10-02-10

Christoph Broich in the russian magazine HOOLIGAN

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30-01-10

publication Christoph Broich in Dom Interieur

Dom i Interieur 10 - 09 cover

Dom i Interieur 10 -09 Broich

07-02-08

last days T.A.A.T.T.I. in Paris

take the last chance 

Christoph Broich shows at galerie Griesmar-Tamer in Paris untill February 16th

40, rue de Richelieu
75001 Paris (metro Palais Royal - Louvre)

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Voloptuous Panic is the sixth and last room. Inspired by Weimar bacchanalia, (the title is taken from Mel Gordon's book on Weimar Berlin,) Christoph Broich‘s curious manipulated, sculpted elements populate a weirdly decadent environment. Suspended from the ceiling and spatially isolated through perspectival techniques, Broich’s skinned sculptures focus on deterioration and present the reversal of the natural process: skin and flesh decomposing first and the skeleton remaining.

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24-12-07

ENVOY @ GALERIE GRIESMAR-TAMER, PARIS

TAATTII . THE APPEARANCE AND THE THING ITSELF
envoy visits Griesmar&Tamer
10 January 2008 - 16 Fenruary 2008 . Tue thru Sat 11-6

Envoy is happy to announce its visit to Griesmar&Tamer gallery, with a group show and five solo exhibitions that are curated around the theme of the appearance and the thing in itself.

TAATTII is the abbreviation for “The Appearance And The Thing In Itself.” It is a playful reference to TATI, Schopenhauer's comments on Kant's philosophy and the way art (the thing in itself) is interpreted (appearance).
"As it appears" and "In itself" are two ways of looking at "art." In six rooms, a play on the appearance and the thing itself is played out.

In the first room , named Arthur, each artist represented by envoy, is presented with a piece that was created in response to one of five provided quotes by Arthur Schopenhauer.
The second room Darling Companion presents sister exhibitions by James J. Williams III, What Does Darling Mean to Your? and As They Appear Upon Dissection. The works in Darling are studies in relationship power struggles, sadism, healing through bleeding, loving, fucking, and losing our everything. Dissection is the addendum to Darling. It is mourning. It is clear and concise and gilded and black and empties itself as sacrifice to something or someone bigger.
In Rafi, the third room, Raphaël Neal skillfully introduces the uncanny—whether it is an unexpected criminality or a haunting presence—into the mundane everyday and its subtly shifting perspectives. It‘s a direct account of youthful lives unfolding against a rugged landscape in which a strange tenderness is being omitted. Neal is a subtle observer of the ebb and flow of desire and its influence on the sexual dynamics flowing between people.
The fourth room, named Nothing, contains Michael Yinger’s installation "all I know is that I don't know nothin’,” a personalized map of the United States, a summary of everything in one that is about all the trials and tribulations, intense over-analyzing and complete inventory of a persons core being.
The work of Donatien Veismann occupies the fifth room, named Tomato-Ketchup Emperor. The name of the room refers to the 1970 Shuji Terayama movie "Emperor Tomato-Ketchup," in which children take over the power and turn the world into a huge dictatorship. It also refers to the artist’s obsession with Ronald McDonald, the Ketchup clown who, in the artist’s opinion, crystallizes many things: both ideal and scary he is a modern icon, a philosopher with a spider smile ,the symbol of consumption society, ...
Voloptuous Panic is the sixth and last room. Inspired by Weimar bacchanalia, (the title is taken from Mel Gordon's book on Weimar Berlin,) Christoph Broich‘s curious manipulated, sculpted elements populate a weirdly decadent environment. Suspended from the ceiling and spatially isolated through perspectival techniques, Broich’s skinned sculptures focus on deterioration and present the reversal of the natural process: skin and flesh decomposing first and the skeleton remaining.

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Now that you have been fed the appearance, it is up to you to look at the things in itself.

 

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