DOCSLIB.ORG

RRR. (METHOD of AVERAGE ERROR) Thomas Zipp

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
RRR. (METHOD of AVERAGE ERROR) Thomas Zipp Thomas Zipp RRR. (METHOD OF AVERAGE ERROR) Thomas Zipp RRR. (METHOD OF AVERAGE ERROR) Herausgegeben von / Edited by Galerie Kai Erdmann Mit einem Text / With a text by Rosa Windt Thomas Zipp · RRR. (METHOD OF AVERAGE ERROR) Ekstase ist ein Begriff, der sowohl psychologisch als auch religionswissenschaftlich Verwendung findet. In beiden Fällen ist ein Zustand des „außer sich seins“ gemeint, in dem die Wahrnehmung der Betroffenen in Folge des Realitätsverlustes über ein reales Bewusstsein hinaus erhöht und offenbart scheint. Bereits in der Antike wurde das regelrechte „Heraustreten der Seele aus dem Körper“, in Form von religiöser Raserei oder Rauschzuständen kollektiv beabsichtigt und her- beigeführt. Auch in zahlreichen afrikanischen und indonesischen Religionen sind solche, durch bestimmte Musik und rhythmische Bewegungen, ritenhaft hergestellte Zustände als Teil kultureller Praxis belegt. Die Funktion und inhärente Absicht des Besessenheitszustandes ermöglicht dem jeweiligen Medium den Vorstellungsrahmen der Tradition zu verlassen und „im Namen der Geister und Ahnen“ Neuerungen und Sanktionen zu verkünden. Ihm kommt so eine Autorität zu Teil, die keiner rationalen, traditionellen oder gar wissenschaftlichen Größe Rechenschaft schuldig ist. Der in Berlin lebende Künstler Thomas Zipp setzt sich in seinem Werk mittels raumgreifender, multimedialer Installationen und Performances mit solchen gesellschaftlichen und kulturellen Strukturen auseinander und überprüft sie auf ihre Aktualität. Es stellt sich insbesondere die Frage inwiefern derartige Ekstase und Besessenheitszustände in einer westlich geprägten Zivilisation anwendbar beziehungsweise obsolet geworden und durch andere „Medien“ ersetzt worden sind. Der Ausstellungstitel „RRR. (Method Of Average Error)“ entspringt dabei einem klassischen Experi- ment der Psychophysik, welches die absolute Schwelle eines wahrnehmbaren Reizes erforscht. In einer empirisch geschaffenen Situation, wendet Zipp solche detektierenden Methoden, im Hinblick auf das Verhältnis von bildender Kunst, wissenschaftlicher Forschung und religiöser Praktik an, so dass es zu einer Kulminierung der getrennten Fachbereiche kommt. Eine Performance in Form einer rituellen Prozession wird dabei substanzieller Bestandteil der Ausstellung — oder des Experimentes — und integriert, indem sie die Ausstellungsräume hin zum öffentlichen Raum verlässt gleichfalls eine ungefragte Öffentlichkeit. Im Unterschied zur „RRR. (Method of Average Error)“, bei welcher der Protagonist selbstständig reguliert in welchem Verhält- nis Stimulation und Reiz stehen, kann dieser Schritt mit ihrem Pendant, der „Method Of Constant Stimuli“, verglichen werden, bei welcher die Teilnehmer zufälligen, fremdgesteuerten Reizen unter- liegen, so dass keine Habituations- oder Erwartungsfehler entstehen können. Im Zusammenspiel mit einer neuen Serie von Gemälden und Zeichnungen, die sich hier auch als Manifeste oder Handlungsanweisungen lesen lassen, entsteht so ein multimediales wie interdis- ziplinäres Szenario. Und es stellt sich die Frage in welchem Verhältnis Kunst, Wissenschaft und Religion zueinander stehen und ob sie lediglich einseitig betrachtet der Erkenntnisgewinnung dien- lich sind, wenn sie doch auch als jeweilige Begleiterscheinungen des Anderen auftreten können. Eben hier knüpfen Thomas Zipps Überlegungen an und untersuchen künstlerische Arbeit und deren Potential, im Hinblick auf Entgrenzung und Verschmelzung mit wissenschaftlichen Fragestellungen und religiösen Praktiken. Rosa Windt Einladungskarte / Invitation Thomas Zipp · RRR. (METHOD OF AVERAGE ERROR) Ecstasy is a concept employed both by psychologists and by theologians. In both cases, what is meant is a state of being ‘outside of oneself’, a state in which as