Thus, a critique of contemporary notions of knowledge should accompany the kind of institutional and infrastructural critique necessary to prevent artistic research or any post-Conceptualist art practice for that matter from ending up serving as yet just another arm of the neoliberal research university. The artists come from art schools and they want to be famous, they want to have money and this and that. And also, think about the impact of social media, especially Instagram! This integration is enacted in an increasingly globalized, transnational domain of higher education in the arts. And this kind of relationship can be very problematic at some point. When a friend of ours closed down his gallery because of finances, he made statistics about the numbers and he concluded that you earn less than 5 percent out of the 50 percent you get from sales. I think still within having a physical exhibition space, there are many ways of functioning. We started to like the idea to represent some artists and worked in this direction. But of course, it is crazy to base economic relations only on friendship and social trust. We stopped this idea of being related with the market as a primary thing.
Thomas Demand (German, b. ) is a German filmmaker and photographer whose practice investigates the linked dichotomy between the ephemeral and.
Edition Texte zur Kunst, Berlin # - In original packaging. Literature: Eckhard Schneider (ed.), Thomas Demand. Phototrophy, Kunsthaus Bregenz. Thomas Demand is a German Conceptual artist known for his illusionistic View Thomas Demand's artworks on artnet.
The uniform material and slight flaws of the image's miniature objects are usually "Texte zur Kunst ()",
For us it didn't seem a good idea to invest more in a business model like a gallery, it felt too unstable; We were still running an old gallery model, quite idealistically, with Cologne in the 90s or Berlin in the early 00s in mind. If one is working, then we can maybe continue to do another fair in the fall and spend more money.
By browsing our website without changing the browser settings you grant us permission to store that information on your device. The gallery started doing fairs in and started focusing on just doing exhibitions and working with various artists not necessarily with a view to have an ongoing relationship over the presentation of them. Maybe it is time to rethink the whole system of how to present art and how to do business with art.
Video: Texte zur kunst thomas demand photo Photographic artist Thomas Demand
Which I think was quite important as we were taking part in Art Basel Statements. Nadja Abt: What was the intention to start a program and a gallery here in Berlin, how has it changed and why did you decide to either change the way you want to exhibit Supportico Lopez or close the gallery Gillmeier Rech?
BILEL LAISSER PASSER LARTISTE TELECHARGER
|We had really fantastic press, and were elected as a highlight throughout the fair, not just in the Statements section.
Courtesy the artist and Gillmeier Rech, Berlin. Photo: Michael Strasser The tangible awkwardness here may be explained by the fact of a fundamental insecurity about what it is that artists are supposed to know in the first place.
FB: It was more about promoting these works, actually. When we talk about the representation of artists, I think we represented artists but generally are more interested in discussion.
der Bildenden Kiinste ( Academy of Fine Arts) in Munich, where he studied. text under the official text. The in-house working title for this issue of “Texte zur Kunst” was “Painting is Not the Issue,” Thomas Demand, Wolfgang Tillmanns, Jeff Wall. The idea of the measurability (or quantificability) of art seems anathema to a still prevalent notion of “Rumpelstiltskin”, Photo: Barbara Bolt.
knowledges voiced within and without the university, demanding a new “ecology” of knowledges See e.g., Antoinette Rouvroy/Thomas Berns, “Le nouveau pouvoir statistique: Ou.
When you have a market that goes so wild, the artist is not just a victim of that situation.
So of course we had doubts about the reaction, but they were all very supportive and understood the circumstances. I had curated as a freelancer before and had worked in galleries. That said, the apparent and increasing contemporary desire to evaluate and to be evaluated — to re produce subjects of and for evaluation — is regularly met with a posture of refusal and resistance.
Fiona Bate Sandy Brown : I opened the gallery in and it was always meant to be a gallery space, but most people think that it started as a project space. We had really fantastic press, and were elected as a highlight throughout the fair, not just in the Statements section.
Texte zur kunst thomas demand photo
|That was our approach.
That said, the apparent and increasing contemporary desire to evaluate and to be evaluated — to re produce subjects of and for evaluation — is regularly met with a posture of refusal and resistance.
Thomas Demand artnet
The entire production of art became less interesting because there was this pressure in the air. Barbara Bolt. What business says that you, from your 50 percent, have to pay dinner, production, fairs and this and that?
I think the whole economic system of the city is working a bit similarly, in this kind of schizophrenic way.
Thomas Demand, who also teaches at HFBK Hamburg, once said in an . Title Image: Installation view from Lisa Holzer's solo show „I come in you“.
Hier finden Sie tagesaktuellen Magazinjournalismus zu Mode & Design, Essen & Trinken Thomas Demand's Camera at Hamburger Kunsthalle Conceptual. Bid on Dashboard, | Photography by | Thomas DEMAND | Buy art works, Thomas DEMAND - Photography - Dashboard Invoice issued by, Texte zur Kunst.
FB: I think there are still really great collectors out there, who are willing to buy quite strange pieces.
The reluctance to admit the measurability of art as an ideological construction has become one of the last stands in the opposition against universal quantification. We met just shortly before opening the gallery together, but we had a common ground for ideas, like creating a gallery business to promote young and upcoming artists.
Austria, for example has a funding for art fairs. And this pressure created an incredible growth of the prices. But after a few shows we realized that a few guidelines would be very helpful for both us, the gallery, and our artists. When a friend of ours closed down his gallery because of finances, he made statistics about the numbers and he concluded that you earn less than 5 percent out of the 50 percent you get from sales.
ATENAS 1896 MEDALLERO DE LOS JUEGOS
|Which I think was quite important as we were taking part in Art Basel Statements.
Thus, a critique of contemporary notions of knowledge should accompany the kind of institutional and infrastructural critique necessary to prevent artistic research or any post-Conceptualist art practice for that matter from ending up serving as yet just another arm of the neoliberal research university.
The artist and theorist Barbara Bolt — who like Butt works at the Victorian College of the Arts, part of the University of Melbourne — revisited the theory of performativity developed by J. Maureen moved back to the East End to reestablish herself soon after and has since continued to be an incredibly pioneering and inspiring force.
Video: Texte zur kunst thomas demand photo Thomas Demand Interview: Constructing the Authentic
The tangible awkwardness here may be explained by the fact of a fundamental insecurity about what it is that artists are supposed to know in the first place. Cookies disclaimer Our site saves small pieces of text information cookies on your device in order to deliver better content and for statistical purposes.
That was still a completely different time.