Tag: David E. Scherman

Exhibition dates: 30th November 2012 – 17th March 2013

Thomas Demand (German, b. 1964)
Copyshop
1999
C-Print / Perspex
183.5 × 300cm
Collection of John Kaldor, Sydney
Courtesy Taka Ishii Gallery, Sprüth Magers Berlin London, Esther Schipper, Berlin, Matthew Marks Gallery
© Thomas Demand, VG Bild-Kunst, Bonn / VISCOPY, Sydney

Sitting here in my non-air-conditioned flat trying to survive Melbourne’s autumn heatwave is no fun; my mind has turned to mush. So instead of trying to write an in depth review of this exhibition I shall just make some salient comments, for fear my sweat would literally buckle Demand’s meticulously constructed paper models before he could photograph them.

Demand is firstly a sculpture, constructing studio-sized models of photographs that reference “source material in the archive that already has some fateful resonance,” (Robert Nelson, The Age, 12th December 2012) such as the control room of the Fukushima nuclear reactor, the Geneva hotel bath tub where the German politician Uwe Barschel found a brutal death – personally my mind went to David E. Scherman’s photograph of Lee Miller in Hitler’s bathtub (see below); scenes of nature such as Clearing (2003, below) or Grotto (2006, below) that are hyperreal simulacra of natural phenomena; and modular environments and objects, such as Copyshop (1999), Space Simulator (2003) and Bullion (2003, all below) that strip away the relational intimacy between man and environment by the removal of all labelling and tactility of surface. Demand then photographs his denuded “models” before destroying them, the photograph then becoming the soul evidence of their intrinsic existence (much like the documentary evidence of photographs of Land Art). Demand’s visualisation of the environment is triple coded (photograph, model, photograph), a hybrid tri-articulation that produces new identities that release energies of multiplicity, irony and destabilisation.

Robert Nelson observes in The Age that Demand’s world is paper thin and because the eye detects the forgery, “the famous icon of unthinkable fortune [Bullion] – which might have played a part in some famous heist or the security of a national economy – is also a lie, a tinsel falsehood of no substance… All of Demand’s pictures have an empty or hollow character, which defies the earnest weight of their associations.” Dan Rule insightfully notes that, “By removing the image’s reference or index, only to so painstakingly recast it, he [Demand] begs us to look and look again. These resolutely “unreal” images demand that we consider reality with much greater care.” (Dan Rule, The Age, 19th January 2013). Christopher Allen in The Weekend Australian (2nd March, 2013) states that Demand’s huge final prints, hidden under a layer of Perspex, “adds another level of truth and illusion that preoccupies Demand as it must any serious photographer today. In this case, the photographs can claim to be, for what this is worth, absolutely and literally true in their recording of their subject; it is only the subject itself that is entirely illusory and fabricated.”

Interesting comments all. Demand’s recasting of the relationship between image and referent (image and the object being photographed) is critical to his practice, but I am unsure that all photographers have to be preoccupied with the relationship between truth and illusion as Allen states. As my recent review of the exhibition Confounding: Contemporary Photography noted not all photographs have to confound the relationship between truth and illusion in order to be art. “Collectively, it is the ideas contained within the images in this exhibition that unsettle the relationship between the photograph and the world in the mind of the viewer, not their confounding.” As in the Jeff Wall Photographs exhibition, there is not much emotion in any of these images and perhaps this is an outcome of the long pre-photographic production process.

Demand’s recordings, re-orderings of a constructed reality are fabrications of the highest calibre, amazing to witness at first hand (is that really a model, how does he do that with paper and lighting?!), and yet one is left with a feeling that the work needed something more to go beyond this illusion, some layering that takes the viewer beyond the surface of the image, beyond the understanding of image / model / reality. I look at the photographs, I understand the skill, the imbrication of the process – I think that is the word I want, meaning the covering with a design in which one element covers a part of another – the looking again at a fabricated (our!) reality but the photographs still leave me a little cold of heart, of empty and hollow character. Perhaps that is the point, however it doesn’t make me want to look at the photographs over weeks, months and years and let them reveal themselves to me. Like the paper on which they are printed they are a little paper thin.