a result of the loss of reality, per- ception seems to be enhanced and revealed over and above real awareness. Even in Antiquity, a ve- ritable ‘exit of the soul from the body’ was collectively intended and invoked in the form of religious frenzy or states of intoxication. In numerous African and Indonesian religions, too, such states, ritually generated through music and rhythmic movements, are documented as a part of cultural practice. The function and inherent intention of this state of possession makes it possible for the medium in question to abandon the ‘imagination space’ of tradition and proclaim innovations and sanctions ‘in the name of the spirits and the ancestors’. He thus takes on an authority that is not accountable to any rational or traditional, let alone scientific, instance. In his work, the Berlin-based artist Thomas Zipp uses large multimedia installations and perfor- mances to grapple with such social and cultural structures and test them in respect of their current relevance. In particular, he confronts the question of the extent to which such ecstasies and states of possession can be applied in a civilization on the Western model, or whether they have become obsolete, having been replaced by other ‘mediums’, that is to say: media. The title of the exhibition ‘RRR. (Method Of Average Error)’ derives from a classical experiment in psychophysics to examine the absolute threshold of a perceptible stimulus. In an empirically created situation, Zipp applies such investigative methods to the relationship between visual art, academic research and religious practice, resulting in a coalescence of the separate fields. In the process, a performance in the form of a ritual procession becomes a substantial component of the exhibition — or of the experiment — and likewise integrates an uninvited public by spilling out of the exhibition room into the public space. In contrast to ‘RRR. (Method of Average Error)’, in which subjects regulate for themselves the relationship between stimulus and reflex/response, this step can be compared to another psychophysical method, the ‘Method Of Constant Stimuli’, in which the participants are subjected to chance stimuli controlled by others, so that any errors due to habituation or expectation are excluded. In the interplay with a new series of paintings and drawings which can also be read here as mani- festoes or instructions for action, what emerges here is an interdisciplinary multimedia scenario. And the question arises as to the relationship between art, science and religion, and whether, looked at one-sidedly, they merely serve an increase in knowledge, when after all each can appear as an epiphenomenon or by-product of the other. It is precisely here this point that Thomas Zipp’s considerations take up, examining artistic work and its potential with respect to the blurring of boundaries and a fusion with scientific and religious practices. Rosa Windt Thomas Zipp · RRR. (METHOD OF AVERAGE ERROR) Thomas Zipp · RRR. (METHOD OF AVERAGE ERROR) A.B.: Fechner (G) Mixed Media, Acryl und Öl auf Leinwand / Mixed media, acrylic and oil on canvas 100 x 80 cm · 2015 Thomas Zipp · RRR. (METHOD OF AVERAGE ERROR) 3CMAMR No.4 3CMAMR No.9 Collage, Künstlergerahmt / Collage, artist‘s frame · 52,5 x 42,5 cm Collage, Künstlergerahmt / Collage, artist‘s frame · 62,5 x 52,5 cm 2012 2012 Thomas Zipp · RRR. (METHOD OF AVERAGE ERROR) Detail RRR. (Method of Average Error) 2015 Thomas Zipp · RRR. (METHOD OF AVERAGE ERROR) Thomas Zipp · RRR. (METHOD OF AVERAGE ERROR) RRR Spiegel, Künstlergerahmt, Glühbirnen, Holz, Lack & Lippenstift / Mirror, artist‘s frame, bulbs, wood, lacquer & lipstick 43 cm x ø 35 cm (jeder Hocker / each chair) 54 x 44 cm (Spiegel / Mirror) 2015 Thomas Zipp · RRR. (METHOD OF AVERAGE ERROR) Thomas Zipp · RRR. (METHOD OF AVERAGE ERROR) EEEEEEE Spiegel, Künstlergerahmt, Glühbirnen, Holz, Lack & Lippenstift / Mirror, artist‘s