Punta Rocca IV

1994 · Punta Rocca, Italy

Punta Rocca IV

From: Alpine Landscapes

Punta Rocca IV is a 1994 C-print, issued as a two-part work, in which a crowded snowfield and a vast mountain panorama are separated by a dark vertical division. The Städel record identifies a glacier, groups of people, and the Punta Rocca site; its collection essay further notes how the work organizes near, distant, and inaccessible landscape into different visual zones. This photograph merits individual selection because it compactly demonstrates Niedermayr’s early method: the mountain is neither untouched wilderness nor simple tourist spectacle, but a constructed experience shaped by viewing platforms, visitors, and photographic segmentation. It is held at the Städel Museum as a DZ BANK collection loan.

2006 · Persepolis, Iran

Persepolis, Iran 81

Persepolis, Iran 81 is a 2006 work from the Iran series and is identified in Lars Mextorf’s essay for the Recollection monograph as the series’ only black-and-white photograph. It pictures the preserved remains of the Achaemenid royal residence, but its tonal reduction also allows the site to be read as an abstract arrangement of built forms rather than as a familiar archaeological view. It deserves individual selection because that formal decision makes the project’s larger question especially clear: how can inherited architectural history be seen alongside modern systems and images, without treating the past as a fixed backdrop?

2008 · Tehran, Iran

Tehran, Iran 139

Tehran, Iran 139, made in 2008, is a specifically named photograph in Niedermayr’s Iran project. It is discussed in the Recollection essay in connection with Tehran International Tower, whose three-winged form is compared there with the Mandalay Bay in Las Vegas. The work is therefore a useful individual entry point into the series’ documented concern with the encounter between Iranian urban space and Western architectural models after 1979. It merits selection not as a stand-alone monument photograph, but because its subject gives concrete form to the project’s larger examination of architectural influence, cultural memory, and the image of the contemporary city.

Aspen 32

2009 · Aspen, Colorado, United States

Aspen 32

From: The Aspen Series

Aspen 32 is a multipart view of a crowded ski slope in which the bright, nearly erased snowfield makes individual skiers and resort equipment read as small colored marks. The seam between panels interrupts any easy claim to a unified panorama, while lifts, queues, buildings, and bodies reveal the mountain as a coordinated recreational system. It is an especially useful individual selection because it makes the social density of the resort immediately legible without abandoning Niedermayr’s pale, disorienting visual language. The photograph condenses the larger series’ concern with tourism’s choreography of landscape and attention.

2010 · Rolex Learning Center, École polytechnique fédérale de Lausanne, Lausanne, Switzerland

Bildraum S 240

From: Bildraum (Images-Spaces)

Bildraum S 240 is a triptych made from within SANAA’s Rolex Learning Center in Lausanne. The work focuses on the building’s undulating concrete floor slab, which extends across three framed prints and can be read as an artificial landscape. MoMA identifies it as part of Niedermayr’s ongoing study of SANAA and notes how cropping makes the architecture seem to float while retaining the tension between structural engineering and perceptual lightness. It merits individual selection because it is a museum-collected example that crystallizes Bildraum’s central proposition: architecture is encountered through movement, fragmentation, and photographic construction rather than a single comprehensive view.