UCCA Edge

Thomas Demand: The Stutter of History

2022.5 - 2022.8

Thomas Demand, Control Room, 2011, C-print mounted on Diasec, 200 × 300 cm. Courtesy the artist, Matthew Marks Gallery, Galerie Sprüth Magers, Esther Schipper Galerie, and Taka Ishii Gallery.

About

Location:  UCCA Edge

UCCA Edge presents Thomas Demand’s first comprehensive survey in China. Thomas Demand has spent the last two and a half decades bringing together his talents as both a sculptor and a photographer in an attempt to capture the uncanny stutter of history that lies at the root of our contemporary image culture. Encompassing approximately 60 photographs, films, and wallpapers that span the arc of his career, “Thomas Demand: The Stutter of History” will provide both an overview of the artist’s way of seeing the world as well as a lesson in how we might approach the onslaught of historical events that we consume through the world of images.

“Thomas Demand: The Stutter of History” will focus on four important areas of Demand’s work: “Uncanny Histories” focuses on his large-scale photographs of seemingly banal but historically significant anonymous scenarios; “Mysteries of Everyday Life” features his smaller scale "Dailies,” works constructed from images taken with his phone; “The Architectonic Impulse,” as seen in both his “Model Studies” series and in the use of wallpaper that he creates to give his photographic and sculptural practice a spatial and architectural dimension; and “Images that Move” focuses on his explorations of stop-motion filmmaking. The exhibition is curated by Douglas Fogle for the Foundation for the Exhibition of Photography.


About the Artist

Thomas Demand (b. 1964, Munich, lives and works in Berlin) attended both the Academy of Fine Arts in Munich and the Düsseldorf Art Academy from 1987 to 1992 before receiving a master’s degree in fine arts from Goldsmiths’ College in London in 1993. Demand has shown his work at major museums and galleries worldwide. His solo projects include exhibitions at Centro Botin, Santander (2021); Garage, Moscow (2021); M Museum, Leuven (2020); Modern Art Museum of Fort Worth, Fort Worth (2016); Los Angeles County Museum of Art, Los Angeles (2014, 2015); DHC Art Center, Montréal (2013); National Gallery of Victoria, Melbourne (2012); the Museum of Modern Art, Tokyo (2012); Kaldor Public Arts Project #25, Sydney (2012); Boijmans van Beuningen, Rotterdam (2010); Neue Nationalgalerie, Berlin (2009); Museum Moderner Kunst Stiftung Ludwig Wien, Vienna (2009); Fondazione Prada, Venice (2007); the Serpentine Gallery, London (2006); the Museum of Modern Art, New York (2005); the Kunsthaus Bregenz, Bregenz (2004); and a survey at Fondation Cartier, Paris (2001). He also represented Germany at the 26th Sao Paulo Biennale (2004). His widely acclaimed exhibition “The Boat is Leaking. The Captain Lied.,” a collaboration with the filmmaker Alexander Kluge and the stage and costume designer Anna Viebrock, was on view at Fondazione Prada in Venice in 2017. His work has been included in four iterations of the Venice Architecture Biennale and was recently featured at the 2nd Chicago Architecture Biennale. Demand has curated several shows, including “L’Image Volée” at Fondazione Prada (Milan, 2016); “Model Studies” (Graham Foundation, Chicago, 2013); “La carte d’après nature” (Nouveau Musée National de Monaco, Monaco, 2010); and a contribution to the 13th Venice Architecture Biennale, “Common Ground” (2012). His work is represented in numerous museum collections including the Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Los Angeles County Museum of Art, Los Angeles; Centre Pompidou, Paris; and Tate Modern, London.

Works in the exhibition

View All

Refuge II

2021
C-print mounted on Diasec
160 × 200 cm

Hanami

2014
UV Print on nonwoven wallpaper
Dimensions variable

Control Room

2011
C-print mounted on Diasec
200 × 300 cm

Bathroom

1997
C-print mounted on Diasec
160 × 120 cm

Atelier

2014
C-print mounted on Diasec
240 × 341 cm

Workshop

2017
C-print mounted on Diasec
180 × 310 cm

Studio

1997
C-print mounted on Diasec
183.5 × 349.5 cm

chaffinch

2020
Framed pigment print
172 × 135 cm

Daily #15

2011
Framed dye transfer print
73.8 × 59 cm

Pacific Sun

2012
Video, stereo
2'02"
Sound by David Cunningham

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