dozens of stools to a street corner then hide with my camera to see what would happen when people walk by. I was curious about their reaction to this somewhat awkward situation - it became kind of like a laboratory experiment. As we were wandering around the city with the stools looking for opportunity, the project started to become a hunt for surprise and lucky coincidences in which the stools react or provoke reaction by surrounding and pedestrians. The people, cars, all those rich textures of the urban landscape provided endless scenarios the stool could either assimilate to or contrast with. In a lot of the occasions I was able to highlight a certain aspect or feature of the stool. You can sit on it, stand on it, carry it, create a barrier or a slalom parcours... but most importantly I think this way the photos allow an unconditioned experience of the stools unique shape, material, colour and gesture.

Publication "MIURA stool"
Edited and photographed by Florian Böhm
with texts by Vanni Pasca, Konstantin Grcic and Florian Böhm

Published by Plank Collezioni Srl, 2006
ISBN 978-88-902728-0-6


A project with Annahita Kamali.

The first project explores the ambiguous relation that links art and design (and fashion design) today and tries to blur the boundaries between those contexts, analyzing the process of creating objects from images and images from objects (In this case fashion related topics reproduced on silk). This ambiguous relation is, in fact, changing the idea of the art object, which quit to be merely a contemplative object, something to look at, and yes of course able to provoke an interaction with the audience, and which became a functioning object.
The images generally question, in a very individual and diverse way, different topics related to fashion, fashion industry and business, fabric, behavior, addiction and identity in terms of the economical, social, historical, local, global argumentations and reflections that can derive from investigating this particular context.
Reproduced on large pieces of pure silk the images are published periodically and limited in run.

Editions include work by: Ayzit Bostan, Richard Caldicott, Fernando and Humberto Campana, Martin Fengel, Konstantin Grcic, Abbas Kowsari, Luca Pizzaroni, Florian Süssmayr.

Global Manifestation: Luxury Fashion Brands
Based on Google Maps Street View (2011)
Printed on 100% Silk, Limited Edition of 75, Size: 107 X 129 cm

Florian Böhm · Sara Jewelry
Color photography (2005)
Reproduced on 100% Silk · Limited Edition of 50 · Size: 134 X 107 cm

Ayzit Bostan · Passport
Scanned passport (2010)
Reproduced on 100% Silk · Limited Edition of 42 · Size: 129 X 107 cm

Exhibitions (selection):

People and the City
Centre of Contemporary Art
Torun, March – April 2012
Direction: Dobrila Denegri

Starting from... People
Canadian Centre for Architecture
Montréal, Oct – Jan 2012
Direction: Fabrizio Gallanti

People and the City
Winzavod Centre for Contemporary Art
Moscow, Oct – Dec 2011
Direction: Walter Guadagnini

Visions & Fashion
Sonderausstellungshallen Kulturforum
Berlin, Jun – Oct 2011
Direction: Dr. Adelheid Rasche

Bavarian National Museum
Munich, June – October 2010
Direction: Dr. Renate Eikelmann

MAP Mouvement Art Public
Montreal, March 2009
Festival Montréal en Lumière

NRW-Forum Düsseldorf
October – November 2008
Direction: Werner Lippert

Amador Gallery
New York, Sept – October 2008
Direction: Paul Amador

Goethe Institute
Triest, Sept – October 2008
Direction: Alexandra Hagemann

Young Gallery
Brussels, May – September 2008
Direction: Pascal Young

Kunsthalle Darmstadt
Darmstadt, April – June 2008
Direction: Dr. Peter Joch

Gallery f5.6
Munich, Feb – March 2008
Direction: Nicole Stanner

FORUM 11 für zeitgenössische Fotografie
Fotomuseum im Münchner Stadtmuseum, Jan – March 2008
Direction: Ulrich Pohlmann

Performance Z-A
Storefront for Art and Architecture
New York, September 2007
Curator: Sarah Herda

Milliken Gallery
Stockholm, Jan – March 2006
Direction: Aldy Milliken
Curator: Laurie Makela and Ronald Jones

Fondation Cartier pour l'art contemporain
Paris, December 2002
Direction: Hervé Chandès
Curator: Isabelle Gaudefroy

Haus der Kunst
Munich, September – November 2002
Direction: Christoph Vitali
Curator: Stephanie Rosenthal

Fondatione Adriano Olivetti
Rome, September 2002
Direction: Bartholomeo Pietromarchi
Curator: Emanuela Nobile Mino

Storefront for Art and Architecture
New York, July – August 2002
Direction: Peter Guggenheimer, Belmont Freeman, Calvin Tsao et al.
Curator: Sarah Herda

KunstWerke Institute for Contemporary Art
Berlin, May – June 2002
Direction: Klaus Biesenbach
Curator: Anselm Franke

Literature (selection):

