- Highlights from the art world at a glance
- Art chosen by our expert curators
- Personal invitations to exclusive exhibitions
- Two issues a year, absolutely free
Thomas Florschuetz
Thomas Florschuetz, born 1957, has been been especially dedicated to the fragment, bordering abstraction, since the beginning of his work. He was made famous towards the end of the 80’s by his unmistakeable, spectacular tableaus of body parts. Since then, his pictorial language has become gentler; however, it has maintained… Read more
Intro Bio Exhibitions
Blumenstück IV
Selection
CA$ 3,190
Blumenstück VI
Selection
CA$ 1,699
Ricochet I
Selection
CA$ 1,699
Enclosure #17
Selection
CA$ 1,699
Enclosure #22
Selection
CA$ 1,699
Enclosure #28
Selection
CA$ 1,699
Background Information about Thomas Florschuetz
Introduction
Thomas Florschuetz, born 1957, has been been especially dedicated to the fragment, bordering abstraction, since the beginning of his work. He was made famous towards the end of the 80’s by his unmistakeable, spectacular tableaus of body parts. Since then, his pictorial language has become gentler; however, it has maintained its basic mindset: Florschuetz still zooms in and captures the vantage point of an insect wanting to alight on the pastel-colored petals in his flower blossom pictures. The artist uses the possibility of photographic means to accomplish a quasi-film sequence in which the viewpoint of the camera is minimally altered. Visually, this entails an instantaneous accumulation of intensity and is at the same time an invitation to look more closely.
How deep and detailed the photograph, this two-dimensional medium with a surface as smooth as glass, can be, is substantiated by Florschuetz in his window pictures. Here, it’s not juxtaposition, the tableau of multiple photographs, but the interaction of fabric, glass, wood and stone plunged in light, which display their material effect with visual sound.
Before our eyes , bodies, surfaces and shadows develop a grim game, which plumbs the borders of abstraction. Thomas Florschuetz does not broach the issue of the body, flowers, or architecture, but rather perception. Subtly and very direct.
Boris von Brauchitsch
The curtains of the Villa Aurora (2000) capture Florschuetz´s contradistinction when dealing with the opacity of the screen. The soft and hard vertical pleats of the curtains, the play of light and shade created in part by the hidden visible of the light outside, leads to another form of abstraction. The frame of the photograph both singularises the image and, at the same time, denies any particularity or place. What remains current is literally the "curtain-ness" of the curtains as screen, which fulfils my earlier observation on the "thingly character of the thing". Conversely, the 2001-03 Capodimonte Museum photographs of curtains and screens mediate the simultaneity of inside and outside; they have a sense of either/or, since they are translucent interludes that are neither transparent nor opaque. Considerations as to frame-screen-frame is extended further in these works, as the grid-like frame of the window becomes apparent through the curtain-screens, and these photographs can be said to summarise and vindicate the artist´s investigations of the transparent and opaque.
In his recent series of orchid photographs called Blümenstücke (1999-2001), we find fragmented aspects of cattleya and orchis stems. In reality they are concerned with the fragile architectonics of space, scale and surface. The differing view-point of repetition extends the work and , at the same time, magnifies the sense of an arrested moment, reminding us of their former existence. The real character of these photographed flowers remains in the subtle variance of their sepals and labella. However, these variations are so often indistinct that it requires a close examination to discern the shifts in viewpoint, exaggerating the need to "look at" the image ti dispel the generality of what is seen.The artist´s decision to choose softened pastel colouration strengthens the necessity of scrutiny.
Text from the catalogue "Are you talking to me? Sprichst du mit mir?", 2005
How deep and detailed the photograph, this two-dimensional medium with a surface as smooth as glass, can be, is substantiated by Florschuetz in his window pictures. Here, it’s not juxtaposition, the tableau of multiple photographs, but the interaction of fabric, glass, wood and stone plunged in light, which display their material effect with visual sound.
Before our eyes , bodies, surfaces and shadows develop a grim game, which plumbs the borders of abstraction. Thomas Florschuetz does not broach the issue of the body, flowers, or architecture, but rather perception. Subtly and very direct.
