Thomas Scheibitz

Thomas Scheibitz

Thomas Scheibitz Rohkunstbau 2009

"As precisely as possible, with the utmost generality
Thomas Scheibitz

In his work, Thomas Scheibitz engages in a correspondence between  painting and sculpture. In both disciplines, he compresses moments from art and architectural history, popular culture and everyday phenomena into a formal language quite his own. His intensive preoccupation with form is also indebted to an accumulating gaze, capable of linking present and past, which becomes objectified in the intuitive solutions of his artworks. A virtual reflexive geometry that, as contemporaneity, opens an associative space whose borders describe the work itself. Rather than offering explanations, the titles, carefully chosen later, give the works a further dimension, tending to awaken the beholder’s own sense of potentialities."
Oliver Kohlmann

Thomas Scheibitzʼs artistic world appears to take shape between two extremes: a cool palette, hard forms and crystalline structures which seem to derive from constructivism encounter soft, almost touching elements in brilliant colours that would be quite at home in a fantastic world. Scheibitz works in all genres, whether sculpture, painting or photography – and in the process happily plunders both popular culture and art history to collect pieces of images from all conceivable visual sources. However, he does not submit them to a systematic order, but instead takes them as a store of images that he can skim through, an organic visual encyclopaedia to be sampled with the aim of creating his own virtual world. His works establish an interface between a purely visually experienced external and internal world that, ultimately, evades any definite conceptual distinction between subject and object.

For Rohkunstbau, Scheibitz has created a soaring column that both welcomes the visitor and, at the same time, voices the architecture’s manorial pretensions. Yet, the very next moment, a wall blocks the entrance to the main room. Only when we reach the far side of the wall do we understand its function: it has a vast painting set into it. Scheibitz has created his artistic setting in Schloss Marquardt with considerable chutzpah and as a total contrast to the historical building’s grand pretensions. In this way, the architectural surface of the manor house appears to have also entered into a critical dialogue with the sculptural surfaces of the works.

Selected Solo Exhibitions
2009 Missing Link in Delphi, Tanya Bonakdar Gallery, New York, USA
2008 The Goldilocks Zone, Sprüth Magers Gallery, Berlin, Germany
2008 about 90 elements/TOD IM DSCHUNGEL, IMMA Irish Museum of Modern Art, Dublin, Ireland/Camden Arts Centre, London, UK/ Musée d’Art Moderne Luxembourg, Luxembourg
2005 German Pavilion (with Tino Sehgal), (51.) Biennale di Venezia, Venice, Italy
2001 BANNISTER DIAMOND, Stedelijk Museum, Amsterdam, Netherlands
2001 Ansicht und Plan von Toledo, Kunstmuseum Winterthur, Switzerland

Selected Group Exhibitions
2007 Multiplex: Directions in Art, 1970 to NOW, Museum of Modern Art, New York, USA
2007 The Artist’s Dining Room, Level 2 Gallery, Tate Modern, London, UK
2006 Von Richter bis Scheibitz: Deutsche Arbeiten auf Papier seit 1960 aus der Sammlung Kunstmuseum Winterthur, Winterthur, Switzerland
2005 An Aside, Camden Arts Centre, London, UK
2003 Pittura/Painting: From Rauschenberg to Murakami, Museo Correr, (50.) Biennale di Venezia, Venice, Italy

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