Month: November 2008

Thomas Demand


Monika Sprüth and Philomene Magers are delighted to present the first solo exhibition of new work by German artist Thomas Demand in the UK since his acclaimed Serpentine exhibition in summer 2006. Following an invitation from the New York Times, Demand has created a timely and unnerving body of work which examines the literal and metaphorical seat of global power in the twenty-first century – the Oval Office in the White House, Washington, D.C.

The Oval Office, the official workplace of the President of the United States of America, is one of the most instantly recognisable interior locations in the world, its image a symbolic shorthand for the exercise of ideological and geopolitical will. Yet Demand’s photographs, rather than capturing the original Oval Office in all its formal opulence, instead depict a meticulously recreated life-size model, fabricated from paper, cardboard and confetti. Each of the five images of this near-perfect reconstruction of the most powerful room in the world is articulated through a complex compositional language, making the reading of each photograph an aesthetically and conceptually troubling experience.

Demand’s photography has long focussed on painstakingly detailed reenactments of specific and familiar places, public or private sites often loaded with social and political meanings. His models are highly detailed, yet they retain subtle but deliberate flaws and anachronisms to disrupt the viewer’s comfort with the scene. This series also renders an immediately recognisable scene alien through an innovative attention to perspective and formal composition. The oval shape of the Oval Office is not usually a prominent feature of the multiplicity of images of this iconic space, yet in Demand’s rendition, the eye is fascinated by it. Similarly, the viewer’s expectation is that this room will be inhabited, either by politicians or actors pretending to be politicians, and that it will be experienced on a human scale and at eye level. However, Demand’s Oval Office is conspicuous in its human absence, an emptiness that is heightened by the ground-level and bird’s eye perspectives from which the room is viewed.

The effect of Demand’s work has been to challenge any complacent assumptions about photography’s claims to verisimilitude, and to complicate conventional notions of authenticity and artifice. However, in the context of this new body of work, Demand’s practice gains an ever more politicised momentum. Blurring boundaries between believability and pretence in the Oval Office necessarily points to a critique of power as it has been wielded in the White House. Photographing a near-exact replica of the US President’s office suggests intriguing connections between statecraft and stagecraft, and the disposability of the construction materials (each of Demand’s models is destroyed after it has been photographed) undermines any naïve faith in the permanence and unshakeability of American, or indeed any, political authority.

This new exhibition marks a distinctive counterpoint to a number of Demand’s recent major works. ‘Tavern’ (2006), currently on view at Tate Modern, is, like this body of work, a suite of five images which take a media-saturated location, in this case the site of a horrific murder in Germany, and powerfully evoke a sense of ambivalence and the uncanny in how images of such memorable and familiar places are received. It can also be viewed as a companion piece to Demand’s ‘Embassy’, part of his presentation at the Fondazione Prada at Fondazione Giorgio Cini, in Venice in June 2007. ‘Embassy’ centred on the reproduction, physically then photographically, of Niger’s consulate in Rome, which was the ultimate destination of a trail of political intrigue involving the recent history of nuclear proliferation, and the basis of America’s 2003 invasion of Iraq. These photographs depict a highly politicised and geopolitically significant space, but one which was cluttered, dark, unknown and locked away from view. This contrasts with Demand’s image of the Oval Office – an eerily airy and instantly recognisable political environment which is defined by its public accessibility, and whose image is so widely dispersed it looms ever-present in the collective visual vocabulary of contemporary Western culture. The connection between the two works, in political and aesthetic terms, is confirmed by the presence in these photographs of a framed image of a black figure that appeared in ‘Embassy’. Not only does this intervention jar with the viewer’s visual expectation of the Oval Office, but it reifies the problematic ways in which race, history and the Third World might be located within the American political order.

Thomas Demand studied at the Düsseldorf Academy and Goldsmiths College. Solo exhibitions include the first solo exhibition by a contemporary artist at the Museum of Modern Art, New York, following its reopening in 2005, which was followed by an exhibition at the Serpentine Gallery in London in 2006. Recent exhibitions include Fundación Telefónica, Madrid and the Hamburger Kunsthalle, Germany. In 2004 he represented Germany at the São Paulo Biennale. Demand lives in Berlin, and in 2009 he will have a major exhibition at the Neue Nationalgalerie in Berlin.

