UPCOMING EXHIBITIONS
LIQUID LIGHT
LUCIFERINE #2479, 2020. Unique Fine Art Piezo-Pigment-Print 107.5 x 78 cm
LIQUID LIGHT
Tom Fecht / Nicola Stäglich
17 November 2022 – 31 June 2023
8044 Zürich – Mommsenstrasse 18
7500 St. Moritz – Suvretta House – Via Chasellas 1
Switzerland
Tom Fecht Unique Vintage Prints
EROS Awaiting Eternity
BASICS, 1999
Silver Gelatine print on Baryta 249 x 128 cm (right)
EROS Awaiting Eternity
Group Show
EROS in Erwartung der Ewigkeit
26 March 2022 – 15 January 2023
Museum DKM
Güntherstraße 13 – 15, 47051 Duisburg, Germany
Contact
Website
FINNIS TERRAE
THE BRIDGE, 2005. Silk-print 182x 265 cm
FINNIS TERRAE
Hugo Franca meets Tom Fecht # 2
Photographic Silk Prints and Sculpture
18 December, 2022 – 23 March, 2023
Rua Visconde do Rio Branco, 365
Porte Alegre | RS
Brazil
In times of uncertainty …
LUCIFER’s VORTEX
LUCIFER’s VORTEX / Back lit thermo-sublimation silk-print / dimmable LEDs on aluminium framing / 176 x 265 x 9 cm / Llimited Design-Edition of 3
LUCIFER’s VORTEX
Entre Chien et Loup / Two Soundtracks 90 sec. each
In times of uncertainty Tom Fecht invited the musician Hubert Neidhart and the duo Transhuman Art Critics for a collaborative experiment to expand the luminous momentum of this work into a photo-acoustic installation.
Both soundtracks seem to reflect the accelerating uncertainty of our times as much as they mirror the unique circumstances in which the violence of this marine vortex has been photographed on the wild Atlantic coast in Brittany, France. The phenomenon was furtively captured at dawn “entre chien et loup”, a magic twilight moment when the first blue rays of daylight intersect with the remaining reflections of the full moon. Performed on the turbulent surface of the sea, nature’s romantic rendezvous remains invisible to the naked eye. Lasting just 90 seconds, the sublime traces can only be captured by a camera.
• HUBERT NEIDHART is a composer, musician and graphic designer based in Basel, Switzerland.
Video (mp4) :
• TRANSHUMAN ART CRITICS is an audio-visual performance duo co-founded by Emma Nilsson and former Kraftwerk musician Emil Schult.
www.transhumanartcritics.com
Video (mp4) :
MUSEUM PRESENTATIONS
DeepTime / TiefenZeit
Incertitudes #4001. 125 x 210cm
Incertitudes #32001. 125 x 210cm
DeepTime / TiefenZeit – Tom Fecht
Permanent museum presentation including recent works
of the ECLIPSE and INCERTITUDES series
Museum DKM
Güntherstraße 13 – 15, 47051 Duisburg, Germany
Contact
Website
The DKM Foundation acquired a selection of works by Tom Fecht.
They are now on permanent display as part of DKM’s contemporary museum collection.
The English/German catalogue of the exhibition will includes introductions by Siegfried Zielinski (ZKM) and Emma Nilsson, essay by Irmgard Benrieder.
RECENT MUSEUM ACQUISITIONS
Recent Museum Acquisitions
THE DKM FOUNDATION in Duisburg, Germany acquired a selection of 7 large format works by Tom Fecht in 2018, 2020 and 2022, the installation is on permanent display in DKM’s museum collection. An English/German catalogue includes a full documentation of Fecht’s solo show DEEP TIME (2017/2018) and an introduction by Siegfried Zielinski (ZKM) with texts by Irmgard Benrieder and and an essay Emma Nilsson; published in hardcover and available at the Museum.
Museum DKM
Güntherstraße 13 – 15, 47051 Duisburg, Germany
Website
THE NEW YORK PUBLIC LIBRARY acquired a selection of TIDES for the library’s collection of photographic prints (2019)
NYPL – Stephen A. Schwarzman Building
476 Fifth Avenue, New York, NY 10018, USA
Website
THE MUSÉE DES BEAUX ARTS DE LIEGE acquired Finis Terrae, (Into the Open), 1997 for its new exhibition site La Boverie as part of their contemporary collection (2018).
