- Timo Seber

Timo Seber

Baumi, 2015

Baumi, 2015, c-print on leather, 67 x 36 x 32 cm

BigDaddy, 2015

Big Daddy, 2015, c-print on leather, 67 x 36 x 32 cm

IceIceIce, 2015

IceIceIce, 2015, c-print on leather, 67 x 36 x 32 cm

Synderen, 2015

Synderen, 2015, c-print on leather, 67 x 36 x 32 cm

Timo Seber, TECHIES, April — June 2015, Tobias Naehring, Leipzig
http://www.tobiasnaehring.de

Timo Seber, TWITCH, April — June 2015, GAK – Gesellschaft für aktuelle Kunst, Bremen
http://www.gak-bremen.de/en/exhibitions/timo-seber

(Images courtesy the artist, Tobias Naehring, Leipzig & GAK, Bremen. Photography by Tobias Hübel & Falk Messerschmidt)

May 12, 2015
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Timo Seber

Techies#2, 2015 (Detail)

Techies #2, 2015 (detail)

Techies #2, 2015

Techies #2, 2015, c-print on leather, hemp rope, steel, dimensions variable

Techies #3, 2015 (Detail)

Techies #3, 2015 (detail)

Techies #3, 2015

Techies #3, 2015, c-print on leather, hemp rope, steel, dimensions variable

Techies #11, 2015 (Detail)

Techies #11, 2015 (detail)

Techies #11, 2015

Techies #11, 2015, c-print on leather, hemp rope, steel, dimensions variable

Timo Seber, TECHIES, April — June 2015, Tobias Naehring, Leipzig
http://www.tobiasnaehring.de

Timo Seber, TWITCH, April — June 2015, GAK – Gesellschaft für aktuelle Kunst, Bremen
http://www.gak-bremen.de/en/exhibitions/timo-seber

(Images courtesy the artist, Tobias Naehring, Leipzig & GAK, Bremen. Photography by YUKIKO, Berlin & Falk Messerschmidt, Leipzig)

May 11, 2015
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Timo Seber

Die grauen Zeiten sind vorbei! (Umbrella), 2011, silk, bamboo, metal, gold-plated silver

Die grauen Zeiten sind vorbei! (Umbrella), 2011

Die grauen Zeiten sind vorbei! (Umbrella), 2011

“The parasol was reserved exclusively for the monarch, and is never represented as borne over any other person.“ William Sangster in “Umbrellas and their History“ (2003)

In his practice Timo Seber examines the peculiarities of fame and its representations. In often satirical installations he identifies different symptoms and motifs of contemporary fan culture and the adoration of historical and public figures. The centerpiece of Seber’s installation at this year’s NADA COLOGNE is a custom-made umbrella covered with pieces of three different Hermès scarves. The umbrella is the pivot connecting different arrays of fan culture and stardom. Emphasizing the umbrella’s emblematic potential over its status as a basic commodity, Seber connects its historical use as part of the royal and papal insignia with the subservient parasol bearers of today’s celebrities and pop starlets. The motifs Seber has chosen for the umbrella’s cover depict the statue of liberty, traditional African musicians and a precious cavalier uniform characterizing typical protagonists of North American popular culture. Lastly, the object refers to Rihanna’s song “Umbrella“ (2007) and her implementation of umbrellas in her videoclips and live shows, taking up on one of Seber’s favourite characters of today’s pop-cultural nobility. Considering his umbrella to be a multi-layered collage, he points to the absurd and almost religious excesses of fan culture while at the same time expressing his own personal obsession with modern icons and their self-staging. In Timo Seber’s installations conceptual practices, an ambiguous materiality and a self-reflective, personal impetus meet in mutual cross-references to create new narratives.

April 27, 2012
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Timo Seber

Supplementary Angles, 2011, wood, glass, c-print, brass, paper, 77 x 110 x 78 cm

Supplementary Angles, 2011

Supplementary Angles, 2011

Supplementary angles add up to 180° and thereby form a straight line. In Timo Seber’s installation straight lines and flat plains are quite obviously of the essence. Seber has added layer on layer apparently refusing the general intention of a display design, which would be to provide the best possible visibility of the work on show. The photograph of Rihanna (one of the first to present the singer as a modern icon) taken by Steven Klein in 2009 for Italian Vogue, is being obstructed by eight identical brass plates kept in position by a heavy pane of glass. Another layer of paper cut-outs outline different forms of hinges. Being the physical manifestation of supplementary angles, the hinge is capable of aligning the elements attached to it and create a straight line. Like angles reaching out, the threedimensional display design is being aligned to a flat plain. Hence, the sculptural object turns into a collage, further emphazising the balance and non-hierarchical interplay of its many different formal elements and media, the hinge becoming a metaphor for the continuous (re-)combining of images, their simultaneity and equal value.

December 12, 2011
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