THOMAS SCHEIBITZ

Thomas Scheibitz‘s works function, in this manner, like the concealed sources of sound or the cut ups, which William S. Burroughs recommended in his essay The Electronic Revolution, 1970, to instigate a revolution: the found components are extracted from the seemingly obvious fabric of meaning; the viewer’s fundamental notions, unconsciously received and pre-defined in terms of both emotions and norms, become corrupted; context and its functional modes are subversively undermined. Burroughs opposed conditioning generated by word-image or word-word combinations, which like a virus manipulates the thinking of the individual and which is misused by ideologues. Scheibitz is also wary of any form of narrative and attendant viral infiltrations. He seeks a visual language which immunises him, as well as the recipients of his works, against such viruses, thus enabling emancipation.

Thomas Scheibitz ( b- 1968, Radeberg, Deutschland), studied at University of Fine Arts of Dresden and lives and works in Berlin. Recent solo shows have been held at BALTIC Centre for Contemporary Art, Gateshead, 2013, and MMK Museum für Moderne Kunst Frankfurt am Main, 2012. Most recent group shows include BubeDameKönigAss Neue Nationalgalerie, Berlin, 2013, One Foot in the Real World at Irish Museum of Modern Art, Dublin, 2013, Das doppelte Bild at Kunstmuseum Solothurn, 2013, as well as Fruits de la Passion at Centre Pompidou, Paris, 2013, and Don’t be Shy, Don’t Hold Back at San Francisco Museum of Modern Art, 2012.

Courtesy Sprüth Magers