frame, bulbs, wood, lacquer & lipstick 43 cm x ø 35 cm (jeder Hocker / each chair) 54 x 44 cm (Spiegel / Mirror) 2015 Thomas Zipp · RRR. (METHOD OF AVERAGE ERROR) F.R.O. #4 Holz, Lack, Telefon & Spiegel / Wood, lacquer, telephone & mirror 80 x 125 x 63 cm (Tisch / Table) h 43 cm x ø 35 cm (Jeder Hocker / Each chair) 7 x 7 cm (Apfel / Apple) 2013 Thomas Zipp · RRR. (METHOD OF AVERAGE ERROR) Thomas Zipp · RRR. (METHOD OF AVERAGE ERROR) F.R.O. #4 Mixed Media, Holz, Lack & Spiegel / Mixed media, wood, lacquer & mirror 80 x 125 x 63 cm (Tisch / Table) h 43 cm x ø 35 cm (Jeder Hocker / Each chair) 7 x 7 cm (Apfel / Apple) 2013 Thomas Zipp · RRR. (METHOD OF AVERAGE ERROR) 3CMAMR No.13 Collage, Künstlergerahmt / Collage, artist‘s frame · 42,5 x 32,5 cm F.R.O. #4 (Detail) 2012 Thomas Zipp · RRR. (METHOD OF AVERAGE ERROR) Ausstellungsansicht / Exhibition view Thomas Zipp · RRR. (METHOD OF AVERAGE ERROR) 3CMAMR No.15 3CMAMR No.16 Collage, Künstlergerahmt / Collage, artist‘s frame Collage, Künstlergerahmt / Collage, artist‘s frame 52,5 x 42,5 cm · 2012 62,5 x 52,5 cm · 2012 Thomas Zipp · RRR. (METHOD OF AVERAGE ERROR) A.B.: FETICHISM Siebdruck, Acryl und Öl auf Leinwand / Silkscreen, acrylic and oil on canvas 60 x 130 cm · 2012 Thomas Zipp · RRR. (METHOD OF AVERAGE ERROR) 3CMAMR No.19 3CMAMR No.18 Collage, Künstlergerahmt / Collage, artist‘s frame Collage, Künstlergerahmt / Collage, artist‘s frame 62,5 x 52,5 cm · 2012 52,5 x 42,5 cm · 2012 Thomas Zipp · RRR. (METHOD OF AVERAGE ERROR) Links / Left 3CMAMR No.17 Collage, Künstlergerahmt / Collage, artist‘s frame 42,5 x 32,5 cm · 2012 Rechts / Right 3CMAMR No.7 (Sleep) 3CMAMR No.24 Collage, Künstlergerahmt / Collage, artist‘s frame Collage, Künstlergerahmt / Collage, artist‘s frame 42,5 x 32,5 cm · 2012 62,5 x 52,5 cm · 2012 Thomas Zipp · RRR. (METHOD OF AVERAGE ERROR) Thomas Zipp · RRR. (METHOD OF AVERAGE ERROR) Thomas
Load more

Recommended publications
  • Thomas Zipp Born 1966 in Heppenheim Lives and Works in Berlin
    Thomas Zipp born 1966 in Heppenheim lives and works in Berlin 1992 – 1998 Städelschule Frankfurt/M. and Slade School of Fine Art London 2006 – 2007 guest professorship at Hochschule der Bildenden Künste Karlsruhe since 2008 professorship at Universität der Künste Berlin Solo exhibitions 2015 RRR. (Method of Average Error), Galerie Kai Erdmann, Hamburg The Observer As a System with Feedback, Alison Jaques Gallery, London 2014 Effects of Stimulus-Range and Anchor Value on Psychophysical Judgement (The Laerdal Rehearsals), Galerie Guido W. Baudach, Berlin Experiments on the Perceptual and Conceptual Classification of Varying Stimulus Patterns, Galería Heinrich Ehrhardt, Madrid 2013 Figure-Ground Specification in Terms of Structural Information. The Rivalry between Different Pattern Codings, Patricia Low Contemporary, St. Moritz Task Dependence of the Effect of Standards on the Perception of a Series of Objects, SVIT, Prague Comparative Investigation about the Disposition of the Width of a Circle, 55th International Art Exhibition, La Biennale di Venezia (cat.) The Pink Noise Diaries, Kaufmann Repetto, Milan The chips are down, Harris Lieberman Gallery, New York 2012 ENGLAND ATTACKED BY THE AMERICAS, Kunstverein Oldenburg BLACKOUT CHAMBERS, L´ARC DE CERCLE & DISSOCIATIVE AMNESIA, Galerie Guido W. Baudach, Berlin 3 contributions to the theory of mass-aberrations in modern religions, Alison Jaques Gallery, London 2011 Baronian_Francey, Brussels (29.04. – 04.06.2011) Kunstraum Innsbruck, Innsbruck (02.04. – 28.05.2011) The forbidden Conduct (Deviations in conservative societies), Sommer Contemporary Art, Tel Aviv (24.01. – 05.03.2011) 2010 Aids to Theater Technique, Galerie Rüdiger Schöttle, Munich (WHITE REFORMATION CO-OP) MENS SANA IN CORPORE SANO, Kunsthalle Fridericianum, Kassel (cat.) 2009 FACES, Kunstverein Heppenheim, Heppenheim The World’s Most Complete Congress Of Strange People, Galerie Guido W.
