SELECTED WORKS BY Thomas Zipp
Schwarze Ballons (1. down, 2. up, 3. S.K., 4a. tumb...tumb..., 4b.ABCE, 5. little U-light, 6. L.E.M., 7. O.E., 8. Elektrizitait)
9 part installation
Thomas Zippâ€™s installations appropriate the language of museum and scientific display to convey a madman-made, foreboding view of western civilisationâ€™s achievements. Schwarze Ballons (2005), a nine-part installation, includes among its components framed drawings that look like archival documentation, and roughly painted portraits of menacing individuals with brightly lit eyes, like undead gangsters. Two large black balloon-shaped sculptures, one suspended and one resting on the floor, fill the space with a sinister air. The work as a whole feels like a futuristic memorial, the result of an unfamiliar modern witchcraft.
Der Schlaf IV (y-drops)
Acrylic and oil on muslin/ mixed media /chandelier (3 Parts)
250 x 340cm / 32 x 27 cm / 166 x 155cm
Der Schlaf IV (y-drops) (2006) is an ominous installation in greyscale, consisting of a painting, a framed sheet with a crossed line and needle pricks, and chandeliers made out of fluorescent tubes. Sleep (the English translation of Der Schlaf) and the dark realm of the unconscious are referenced in the title and the mountain topped with sexually charged shapes painted in black. The framed sheet, with its unreadable message, points to indecipherable depths of dream logic and the impossibility of understanding even with the help of the bright lights overhead.
Acrylic and oil on canvas/ mixed media (3 Parts)
250 x 340cm / 160 x 200 cm / 32 x 27cm
In Zippâ€™s works, the free-association of the unconscious is an entry point into investigating collective guilt. E-Licht (2006), another museum-like display, juxtaposes two paintings â€“ one of a flying zeppelin and the other a large, nervous abstraction â€“ with a schematic drawing, like a minimalist condensation of idealist values from a previous era. A.B.:H.G.:B.16. (2005) and World Kantzler Office (2004) appropriate the codes of war-cabinet imagery to playfully question the way history is constructed.
Acrylic and oil on canvas / Mixed Media
Asked about his practice, Zipp responds with a brief history of lysergic acid diethylamine, aka LSD, and its early transition from medical hope to potential CIA tool for mind-control and chemical warfare. Each of Zippâ€™s charismatic works aims to shed light on the quasi-fictional truths of post-Enlightenment so-called progress, conveying a sense of the real darkness lurking behind irrational, violent acts that are historically constructed as victories.
World Kantzler Office - detail
300 x 400 x 250cm