Originally trained as a sculptor, Thomas Demand approaches photography as a means of preserving ephemeral paper constructions but inevitably the camera becomes central to his creative process. At first glance, Demand's works seem to present fragments of a hyperreal and familiar place but, before long, they reveal their true identity: a wholly artificial world reduced to generic forms. Large immaculate photographs of interiors and architectural exteriorsa world peopled with inanimate objects and bathed in uniform lightingare mounted on Plexiglas, which underscores the materiality of the photographic object. For each of his reproductions, Demand constructs life-size models using paper and cardboard, and these forms always allow signs of their true nature to show through. 50 color illustrations.

Thomas Demand

Arts & Photography

Bonami, Francesco

DURAND, Régis

DEMAND, THOMAS

Individual Artists

Thames&Hudson

Blossom

MACK BOOKS

Working within the parameters of his established technique, Thomas Demand created carefully formed paper and card sculptures, a parallel world which is photographed and then destroyed. The Dailies offers only traces - signs of consumption, or the spectres of things left behind. His creations are based on things he saw and photographs he took while travelling and walking the street. They show a world that is familiar but out of reach, like the dancing coloured pins on a clothesline, suspended somewhere between the overfamiliar and the hallucinatory - as if a chance apparition, glimpsed momentarily, before it vanishes into its habitat. The images lure the viewer into a mirror world, a twin universe made only of paper. But the imperfect models are awash with discrepancies from actual things, and as such, they act as small ruptures that complicate the old indexical bond between a photograph and reality. Demand describes the series as Haiku poetry, simple fragments strung together to inspire reflection; they are the stock of our daily lives, but as they trigger deja vu through performed repetition, they ask us to look again, anew, to find in the repertoire an ordinary but redemptive beauty. Demand's work has been shown extensively across the world and is included in most of the significant private and institutional collections. Recent books include Model Studies (Ivory Press, 2011) and Blossom with the poet Ben Lerner (MACK, 2015).

The Dailies

The Complete Papers est un vaste volume englobant tout le travail de Thomas Demand au cours des 28 dernières années, ainsi que les principaux textes écrits sur sa pratique. Le livre comprend des premières œuvres inédites de 1990, ainsi que des reproductions de référence sur chacune de ses pièces. Une interview récemment commandée avec Russell Ferguson, nouveaux textes de Jeff Wall et Alexander Kluge, contributions de Parveen Adams, Francesco Bonami, Teju Cole, Beatriz Colomina, Jeffrey Eugenides, Julia Franck, Hal Foster, Rachel Kushner, Ben Lerner, Jacques Rancière, Gary Shteyngart, Neville Wakefield, pour n'en nommer que quelques-uns, se termine par une liste complète des expositions et une bibliographie. Ce volume relié, logé dans une boîte imprimée et en relief, qui comprend également un travail de demande imprimé sur la doublure intérieure, est la principale autorité sur le travail de l'un des artistes les plus importants du 21e siècle.

The Complete Papers

The Triple Folly presents the rich collaboration between artist Thomas Demand, architects Caruso St John, and textile makers Kvadrat which produced an astonishing new pavilion for Kvadrat’s Ebeltoft campus. The basis of the building is three found paper objects – a legal pad, a paper plate, and a soda jerk hat – which Demand brought to Caruso St John with the simple question: ‘Can you make this into architecture?’ In response, the architects created a sculptural tripartite folly, a kind of inhabitable still life poised on the area’s rolling seaside hillocks, encompassing a meeting room, a kitchen, and a flexible living space which holds a textile work by the artist Rosemarie Trockel. Inspired by Kvadrat’s role as a celebrated textile producer, Demand initially pursued the idea of the tent as an archetypal architectural structure with many iterations across contexts of leisure and shelter, simplicity and grandeur. Translating these concepts into his own artistic idiom of paper, he tasked Caruso St John with materialising this lightness of form, with a touch of his distinctive, duplicitous whimsy. The final building, completed in September 2022, achieves this through a harmonious sequence of steel and fibreglass structures which create their environments through the fall of light and shadow, textured opacity and welcoming transparency. This publication presents extensive images of the completed buildings alongside in-depth illustrated conversations with Frank Gehry, Denise Scott Brown, Adam Caruso, Valerie Verhack, Anders Byriel, Emilie Appercé, and Thomas Demand.