    [Show full text]
  • Fall/Winter 2021/22 Fall/Winter 2021/22 We Love Books
    FALL/WINTER 2021/22 FALL/WINTER 2021/22 WE LOVE BOOKS. Dear art book enthusiasts, there is something very familiar to these myriad images. We Art has always led the way in undermining the conventional consume, like, and share them, we produce and manipulate media stereotypes of its time. In the project Boobs—Fe:male our own digital pictures, helping create tomorrow’s flood of Bodies in Pictorial History, we have gathered 80 selected visuals, and sometimes our heads are spinning from all that positions to show how artists’ constructions both of the content. female self and of woman as “the other” keep resituating and renegotiating femininity. The book raises vital questions of the Pictures are enchanting and disturbing, emotional and politics of the body, touching on issues of gender, ethnic sentimental, manipulative, educational, and viral. And the membership, and the vulnerability of the ailing body, while digitally networked world lets us experience events around also delving into the history of art and visual culture. the globe as though we were there only seconds after they happen: think only of the storming of the US Capitol, of the Abstraction in art opens up spaces of resonance in which new assailants’ Viking masks and the trophy pictures with which visions can be outlined and existing representations recon- they boasted of their exploits on social media. We have long sidered. Take Birgir Andrésson’s humorously laconic color lived with the awareness that we cannot trust our eyes and panels based on Icelandic nature myths, Je! Sonhouse’s that the pictures that circulate, far from merely representing Black harlequins championing a new consciousness of skin the real world, shape a new reality—to control the flow of color and identity, or, then again, Michael Müller’s so-called images is to hold power.
    [Show full text]
  • Thomas Zipp +49 (0) 641 – 306 10 40 [email protected] a Primer of Higher Space (The Family of Man Revisited) Kunsthalle-Giessen.De
    Kunsthalle Gießen Berliner Platz 1 D-35390 Gießen l Germany Thomas Zipp +49 (0) 641 – 306 10 40 [email protected] A Primer of Higher Space (The Family of Man revisited) kunsthalle-giessen.de An installation at Kunsthalle Gießen Opening: August 31 st 2018, 7 pm Duration: Sept 1st – Nov. 18th 2018 Curated by Nadia Ismail The work of Berlin based artist Thomas Zipp analyses the contradictions of modern subjectivity. With his spacious installations he questions the relationship between the individual and the crowd, the self and the collective. By deconstructing conventional systems of values and scientific models he opens the field up for new questions. For the Kunsthalle Gießen Thomas Zipp has developed a complex installation that, at irregular intervals, will become a stage for performances. The exhibition ‘The Family of Man’ that opened in 1955 at the Mu- seum of Modern Art in New York and entered the UNESCO Memory of the World Register in 2003, forms the installation’s point of departure. The exhibition’s aim was to promote intercultural understanding. The then head of the photography department at MoMA and curator of the exhibition, Edward Steichen used the promise of photography’s universal language in order to promote people’s understanding of each other, to break down prejudices and to overcome the boundaries between classes, religions and ethnic groups. ‘The Family of Man‘ was subdivided into 32 themes, for example work, love, faith, birth, family, children, war and peace, these were then presented in over 500 relevantly arranged photographs. Ama- teur photos hung homogeneously alongside works by renowned artists, thus formally supporting the idea of equal cooperation.