"SPEAR OF LONGINUS"


“SPEAR OF LONGINUS”
duo udstilling af Loke s.k. RAhbek og Jonas krystal frederiksen

“the altar represents stairs into infinity the smoke represents reverse-horizontal thought wherein the mind will rebirth itself as the altar into infinity”- dreamers cloth 2004

Chuck Webster: Oh My Soul


Chuck Webster: Oh My Soul

Chuck Webster’s Oh My Soul will feature a sequence of oil paintings that explore the natural world filtered through a peculiar editorial apparatus, so that unique organic abstractions made of fluid line and lush color contrasts morph into every day familiars. Often the paintings begin with a sort of friendly excision, removing a particular line or shape from an existing work of art or object. Through Webster’s translation, simple forms are glorified to near elemental status, often revolving around such purely natural phenomena as earth, water, fire. As Craig Olson wrote:

Whatever else Webster’s devotional pictures may be, they are undoubtedly pictures of love. A love wrought from meditation that expands outward from the individual to an intuitive vastness, reaching that place within the caverns between our highly specialized senses. It brings to mind new approaches to understanding perception— that seeing is not a purely visual experience, but one in which the mind and body react simultaneously with both learned and instinctual responses. It’s where seeing isn’t really believing, but where it becomes a function of a more essential, unseen harmony.(The Brooklyn Rail, October 2007)

In 2008, ZieherSmith and PictureBox Inc. published Chuck Webster / Eddie Martinez, a two-volume set featuring both solo works by Webster as well as collaborative pieces with Eddie Martinez. Webster’s work has recently been displayed in group exhibitions at Museum of Contemporary Art, Detroit; Museum of Fine Arts, Houston; Fred, Leipzig; Daniel Weinberg, Los Angeles; and de Pury & Luxembourg, Zurich, among others. His paintings will be featured in Phaidon Press’s forthcoming book, Painting Abstraction, by Bob Nickas, scheduled for 2009 publication. He lives and works in Brooklyn and Binghamton, New York.

Ziehersmith



We Never Met Before […]


SISTER CORITA KENT / GARDAR EIDE EINARSSON / MARIUS ENGH / MATIAS FALDBAKKEN / HANS-PETER FELDMANN / JOHN HEARTFIELD / DAMIEN HIRST / ALEX HUBBARD / EDVARD MUNCH / RICHARD PRINCE / RAYMOND PETTIBON / JOSH SMITH / OSCAR TUAZON / FRANZ WEST / CURATED BY MIKKEL E. ASTRUP AND EIVIND FURNESVIK
WE NEVER MET BEFORE, BUT IT’S WITH GREAT ANTICIPATION OF YOUR UNDERSTANDING THAT I’M WRITING YOU AND I HOPE YOU WILL IN GOOD FAITH GIVE A DEEP CONSIDERATION TO MY PROPOSAL BELOW.
13.11.-13.12.2008 / PREVIEW: THURSDAY 13.11.2008 / 19.00-21.00

—–

Greetings,

We never met before, but it’s with great anticipation of your understanding that I’m writing you and I hope you will in good faith give a deep consideration to my proposal below. I’m Dr Jallo, an auditing manager with one of’s leading Finance and Auditing company’s. In the course of carrying out an extensive end of year auditing of accounts under my establishment, I discovered a huge fund a dormant account, that have for now moved into a closed account a safe deposit. I have made up my mind to move this fund out of my country, it is in this vain that I’m putting up this proposal to you, to go into a partnership/transaction with me to move this fund out of my country, as I need a foreign partner outside my base to do this. My move might not suit some, if it does not suit you, then I am indeed very sorry. further negotiation and terms of transaction will continue only after you let me know via return mail informing me of your interest in this, please be kind enough to inform me if you are not interested, so that I can scout for another partner.

I’m at liberty to go into an extensive and trust worthy discussion/ negotiation with you in the event that you furnish me with following Full Names, Address, Profession, your telephone and/or fax number in your return mail and I promise to you a call soonest I get your number. Thanks for taking your time and I look forward to a fruitful transaction with you and God bless you.

Best
Dr . Jallo.

Standard Oslo