Boris von Brauchitsch
The curtains of the Villa Aurora (2000) capture Florschuetz´s contradistinction when dealing with the opacity of the screen. The soft and hard vertical pleats of the curtains, the play of light and shade created in part by the hidden visible of the light outside, leads to another form of abstraction. The frame of the photograph both singularises the image and, at the same time, denies any particularity or place. What remains current is literally the "curtain-ness" of the curtains as screen, which fulfils my earlier observation on the "thingly character of the thing". Conversely, the 2001-03 Capodimonte Museum photographs of curtains and screens mediate the simultaneity of inside and outside; they have a sense of either/or, since they are translucent interludes that are neither transparent nor opaque. Considerations as to frame-screen-frame is extended further in these works, as the grid-like frame of the window becomes apparent through the curtain-screens, and these photographs can be said to summarise and vindicate the artist´s investigations of the transparent and opaque.
In his recent series of orchid photographs called Blümenstücke (1999-2001), we find fragmented aspects of cattleya and orchis stems. In reality they are concerned with the fragile architectonics of space, scale and surface. The differing view-point of repetition extends the work and , at the same time, magnifies the sense of an arrested moment, reminding us of their former existence. The real character of these photographed flowers remains in the subtle variance of their sepals and labella. However, these variations are so often indistinct that it requires a close examination to discern the shifts in viewpoint, exaggerating the need to "look at" the image ti dispel the generality of what is seen.The artist´s decision to choose softened pastel colouration strengthens the necessity of scrutiny.
Text from the catalogue "Are you talking to me? Sprichst du mit mir?", 2005
Bio
| 1957 | born in Zwickau |
| 1981 | move to Berlin (East) |
| 1988 | emigration to Berlin (West) |
| lives and works in Berlin |
Awards
| 2000 | Artist in Residence, Villa Aurora, Pacific Palisades, USA |
| 1997 | Förderpreis der Helmut-Kraft-Stiftung, Stuttgart |
| 1994 | Dorothea-von-Stetten-Kunstpreis, Bonn |
| Stipendium des Kunstfonds e.V., Bonn | |
| 1988 | Arbeitsstipendium des Senators für kulturelle Angelegenheiten Berlin |
| Artist in Residence, Lightwork, Syracuse, New York | |
| 1987 | 1. Preis für Junge Europäische Fotografie, Frankfurt/Main |
Collections
Berlinische Galerie, Berlin
Kunstbibliothek, Berlin
Kupferstichkabinett, Dresden
Deutsche Bank, Frankfurt/Main
Leipziger Galerie für zeitgenössische Kunst, Leipzig
Museum Folkwang, Essen
Staatsgalerie, Stuttgart
Sprengel Museum, Hannover
Deutscher Bundestag, Berlin
Deutsche Leasing AG, Bad Homburg v.d.H.
Brandenburgische Kunstsammlungen, Cottbus
Goethe Institut, München
Institut für Auslandsbeziehungen, Stuttgart
Malmö Konsthall, Malmö
The Museum of Contemporary Art, Oslo
Paris Audiovisuelle, Paris
Museu de Arte Moderna, Rio de Janeiro
The San Franciso Museum of Modern Art
The Museum of Fine Arts, Bosten
The Museum of Fine Arts, Houston
The Museum of Modern Art, New York
Baltimore Museum of Art, Baltimore
DG Bank, Frankfurt/Main
Maison Europeene de la Photographie, Paris
Museum für Neue Kunst, ZKM, Karlsruhe
Dresdner Bank, Berlin
Kunstbibliothek, Berlin
Kupferstichkabinett, Dresden
Deutsche Bank, Frankfurt/Main
Leipziger Galerie für zeitgenössische Kunst, Leipzig
Museum Folkwang, Essen
Staatsgalerie, Stuttgart
Sprengel Museum, Hannover
Deutscher Bundestag, Berlin
Deutsche Leasing AG, Bad Homburg v.d.H.