    [Show full text]
  • Studio Berlin
    Studio Berlin In cooperation with Neuer Berliner Kunstverein (n.b.k.) © Institute for Strategy Development (IFSE) June 2010 Contents Preface........................................................................................... 2 Contemporary. Art. Market........................................................... 3 Metropolis Berlin ........................................................................... 5 Urban Space .........................................................................................5 100 years and six political systems ............................................................6 The „New Berlin“.......................................................................................8 A Place for Artists (of Life)........................................................... 10 Educational Institutions............................................................................12 Production and Direct marketing ............................................................14 "The City named Desire" ........................................................................15 The Art Market in Berlin .............................................................. 16 Galleries .......................................................................................16 Fairs .......................................................................................22 Auction Houses .......................................................................................24 Institutions of Contemporary Art...............................................
    [Show full text]
  • Press Release
    PRESS RELEASE THOMAS ZIPP: 3 CONTRIBUTIONS TO THE THEORY OF MASS-ABERRATIONS IN MODERN RELIGIONS 24 FEBRUARY – 31 MARCH 2012 OPENING: THURSDAY 23 FEBRUARY, 6–8PM For his third solo show at Alison Jacques Gallery, Thomas Zipp has transformed the spaces into atmospheric rooms reminiscent of a place of worship, in which religious imagery and sexual motifs collide. Zipp combines a range of forms – from aluminium paintings to electric candles, oversized conical ear tubes to photographs of life-sized dolls – to transport us into his visionary world. The show and its title are premised on Sigmund Freudʼs ʻThree Contributions to the Theory of Sexʼ (1920), which fixated on our need for deviations from pure connections between the sexual object and sexual aim, and which Zipp uses to navigate us through his uncanny landscape in search of strange interconnecting reference points and dialogues. In the main gallery, Zipp has created an installation of two large conical tubes, which can be attached to each ear. The listener is encouraged to interact with this device, but with a sense of ambiguity over whatʼs actually being heard and where that sound is from. He has created a series of large aluminium pigmented paintings showing abstracted landscape fragments and remnants of body parts, invoking dislocated sexual aberrations taking place across our fractured world. For the first time, Zipp has painted directly onto aluminium pigmented and partly silver plated surfaces, not only marking an innovation in his visual language but also imbuing the work with an iconic, quasi-religious quality. These reflective surfaces also invite the viewer to turn their gaze back on themselves; the self, and in particular oneʼs religious and sexual motivations, coming under close scrutiny.
    [Show full text]
  • Rashid Johnson
