Tobias Spichtig
11 Mar - 22 Apr 2012
© Tobias Spichtig
the blue, the red, the yellow, the white, the brown and the green, Tobias Spichtig, 2011
Gestrickte Wolle, Schaumstoff, Dim. variabel
the blue, the red, the yellow, the white, the brown and the green, Tobias Spichtig, 2011
Gestrickte Wolle, Schaumstoff, Dim. variabel
TOBIAS SPICHTIG
The blue, the red, the green, the cuboid and the pyramid
Curator: Fabian Schöneich, Kunsthalle Basel
11 March – 22 April, 2012
With the blue, the red, the green, the cuboid and the pyramid, Ursula Blickle and Fabian Schöneich will present the first solo exhibition by Tobias Spichtig (b. 1982 in Lucerne, Switzerland) in Germany. Spichtig’s work positions itself within the realm of media, material production and appropriation and clearly references the conceptual art of the 70s and 80s. The concept and the narration itself, however, are abstracted and constantly redefined. With video and image installations that dissolve the borders between photography and painting and legitimize sculpture as a fashion object, Spichtig breaks with the concept of artwork. Temporality is addressed using methods of appropriation, recombination and repetition. Historical references, nostalgia and novelty are terms that lie at the core of this work. Spichtig combines theoretical considerations with references to fashion and pop culture. As a result, symbolic works are created which showcase the historical and contemporary as a radical presence.
The blue, the red, the green, the cuboid and the pyramid
Curator: Fabian Schöneich, Kunsthalle Basel
11 March – 22 April, 2012
With the blue, the red, the green, the cuboid and the pyramid, Ursula Blickle and Fabian Schöneich will present the first solo exhibition by Tobias Spichtig (b. 1982 in Lucerne, Switzerland) in Germany. Spichtig’s work positions itself within the realm of media, material production and appropriation and clearly references the conceptual art of the 70s and 80s. The concept and the narration itself, however, are abstracted and constantly redefined. With video and image installations that dissolve the borders between photography and painting and legitimize sculpture as a fashion object, Spichtig breaks with the concept of artwork. Temporality is addressed using methods of appropriation, recombination and repetition. Historical references, nostalgia and novelty are terms that lie at the core of this work. Spichtig combines theoretical considerations with references to fashion and pop culture. As a result, symbolic works are created which showcase the historical and contemporary as a radical presence.