German conceptual artist Thomas Demand, adept at reshaping real scenes with paper and then capturing moments through photography, has been continuously merging paper installations and photographic art for the past 30 years. Each of his works represents a unique interpretation of historical events, showcasing innovation in both material and concept.
Born in Munich, Thomas Demand (1964 -) is primarily active in places like Berlin and Los Angeles. His work is renowned for large-scale photography and video projects, often taking inspiration from iconic images and footage of historical or social events. He meticulously reconstructs the scenes using paper models and ultimately aims to replicate these historical moments through camera angles and composition, attempting to trace back what is considered the truth and connect viewers with their own history and memories.
The retrospective exhibition “History in Stunned Silence,” after being held in Shanghai, Paris, Jerusalem, and other locations, finally makes its debut!
This exhibition is jointly produced by the Photography Exhibition Foundation, the Ullens Center for Contemporary Art, and the Taipei Fine Arts Museum, and it is curated by American curator Douglas Fogle. After three years of planning, it brings together nearly 70 works by Thomas Demand from the 1990s to the present, showcasing his 30-year practice that blends sculpture and photography. He also questions: “When I see so many photos, what I’m interested in is: Are there stories we don’t know, or can we see any symbols and metaphors as a result?”
Let us take a moment to savor the story behind each piece and immerse ourselves in the parallel universe created by this paper magician.
“Diving Platform”
(1994)
“The Diving Board” is Thomas Demand’s first mature work completed after obtaining his master’s degree at the London Goldsmiths. It features a gray tone presentation of the diving board and spectator seats, and the model is not constructed to a 1:1 scale. This work is particularly unique in Thomas Demand’s career as it is inspired by his childhood memories of learning to swim.
However, “Diving Board” drew significant attention when it first appeared in Munich, as audiences inadvertently associated its imagery with Nazi Germany’s 1936 Berlin Olympics and the famous diving sequences in the film “Olympia” (1938), commissioned by the Nazi regime. Thomas Demand is well aware of the potential associations his work may evoke, as the architecture displayed in the work was built by the Nazi regime to showcase art that had passed government censorship; these reactions also reflect the imagery crafted by Leni Riefenstahl in the film “Olympia” and its impact on historical consciousness.
“Hanami” (2014)
“Under the staircase leading to the garden, there stands a cherry blossom tree, adorned with what appear to be dazzling flowers. I was astonished at how early it had bloomed, suddenly realizing that if the cherry blossoms had already opened, then the plum blossoms must be in full bloom as well. However, I quickly realized that these flowers were artificial. Yet their hues are no less splendid than those of real flowers. To make them look so lifelike, what extraordinary skill must have been required! But the thought that if it were to start raining, these flowers would be completely ruined fills me with a tinge of sadness.” — Sei Shonagon, early 11th century, “The Pillow Book”
Inspired by Sei Shonagon’s “The Pillow Book” from the early 11th century, Thomas Demand has created a photographic wallpaper work titled “Hanami,” designed for an immersive architectural experience. Thomas Demand crafted countless cherry blossoms from paper, photographing them to create this dense and enveloping image.
The term “Hanami” originates from the Japanese tradition of flower viewing, symbolizing the fleeting bloom of cherry blossoms in spring and reflecting on the beauty and transience of life. Through Sei Shonagon’s descriptions of artificial cherry blossoms and Thomas Demand’s method of recreating flowers with paper, it prompts one to ponder: What do the brevity and cycles of life signify? Can imitation serve as a means of resisting reality, allowing beauty to endure?
One of the themes that Thomas Demand is interested in is how human culture interprets and represents “nature,” as well as the distinction between the artificial and the natural world.
“Boarding Ladder”
(2001)
An empty cabin doorway, seemingly mundane yet exuding a strange atmosphere — was someone just disembarking, or is an important figure about to make their entrance?
The prototype of this work comes from a news photograph of Pope John Paul II’s visit to Berlin. However, Thomas Demand intentionally removes all figures, directing our attention to the boarding stairs, akin to a photographic focus or a stage ready for “performance.” One can’t help but wonder what kind of conceptual construction lies behind these captured moments, and who the “actors” stepping onto the stage are.
“Pacific Rim”
(2012)
In the stop-motion animation work “Pacific Sun,” Thomas Demand recreates a widely circulated surveillance footage: inside a cruise ship cabin hit by giant waves from a tropical storm, an amusing scene unfolds as objects like tables, chairs, lockers, paper plates, and computer monitors slide back and forth.
This is Thomas Demand meticulously recreating these chaotic moments, frame by frame, using paper and cardboard over the course of three years.
Thomas Demand — The Stutter of History
Date: January 18, 2025 – May 11, 2025
Location: Taiwan | Taipei Fine Arts Museum, Exhibition Rooms 1A, 1B, Level 1
Source @tfam_museum