Musée des Beaux-Arts de Liège
En Féronstrée 86, 4000 Liège, Belgium
Website
Other museum collections with works by Tom Fecht include:
Neue National Galerie / Hamburger Bahnhof Berlin (SMPK), Germany
Haus der Geschichte der Bundesrepublik Deutschland Bonn, Germany
MuCEM – Museé National des Civilisations de l’Europe et de la Méditerranée Marseille, France
Museum Folkwang, Essen, Germany
Museum DKM, Duisburg, Germany
Karl Ernst Osthaus-Museum Hagen, Germany
Kunst und Ausstellungshalle der Bundesrepublik Deutschland Bonn, Germany
Leopold-Hoesch-Museum Düren, Germany
PAST
INCERTITUDES
Unique vintage prints by Tom Fecht
Curated by Rudolf Zwirner and Hubertus von Amelunxen
Grunewalder Exhibitions
Conversations and Concerts
20 November 2021 – 15 January 2022
prolonged until 31 March 2022
14103 Berlin
Germany
by appointment only – please use the contact form to arrange your visit
PDF
TEFAF New York Spring
INCERTITUDE # 32002, 2021 (left)
Unique silver gelatin print on Baryta paper 218 x 138 cm
LUCIFERs VORTEX
CAMERAWORKS
ECLIPSE & INCERTITUDES
TEFAF MAASTRICHT 2020
TEFAF MAASTRICHT 2020
5 – 15 march 2020 / CLOSED 11 March
Tides Editions & Unique Vintage Prints
NOMAD St. MORITZ
FIGURINE (Gravitational Spin), 1999 / 2016
Silver gelatine on Baryta paper / UltraSec 127 x 100 cm
NOMAD St. MORITZ
Marine Miniatures and Unique Vintage Prints
6 – 9 February 2020
Chesa Planta
St. Moritz, Switzerland
Galeria Mercado Moderno
Rua do Lavradio, 66 – Centro
Rio de Janeiro
Brazil
FOG Design + Art
The Blue Hour, Photographic silk-print 120 x 350 cm
(from The West Pole series, 2010)
FOG Design + Art
15 – 19 January 2020
Fort Mason Festival Pavillion
San Francisco
USA
Galeria Mercado Moderno
Rua do Lavradio, 66 – Centro
Rio de Janeiro
Brazil
APLOMB
TIME II (Triptych) / Unique silk prints 150 x 265 cm each
Thermo-sublimation prints on aluminium framing
APLOMB
Hugo Franca meets Tom Fecht # I
Photographic silk prints and Sculpture curated by Mírian Badaro
Galeria Bolsa de Arte
7 November – 24 January 2020
Rua Mourato Coelho, 790
São Paulo | SP
Brazil
30 Years of Noorderlicht
SILENCE (Listening to Older Stars), 1999 / Silver gelatine print 126 x 157 cm
30 Years of Noorderlicht
Retrospective curated by Wim Mellis
6 September – 20 December 2019
Martini Plaza
Leonard Springerlaan 2
9727 KB Groningen, Netherlands
SAÕ PAULO FOTO 2019 / 12th Edition
Eclipse #8070, 2018. Unique silk-print, 150 x 265cm.
SAÕ PAULO FOTO 2019 / 12th Edition
22 – 25 August 2019
Tom Fecht – Unique Vintage prints
Galeria Bolsa de Arte
Shopping JK Iguatemi, 3º piso
Avenida Presidente Juscelino Kubitschek, 2041
São Paulo | SP
Brazil
DESIGN MIAMI BASEL 2019
TEFAF NEW YORK SPRING 2019
SP ARTE 2019 / 15th Edition
TEFAF Maastricht 2019
DARK MATTERs
DESIGN MIAMI BASEL 2018
ELECTRIC CINEMA – The Complete Series
Galerie Laffanour DOWNTOWN Paris presents
Unique vintage prints by
TOM FECHT
9 Avril – 2 Juin 2018
CHÂTEAU SIRAN
13 Avenue du Comté Lynch
33460 Bordeaux-Labarde
France
Monday-Saturday 10am-1pm & 2-6pm
and by appointment
Contact
TEFAF NEW YORK SPRING 2018
DeepTime / TiefenZeit
TEFAF Maastricht 2018
ARTIST TALK
18 November 2017 4 – 6 pm
DeepTime
On Uncertainty – Hubertus von Amelunxen* and Tom Fecht in conversation
* Walter Benjamin Chair, Professor of Philosophy of Photography and Cultural Studies. President of The European Graduate School, Saas-Fee/Switzerland and Valletta/Malta.
Museum DKM Duisburg in collaboration with SETAREH GALLERY Düsseldorf
Güntherstr. 13-15, 47051 Duisburg, Germany
R.S.V.P.
Hubertus von Amelunxen on Wikipedia
Design Miami / Basel
COLOR MARKS and DARK MATTERs
2017 European Conference – Color Marketing Group
Valencia, Spain May 17-19
Expanded Lecture by Rozbeh Asmani and Tom Fecht
The expanded lecture investigates properties of color invisible to the naked human eye.
