{"id":504728,"date":"2022-01-13T00:00:00","date_gmt":"1970-01-01T00:00:00","guid":{"rendered":"https:\/\/numero.com\/culture\/photographer-thomas-demand-blurs-the-lines-between-reality-and-fiction-in-a-fake-news-era\/"},"modified":"2022-01-13T00:00:00","modified_gmt":"1970-01-01T00:00:00","slug":"photographer-thomas-demand-blurs-the-lines-between-reality-and-fiction-in-a-fake-news-era","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/culture\/photographer-thomas-demand-blurs-the-lines-between-reality-and-fiction-in-a-fake-news-era\/","title":{"rendered":"Photographer Thomas Demand blurs the lines between reality and fiction in a fake news era"},"content":{"rendered":"\n
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Thomas Demand by Karl Felix.<\/figcaption>\n <\/figure>\n \n

Num\u00e9ro art : Your photographs often feature a life-size reconstruction of a crime scene, regardless of whether it\u2019s really a crime or a political event… These photos are also often inspired by images found in the press or archives, or come from police sources. Your art re- volves around the relationship between truth and truthfulness, between reliable information and falsified information. But the artwork that results from your methodology is itself an \u201cartefact.\u201d Why should we trust the intentions of an artist and a work of art more than an anonymous source of information?<\/b><\/p>\r\n\r\n

Thomas Demand :<\/b> Firstly, it\u2019s difficult these days to know whether the original source of information, anonymous or not, is real, simply because images can now be manipulated in such a way that no one is aware of the manipulation. Secondly, I\u2019m not interested in factual truth, I\u2019m more interested in truthfulness in a literary sense. If a writer like Vladimir Nabokov talks about his childhood in St. Petersburg, you might be able to prove that his uncle\u2019s name was Boris not Igor, but that won\u2019t change the literary quality of his book. I hope the same goes for me \u2013 I don\u2019t work with facts but with the telling of those facts, with the ability to com- municate and with the proliferation of images in a societal context. For my art, I don\u2019t need factual truth, my subject is the fictional capacity of an image to tell us something.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

You mention a very important concept: fiction. What significance does fiction have in your art?<\/b><\/p>\r\n\r\n

For the last ten years or so, we have been forced to get used to the notion of the fake, to the deliberate claims of a manipulated reality or truth. The same goes for photogra- phy: its truth content is very diminished, yet we\u2019ve learnt to live with it. Our iconography is probably different from that of 50 or 70 years ago, but we deal with it quite well. That\u2019s what interests me as an artist. We have this ability to analyse the authenticity of each image and to verify its source.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

How do you choose your subjects, and according to what criteria? You mentioned the societal importance, but are there also more personal connections \u2013 to your own biography for example? <\/b>There are, but as an individual I\u2019m not very interesting. So I have to find a way to eliminate everything that is autobiographical. For example, I have a photo of myself as a child, taken in my room, among my toys. What interests me in this photo is the toy as a model, our relationship with toys, their cultural significance at that time. That\u2019s why I built a model of my childhood bedroom, which I then photo- graphed. And then there are the Dailies<\/i>, everyday impres- sions that I photograph while walking down the street, like a passerby. They\u2019re a kind of visual haiku that you can walk through. I\u2019m showing some of them in Santander.<\/p>\r\n\n

\n \"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>\n
Thomas Demand by Karl Felix.<\/figcaption>\n <\/figure>\n \n \n
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Thomas Demand by Karl Felix.<\/figcaption>\n <\/figure>\n \n

What is the difference between your models and the media images you use? What do you eliminate?<\/b>
\r\nI try to eliminate the anecdotal from the image. Anything that I consider anecdotal, I remove. I strive to create a specific moment in which a person could potentially arrive at a place, or in which another person has just left. I\u2019m not interested in idealizing the look of the place, but I want to put it into a certain temporality.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