    RASHID JOHNSON born 1977, Chicago IL lives and works in New York, NY EDUCATION 2004 MFA, School of the Art Institute of Chicago, Chicago, IL 2000 BA, Columbia College, Chicago, IL SELECTED SOLO / TWO PERSON EXHIBITIONS (* indicates a publication) 2021 Black and Blue, David Kordansky Gallery, Los Angeles, CA The Crisis, Storm King Art Center, New Windsor, NY Summer Projects: Rashid Johnson, Creative Time, New York, NY The Bruising: For Jules, The Bird, Jack and Leni, Crystal Bridges Museum of American Art, Bentonville, AR Capsule, National Gallery of Canada, Ottawa, Canada 2020 Waves, Hauser & Wirth, London, England Stage, PS1 COURTYARD: an experiment in creative ecologies, MoMA PS1, Long Island City, NY 2019 The Hikers, Museo Tamayo, Mexico City, Mexico The Hikers, Aspen Art Museum, Aspen, CO It Never Entered My Mind, Hauser & Wirth, St. Moritz, Switzerland Anxious Audience, Fleck Clerestory Commissioning Project, curated by Lauren Barnes, The Power Plant, Toronto, Canada The Hikers, Hauser & Wirth, New York, NY 2018 *No More Water, Lismore Castle Arts, Lismore, Ireland *The Rainbow Sign, David Kordansky Gallery, Los Angeles, CA Provocations: Rashid Johnson, Institute for Contemporary Art, Virginia Commonwealth University, Richmond, VA 2017 Anxious Audience, organized by Annin Arts, Billboard 8171, London Bridge, England [email protected] www.davidkordanskygallery.com T: 323.935.3030 F: 323.935.3031 Stranger, Hauser & Wirth Somerset, Bruton, England Rashid Johnson: The New Black Yoga and Samuel in Space, McNay Art Museum,
    [Show full text]
  • THILO HEINZMANN WE, RIVERS & MOUNTAINS Perrotin, Seoul April
    O.T. 2017 O.T. 2017 Oil and pigment on canvas, plexiglass cover Oil and pigment on canvas, plexiglass cover 148 × 138 × 8.5 cm / 58 1/4 × 54 5/16 × 3 3/8 in 116 × 106 × 8.5 cm/ 45 11/16 × 41 3/4 × 3 3/8 in THILO HEINZMANN WE, RIVERS & MOUNTAINS 틸로 하인츠만 “강산과 우리” Perrotin, Seoul 페로탕, 서울 April 13 – May 18, 2017 4월 13일 - 5월 18일, 2017 Perrotin Seoul is pleased to announce “We, Rivers & Mountains”, 페로탕 서울은 틸로 하인츠만의 첫 국내 개인전 “강산과 우리”를 개최한다. Thilo Heinzmann’s first solo show in Seoul. 하인츠만은 스스로를 철저히 화가로 정의하는 작가이다. 그에게 화가란 Heinzmann is a painter in the emphatic sense of the word, fully invested 회화의 물성을 재발견하고 재조정하는데 천착하며, 또한 회화가 지닌 풍부한 in reinventing and recalibrating that medium’s capacities, while keeping 유산에 대해서도 자각을 잃지 않는 작가이다. 서구 회화 전통이 역사적 전환을 a keen eye on that artform’s rich history. One of the central tenets of 맞이했던 두 순간에 새롭게 접근하는 과제야말로 하인츠만 작업의 중점 Heinzmann’s work lies in revisiting painting’s Western tradition with 원리이다. 이때 첫번째 순간은 세계를 재현하는 매체로서 우위를 선점했던 both of its prime historical momentums in view: painting as the superior 회화이다. 두번째는 매체의 자율성을 획득하는 중대한 쾌거를 달성한 이래, medium for showing the world; and, after it had achieved its momentous 추상주의에 균열이 생기고 형태, 색, 질감, 표면의 강력한 상호작용이 triumph in retreating to its own means, painting as the field for a 이루어진 장으로서의 회화이다. 하인츠만의 작업은 회화의 이러한 신기원적 powerful interaction of form, color, texture, surface, after the rupture 분리를 재탐색하고 그 양분화를 특유의 유려한 화면에 구사한다.
    [Show full text]
  • CAMERON JAMIE Awards Solo Exhibitions
    CAMERON JAMIE Born 1969 Los Angeles Lives in Paris Awards 2016 Le lauréat du prix de dessin de la Fondation d’art contemporain Daniel et Florence Guerlain, France 2008 Yanghyun Prize, Yanghyun Foundation, Korea Solo Exhibitions 2021 “Tennis Elbow 81,” The Journal Gallery, New York 2020 “Cameron Jamie,” Gladstone Gallery, Brussels 2019 “Cameron Jamie,” NICC Brussels, Brussels 2018 “Cameron Jamie: Solo Show,” Kamel Mennour, London “Cameron Jamie: Solo Show,” Kamel Mennour, Paris “Monotypes,” Kamel Mennour, Paris 2017 "Cameron Jamie,” Bernier/Eliades, Athens “Cameron Jamie: Drawings and Monotypes,” CAPRI, Dusseldorf, Germany “Bodies, Faces, Heads,” Kölnischer Kunstverein, Cologne, Germany “Cameron Jamie: Domestic Arenas: Massage the History, BB, Kranky Klaus,” Gladstone Gallery, New York 2015 “Cameron Jamie,” Gladstone Gallery, New York 2014 “Cameron Jamie,” Bernier/Eliades Gallery, Athens 2013 “Cameron Jamie,” Kunsthalle Zurich, Zurich, Switzerland “Inner Planets: Cameron Jamie,” Palmenhaus des Alten Botanischen Gartens Zurich, Zurich, Switzerland “Drawings, Figures and Compression Fracture Paintings,” Galerie Buchholz, Cologne, Germany “Artist Books by Cameron Jamie,” Antiquariat Buchholz, Cologne, Germany 2011 “Cameron Jamie: Statuettes and Drawings,” Galerie Nathalie Obadia, Paris “Cameron Jamie Film Retrospective,” Cineteca Nacional Mexico, Mexico City 2010 "Cameron Jamie - Four Films: BB, Spook House, Kranky Klaus, Massage the History," Nottingham Contemporary, Nottingham, England [traveled to: Kunsthalle Zürich im Arthouse Kino Movie
    [Show full text]
  • CV Fritz Borstück Born 1982, Weilburg, Germany Lives and Works in Berlin, Germany
    CV Fritz Borstück Born 1982, Weilburg, Germany Lives and Works in Berlin, Germany EDUCATION 2005-08 Udk Berlin, Bildende Kunst, Klasse Leiko Ikemura 2003-05 Akademie für Bildende Kunst der Johannes-Gutenberg- Universität, Mainz, Klasse Friedemann Hahn 2009 Meisterschüler von Thomas Zipp 2010-12 De Ateliers, Amsterdam, Holland SOLO EXHIBITIONS (selected) 2021 Pacifica, Galerie Anja Knoess, Cologne, Germany 2020 FLIGHT MODE, Galerie Mikael Andersen, Copenhagen, Denmark Speck und Schinken, Galerie Maïa Muller, Paris, France 2018 Burial of the Red Herring, Maïa Muller, Paris, France Weltempfänger, Nicole Gnesa, Munich, Germany TEN, Galerie Mikael Andersen, Copenhagen, Denmark 2017 Raushole (with Adreas Arndt), Projektraum Pool, Germany J.W.D., Maïa Muller, Paris, France eeeeeeeeeee, Haus am Lützowplatz, Berlin, Germany 2016 Transatlantic Hokuspokus, Galerie Börgmann, Mönchengladbach, Germany Nevermore Ranch, Herrmann Germann Contemporary, Zurich, Switzerland 2015 One for the Birds (with Lucy Teasdale), Galerie Mikael Andersen, Copenhagen, Denmark 2013 Endless Nameless, Galerie Mikael Andersen, Copenhagen, Denmark Enter the Space, The Space, Berlin, Germany 2012 Bait N’ Tackle, Galerie Mikael Andersen, Berlin, Germany 2011 One Hot Minute, Neolithikum, Berlin, Germany 2010 My love for you is like a Japanese Car, Galerie Mikael Andersen, Copenhagen, Denmark Dawn of the Living, Fabrikken for Kunst og Design, Copenhagen, Denmark 2009 Der Mittelpunkt des Universums, Wewerkapavillon, Münster, Germany But it felt like a Kiss, Galerie Mikael Andersen,
    [Show full text]
  • THOMAS ZIPP Born/ Geboren 1966 in Heppenheim Lives and Works / Lebt Und Arbeitet in Berlin
    GALERIE KRINZINGER SEILERSTÄTTE 16 1010 WIEN TEL + 43 1 513 30 06 FAX + 43 1 513 30 06 33 [email protected] THOMAS ZIPP born/ geboren 1966 in Heppenheim lives and works / lebt und arbeitet in Berlin 1992 - 1998 Städelschule Frankfurt/M. und Slade School London 2006 - 2007 Gastprofessur an der Hochschule der Bildenden Künste Karlsruhe 2013 - 2014 Gastprofessur an der Universität für Angewandte Kunst Wien seit 2008 Professur an der Universität der Künste Berlin Einzelausstellungen / Solo Exhibitions 2020 world health. Mental health, Galerie Krinzinger, Wien/Vienna 2019 Signal Hill, Avlskarl, Kopenhagen/Copenhagen The Unknown (Flowers) & The Other Side, Martinetz, Köln/Cologne 2018 A Frozen Fountain (the family of pills), Galerie Rüdiger Schöttle, München/Munich MOON GAS, Galerie Guido W. Baudach, Berlin A PRIMER OF HIGHER SPACE (The Family of Man), Kunsthalle Gießen, Gießen Physical Reality and Mental Experience (scaling a chimera), Galerie Bastian, Berlin abstract pleasures, Niels Borc Jensen Gallery, Berlin 2017 Thomas Zipp, White Rabbit (Martin Luther), Overbeck-Gesellschaft, Lübeck 2016 Attempts to Quantify Sensation, Galerie Albert Baronian, Brüssel 2015 Of the other tomorrow, Avlskarl Gallery, Kopenhagen RRR. (Method Of Average Error), Galerie Kai Erdmann, Hamburg The Observer as a System with Feedback, Alison Jaques Gallery, London 2014 A Psychophysical Basis For Utilitarian Comparisons (The Laerdal Experiments), Galerie Krinzinger, Wien/Vienna Sources of Variability in Magnitude Estimates, Sommer Contemporary Art, Tel
