{"id":1426,"date":"2018-03-13T23:47:26","date_gmt":"2018-03-13T21:47:26","guid":{"rendered":"http:\/\/uba.lt\/kim\/?p=1426"},"modified":"2019-01-10T16:42:51","modified_gmt":"2019-01-10T14:42:51","slug":"tobias-kaspar","status":"publish","type":"post","link":"https:\/\/kim.lv\/en\/tobias-kaspar\/","title":{"rendered":"Solo Show by Tobias Kaspar"},"content":{"rendered":"&nbsp;<\/p>\n<p>In an essay on self-portraiture T.J. Clark once wrote: \u201cLooking too hard at oneself is embarrassing. Even self-consciousness is an equivocal concept (more so in English than French): some contexts make it a high and difficult attainment, and others an unfortunate condition linked with adolescence and bad skin.\u201d It is within this contradiction and slippery ground that Tobias Kaspar in this exhibition has produced a new set-up to continue his ongoing investigation of the genres of portraiture and self-portraiture. The exhibition follows Kaspar\u2019s main guidelines as presented in the work <em>Bodies in the Backdrop<\/em> (2012), <em>Friends, Lovers &amp; Financiers<\/em> (2014), <em>Two Cities &#8211; Two Lives<\/em> (2015), <em>The Street <\/em>(2016) and <em>New Address, <\/em>a publication, published earlier this year,which marked the artists move to Riga. Based on a longer series of artist talks titled <em>Roommate Education<\/em>, the publication picks up the genre of the \u201cmaking of\u201d. Best known from feature movies; the second, the side product, the \u201cmaking of\u201d, a tool to market \u201cexperience\u201d, which suggests that the process of making the film provides more insight and necessary information about the film itself. These are also called the \u201cresulting products\u201d, a never ending game of a product of a product of a product.<\/p>\n<span class=\"indent\"><\/span>The portrait Kaspar generates for this exhibition is a set-up dedicated to Leo Tolstoy\u2019s <em>Anna Karenina. <\/em>Following a long history of women characters being used by male writers to make a point in regard to social political conditions, Anna Kareninais a prop set in the foreground meantto underline the background. The character that Tolstoy draws, and the conditions and circumstances that, today could be witnessed ina tragic Telenovela play, are carried out within the figure of Karenina.<\/p>\n<span class=\"indent\"><\/span>Gertrude Stein\u2019s \u201cword-portraits\u201d were written by arranging unrelated words in an insistent, repetitive style intended to capture the psychological essence of her subjects rather than any physiognomically visible \u201ctruths\u201d. During the late 1910s and early 1920s, artists in the United States and Europe sought to create visual equivalents of Stein\u2019s literary explorations. These \u201cobject portraits\u201d exclude all figurative and retinal images of the sitter. By borrowing from advertisements, media images, and mail-order catalogues, Picabia created \u201cmechanical\u201d portraits in which he represented his friends and others by usingparts of machinery. For Proust or Bergson, portraiture involved an exploration of the \u201csitter\u2019s\u201d motives and circumstances.<\/p>\n<span class=\"indent\"><\/span>A central element of this exhibition poses a text-photo work <em>Anna K<\/em>. with close-ups from tennis courts in Riga and Rome and selected sentences from Tolstoy\u2019s novel on themes such as farming, domestic life, currency and the socio-political setting of the novel\u2019s main plot. The photographs are accompanied by an installation made out of objects selected in regard to their attributed symbolic value of class and lifestyle. Many of the appropriated objects\u2019 \u2013 in the exhibition cast in porcelain or bronze \u2013 original producers from Latvia and elsewhere are listed as the exhibition\u2019s corporate sponsors.<\/p>\n<span class=\"indent\"><\/span>This portrait is a messy one, a complex mix of ambiguities and contradictions, of containment, detachment, distance, sang-froid and self-possession. The opening at Kim?coincides with the time the ballet \u201cAnna Karenina\u201d is being staged at the Latvian National Opera and Ballet, which celebrates the 10th anniversary of being in the Opera\u2019s repertoire. By the thematic choice of Anna Karenina, Kaspar is creating a site-specific installation with closeness and pointing out to another cultural event, another genre surrounded by artistic tension and apparent dependency.<\/p>\n<p>&nbsp;<\/p>\n<p>Last spring <span style=\"text-decoration: underline;\">Tobias Kaspar<\/span> (b. 1984) staged the 24h exhibition <em>The Street <\/em>inside the Cinecitt\u00e0 Film Studios in Rome. The year before, the artist opened <em>Toby\u2019s Tristram Shandy Shop <\/em>at Udolpho in Berlin to sell first editions of Laurence Sterne\u2019s <em>The Life and Opinions of Tristram Shandy, Gentleman<\/em>. In 2012, Tobias Kaspar founded his eponymous jeans line and since 2009 he is the co-publisher of PROVENCE &#8211; an eight-issue magazine dedicated to leisure. He is also the initiator and founder of The Latvian Institute Rome. Tobias Kaspar\u2019s work has been shown in numerous institutions, including the Museum of Modern Art in Warsaw (2016), Istituto Svizzero di Roma (2015), Wattis Institute for Contemporary Art, San Francisco (2015), Solo Shows, S\u00e3o Paulo (2015), CAFAM Biennale, Beijing (2014), Kunsthalle Wien (2014), Kunsthalle St. Gallen (2014), Midway Contemporary Art, Minneapolis (2013), Artists Space, New York (2013), Palais de Tokyo, Paris (2012), Kunsthalle Z\u00fcrich (2011), Kunsthalle Basel (2011), Museum Hamburger Bahnhof, Berlin (2011), Kunsthaus Bregenz (2011), K\u00fcnstlerhaus Stuttgart (2010).","protected":false},"excerpt":{"rendered":"<p>&nbsp; In an essay on self-portraiture T.J. Clark once wrote: \u201cLooking too hard at oneself is embarrassing. Even self-consciousness is an equivocal concept (more so in English than French): some contexts make it a high and difficult attainment, and others an unfortunate condition linked with adolescence and bad skin.\u201d It is within this contradiction and [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[3,4,26],"tags":[],"class_list":["post-1426","post","type-post","status-publish","format-standard","hentry","category-2017-exhibitions","category-kim-exhibitions","category-past-exhibitions"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v21.9 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Solo Show by Tobias Kaspar - Kim? 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