Thomas Scheibitz
02 Dec 2006 - 20 Jan 2007
THOMAS SCHEIBITZ
"Low Sweetie#Omega Haus"
Produzentengalerie Hamburg is pleased to present Thomas Scheibitz’s new solo exhibition.
The sculptures and paintings in this show reflect Scheibitz’s persistent interest in the border between the figurative and the abstract and his playing with their boundaries. Scheibitz’s artistic practice weights painting and sculpture equally: paintings expand the sculptural field and vice versa-painted sculptures further articulate a painterly approach.
Low Sweetie#Omega Haus takes up the title Low Sweetie from Scheibitz’s 1998 exhibition at the ICA London. Omega Haus 1 and Omega Haus 2 are the titles of two sculptures that operate by the tectonic principles in architecture and painting. With the precise selection, ordering, and composition of the entire exhibition, Scheibitz hones the themes and analyses guiding the investigations found as the subject and aim of each work therein. Wall-specific sculptures and the physical alteration of the gallery space through newly constructed walls and spatial diagonals refer at once to the structure of the exhibition space and to its manipulation. As well, the catalogue-an artist book-developed for the exhibition by Scheibitz, as well as the four slightly varying invitation cards extend his approach and concepts into other forms of communication. Quotations in the catalogue include those from Rem Koolhaas and Gottfried Semper on architecture and Matthias Keller on film scores, as well as a selection of Scheibitz’s images from the last five years. Moreover, a portion of the catalogue’s print-run contains a photograph from a series of twelve documenting the conception and construction of the exhibit. The rest of the catalogues contain a (duplex print) reproduction of one of the exhibition themes.
Scheibitz’s characteristic construction of a specific, explanatory composition documents an ongoing examination of the human ability to read, understand, and process visual information. His works are portraits of context-specific elements of art history, painting, and the structuring mechanisms between fine art, architecture, and utopia. Julian Heynen described the work of Thomas Scheibitz thusly in the catalogue of the German Pavillion of the fifty-first Venice Biennale for contemporary art: 'Related to the act of seeing in the rest of the world and yet incomparable; parallel to thought but yet without a prototype.'
The exhibition catalogue was organized in collaboration with DIAMONDPAPER Berlin, Karsten Heller, and Thomas Scheibitz.
Anna-Catharina Gebbers
© Thomas Scheibitz
"Low Sweetie#Omega Haus"
Produzentengalerie Hamburg is pleased to present Thomas Scheibitz’s new solo exhibition.
The sculptures and paintings in this show reflect Scheibitz’s persistent interest in the border between the figurative and the abstract and his playing with their boundaries. Scheibitz’s artistic practice weights painting and sculpture equally: paintings expand the sculptural field and vice versa-painted sculptures further articulate a painterly approach.
Low Sweetie#Omega Haus takes up the title Low Sweetie from Scheibitz’s 1998 exhibition at the ICA London. Omega Haus 1 and Omega Haus 2 are the titles of two sculptures that operate by the tectonic principles in architecture and painting. With the precise selection, ordering, and composition of the entire exhibition, Scheibitz hones the themes and analyses guiding the investigations found as the subject and aim of each work therein. Wall-specific sculptures and the physical alteration of the gallery space through newly constructed walls and spatial diagonals refer at once to the structure of the exhibition space and to its manipulation. As well, the catalogue-an artist book-developed for the exhibition by Scheibitz, as well as the four slightly varying invitation cards extend his approach and concepts into other forms of communication. Quotations in the catalogue include those from Rem Koolhaas and Gottfried Semper on architecture and Matthias Keller on film scores, as well as a selection of Scheibitz’s images from the last five years. Moreover, a portion of the catalogue’s print-run contains a photograph from a series of twelve documenting the conception and construction of the exhibit. The rest of the catalogues contain a (duplex print) reproduction of one of the exhibition themes.
Scheibitz’s characteristic construction of a specific, explanatory composition documents an ongoing examination of the human ability to read, understand, and process visual information. His works are portraits of context-specific elements of art history, painting, and the structuring mechanisms between fine art, architecture, and utopia. Julian Heynen described the work of Thomas Scheibitz thusly in the catalogue of the German Pavillion of the fifty-first Venice Biennale for contemporary art: 'Related to the act of seeing in the rest of the world and yet incomparable; parallel to thought but yet without a prototype.'
The exhibition catalogue was organized in collaboration with DIAMONDPAPER Berlin, Karsten Heller, and Thomas Scheibitz.
Anna-Catharina Gebbers
© Thomas Scheibitz