Brandenburgische Kunstsammlungen, Cottbus
Goethe Institut, München
Institut für Auslandsbeziehungen, Stuttgart
Malmö Konsthall, Malmö
The Museum of Contemporary Art, Oslo
Paris Audiovisuelle, Paris
Museu de Arte Moderna, Rio de Janeiro
The San Franciso Museum of Modern Art
The Museum of Fine Arts, Bosten
The Museum of Fine Arts, Houston
The Museum of Modern Art, New York
Baltimore Museum of Art, Baltimore
DG Bank, Frankfurt/Main
Maison Europeene de la Photographie, Paris
Museum für Neue Kunst, ZKM, Karlsruhe
Dresdner Bank, Berlin
Publications
Blickwechsel Thomas Florschuetz, Petra Schroek in: Parnass Das Kunstmagazin, Heft 3/2002, Wien
Ein Jahrhundert- One Century, Ariane Grigoteit, Frankfurt/Main, 2001
Die Verwandlung von Amelunxen, Hubertus, Eugen Blume, Neues über Blumen, 2001
Die Wahrnehmung des Betrachters über Thomas Florschuetz, Christian Huther in: Kunstforum International, Bd. 151 Juli-September 2000
Dazwischen, Maren Polte in: EIKON, Heft 33, Wien, Oktober, 2000
Der Blick ist das Subjekt, Christian Huther, Künstler-Kritisches Lexikon der Gegenwartskunst, Weltkunst + Bruckmann, München, 1999
Between Two: Suburbia, und, Between Two: Plexus, Stuart Morgan in: Exhibition Guide Thomas Florschuetz, Stills Gallery, Edinburgh,1996
Ein Jahrhundert- One Century, Ariane Grigoteit, Frankfurt/Main, 2001
Die Verwandlung von Amelunxen, Hubertus, Eugen Blume, Neues über Blumen, 2001
Die Wahrnehmung des Betrachters über Thomas Florschuetz, Christian Huther in: Kunstforum International, Bd. 151 Juli-September 2000
Dazwischen, Maren Polte in: EIKON, Heft 33, Wien, Oktober, 2000
Der Blick ist das Subjekt, Christian Huther, Künstler-Kritisches Lexikon der Gegenwartskunst, Weltkunst + Bruckmann, München, 1999
Between Two: Suburbia, und, Between Two: Plexus, Stuart Morgan in: Exhibition Guide Thomas Florschuetz, Stills Gallery, Edinburgh,1996
Exhibitions
Solo Exhibitions
| 2005 | Drei Räume, Residence German Embassy, London |
| Christian Roellin Galerie, St.Gallen | |
| Blick ins Freie Haus am Waldsee, Berlin (Leporello) | |
| Neue Arbeiten, m Bochum, Bochum | |
| Sprichst du mit mir - Are You Talking To Me?, Kunstsammlungen Chemnitz | |
| 2004 | Canadian Center of Architecture, Montreal |
| Kunstmuseum Bonn, Bonn (K) | |
| Städtische Kunstsammlungen Chemnitz (K) | |
| BALTIC Center for Contemporary Art, Gateshead (K) | |
| 2003 | reiter, wind, Sabine Schmidt Galerie, Köln |
| Blumenstücke, Kunsthalle Harry Graf Kessler, Weimar | |
| augenstücke, Kleine Synagoge, Erfurt | |
| Ricochet-Blumenstücke, Franz Hals Museum, Haarlem | |
| Galerie Susanne Biederberg, Amsterdam | |
| 2001 | Enclosures, Gary Tatintsian Gallery, New York |
| Ricochet-Blumenstücke, Nationalgalerie, Hamburger Bahnhof, Museum für Gegenwart Berlin, Berlin | |
| Eingrenzung, Galerie Markus Richter, Berlin | |
| Blumenstücke Iris Prints, m-Fotografie, Bochum | |
| Blumen, Sabine Schmidt Galerie, Köln | |
| 2000 | Multiple Entry Extended, Galerie Markus Richter, Berlin |
| Multiple Entry, Städtische Kunstsammlungen Neubrandenburg, Neubrandenburg | |
| Don't look now, m-Fotografie, Bochum | |
| 1999 | Peripheres Begehren, Galerie Markus Richter, Berlin |
| Gliederung, Albertinum, Staatliche Kunstsammlungen Dresden, Dresden (P) | |
| Indicies, Gary Tatintsian Gallery, New York | |
| 1998 | Galerie Hübner & Thiel, Dresden |
| Ortszeit, Projekt im öffentlichen Raum, Kollwitzplatz, Berlin | |
| Vera van Laer Gallery, Antwerpen | |
| Multiple Entry, Städtische Kunstsammlung Zwickau, Zwickau (K) | |
