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Thomas Struth

Composition 19. Thomas Struth at the Hilti Art Foundation (solo and curated show)
Hilti Art Foundation, Vaduz
12 April - 6 October 2019

Thomas Struth, Composition 19. Thomas Struth at the Hilti Art Foundation, installation view, Hilti Art Foundation, Vaduz, 2019. Photo: Ines Agostinelli © Kunstmuseum Liechtenstein / Hilti Art Foundation
Thomas Struth, Composition 19. Thomas Struth at the Hilti Art Foundation, installation view, Hilti Art Foundation, Vaduz, 2019. Photo: Ines Agostinelli © Kunstmuseum Liechtenstein / Hilti Art Foundation

From 12 April until 6 October 2019, the Hilti Art Foundation is presenting works of the German artist Thomas Struth (* 1954) from its collection that focus on civilisation and nature, technology and culture.

In this self-curated show, Struth combines his works with paintings and sculptures from the Hilti Art Foundation collection, thus placing them for the first time in his international exhibiting career in an iconographic and aesthetic context with artworks from the 19th and 20th century.

Thomas Struth, who studied under Gerhard Richter and Bernd Becher at the Düsseldorf Art Academy from 1973 to 1980, has combined his photographs primarily into groups of works with such titles as Unbewusste Orte (Unconscious Places), Museum Photographs, Kultstätten (Cult Sites) or New Pictures from Paradise. On a global scale, he has trained his eye on streets, squares and buildings in various cities in different countries, on religious buildings and museums, including their visitors, or on the thicket of indigenous and non-European vegetation. Since around 2007 he has been increasingly interested in the complexity of industry, technology and research.

The photographs in the exhibition also concentrate on these aspects. Spread across all three floors of the building, the presentation of works is divided into the themes of People, Technology, Urbanity, Nature and Cult Spaces. The paintings and sculptures that Struth selected from the collection accompany the photographs as equals, revealing analogies in terms of both content and form. At the same time, they intensify the dialogue and the contrast between genres and epochs, for example when photographs of the Prado Museum in Madrid with baroque paintings and photographs of the Siemens Schaltwerk in Berlin with high-tech machinery are juxtaposed with the classical human figure of Wilhelm Lehmbruck. In the same sense, Struth also combines his photographs with works of Picasso, Klee, Léger, Mondrian, Giacometti, Wols, Klapheck or Richter.

Hilti Art Foundation, Vaduz


Additional:

Thomas Struth

Thomas Struth (solo show)
Guggenheim Museum, Bilbao
4 October 2019 – 19 January 2020

Thomas Struth, Kyoko and Tomoharu Murakami, Tokyo 1991 © Thomas Struth
Thomas Struth, Kyoko and Tomoharu Murakami, Tokyo 1991 © Thomas Struth

A comprehensive journey through more than four decades of work by the acclaimed German photographer Thomas Struth (b. 1954), this exhibition will offer examples of the different stages of his work and the social concerns that have driven the evolution of his influential art. With more than 130 works, the exhibition, first seen at the Haus der Kunst in Munich, is the most extensive showing of his artistic career to date and contains early works that have never been exhibited before. Research materials from his archive will also help to present the ideas he has been working on for the past years.

This meticulously composed presentation connects Struth’s initial ideas to his well-defined groups of works, such as Unconscious Places, Portraits, Museum Photographs, New Pictures From Paradise and Places of Worship. Thus establishing a dialogue with other works such as Berlin-Project, a video work conceived in 1998 together with media artist Klaus vom Bruch, or with the most recent photo series Nature & Politics as well as with the landscape and flower photographs created for the wards of Winterthur Hospital, later compiled in the monograph Dandelion Room (Löwenzahnzimmer). These relations between works highlight Struth’s ability to combine analysis with photographic creation in the multiple subjects and techniques that he applies to produce astonishing and powerful photographic images.

Guggenheim Museum, Bilbao


Vera Lutter, Thomas Struth et al.

Civilization: The Way We Live (group show)
Mucem, Marseille
19 January – 24 May 2021

Thomas Struth, Pergamon Museum 1, Berlin, 2001 © Thomas Struth
Thomas Struth, Pergamon Museum 1, Berlin, 2001 © Thomas Struth

Civilization: The Way We Live Now is an international photography exhibition of monumental scale, featuring the work of over 100 contemporary photographers from Africa, the Americas, Asia, Australia and Europe with over 200 original photographs being exhibited.
In this increasingly globalised world, the exhibition explores photographers’ representations of life in cities as its key theme and presents a journey through the shared aspects of life in the urban environment. The selected works create a picture of collective life around the world and document patterns of mass behaviour. The exhibition looks at the phenomenal complexity of life in the twenty-first century and reflects on the ways in which photographers have documented, and held a mirror up, to the world around us.

Mucem


Vera Lutter, Thomas Struth et al.

Civilization: The Way We Live Now (group show)
National Gallery of Victoria (NGV), Melbourne
13 September 2019 - 2 February 2020

Thomas Struth, Pergamon Museum 1, Berlin, 2001 © Thomas Struth
Thomas Struth, Pergamon Museum 1, Berlin, 2001 © Thomas Struth

Civilization: The Way We Live Now is an international photography exhibition of monumental scale, featuring the work of over 100 contemporary photographers from Africa, the Americas, Asia, Australia and Europe with over 200 original photographs being exhibited.
In this increasingly globalised world, the exhibition explores photographers’ representations of life in cities as its key theme and presents a journey through the shared aspects of life in the urban environment. The selected works create a picture of collective life around the world and document patterns of mass behaviour. The exhibition looks at the phenomenal complexity of life in the twenty-first century and reflects on the ways in which photographers have documented, and held a mirror up, to the world around us.

