installation view at Vilma Gold, London / March 2016

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installation view at Vilma Gold, London / March 2016

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installation view at Vilma Gold, London / March 2016

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installation view at Vilma Gold, London / March 2016

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installation view at Vilma Gold, London / March 2016

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Dysfunctional Setup, 2016
walnut frame, cement plinth, engraved metal label, UV-print on acrylic glass
140 x 46 x 9 cm, 55 1/8 x 18 1/8 x 3 1/2 ins

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Significant Other, 2016
walnut frame, cement plinth, engraved metal label, lacquer on canvas, acrylic glass
140 x 46 x 9 cm 55 1/8 x 18 1/8 x 3 1/2 ins

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Jack and Kate, 2016
walnut frame, cement plinth, engraved metal label, UV-print on acrylic glass, canvas on stretcher
140 x 46 x 9 cm 55 1/8 x 18 1/8 x 3 1/2 ins

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Weekend Habits (MRT4000 Bouncer), 2016
walnut frame, cement plinth, engraved metal label, UV-print on canvas and acrylic glass
140 x 46 x 9 cm 55 1/8 x 18 1/8 x 3 1/2 ins

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Weekend Habits (MRT4000 Bouncer), 2016
walnut frame, cement plinth, engraved metal label, UV-print on canvas and acrylic glass
140 x 46 x 9 cm 55 1/8 x 18 1/8 x 3 1/2 ins

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People were so nice and friendly and most spoke english, 2016
walnut frame, cement plinth, engraved metal label, ink on canvas, acrylic glass
140 x 46 x 9 cm 55 1/8 x 18 1/8 x 3 1/2

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Whitney to Britney, 2016
walnut Frame, cement plinth, engraved metal label, pins, photograph
140 x 46 x 9 cm 55 1/8 x 18 1/8 x 3 1/2 ins

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installation view at Vilma Gold, London / March 2016

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High 5 and Low 5, 2016
walnut frame, cement plinth, engraved metal label, UV-print on acrylic glass
140 x 46 x 9 cm 55 1/8 x 18 1/8 x 3 1/2 ins

all images courtesy the artist and Vilma Gold, London

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2 is the title of the new solo exhibition of PHILIPP TIMISCHL that opened a few days ago at Vilma Gold in London. 2 features a series of sculptures that look like anti-theft antenna as you can seen in shops. Each sculpture consists of two parts that face each other.

Both surface and support, these elements are placed within the exhibition space in two different ways although they seem to follow a kind of systematic modularity: most of these autonomous pieces are flirting with the exhibition walls, while two pairs are placed in a way that enables a passage between them.

By watching at these images depicting TIMISCHL‘s skinny objects that reveal their thickness and emptiness in a literal way, I can’t help but to think about CLEMENT GREENBERG who wrote in Art and Literature in the 60’s that ‘it was the stressing of the ineluctable flatness of the surface that remained, however, more fundamental than anything else to the processes by which pictorial art criticized and defined itself under Modernism‘.

2 by PHILIPP TIMISCHL is on view at Vilma Gold in London until April 16, 2016. Please note also that a work by TIMISCHL is presented in the group exhibition entitled Overseas BF at Glovebox in Auckland, New Zealand.

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