| Anatomie einer Triptychons, Mücsarnok, Kunsthalle, Budapest (K) | |
| 1997 | Suburbia, Galerie Nikolaus Sonne, Berlin |
| Galerie Roziso, Moskau | |
| 1996 | Vor dem ersten Blick, Kunstverein Göttingen, Göttingen (K) |
| Vera van Laer Gallery, Antwerpen | |
| Galerie Hübner & Thiel, Dresden | |
| Between Two: Suburbia, Stills Gallery, Edinburgh (Leporello) | |
| Between Two: Plexus, Site Gallery, Sheffield (Leporello) | |
| 1994 | Aschenbach Galerie, Amsterdam |
| Plexus, Neuer Berliner Kunstverein, Berlin (K) | |
| Forum Stadtpark, Graz | |
| Plexus, Galerie Nikolaus Sonne, Berlin | |
| Vanishing point, Goethe-House, New York |
Group Exhibitions
| 2005 | The Nature of Things, Birmingham Museum of Art |
| Das Hotel, Salzlager Hall, Tiroler Landesausstellung, Hall/Tirol | |
| Der fotografierte Mensch, Neues Museum Nürnberg | |
| Reality Reversed, Christian Dam Gallery, Kopenhagen, anschl.Christian Dam Gallery, Oslo | |
| Zeitstrecke, Villa Oppenheim, Berlin | |
| Bad Boys Of Photography, Anderson Gallery, VCU, Richmond, VA | |
| Bildwechsel 01 – Sammlung F. C. Gundlach, Deichtorhallen, Hamburg Hamburg | |
| Is – ness, Thomas Erben Gallery, New York | |
| 2004 | Rohkunstbau -Ein europäisches Portrait #2, Wasserschloss Groß Leuthen |
| La collection d’art contemporain d’agnes b., Les Abattoirs, Toulouse | |
| Dorf in die Metropole, Künstlerhaus Bethanien, Berlin | |
| 44 in 10, Sabine Schmidt Galerie, Köln | |
| Kunst in der DDR, Kunst und Ausstellungshalle der BRD, Bonn | |
| Grenzüberschreitung, m Bochum, Bochum | |
| Blow up - zeitgenössische Künstlerfotographie, Ulmer Museum, Ulm | |
| PhotoArt, RMIT Gallery, Melbourne, und Christchurch Art Gallery, Christchurch, NZL | |
| 2003 | Keep on Looking ― Fragen zur Kunst, Kunst Haus Dresden, Dresden |
| Von Körpern und anderen Dingen Deutsche Fotografie von der Weimarer bis zur Berliner Republik, City Gallery Prag, Prag, und Museum für Deutsche Geschichte, Berlin | |
| Was ich von ihnen gesehen und was man mir von ihnen erzählt hatte, Museum Folkwang, Essen Kunst in der DDR, Neue Nationalgalerie, Berlin (K) | |
| 2002 | Favela Labirinto, Paco Imperial, Rio de Janeiro |
| Zwischenspiel I Paarungen, Berlinische Galerie im Kunstforum der Grundkreditbank, Berlin (K) Zwischenspiel IV Nach der Natur, Berlinische Galerie im Kunstforum der Grundkreditbank, Berlin (K) Räume des 20. Jahrhunderts, Neue Nationalgalerie, Berlin | |
| Constructing Memory and Space, Fotografie Forum international, Frankfurt/Main | |
| Wahnzimmer Kunst in Deutschland in den 80er Jahren, Museum der bildenden Künste, Leipzig, Museum Folkwang, Essen (K) | |
| 2001 | Shelter, m Fotografie, Bochum, Museum Wiesbaden, Wiesbaden, Ulmer Museum, Ulm, Museum Kurhaus Kleve, Kleve |
| Unter der Haut, Wilhelm Lehmbruck Museum, Duisburg (K) | |
| Werken op papier, Kunsthandel Lambert Tegenbosch, Heusten, Niederlande | |
| 520 Paseo Miramar, DAAD Galerie, Berlin | |
| 2000 | Der anagramatische Körper, ZKM, Karlsruhe |
| Samizdat, Akademie der Künste, Berlin (K) | |
| La collection de photographie d'agnes b., Centre national de la photographie, Paris (K) | |
| 1999 | Tomorrow Forever, Photographie als Ruine, Kunsthalle Krems, Krems und Museum Küppersmühle |
| Sammlung Grothe, Duisburg | |
| Identity and Environment, Museum of Contemporary Art / Ludwig Museum, Budapest | |
| Foto Kunst, The Artist House, Jerusalem (K) | |
| Jahresringe, Kunstverein Apolda, Apolda | |
| Der anagramatische Körper, Neue Galerie am Landesmuseum, Graz | |