    [Show full text]
  • Pressetext Zipp English
    GALERIE KRINZINGER SEILERSTÄTTE 16 1010 WIEN TEL +43 1 513 30 06 FAX +43 1 513 30 06 33 [email protected] galerie-krinzinger.at THOMAS ZIPP world health. Mental health 2020 opening: February 20th, 2020, 7pm duration: February 21 – March 27, 2020 Thomas Zipp will be present at the opening opening words by: Elisabeth von Samsonow, artist and philosopher August Ruhs, psychiatrist and psychoanalyst The invitation card for Thomas Zipp's fourth solo exhibition at the Krinzinger Gallery shows a photo from the 1950s of a conference organized by the "Organization Mondiale de la Santé" (World Health Organization) on the subject of mental health. Thomas Zipp added the year 2020 to the image to investigate the present status quo of human’s mental health. The World Health Organization sees stress as one of the greatest dangers of the 21st century. Therefore it can’t be a coincidence that new lifestyle coaches have had incredible success on the Internet and various social forums. They promise millions of followers satisfaction, security and spiritual balance through spirituality. Among them is Germany's most successful mindfulness trainer Laura Malina Seiler, who as a "Coach for Mindful Empowerment and Modern Spirituality" invites people from all ages to her coveted workshops in Berlin. What paves the way to more happiness for some may seem dubious and ridiculous to others. In his exhibition, Thomas Zipp deals with the question: what does a person seek to satisfy the soul? Formally, the two rooms should contrast spirituality and psychology, as if the visitor could choose between confession and the psychotherapist by choosing one of the two rooms.
    [Show full text]
  • G a G O S I a N G a L L E R Y Anselm Reyle Biography
    G A G O S I A N G A L L E R Y Anselm Reyle Biography Born in 1970, Tübingen, Germany. Lives and works in Berlin, Germany. Education: 1990–97 Academy of Fine Arts Stuttgart and Karlsruhe, Germany. Solo Exhibitions: 2013 Last Supper (with Marianna Uutinen). Salon Dahlmann, Berlin, Germany. What About Love. Kukje Gallery. Seoul, South Korea. Into the Void. Kaikai Kiki Gallery, Tokyo, Japan. Electric Spirit. Gary Tatintsian Gallery, Moscow, Rusia. Ultracore. Le Magasin, Grenoble, France. 2012 Mystic River. Deichtorhallen Hamburg, Hamburg, Germany. Anselm Reyle. Kaikai Kiki Gallery, Taipei, Taiwan. Anselm Reyle. Arken Museum of Modern Art, Ishøj, Denmark. Stolen Fantasy (with Franz West). Schinkel Pavillon, Berlin, Germany. 2011 Anselm Reyle: Indian Mylar Vision. Isa Gallery, Mumbai, India. Anselm Reyle: Meissen Debris Acropolis. Gagosian Gallery, Athens, Greece. Anselm Reyle feat. Franz West. Galerie Almine Rech, Paris, France. Anselm Reyle. Arken Museum of Modern Art, Ishøj, Denmark. Anselm Reyle. Andersen’s Contemporary, Copenhagen, Denmark. Little Cody. Contemporary Fine Art, Berlin, Germany. Anselm Reyle. Des Moines Art Center, Des Moines, IA. 2010 Anselm Reyle. Kukje Gallery, Seoul, South Korea. Arise. Céline und Heiner Bastian, Berlin, Germany. Elemental Threshold. Museum Dhondt-Dhaenens, Deurle, Belgium. 2009 Anselm Reyle: Monochrome Age. Gagosian Gallery, W. 24th St., New York, NY. Anselm Reyle: Acid Mother's Temple. Kunsthalle Tübingen, Tübingen, Germany. New Works. Galerie Almine Rech, Paris, France. Monochrome Age. Gagosian Gallery, W. 24th St., New York, NY. 2008 White Earth. Almine Rech Gallery, Brussels, Belgium. 2007 The 7th Dream. Gavin Brown’s enterprise, New York, NY. The 5th Dream. Toby Webster of The Modern Institute, Glasgow, Scotland.
    [Show full text]