17-18 Golden Square, London W1F 9JJ
T +44 (0)20 7494 1550 ~ F +44 (0)20 7287 3733
Published in ArtNet News, February 2016
“The museum is only for sculptures. We won’t be drilling hundreds of holes into the walls and hanging pictures here,” Schütte told Deutschlandfunk. “What’s missing is a large exhibition space for sculpture; there’s lots of spaces here in Hombroich, but they’re only white cubes. Pictures, photos, video—that doesn’t really interest me. This space is meant for sculptures.”
Published in Kaleidoscope, November 2009
Published in Frieze, October 2009
[Thomas Schütte] has long pursued a multivalent practice that – though it grew of the Minimalism and Conceptualism of the early 1970s Dusseldorf, where Schütte studied under Gerhard Richter and Benjamin Buchloh – has spoken mostly to itself. That conversation, broaching biggies like power, modernity and monument-making, carries forth with an internal humour that the viewer readily identifies but cannot entirely understand. Obscure or not, it’s this humour – dry, dark, a bit jumpy – that ties together Schütte’s wide-ranging oeuvre.
Published in Art Monthly, 1 December 2007
‘Fake/Function’ demonstrates Schutte’s exceptional ability to anticipate the conditions of the spaces in which his work will be seen and to incorporate those conditions into his work. It reminds us of his early preoccupation with the framework of the museum. The exhibition makes us conscious of how this mastery of context informs so much of Schutte’s subsequent work, from the celebrated commissions for Munster to the present sculpture for the Fourth Plinth in Trafalgar Square.
Published in ArtReview, December 2007 ( Issue 17 )
Though Schütte rejected the idioms of Düsseldorf, he has retained its belief that art should bear a social conscience, and he has frequently addressed both recent German history and current concerns. At Documenta in 1992 Schütte showed Die Fremden (The Foreigners), ceramic lifesize figures shaped like lumpen vases, with downcast eyes and assorted luggage, which were placed around the German city of Kassel. The strike at debates about ‘Germanness’ was unmistakable, but the figures themselves were fragile, sad things, which looked as if the political message they carried had been forced upon them, much as a train delay, discrimination or change in immigration laws might be. Their bottom halves were shaped like urns, and they resembled legless ‘little people’ toy dolls – a meeting point of Schütte’s imagination and political realities.
© Copyright 2017 Frith Street Gallery