One of the most acclaimed artists of his generation, Thomas Schütte’s real and invented forms, often distorted and unsettling, explore themes of cultural memory, struggle and the impossible utopian ideal. The past and present of the history of sculpture collide in the artist’s work. His motifs, which look seriously at the human condition, find their form in expressive physiognomies and typologies. He modulates these repeatedly and, as in this exhibition, tests a wide variety of materials, scales and dimensions. He explores and re-explores similar themes and imagery over time, leaving one series behind only to rework it later. The results...
One of the most acclaimed artists of his generation, Thomas Schütte’s real and invented forms, often distorted and unsettling, explore themes of cultural memory, struggle and the impossible utopian ideal. The past and present of the history of sculpture collide in the artist’s work. His motifs, which look seriously at the human condition, find their form in expressive physiognomies and typologies. He modulates these repeatedly and, as in this exhibition, tests a wide variety of materials, scales and dimensions. He explores and re-explores similar themes and imagery over time, leaving one series behind only to rework it later. The results are extensive series of works that reinvigorate figurative sculpture and update its classic subjects in the context of contemporary issues.
As viewers enter the exhibition, they encounter Nixe (2021), an enormous bronze mermaid who appears to be gazing into the sky. Her optimistic, upward-reaching form hails from the same fantastic realm as many of Schütte’s other monumental figures. Nixe kindles in the viewer’s imagination a range of possible narratives, setting the tone for the rest of the exhibition, which features a cast of figures in two mediums: ceramics and glass. Next to Nixe, the tilted head of Frauenkopf, implodiert (2020) offers a contrast to the uplifting presence of the mermaid, and as the viewer enters the gallery they will encounter an array of characters, each with a distinctive mood or expression. Enhanced by the Fake Flags (2018) on the walls, the works interact with each other to create a dynamic, open-ended conversation.
The lower gallery features a range of sculptures in glass. In a tightly organised line atop narrow plinths, the Guter Geist (2021) inhabit the space like colourful sprites. The recumbent heads You 24 and Me 24 (2018) have a peaceful yet melancholy presence, while Frauenkopf, halb and Männerkopf, halb (both 2022) have a severe dignity. The three Urne (2020) look at once futuristic and ancient – mysterious vessels that may have some practical function. Nearby, the Gartenzwerge (Serie Z) [Garden Gnomes] (2017) rest on the wooden table with a playful intensity.