Black will be the point of departure to explore the invisible aspects of color embracing an unexpected fan of artistic and scientific points of view.
Résumé
COLORMARKS and DARK MATTERs
Expanded Lecture by Rozbeh Asmani and Tom Fecht
The expanded lecture investigates properties of color invisible to the naked human eye. The relationship of color control and power will be Rozbeh Asmani’s point of departure to explore the invisible aspects of color embracing an unexpected fan of artistic strategies interacting with economic, social and scientific points of view. But the invisible aspects of color will be simultaneously explored in very opposite directions. The lecturer’s discourse will expand into an unexpected dialogue without warning: From the monochrome depth and diversity of natures burning blackness towards the cool aesthetics of industrial color monopoly and corporate brand communication.
Black as a color includes a vast spectrum of contemporary shades combined with a high charge of cultural codes and transformative meanings. As a non-color black seems to share it’s profound magic with the unknown while giving a household name to astronomy’s black matters. There seems to be no accident, that the most recent scientific proof of existence for Dark Matter reanimated phantasies around the globe. This will be the context introducing DARK MATTERs by German photo-artist Tom Fecht. The umbrella term covers a recent body of marine night photography that investigates notions of color, time and space while reminding us that over 95% on the universe remains unknown Dark Matter. These minimalist works cross the line between the physical world and the invisible, magic part of our universe while pushing photography to the edge of quantum physics. Expanding the color-limits of the night became the artist’s photographic signature; exploring light beyond the visible spectrum created his photographic brand.
COLORMARKS by Iranian artist Rozbeh Asmani is the outcome of an on-going research into the field of color trademarks registered at the German Patent and Trademark Office. The silk screens and digital C-Prints explore a specific range of colors protected by trademark law in their respective fields of usage: The yellow- green color design of gas stations owned by an oil multinational as well as the brown van and overall of a global courier or the dark-blue round of a skin crème box. One glance is often enough to remind us not only of the very trademark, but also of our daily encounter with these products and services. Asmani’s work visualizes the impact of color monopoly on our collective memory when used exclusively by corporations as part of their brand identities. Confronted with the question what these colors stand for our attention is drawn towards industrial complexity linking color, power and memory.
The research of both artists spotlight the transformation of contemporary color skills in art and photography and stimulate an innovative perspective on color-mapping and invisible color ownership. But the usage of color and non-color in contemporary artistic practice is also part of a much larger global discourse raising profound questions, if any substantial difference between culture and nature can be further maintained.
www.rozbehasmani.de
www.tomfecht.com
The presentation is primarily based on a visual dialog co-delivered by Mr. Fecht and Mr. Asmani.
GRAVITY FIELDs
TEFAF Maastricht 2017
Zona Maco 2017, Mexico D.F.
Design Miami / Miami 2016
28th Biennale des Antiquitaires 2016
Magic Moments
Prouvé – Takis
Tefaf Maastricht 2016
PUBLICATIONS
Hans Belting: Gisèle Freund en face
English Français Deutsch
Irmgard Bernrieder: Gravity Fields
English Deutsch
Ute Guzzoni: Finis Terrae – Into the Open
English Français Deutsch
Tom Fecht: Chromatic Evolution – Blue as a Quantum Field in:
THE BLUE CONNECTION – Exploring a Universal Color
Monika Haag / Mark Woodman (Ed.)
ARTISTs PRESS Basel Berlin Geneva, 2022
Bilingual English/German edition Hardcover 30 x 22 cm, 154 pages
114 color plates, ISBN 978-3-949990-99-1 € 39.80
Distributed by FRÖLICH & KAUFMANN Berlin https://www.froelichundkaufmann.de/ (# 1375725)
Also as E-book on Amazon and BoD
Tiefenzeit / DeepTime
Dirk Krämer and Klaus Maas (ed.): Tom Fecht at Museum DKM, Duisburg 2019.
Exhibition catalogue. Introductions by Siegfried Zielinski and Emma Nilsson.
Essay by Irmgard Bernrieder.
