Monika Sprüth and Philomene Magers are pleased to present th e first solo exhibition by Thomas Demand at the Berlin gallery. On display are the new film project and a group of current photographic works by the a rtist.

Pacific Sun (2012) is the central focus of the e xhibition and is the artist's most elaborate and ambitious film project up to now. Already in several film works such as Tunnel (1999) or Ro lltreppe / Escalator (2000)\, Demand concerned himself with complex con structions of reality by creating a temporal movement by means of tracking shots and animations within his paper models. The two-minute-long film P acific Sun is based on a video clip on YouTube showing the footage of a surveillance camera from the dining room of a cruise ship during turbulent sea conditions. The pieces of furniture—tables\, chairs\, cabinets\, cutle ry\, and even a sideboard—begin to move through the space from one side to the other\, as if guided by an invisible force. Demand reconstructed the in terior space and objects out of paper on a scale of 1:1 and\, together with a twelve-member team of animators\, reenacted the exact choreography of th e incident and photographed every minimal movement of the objects. Thís gav e rise to 2\,944 images which were combined into a continuous film sequence . The neutralized design of the interior space directs the focus above all onto the physical dynamism as well as the falling movement of the individua l objects. In spite of the spatial illusion\, which does not convey an impr ession that the images are real\, the viewer is nonetheless disoriented and unsettled by the temporal drama and the narrative course of an incipient c atastrophe. Arising simultaneously in the viewer is a strange fascination w ith the complex choreography of the participating objects.

In addition to the film\, Demand is presenting a series of photographs that ma ke reference to press photos which are to some extent still a part of the m ost recent reportage. Vault (2012) is based on photographs of a stro ngroom concealed beneath the Paris gallery of the art dealer Guy Wildenstei n\, in which the police discovered more than thirty missing and embezzled p aintings. In the photos published by the press\, the pictures are leaned ag ainst walls and shelves in various stackings and reveal only their back sid es\, and thereby their objecthood. In his spatial view\, Demand pointedly e mphasizes the formal correspondence between the steel beams in the cellar s toreroom and the hoarded pictures\, which reveal themselves to be framings within framings. While the preliminary investigation of the gallery proceed s further\, Demand's work may also be interpreted with regard to the curren t debate concerning the storage of extensive segments of the Gemäldegalerie in Berlin.

In Kontrollraum / Control Room (2011)\, the artist turns his attention to the interior view of the control room of the atomic reactor Fukushima in Japan\, shortly after the earthquake and the e vacuation of the workers. In this tightly organized spatial structure\, wit h its control buttons and display panels\, the only indications of the cata strophe are the plastic ceiling segments which have become unfastened. The discrepancy between spatial\, functional order and the intrusion of an unco ntrollable force may be read as a metaphor for the fragility of the percept ion of reality in itself. Precisely this aspect of mutability\, which becom es perceptible in situations before or after an event of far-reaching conse quences\, is characteristic of the works of Thomas Demand.

Tho mas Demand pursues an ongoing interest in the media of sculpture\, photogra phy\, and architecture\, which he combines in his works in a complex manner . In his filmic and photographic works\, he presents reduced inconographies of historically significant spaces and the events occurring in them\, whic h insert themselves into cultural memory through images conveyed by the med ia. Proceeding from these visual patterns\, the artist builds space-encompa ssing\, original-sized models out of fragile materials such as paper or car dboard. He illuminates them with a clear\, sharply focused handling of ligh t and photographs them with a large-format camera\; afterwards he destroys the models to save space\, and thereby accentuates the ephemeral duration o f the objects\, which remains perceptible in the photographs. Demand's phot ographs\, to which he assigns simple\, generalized titles\, actively challe nge the memory of the viewer by reconstructing traces and indications of de cisive and in some cases dramatic events. Thus motifs of his works have inc luded the Oval Office of the American president (Presidency\, 2008)\ , the Stasi headquarters after they were stormed (Büro / Office\, 19 95)\, and the bathtub in which the German politician Uwe Barschel died ( Badezimmer / Bathroom\, 1997). In his photographs\, he links historical events with the capacity of certain architectural works for representing s ocial utopias and the endeavor to effect changes just as for announcing dan ger or menace. The artisanal precision of the models leaves the artificiali ty of the images always visible: As frozen still lifes\, they develop varyi ng perceptions of reality and leave the viewer space for his own interpreti ng and imagining.

Thomas Demand lives in Berlin and Los Angele s. He has presented his works during recent years in a variety of internati onal solo exhibitions\, such as at the Kunsthaus Bregenz (2004)\, the Museu m of Modern Art\, New York (2005)\, the Serpentine Gallery\, London (2006)\ , the Hamburger Kunsthalle\, Hamburg (2008)\, the Neue Nationalgalerie\, Be rlin (2009-2010)\, as well as the Museum Boijmans van Beuningen\, Rotterdam (2010). This year he has realized\, among others\, extensive individual pr ojects at Nottingham Contemporary\, Nottingham\, Kaldor Public Arts Project s #25\, Sydney\, and the Museum of Contemporary Art Tokyo\; this last proje ct is also on display at the Victoria Art Gallery\, Melbourne. Moreover\, < i>Pacific Sun forms a part of this year's Toronto International Film Fe stival.

LOCATION:Sprüth Magers Berlin\,Oranienburger Straße 18 \nBerlin\, D-10178DE SUMMARY:Solo Exhibition\, Thomas Demand END:VEVENT BEGIN:VEVENT DTSTAMP:20180120T212722Z UID:233928 DTSTART:20120907T180000 DTEND:20120907T210000 LOCATION:Sprüth Magers Berlin\,Oranienburger Straße 18 \nBerlin\, D-10178DE SUMMARY:Solo Exhibition\, Thomas Demand END:VEVENT END:VCALENDAR