The disappearance of the human being plays a large part in your \u201cpurification\u201d of the model: the human being exists only as a trace, a possibility. The most important protagonist is the architecture of the place. <\/b>
\r\nIf a place is interesting, if it has a certain atmosphere, then it can tell its own story. But sometimes, thanks to a remarkable event, quite trivial places suddenly acquire an aura. Unexpectedly they are no longer trivial at all, or become even more trivial, but that can be interesting too. And yet the objects in the place always remain the same, and that\u2019s precisely what interests me. At what point does a space acquire its aura, when does it start to tell its story? There is no one in my pictures, that\u2019s true, but there is nevertheless a human presence, which is mine. Because everything you see is made with my own hands. And there\u2019s another factor that shouldn\u2019t be underestimated: that a space is empty, that no one occupies it, makes it easier to project yourself into that space. Because if other human beings were present, it would inevitably add a narrative to the image.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

What role do the dimensions of your models and the format of your photographs play?<\/b>
\r\nI live with the 1:1 scale. The building opposite me is 1:1, as are all the objects around me. Why increase or decrease them? To reduce them would perhaps make them cuter, but I want to avoid this cutesy aspect. My models are sculptures, and as sculptures they have a certain presence in space. Thanks to the 1:1 scale, I can draw on my daily life and experiences. I can make them credible. As far as the photos are concerned, they function as windows, which is why I need the large format.<\/p>\r\n\n

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Thomas Demand, \u201cMarkise Canopy\u201d (2020). C-print\/Diasec. 180 x 144 cm. Centro Bot\u00edn \u00a9 Thomas Demand, VG Bild-Kunst, Bonn\/VEGAP, Madrid<\/figcaption>\n <\/figure>\n \n \n
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Thomas Demand, \u201cFolders\u201d (2017). C-print\/Diasec. 125 x 195 cm. \u00a9 Thomas Demand, VG Bild-Kunst, Bonn\/ADAGP, Paris. Courtesy of the artist and Matthew Marks Gallery\/Spr\u00fcth Magers Gallery\/Esther Schipper Gallery\/Taka Ishii Gallery<\/figcaption>\n <\/figure>\n \n \n
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Thomas Demand, \u201cRuine\u201d (2017). C-print\/Diasec. 180 x 300 cm. \u00a9 Thomas Demand, VG Bild-Kunst, Bonn\/ADAGP, Paris. Courtesy of the artist and Matthew Marks Gallery\/Spr\u00fcth Magers Gallery\/Esther Schipper Gallery\/Taka Ishii Gallery<\/figcaption>\n <\/figure>\n \n

Your titles are at once precise and minimalist, and yet always slightly vague. <\/b>
\r\nIt depends. Because I\u2019m trying to get in touch with the memory of an image or a place discovered in the media, I try to find simple titles, but without them being totally vague. For example, I don\u2019t want to give up the title by writing Untitled<\/i>. The title must be related to the place and the subject without limiting the interpretation.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

The Centro Bot\u00edn has allowed you to create a very spe- cial layout for your exhibition, a sort of \u201curban land- scape.\u201d Can you talk about this?<\/b>
\r\nThe aim is to create an exhibition for the local public, i.e. people who are not necessarily so familiar with art. The Mundo de Papel <\/i>exhibition is made up of about 30 photographs, plus eight pavilions. These pavilions, which hang from the ceiling and float about 30 cm above the floor, can be accessed by the public. Renzo Piano\u2019s Centro Bot\u00edn stands on pilotis that you can walk around. Statically it\u2019s very daring: it\u2019s located by the sea and is partly built over the ocean, so it was necessary to balance it from an engi- neering point of view, resulting in a massive, heavy steel ceiling that is visually very dominant in the exhibition space. That\u2019s why this ceiling is usually hidden behind some kind of cladding, but I find it very original, so I decided to hang my whole exhibition from it.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

So the room is just one single space? <\/b>
\r\nExactly, but the public can enter the eight pavilions sus- pended from the ceiling. There\u2019s one that I call \u201cTrump Tower,\u201d which contains two works about Donald Trump. Then there\u2019s a perfectly round pavilion that serves as a cinema for my films. Another is shaped like a labyrinth, another is reminiscent of 19th-century museums with stucoed ceilings, and so on. The two long perimeter walls are lined with a kind of forest made of pipes, and the inside of the pavilions is also lined with various images, as well as instructions in folded paper.<\/p>\r\n\n