Dr Marcus Bunyan

Many thankx to the National Gallery of Victoria for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

Thomas Demand (German, b. 1964)
Kontrollraum / Control Room
2011
C-Print / Perspex
200 × 300cm
Courtesy Taka Ishii Gallery, Sprüth Magers Berlin London, Esther Schipper, Berlin, Matthew Marks Gallery
© Thomas Demand, VG Bild-Kunst, Bonn / VISCOPY, Sydney

Thomas Demand is regarded as one of the world’s leading contemporary artists whose work in photography and, most recently stop-animation films, is at the forefront of contemporary art. Demand initially worked as a sculptor who used photography to document his ephemeral creations. From 1993 his creative practice changed and, from then on, he made sculptures for the sole purpose of photographing them. Demand begins with an image, often taken from media sources and frequently dealing with traumatic or politically important events, and creates a life-size replica of the image using paper and cardboard. The effect of these uncanny reconstructions is to destabilise our understanding of the sites which we ‘know’ so well through reproduction. This exhibition features a selection of photographs and 35mm films as chosen by the artist.

Organised with The Museum of Contemporary Art, Tokyo

Text from the National Gallery of Victoria website

Thomas Demand (German, b. 1964)
Labor / Laboratory
2000
C-Print / Perspex
180 × 268cm
Courtesy Taka Ishii Gallery, Sprüth Magers Berlin London, Esther Schipper, Berlin, Matthew Marks Gallery
© Thomas Demand, VG Bild-Kunst, Bonn / VISCOPY, Sydney

Thomas Demand (German, b. 1964)
Space Simulator
2003
C-Print / Perspex
300 × 429.4cm
Courtesy Taka Ishii Gallery, Sprüth Magers Berlin London, Esther Schipper, Berlin, Matthew Marks Gallery
© Thomas Demand, VG Bild-Kunst, Bonn / VISCOPY, Sydney

Thomas Demand (German, b. 1964)
Lichtung / Clearing
2003
C-Print / Perspex
192 × 495cm
Courtesy Taka Ishii Gallery, Sprüth Magers Berlin London, Esther Schipper, Berlin, Matthew Marks Gallery
© Thomas Demand, VG Bild-Kunst, Bonn / VISCOPY, Sydney

Thomas Demand (German, b. 1964)
Public housing
2003
C-Print / Perspex
Courtesy Taka Ishii Gallery, Sprüth Magers Berlin London, Esther Schipper, Berlin, Matthew Marks Gallery
© Thomas Demand, VG Bild-Kunst, Bonn / VISCOPY, Sydney

Public housing also shows the influence, in part, of Demand’s early photographic training. A member of the so-called Düsseldorf School (along with Thomas Ruff, Thomas Struth, Candida Hofer and Andreas Gursky), Demand was taught photography by Bernd and Hilla Becher. The Bechers had an austere approach, creating a vast archive of formally composed images of industrial structures. The rigour of this training is apparent in the objective approach Demand brings to his subjects. However, as Public housing demonstrates, from this starting point he creates work with a strange, disarming beauty in a style that is distinctly the artist’s own.

The origin for Public housing is the back of a Singapore $10 banknote which Demand recreates with great fidelity and in the characteristic pink tones of the original. The artist has expressed a fascination for currency that depicts modern architecture and has collected examples from many countries But, the meaning of his resulting image is somewhat ambiguous. It can be read either as a work that critiques modern housing estates with their often soulless and depressingly formulaic architecture or, in contrast, as an expression of national pride. It appears that the latter meaning was intended by the artist, who has written that Public housing ‘shows that the capital of finance in Asia also has a heart for the underprivileged’ (email to author).

Isobel Crombie, Senior Curator, Photography, National Gallery of Victoria (in 2011).

Isobel Crombie. “Thomas Demand Public housing,” 2011, published on the NGV website 2013 [Online] Cited 23/07/2024

Thomas Demand (German, b. 1964)
Regen / Rain (still)
2008
35 mm colour film, sound, 4 min, looped
Courtesy Taka Ishii Gallery, Sprüth Magers Berlin London, Esther Schipper, Berlin, Matthew Marks Gallery
© Thomas Demand, VG Bild-Kunst, Bonn / VISCOPY, Sydney

One of the world’s most influential contemporary artists, Thomas Demand, will be the subject of a new exhibition announced by the National Gallery of Victoria. The exhibition will be the first major Australian survey of the artist’s work and will comprise large scale photographs and films never before shown in Australia.

NGV Director, Tony Ellwood said the addition of Thomas Demand to the NGV’s exhibition schedule is part of an exciting and ambitious summer program.

