Unique vintage prints by Tom Fecht
Curated by Rudolf Zwirner and Hubertus von Amelunxen
Conversations and Concerts
20 November 2021 – 15 January 2022
by appointment only – please use the contact form to arrange your visit
In times of uncertainty …
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
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.
Video (mp4) :
Incertitudes #4001. 125 x 210cm
Incertitudes #32001. 125 x 210cm
DeepTime / TiefenZeit – Tom Fecht
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.
Museum Blog Ruhrpott – 05.2017
Das Museum DKM in Duisburg zeigt in der Ausstellung „TiefenZeit. TOM FECHT“ beeindruckende Fotografien des Künstlers, die über das sonst sichtbare Maß des menschlichen Sehens hinaus gehen.
WDR – 05.05.2017
Fotografien von Tom Fecht im Museum DKM, Duisburg
WAZ – 10.05.2017
Tom Fecht – der Fotograf der tiefen Dunkelheit
Er geht mit seinen Kameras an den Rand der Zivilisation und macht Unsichbares sichtbar. Das Museum DKM zeigt die Ausstellung „TiefenZeit“.
RECENT MUSEUM ACQUISITIONS
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
THE DKM FOUNDATION in Duisburg, Germany acquired a selection of 5 large format works by Tom Fecht in 2018 and 2020, 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 in 2019 it is available at the Museum.
Güntherstraße 13 – 15, 47051 Duisburg, Germany
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
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
TIME II (Triptych) / Unique silk prints 150 x 265 cm each
Thermo-sublimation prints on aluminium framing
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
Galerie Laffanour DOWNTOWN Paris presents
Unique vintage prints by
9 Avril – 2 Juin 2018
13 Avenue du Comté Lynch
Monday-Saturday 10am-1pm & 2-6pm
and by appointment
18 November 2017 4 – 6 pm
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.
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.
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.
The presentation is primarily based on a visual dialog co-delivered by Mr. Fecht and Mr. Asmani.
An introduction to DARK MATTERs
By Emma Nilsson and Gérard Klein
28 pages / 30 x 18 cm / 19 illustrations
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
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)
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
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.
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)
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.
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
Gisèle Freund photographiert von Tom Fecht
Museum der Dinge – Werkbundarchiv
Exhibition catalogue Martin Gropius Bau, Berlin 2001
Edition of 500 numbered copies
Tom Fecht – Namen und Steine, Mémoire Nomade. Edited by Ulrich Heide and Dietmar Kamper. Cologne 1993, Bonn 1998, Springer Verlag Wien New York, 2001
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
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.