Thomas Locher

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18. MARX / CAPITAL ( COMPULSORY LABOUR IS JUST A PROPERLY MEASURED BY TIME, AS COMMODITY-PRODUCING LABOUR; BUT EVERY SERF KNOWS THAT WHAT HE EXPENDS IN THE SERVICE OF HIS LORD, IS A DEFINITE QUANTITY OF HIS OWN PERSONAL LABOUR POWER), 2009
wood, acryl, aluminium
156 x 180 cm

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GIFT. TO GIVE. GIVING. GIVEN. GIFT, IF THERE IS ANY...(J.D.)#2, 2006
Laserchrome on Dibond, frame, ed. 2
131 x 102,6 cm

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GIFT. TO GIVE. GIVING. GIVEN. GIFT, IF THERE IS ANY...(J.D.)#5, 2006
Laserchrome on Dibond, frame, ed. 2, 1/2
128,4 x 100 cm

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GIFT. TO GIVE. GIVING. GIVEN. GIFT, IF THERE IS ANY...(J.D.)#12, 2006
Laserchrome on Dibond, frame
43.3 x 53.3 inches

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Universal declaration of human rights / Article 9, No one shall be subjected to arbitrary arrest, detention or exile., 2005/06
C-print on Diasec, aluminiumframe, ed. 2
47.63 x 38.74 inches

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A-Q, 2002
Stainless steel (polished), powder-coated aluminum
228 x 180 x 15 cm

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Politics of communication / Large series, 2000
Aluminium, steel (powder coated lacquered), foil, silk print, ed. 3
142 x 148 x 5 cm

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Fenster #8, Ware wird produziert um verkauft zu werden., 1999
Window (Schüco System), glass, silkscreen
80 x 80 x 12,5 cm

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Fenster #11, Was mir gehört kann nicht dir gehören., 1999
Window (Schüco System), glass, silkscreen
80 x 80 x 12,5 cm

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Window / Construction # 1, The Slave is dependent on the Master, 1998
Windows, aluminium, silkscreen
200 x 211,5 x 111,5 cm

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1.1. - 7, 1994
Photography
145 x 105 x 6,5 cm

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Either-Or / More Or Less, 1989
Silkscreenprint on formica mounted on wood
4 parts, 160 x 108 x 8 cm ea.

Thomas Locher

Thomas Locher (born in 1956), a pioneering German artist for the realm of neo-conceptual art, achieved international renown for his spatial text works and installations. He has been consistently concerned for many years with foundations like the grammatical order of language and the complexity of its functioning in legal texts or economics, foundations that seem permanent, but nonetheless contain a portion of fictionality. His engagement with systems of meaning stretches also to their content, especially the political implications and the practical impacts on the life reality of individuals and groups. If we speak about Thomas Locher’s works, we are tempted to follow the conceptuality of the theories that lie at their foundation. But his works do not represent linguistic or sociological research, nor are they theories set into image. They stand as artworks, as aesthetic units of their own, their consistent design, sober on first glance, on second glance soaked in irony, allow us to follow his considerations without reference to theories.

Thomas Locher has exhibited his work around the world: Tate Gallery, Liverpool (1989), Museum of Contemporary Art, Sydney (1992), Museum of Modern Art, Saitama/Japan (1994), Deichtorhallen  (2004) and MoMA (2006). Locher’s works are today included in important public collections like Museu d’Art Contemporani de Barcelona, Museum of Modern Art, New York, Vancouver Art Gallery, Grafische Sammlung Albertina, and Staatsgalerie Stuttgart.