“When the opportunity came up to hold an exhibition of Thomas Demand’s work this summer, it was just too good to miss. Thomas Demand will be part of a great summer program at the NGV and has been timed to coincide with the Jeff Wall Photographs exhibition being held at NGV Australia.” …

Works in the exhibition will span the artist’s career from 1997 to 2012. Recent works presented in the exhibition include Control Room (2011, above), which depicts the Fukushima Daiichi nuclear power plant and Tribute (2011, below), a work based on images taken at the site of tragic mass panic at Europe’s biggest rave party.

Susan van Wyk, NGV Curator of Photography said Thomas Demand is widely regarded as one of the world’s leading contemporary artists.

“Thomas has a unique style in which he creates paper models of objects and scenes, often taken from media sources like flickr or newspaper reports. These intricate life size models are then photographed.

“The results are disquieting images that subvert our understanding of reality and fiction and draws attention to how we engage with the media and modern technologies,” said Ms Van Wyk.

Press release from the National Gallery of Victoria

Thomas Demand (German, b. 1964)
Grotte / Grotto (detail)
2006
C-Print / Perspex
Photograph: Marcus Bunyan

Thomas Demand (German, b. 1964)
Bullion
2003
C-Print / Perspex
42 × 60cm
Courtesy Taka Ishii Gallery, Sprüth Magers Berlin London, Esther Schipper, Berlin, Matthew Marks Gallery
© Thomas Demand, VG Bild-Kunst, Bonn / VISCOPY, Sydney

Thomas Demand (German, b. 1964)
Parlament/Parliament
2009
C-Print / Perspex
Courtesy Taka Ishii Gallery, Sprüth Magers Berlin London, Esther Schipper, Berlin, Matthew Marks Gallery
© Thomas Demand, VG Bild-Kunst, Bonn / VISCOPY, Sydney

David E. Scherman (American, 1916-1997)
Lee Miller in Hitler’s bath, Hitler’s apartment, Munich, Germany 1945
1945
From Lee Miller: A Life by Carolyn Burke
© Lee Miller Archives

Thomas Demand (German, b. 1964)
Badezimmer / Bathroom
1997
C-Print / Perspex
160 × 122cm
Courtesy Taka Ishii Gallery, Sprüth Magers Berlin London, Esther Schipper, Berlin, Matthew Marks Gallery
© Thomas Demand, VG Bild-Kunst, Bonn / VISCOPY, Sydney

When you look at the work of Thomas Demand, at some point you realise that what you are looking at cannot be real. As this becomes apparent you understand that you are looking at a paper simulation of the world.

Demand’s early studies, in the 1980s and early 90s, were in sculpture and he built his constructions out of paper and cardboard. At this time, photography was simply the tool the artist used to document his sculptural work. Around 1993, however, an important shift occurred in Demand’s practice. His meticulously constructed objects were no longer the final works. The photographs that had previously served as an efficient means of recording his ephemeral sculptures instead became Demand’s prime interest. From this point on his models existed, not to be seen as three-dimensional sculptures but, to be photographed in two-dimensions.

The act of building his sculptural subjects is a bit like the architectural process and involves drawings, plans, engineering, even quantity surveying. A finished work may contain hundreds of thousands of hand-cut and assembled paper elements. Another of the more extraordinary things about his constructions is their scale. Demand extrapolates and estimates dimensions of the elements in his source images and then reconstructs them at life-size. The environs Demand builds have an amazing fidelity.

In the process of making his photographs, Demand literally inhabits the structures he builds, walking in and around them. He does so not only to find the right position to photograph from, but also to establish a relationship with a place. Demand describes this act as unsettling, saying, ‘When I walk around them I feel a strange sense of destabilisation. You transpose yourself to a time and place in which you could never be’. The scale of his models enables him to physically relate to them as if to the original object or scene – a model bath is big enough to sit in and a forest clearing is large enough to enter and walk through. Demand’s working process therefore enables him to have physical encounters with things, places and times that exist elsewhere or in the past.

Susan van Wyk. “The Constructed Worlds of Thomas Demand,” on the NGV website 15 February 2013 [Online] Cited 23/07/2024

Thomas Demand (German, b. 1964)
Tribute
2011
C-Print / Perspex
166 × 125cm
Courtesy Taka Ishii Gallery, Sprüth Magers Berlin London, Esther Schipper, Berlin, Matthew Marks Gallery
© Thomas Demand, VG Bild-Kunst, Bonn / VISCOPY, Sydney

The Solitude of the Picture

Jeff Wall & Thomas Demand: In Conversation

On the eve of opening their respective exhibitions, Jeff Wall and Thomas Demand in conversation about their work and process.

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