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Ricochet I

84 x 57,3

Showcase frame - Canadian Maple Brown

84 x 57,3 cm (External dimensions)

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1997/1999 / TFL03 Created in 1997/1999 / Published in / No. TFL03 TFL03
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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…
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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
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
1957born in Zwickau
1981move to Berlin (East)
1988emigration to Berlin (West)
lives and works in Berlin
2005Drei 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
2004Canadian Center of Architecture, Montreal
Kunstmuseum Bonn, Bonn (K)
Städtische Kunstsammlungen Chemnitz (K)
BALTIC Center for Contemporary Art, Gateshead (K)
2003reiter, 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
2001Enclosures, 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
2000Multiple Entry Extended, Galerie Markus Richter, Berlin
Multiple Entry, Städtische Kunstsammlungen Neubrandenburg, Neubrandenburg
Don't look now, m-Fotografie, Bochum
1999Peripheres Begehren, Galerie Markus Richter, Berlin
Gliederung, Albertinum, Staatliche Kunstsammlungen Dresden, Dresden (P)
Indicies, Gary Tatintsian Gallery, New York
1998Galerie 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)
1997Suburbia, Galerie Nikolaus Sonne, Berlin
Galerie Roziso, Moskau
1996Vor 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)
1994Aschenbach Galerie, Amsterdam
Plexus, Neuer Berliner Kunstverein, Berlin (K)
Forum Stadtpark, Graz
Plexus, Galerie Nikolaus Sonne, Berlin
Vanishing point, Goethe-House, New York
2005The 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
2004Rohkunstbau -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   
2003Keep 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)
2002Favela 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)
2001Shelter, 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
2000Der anagramatische Körper, ZKM, Karlsruhe
Samizdat, Akademie der Künste, Berlin (K)
La collection de photographie d'agnes b., Centre national de la photographie, Paris (K)
1999Tomorrow 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
1998Blick 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)
1997Die 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)
1996Technik: 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)
1995Metropole 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
1994Memento, 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)
1993Berlin 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

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