\n \"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>\n
Thomas Demand, \u201cBalloons\u201d (2018), Video animation. 7 min, 47 s. \u00a9 Thomas Demand, VG Bild-Kunst, Bonn\/ADAGP, Paris. Courtesy of the artist and Matthew Marks Gallery\/Spr\u00fcth Magers Gallery\/Esther Schipper Gallery\/Taka Ishii Gallery\r\n<\/figcaption>\n <\/figure>\n \n \n
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Thomas Demand, \u201cDaily #15\u201d (2011). Framed dye transfer print. 73,8 x 59 cm. Centro Bot\u00edn \u00a9 Thomas Demand, VG Bild-Kunst, Bonn\/VEGAP, Madrid<\/figcaption>\n <\/figure>\n \n

Why this staging of works that already deal with the subject of staging? <\/b>
\r\nMost museums have their own characteristics. Some have a single, large exhibition space. This puts limits on artists and makes it difficult for them to show their work. For me, an exhibition is much more than the sum of the pieces presented.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

For the public, this means that diving into a particular world, typical of your art, gains another dimension thanks to the staging of the exhibition.<\/b>
\r\nYes, the theatrical effect is both reinforced and adjusted, because normally the two-dimensional photograph replaces a three-dimensional model made in the studio. In the exhibition space, the three-dimensional effect becomes even stronger, without using the same means. And I have to admit that this extra dimension of the exhibition features amuses me, it makes me happy. <\/b><\/p>\r\n\r\n

 <\/p>\r\n\r\n

Collaborating with other artists, curators or architects seems to be very important to you, the most famous example being the exhibition The Boat is Leaking. The Captain Lied. in 2017 at the Prada Foundation in Venice. Why this desire to collaborate? <\/b>
\r\nMy works are born in my studio, where I\u2019m alone, working with my hands and not on a screen. Creation is done in solitude, but when it\u2019s finished a new chapter begins, the exhibition, and for that I need help. This is all the more necessary when you don\u2019t produce much and you don\u2019t want to exhibit the same work all the time. For exhibitions, you have to try to find constellations that allow a different reading of the works, different even from their author\u2019s initial intentions. And here we need others, people like the film- maker and intellectual Alexander Kluge, or the curator Udo Kittelmann. Sometimes it\u2019s difficult to know the result in advance, but if everything goes well a dialogue is born, like a game of ping-pong. Where architects are concerned, they were interested in my work very early on, and I\u2019ve always been interested in architecture too.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

 <\/p>\r\n\r\n

Thomas Demand, Mundo de Papel<\/em>, Centre Bot\u00edn, Santander. Until 6th march of 2022.<\/strong><\/p>\r\n\n

\n \"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>\n
Thomas Demand, \u201cDaily #26\u201d (2015). Framed dye transfer print. 66,7 x 51,7 cm \u00a9 Thomas Demand, VG Bild-Kunst, Bonn\/ADAGP, Paris. Courtesy of the artist and Matthew Marks Gallery\/Spr\u00fcth Magers Gallery\/Esther Schipper Gallery\/Taka Ishii Gallery<\/figcaption>\n <\/figure>\n \n \n
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Thomas Demand, \u201cDaily #34\u201d (2020). Framed dye transfer print. 68,1 x 56,7 cm \u00a9 Thomas Demand, VG Bild-Kunst, Bonn\/ADAGP, Paris. Courtesy of the artist and Matthew Marks Gallery\/Spr\u00fcth Magers Gallery\/Esther Schipper Gallery\/Taka Ishii Gallery<\/figcaption>\n <\/figure>\n \n ","protected":false},"excerpt":{"rendered":"

Num\u00e9ro art : Your photographs often feature a life-size reconstruction of a crime scene, regardless […]<\/p>\n

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