Thomas Demand at Museum of Contemporary Art Toronto

Thomas Demand at Museum of Contemporary Art Toronto

Thomas Demand at Museum of Contemporary Art Toronto

Thomas Demand refers to the work he’s most recognised for, photos of life-dimension paper types depicting familiar media images—such as the control center of Japan’s Fukushima Daiichi Nuclear Power Plant or the bathtub in which German politician Uwe Barschel died—as Hauptwege, or major roadways. But he’s also explored numerous Nebenwege, or facet alleys. As a result of these forays he’s stretched his official and conceptual engagement with the model, dissolving borders amongst distinctive media, fact and fiction, the ephemeral and the long-lasting. Demand’s exhibition here, “House of Card”—created with artists Martin Boyce and Rirkrit Tiravanija, and the London- and Zurich-based mostly architecture firm Caruso St John—puts forth various modes of collaboration, artmaking, and curation.

3 sets of significant Diasec photographic prints from Demand’s “Model Studies” sequence, 2011–20, depart from his regular tactic: Instead than documenting his have paper facsimiles, the artist presses his digicam lens deep into the textures, folds, and hues of others’ constructions—building prototypes by architect John Lautner and the Japanese business SANAA, and garment styles by couturier Azzedine Alaïa—to make vivid formalist compositions. These summary performs deliver Demand from customers back again to his early days as a painter. In other places, pictures of summary compositions made from fragments of white paper and cardboard models from SANAA hang on azure wallpaper—a substrate that is truly an enlarged photographic composite of a sheet of paper—patterned with sensitive creases and shadows.

Also on see are Demand’s sculptures and exploration materials for his to start with architectural project, The Triple Folly, 2022, built for the Kvadrat textile company’s headquarters in Denmark. Collaborating with Caruso St John, Demand references the centrality of paper in the pavilion. Each individual of its 3 joined buildings resemble a paper products: a folded piece of paper, a plate, and a soda jerk’s hat.

Installations by Boyce and Tiravanija contribute to the exhibition’s dizzying reverberation of the serious and its illustration. Built during independent residencies in Japan, Demand’s massive photograph of his scale product of a karaoke bar threatened with demolition and Tiravanija’s operating reproduction of the exact position create a playful conversation. Without a doubt, “House of Card” is a corridor of mirrors.