National Gallery of Victoria (NGV)


Thomas Struth et al.

Icons. Worship and Adoration. (group show)
Kunsthalle Bremen, Bremen
19 October 2019 – 1 March 2020

With this spectacular exhibition the Kunsthalle Bremen is celebrating a premiere: For the first time, an exhibition will take place in the entire museum and all the galleries. The show will examine how the concept of the icon unites aspects of the sacred, worship and the idea of transcendence. The qualities of traditional icons continue to live on in the spiritual presence and auratic power of many modern and contemporary works of art.

Focussing on a single work of art, the presentation examines various aspects of spirituality, devotion and adoration. It invites visitors to experience iconic art works from ten centuries in a new and intense way. Works by Caspar David Friedrich, Wassily Kandinsky, Kazimir Malevich, Mark Rothko, Yves Klein, Niki de Saint Phalle, Isa Genzken, Andreas Gursky and Kehinde Wiley will be complemented by everyday icons – from consumer brands to icons of popular culture such as Marilyn Monroe, Beyoncé and YouTube stars. An interpretation of the traditional notion of the icon in art will be juxtaposed with the proliferation of icons in everyday life.


Kunsthalle Bremen


Thomas Struth

This Place (group show)
Jewish Museum, Berlin
7 June 2019 - 5 January 2020

Installation view,
Installation view, "This Place" im Jüdisches Museum Berlin. Foto: Yves Sucksdorff

This exhibition explores the complexity of Israel and the West Bank—their topography, inhabitants, and everyday life—from the perspective of twelve internationally acclaimed photographers.

Photographer and project initiator Frédéric Brenner says that his point of departure for the project was the desire to add new artistic visions to the images familiar from reporting on the region. He convinced renowned photographers to join him: Wendy Ewald, Martin Kollar, Josef Koudelka, Jungjin Lee, Gilles Peress, Fazal Sheikh, Stephen Shore, Rosalind Solomon, Thomas Struth, Jeff Wall, and Nick Waplington traveled to the region again and again over the course of several years.

Together, the more than 200 photographs create a complex visual portrait. Themes such as identity, family, the homeland, and landscape come into focus, while emphasis on the Middle East conflict varies. The widely differing works invite viewers to discuss the heterogeneousness of the region.

Jewish Museum, Berlin


Thomas Struth

America Will Be!: Surveying the Contemporary Landscape (group show)
Dallas Museum of Art, Dallas
6 April - 6 October 2019

Thomas Struth, Dallas Parking Lot Dallas 2001, 2001 © Thomas Struth
Thomas Struth, Dallas Parking Lot Dallas 2001, 2001 © Thomas Struth

Drawing on works from the DMA’s permanent collection, this exhibition presents the ways in which contemporary artists engage with landscapes, broadly defined, exploring how our natural and built environments intersect with our representations of ourselves and our communities. The landscape has been both a traditional art historical genre and a means of mythologizing the origins of American history and culture as a colonial product, creating an image of unclaimed terrain that erased the people who already inhabited it.

“America will be!” is the rousing closing line of the 1935 poem “Let America Be America Again,” in which Langston Hughes argues for a vision of America—and for what it is to be American—that includes the multiplicity of experiences at both the margins and the center, regardless of race, socioeconomic status, or origin. This exhibition explores how contemporary “landscapes” might better reflect the full diversity of the peoples who inhabit North and South America.

Dallas Museum of Art, Dallas


Günther Förg, Thomas Struth et al.

Light Sensitive 2: Photography from the Schaufler Collection (group show)
SCHAUWERK, Sindelfingen
15 April 2018 - 6 January 2020

Thomas Struth, Grosse Tannen Am Eschberg - N°13, Winterthur 1992, 1992 © Thomas Struth
Thomas Struth, Grosse Tannen Am Eschberg - N°13, Winterthur 1992, 1992 © Thomas Struth

Contemporary photography from the Schaufler Collection will be on display from September 2017 at the SCHAUWERK Sindelfingen. The museum will link this show to the LICHTEMPFINDLICH exhibition of 2011, which had presented the large collection of this medium to the public for the first time in the impressive space of the former high rack warehouse in the SCHAUWERK. This lofty storage space inspires with its revolving ramp, which extends over 15 metres upward: an exhibition place par excellence for photography, with spectacular visual axes for viewing from near and afar.

Along with major works from the first exhibition, LICHTEMPFINDLICH 2 will also display photographs that previously haven’t been shown, so that a more comprehensive representation of the contemporary photography collection can occur. The main interest of the collectors Peter Schaufler and Christiane Schaufler-Münch is not directed toward the medium and its history per se, but leans more toward the fascination that arises from certain motifs, pictorial inventions, and their formal transformations.

The classic genres of photography—nude, portrait, landscape, architecture, or industry—are mirrored in the works, but are often citations or stages of conceptual processes. Most of the protagonists within the context of this collection have left behind the conventional framework of photography.

SCHAUWERK, Sindelfingen