| Das XX. Jahrhundert. Ein Jahrhundert Kunst in Deutschland, Nationalgalerie Berlin, Berlin | |
| 1998 | Blick zurück nach vorn - Looking Backwards Forwards, Galerie Markus Richter, Potsdam |
| Object & Abstraction: Contemporary Photographs, Museum of Modern Art, New York | |
| [Collection '98], Galerie für Zeitgenössische Kunst, Leipzig | |
| Admissions of Identity, City Museum and Mappin Art Gallery, Sheffield und Sammlung Ludwig, | |
| Budapest (K) | |
| Signatur des Sichtbaren, Galerie am Fischmarkt, Erfurt (K) | |
| Time, Space and Architecture - Fotografie und Architektur, Galerie Markus Richter, Potsdam | |
| I Liked New York, The Lobby Gallery, Deutsche Bank, New York | |
| Transformation - Natura Naturans 3, Teatro Miela, Trieste (K) und Scuola di San Pasquale, | |
| Venedig (1999) | |
| Bilder & Grenzfälle, Brandenburgische Kunstsammlung, Cottbus, Städt. Galerie in der alten Schule, | |
| Berlin Treptow, Städt. Galerie Sindelfingen (K), Sindelfingen | |
| 100 Jahre Kunst im Aufbruch, Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, | |
| Bonn (K) | |
| Under / Exposed, Projekt im öffentlichen Raum, Subway Stations, Stockholm (K) | |
| 1997 | Die dunkle Kammer-Fotografie und Körper, Galerie Markus Richter, Potsdam |
| Positionen Künstlerischer Photographie in Deutschland nach 1945, Martin Gropius Bau, Berlin (K) | |
| In Medias Res, Kunsthalle Istanbul, Istanbul (K) | |
| Interferenzen, L.A. Galerie, Frankfurt/Main | |
| Boheme und Diktatur, Deutsches Historisches Museum, Berlin (K) | |
| Allemagne, annes 80, Maison Europeenne de la Photographie, Paris | |
| Museum für neue Kunst des ZKM, Karlsruhe (K) | |
| 1996 | Technik: Fotografie. Teil 1: Thomas Florschuetz, Andreas Gursky, Richard Prince, Cindy Sherman, |
| Busche Galerie, Berlin | |
| Zeitgenössische Kunst aus der Sammlung der Deutschen Bank, ARCO, Madrid (K) | |
| 1995 | Metropole e Periferia, Museo de Arte Moderna, Rio de Janeiro (K) |
| Urbane Legenden - Berlin, Staatliche Kunsthalle Baden-Baden, Baden-Baden (K) | |
| Correspondances – Berlin - Chicago, Chicago Cultural Institute, Chicago (K) | |
| Westchor, Ostportal - 12 Positionen zeitgenössischer Kunst in Deutschland, Marstall, Berlin, Kunsthalle, Dresden, und 1996 Rheinisches Landesmuseum, Bonn (K) | |
| Memento, Haus am Waldsee, Berlin und Stadtgalerie Kiel, Kiel (K) | |
| Mehr als ein Bild, Sprengel Museum Hannover, Hannover | |
| 1994 | Memento, Galerie der Hauptstadt Prag, Prag (K) |
| Dorothea-von-Stetten-Kunstpreis 1994, Kunstmuseum Bonn, Bonn (K) | |
| Leerstand, Projekt der Leipziger Galerie für zeitgenössische Kunst, Leipzig (K) | |
| Projekt Flagge zeigen, Galerie Hans Meyer, Düsseldorf (K) | |
| Le Shuttle, Künstlerhaus Bethanien, Berlin (K) | |
| 1993 | Berlin Art Scene, Hongkong Museum of Art, Hongkong, und National Museum and Art Gallery, Singapore (K) |
| Fontanelle, Kunstspeicher, Potsdam (K) | |
| Private, Kunstwerke, Berlin | |
| Das Bild des Körpers, Frankfurter Kunstverein, Frankfurt/Main (K) | |
| Elective Affinities, Tate Gallery, Liverpool (K) | |
| Multiple Images, Museum of Modern Art, New York | |
| (K) Katalog |
You’re leaving already?
Secure your favourite artwork now!
- Over 260,000 satisfied customers worldwide
- 14 days return policy
Art Is Calling – LUMAS News, Events, & Specials
LUMAS ART NEWS
- Exclusive offers
- Inspiring new releases
- Personal invitations to Art Events
LUMAS protects your data. See our Privacy Policy for details.
No thanks, I would like to stay on this site.
Yes, I would like to switch.