Tobias rehberger biography of michael jackson

Rirkrit Tiravanija. Tarek Atoui. Jean Tinguely. Anne Duk Hee Jordan. Steirischer Herbst Kapwani Kiwanga. Reto Pulfer.

Tobias rehberger biography of michael jackson: In recycling a contemporary icon

Kader Attia. I die every day, Cor. Nieder mit dem Imperialismus und andere Rahmen und Sockel. Tobias Rehberger. Luci diffuse, Viafarini, Milan, IT. Waiting Room—Also? Wir gehen? Gehen wir! Augsburg K. The Voice of Things. Highlights of the Centre Pompidou Collection, Vol. Hamburger Kunsthalle, Hamburg, DE. Eine Geschichte. Solid Liquids. Wie leben?

Afinidades Electivas. Life in a Castle. M Home: Living in Space. Une Histoire. Zeichen, Sprache, Bilder. Abendlandadieuvorkommnissen mal eine Fuge entgegenhaltenKunstverein Offenburg-Mittelbaden e. Back to Earth. Von Picasso bis Ai Weiwei. Manifesto Collage.

Tobias rehberger biography of michael jackson: The third solo exhibition

A Window on the World. For his art-car series, a project that he began inRehberger sent simple sketches, composed essentially from memory, of a Porsche and a McLaren F1 to a manufacturer in Thailand. There were no measurements or schematics included. The only parameters were that the cars had to be driveable and built to human scale.

Rehberger also spent some time in Cameroonwhere he provided native crafts workers with his crude drawings of well-known modernist chairs and asked them to recreate the designs. The results were filled with cultural misreadings: Alvar Aalto 's classic three-legged stool, for instance, was given an extra leg for stability. On the east side of Madison Square Park in New York, Rehberger in created Tsutsumuan elegant Japanese garden made up of a large bonsai tree, a bench and a rock.

Tobias rehberger biography of michael jackson: In , Rehberger travelled

Early in the morning, even on sweltering August days, the Public Art Fund sprayed the garden with four inches of man-made snow. There is always some kind of function. My work has often been misunderstood as some kind of social interference. For example, I could use a bronze Giacometti sculpture to hammer a nail into a wall. However, an artwork is often more successful as a tool to develop your ideas than as a hammer.

It all depends on the perspective from which you view the work. Another misunderstanding is that my work is close to design. For me that is not an interesting question. I am not particularly interested in design as design. There are design strategies that raise interesting questions about how I think about art. My work is more about differentiating between art and design, trying to define the differences rather than merging the two fields.

I also had the impression that you use different strategies from design to introduce the element of time. The first edition of the work was made inthe second one inboth in the design styles of those years … One very interesting phenomenon in relation to time is fashion. The idea of fashion relates to the definition of something in time. The work you just mentioned poses the question: what happens if the visual appearance of a work changes in time without the content having changed?

Or is the surface completely irrelevant? And advertising does this well, so that is something we artists need not concern ourselves with, just like we no longer need to concern ourselves with an exact naturalistic representation in a portrait. Art is mostly about the possibility of making art, about its circumstances and its conditions. And in this respect it is an example to other fields just like mathematics is.