ISBN 978-3-942650-13-7 (German/English edition / hardcover)
Incertitudes
An introduction to DARK MATTERs
By Emma Nilsson and Gérard Klein
28 pages / 30 x 18 cm / 19 illustrations
PDF
Michael Petry: The Word is Art
Tom Fecht: Homage – Names and Stones, in:
Michael Petry: The Word is Art
Mémoire nomade – Documenta IX, Kassel 1992
(by courtesy of Documenta Archive Kassel)
Thames & Hudson, London 2018
ISBN: 978-0-50-023966-7
ECLIPSE – 25 unique vintage prints
ECLIPSE
25 unique vintage prints
With an essay by Hans Irrek and published by Laffanour Galerie DOWNTOWN, Paris 2015. Hardcover 80 pages 26.5 x 36 cm ISBN 978-2-9520349-4-4 (available at the gallery)
Website
About the author: Hans Irrek is a German essayist and curator; he studied art history, aesthetics and philosophy. His publications on photography and art and design classics include essays on Andreas Gursky, Axel Hütte, Mikael Olsson, Isamu Noguchi, and Oscar Niemeyer. He is a member of the advisory board of the Photo Book Museum, Germany
ON SIGNATUREs
Tom Fecht in: Arik Levy FIXING NATURE, Paris 2016
“In everyday life, a SIGNATURE simply certifies the authenticity of a document or a work of art bearing the unique fingerprint of the artist and helps to identify his vision. But the origins of the term point us further to the SIGNS OF NATURE requiring knowledge about the NATURE OF SIGNS as reassembled in natural science. Here the potent simplicity of FixingNature becomes as challenging as its evolutionary matrix and spatial complexity. Nature as we see it, is a product of culture: as a matter of fact, nature, understood as a projection of human imagination, can be creatively manipulated and re-arranged. After all is it not a given, that any difference between nature and culture can no longer be maintained? Nature and culture seem to be the two extremities of an infinite Möbius loop where both sides are bound to become the very other. There might not be any clear traces left of the beginning – but quite certainly there is no end.
Flusseriana – An Intellectual Toolbox
Tom Fecht: Mirror and Transformation
Contributing to: Flusseriana – An Intellectual Toolbox
Edited by Siegfried Zielinski and Peter Weibel
ZKM Center for Art and Media, Karlsruhe and Univocal Publishing
University of Minnesota Press, Minneapolis 2015
ISBN 9-781937-561529 (English-German-Portuguese edition)
Refocusing the Euclidian Horizon
Tom Fecht: Refocusing the Euclidian Horizon (including illustrations from the night series Electric Cinema) in: The Cornell Journal of Architecture #9: Mathematics, Ithaca, New York 2014 pp. 4 – 16.
ISBN 978-0-9785061-2-4
STILL AVAILABLE
Umzug ins Offene
Tom Fecht and Dietmar Kamper (ed.): Umzug ins Offene – Vier Versuche über den Raum
(Movement into the Open – Four Studies on Space). Springer Verlag Wien New York, 2000
ISBN 3-211-83476-1
en face
Gisèle Freund photographiert von Tom Fecht
Museum der Dinge – Werkbundarchiv
Exhibition catalogue Martin Gropius Bau, Berlin 2001
Edition of 500 numbered copies
Namen und Steine
Tom Fecht – Namen und Steine, Mémoire Nomade. Edited by Ulrich Heide and Dietmar Kamper. Cologne 1993, Bonn 1998, Springer Verlag Wien New York, 2001
Other
Vivo A Beira, http://www.vivoabeira.org/, Paris/São Paulo 2/2017
Soundings, L. Karshan-C.Richardson, Satellite Berlin 5/2016
Crash, Paris 10/2015
Jean Atali Retour de Mer, Editions Dilecta, Paris 2014
Inventario, Milano 7/2014
Kunstforum International Vol 220 1/2013
GoGolobal Rural-Urban, London/Beijing 4/2012
selected views 12/11
Le Monde, Paris 6/11
Top Basel, 1/11
Ouest France, Rennes 7/10
Le Télégramme, Morlaix 7/10
FAZ, Frankfurt 10/09
Channel Thirteen, NYC 1/09
Les Conférences de Malaquais, Paris 10/08
The New York Times 9/08
Morgenbladet, Oslo 8/08
EQULIBRIUM, London 3/08
AXIS, Tokyo 10/07
Design, Beijing 6/07
Performance Research: On Beckett, Devon 3/07
Menschen, Bonn 1/07
O Globo, Rio de Janeiro 10/06
AXIS, Tokyo 10/06
The New York Times 8/06
Dialogue, Taiwan 3/06
new design, London 2/06
BLUEPRINT, London 1/06
Pure PSP, UK 1/06
Edge 1/06
Dialogue, Taiwan 12/05
DIE ZEIT, Hamburg 12/05
The Inquirer 11/05
Bladid, Iceland 11/05
BLUEPRINT, London 9/05
bob, Graz 1/05
UNIQUE PRINTS POLICY
Installation view of Eclipse #8090, 2013 and The Wave by Gustave Courbet, 1870
(Retour de Mer, Musée des Beaux Arts – LAAC, Dunkerque, France 2014)
Re-evaluating my work, I have decided to avoid the comfort of repetition. As of 2012 every new photograph is limited to one print so that each image remains as unique as the moment it captures. In addition I will retain one artist proof (AP/EA) for my own reference and/or exhibitions. Editions prior to 2012 will be either sold through or discontinued.