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December 2013

 


Thomas Scheibitz. One-Time Pad

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Posted September 20, 2012 by artBahrain in Museums

Thomas Scheibitz, One-Time Pad, 2012
© VG Bild-Kunst 2012

 

MMK Museum für Moderne Kunst Frankfurt am Main – Frankfurt, Germany
until 13 JANUARY 2013 

W

ith the exhibition “Thomas Scheibitz. One-Time Pad” (29.9.2012–13.1.2013), the MMK Museum für Moderne Kunst Frankfurt am Main will present the first major survey in Germany of the work of the painter and sculptor Thomas Scheibitz.

Scheibitz, who was born in Radeberg, near Dresden, in 1968 and now lives in Berlin, began to develop a new form of conceptual painting in the early 1990s. He explores the extent to which the classical categories of modernism, ranging between the figural and the abstract, remain valid today. After his first exhibitions in Dresden, Berlin, London and New York, Scheibitz rapidly established himself both at home and abroad as one of the most innovative German painters and sculptors. In 2005 he exhibited, jointly with Tino Sehgal, in the German Pavilion at the Venice Biennale.

This large-scale exhibition will occupy the whole upper floor as well as the central hall of the MMK. In eight individual rooms the focus will be on painting, works on paper, drawing, sculpture and the artist’s source material. Of the more than fifty works, the majority are being publicly shown for the first time. The content of the exhibition will give an overview of the conceptual and painterly development of Thomas Scheibitz’s work and show the specific forms that he creates, somewhere between figurative representation and abstraction. The primary emphasis will be on the human figure, which has preoccupied the painter for a number of years but has never, up to now, been made the main focus of an exhibition. In his works Scheibitz takes modernist abstraction as his starting-point and searches for an approach to the human figure that is appropriate to our day.

The exhibition title that Scheibitz has chosen, “One-Time Pad”, is the name given to a type of encryption used for secret messages which is considered to be impossible to crack. In using this term, Scheibitz is alluding to the coding process that he employs in his artistic work. In his paintings and sculptures he investigates, in a multi-stage process, the borderline between reality and invention, taking familiar phenomena and transposing them into his own personal pictorial idiom. To develop the idiosyncratic and unique language of forms that appears in his works he makes use of a variety of material, extremely diverse in origin, which he has collected over many years and keeps, methodically organized, in his own archive. These secondary sources may be art-historical illustrations, reproductions of images from fashion, music or architecture magazines, record covers, photographs or sketches of his own, objects from the do-it-yourself store, the toyshop or the Botanical Gardens and much else besides. Drawing on archived impressions of this kind, he builds up, out of what he sees, a pictorial language that hovers between the contemporary and the timeless.

To accompany the exhibition there will be a catalogue designed by Thomas Scheibitz, with a foreword by Susanne Gaensheimer, texts by Beate Söntgen and Mark von Schlegell, and a discussion between Thomas Scheibitz und Isabelle Graw.

Sponsors:
The exhibition is receiving generous support from the Kulturstiftung des Bundes and the Kulturfonds Frankfurt RheinMain.

 

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