TRIPLE FOLLY: (SINGLE VOLUME)

CARUSO ST JOHN

For AutoWork, two teams of curators in the United States and Germany invited internationally renowned artists to work with the BMW group's corporate identity--in the widest sense of the term: its employees, products, customers, work processes and image, using both photography and film. The artists were granted absolute artistic freedom and complete autonomy. Included among the project's participants in Germany are Heike Baranowsky, Thomas Struth, Rineke Dijkstra, Thomas Demand, Nina Fischer & Maroan El Sani, Candida H fer, Boris Michailov, Johannes Muggenthaler, Ursula Rogg, and Alexander Timtschenko. Included among the project's participants in the US are Sharon Lockhart, Noritoshi Hirakawa, Wolfgang Tillmans, Beat Streuli, Todd Eberle, Glenn Ligon, Catherine Opie, Paul Searight, and Gillian Wearing.

AutoWerke II: Contemporary Photography on and off the road

Lockhart, Sharon

Tillmans, Wolfgang

Michailov, Boris

Ligon, Glenn

El Sani, Maroan

Fischer, Nina

Lorenz, Gunter

Wearing, Gillian

Van Lamsweerde, Inez

Baranowsky, Heike

Muggenthaler, Johannes

Rogg, Ursula

Searight, Paul

Timtschenko, Alexander

Collections, Catalogs & Exhibitions

Hatje Cantz Publishers

One of the most consistently inventive artists of recent times, Los Angeles-based Ed Ruscha has been a pioneer in the use of language and imagery drawn from the popular media. From his early powerful word paintings to his influential artist's books of the sixties and seventies to his recent colorful views of generic mountains, Ruscha has investigated the spaces between highways and journeys, images and words, abstraction and representation, public imagery and the contemporary landscape. "Ed Ruscha: Gunpowder and Stains" presents some of Ruscha's most amazing illustrations from the 1970s--images that feature cryptic slogans, often reminiscent of advertising language, at turns obscured and revealed by the artist's hand. The book also features two important essays: a very personal commentary on Ruscha's impact by Thomas Demand, and an article by Diedrich Diederichsen that offers an in-depth exploration of Ruscha's combination of images and typed letters.

Ed Ruscha: Gunpowder and Stains

RUSCHA, ED

Magers, Philomene

Verlag De Buchhandlung Walter

The multi-dimensionality of our daily experiences is reduced by the television and internet media to the surface of a flat screen. Thus reality loses more and more of its spatial qualities, even as theoretical physicists develop increasingly sophisticated models to better understand the structures of time and space. As they employ an ever-growing number of dimensions in this endeavor, the mode of our sensual reception continues to become as flat and one-dimensional as the monitors of the computers at which we work. Throughout the history of art, sculpture has been prized as one of the foremost artistic expressions in western culture, one that employs far less illusionism than, for instance, painting. The works included in Sculptural Sphere are analyzed based on their spatial parameters. Their dimensions prove useful in defining the sculptural sphere that surrounds our bodies, as well as our reception of our multi-dimensional spatial environment.

Sculptural Sphere (German and English Edition)

Roberts, Liisa

Sachs, Tom

Boyce, Martin

Manders, Mark

Pernice, Manfred

Sammlung Goetz

Adam Caruso and Peter St. John, partners in the London firm Caruso St. John, insist on architectural history as a creative resource, and on embracing that resource rather than forsaking it for the rat-race Modernist pursuit of novelty: as St. John argues, "The new for its own sake seems to us both hopeless and pathetic. We prefer characterful ugliness to calculated perfection." Aiming for a "richly associative" architecture that draws on the nature of its materials, Caruso St. John embraces outside disciplines like art, design, literature and philosophy to enrich its practice--Claes Oldenburg's 1960s work at the Storefront Gallery, for example. Almost Everything documents buildings and projects in Britain and Continental Europe since the early 1990s, and also assesses Caruso St. John's philosophy. With contributions by Philip Ursprung, Thomas Demand, John Blockehurst and Jonathan Glancey, it is a thorough overview of one of Britain's most independent-minded architectural firms.

Caruso St. John: Almost Everything

Ursprung, Philip

Blockehurst, John

Architecture

POLÍGRAFA

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