Dieter Rams, As Little Design as Possible
Edited by Sophie Lovell
Phaidon Press, 2011

Commedia dell'Arte – Couture Edition
Edited by Florian Böhm
Birkhäuser, 2010

Florian Böhm - Wait for Walk
with texts by Ulrich Pohlmann and Ronald Jones
Hatje Cantz, 2007

The Photobook: A History, volume II
Edited by Martin Parr & Gerry Badger
Phaidon Press, 2006

Edited by Florian Böhm
with texts by Vanni Pasca, Konstantin Grcic and Florian Böhm
Plank Collezioni Srl, 2006

KGID Konstantin Grcic Industrial Design
Edited by Florian Böhm
Phaidon Press, 2005

Edited by Robert Kanten, Mika Mischler, Sven Ehmann
Die Gestalten Verlag, 2005

Je Veux
Edited by Christophe Boutin, Mélanie Scarciglia, Sébastien de Ganay
One Star Press, 2003

Endcommercial® / Reading the City
Edited by Florian Böhm & Wolfgang Scheppe
Hatje Cantz, 2002

KW Magazines, Productions 2
Edited by Klaus Biesenbach
Kunstwerke Berlin, 2002

Edit #6
Edited by Monika Brandmeier
Künstlerhaus Dortmund, 2002

Press (selected):

Press clippings PDF (ca.15MB)

Boarder Crossing
Artist portrait by David Galloway
ArtNews, Nov. 2008

Wait for Walk: Deconstruction of an Image
David Means
Abitare, 12 2007

Work in Progress
Linda Eerme, Robin Kinross
DOMUS # 856 02/03

Gesammelte Spuren
Kira van Lil
Art # 2 02/03

Michel Hauffen
Kunstforum International # 163 01/01/03

Endcommercial / Reading the City
Denis Brudna
Photonews #12 Dez. 2002 / Jan.2003

Nadine Olonetzky
Neue Zürcher Zeitung 12/17/02

Die Grammatik der Grossstadt in der Krise
Peter P. Schneider
Der Tages-Anzeiger, Zürich 12/13/02

Die Ordnung im Chaos
Andreas Langen
Stuttgarter Zeitung 12/06/2002

New York décryptée par accumulation d'images
Michel Guerrin
Le Monde 12/06/2002

Andreas Müller-Pohle
European Photography 01/12/02

Fenomenologia della vita urbana
Sabrina Vedovotto
next exit # 3, Nov. 2002

Der Müll, die Stadt und die Spurenleser
Alex Rühle
Süddeutsche Zeitung 11/13/200

Voyage au bout de la Ville
Bénédicte Duhalde
Intramuros #103, Okt./Nov. 2002

Quella merce e illusaria
Arianna di Genova
Il Manifesto 10/05/02

Maria Christina Bastante
ExibArt 10/02

Marina Sorbello
Tema Celeste 92 09/02

Ken Johnson
New York Times 09/02/02

Reading the City
Alice Temlow
Architecture Magazine 08/02

Die benutzte Stadt
Johanna Adorján
Frankfurter Allgemeine Zeitung 08/02

Hypertext City
Jutta Nachtwey
Page 08/02

Jordan Kantor
Artforum 07/02

Police line do not cross
Paul Feigelfeld
Style 06/02

Diagramme der Macht
Nicolas Siepen
Frankfurter Allgemeine Zeitung 05/06/2002

Auf Leben und Tod
Ingeborg Ruth
Berliner Zeitung 05/04/02

Florian Böhm

Florian Böhm's works were exhibited at Haus der Kunst, Munich, Storefront for Art and Architecture, New York, Fondation Cartier pour l'Art Contemporain, Paris, Kunstwerke, Institute for Contemporary Art, Berlin, and Fondazione Adriano Olivetti, Rom. He is co-founder of the project EndCommercial® / Reading the City, a visual record of modern urban life widely acclaimed in journals and papers such as the New York Times, Domus, Art Forum, and Kunstforum International. The project contains over 60.000 images, and established a new visual vocabulary to describe our urban experience.

In the new photographic series Wait for Walk, Florian Böhm expands the typology of the urban area with an anthropological look at city people, in the form of studies of fluctuating, transient constellations of passers-by waiting at intersections in New York. The sidewalk becomes a stage on which the pulsating activity of the metropolis comes to a standstill for a brief moment and the flow of traffic the shutter curtain.

Böhm's publications as editor or author include KGID Konstantin Grcic Industrial Design (Phaidon Press 2005); Commedia dell'Arte – Couture Edition (Birkhauser 2009) and Wait for Walk (Hatje Cantz 2007).

Florian Böhm (Foto: Frank Stolle)


General enquiries

Galerie f5,6, Munich
Phone: +49-89-28675167

Amador Gallery, New York
Phone: +1-212-759-6740
















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