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Markus Schinwald [see all titles]
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Markus Schinwald <!---->
Edited by Markus Schinwald and Alexis Vaillant.
Texts by Virginia Dellenbaugh and Markus Schinwald.
Illustrations by Markus Schinwald.

Graphic design: Christoph Steinegger / Interkool.
published in August 2013
bilingual edition (English / French) / texts in English and French
22,5 x 22,5 cm (hardcover)
48 pages (color ill.), 14 color stickers
€15.00
ISBN: 978-2-87721-219-9
EAN: 9782877212199
in stock
 
After he transformed the whole nave of the CAPC Museum into a mechanical theatre, Markus Schinwald conceives an elegant and sophisticated artist's book that reflects this physical and mental adventure through preparatory prints, film dialogues, and a series of stickers alternating exhibition views and reproduction of works.
The CAPC's nave is plunged in darkness. A gigantic brass tubular structure straddles the space. Painted skies and retouched portraits hanging on wires are being as if launched into the void. The walls are covered with Brinjal. Tumblers play chess and children's puppets bang the metal tips of their shoes on the floor. A spiral Eiffel stairway links the floor and the ceiling, 45 feet high. Large hangings hide the architecture, a double mirror projection of the film Orient spins in a loop and looks at itself from a huge triangular bench which cuts the nave in four. A false ceiling with holes in it lets through a purplish light, while a figure on a suspended diving board vibrates with the variations of light. Welcome inside Markus Schinwald's mechanical theatre, a space made to measure for the CAPC's nave, which gropes as much as it traps. The publication pupblished by the CAPC reflects this physical and mental adventure through preparatory prints, film dialogues and stickers alternating exhibition views and reproduction of Schinwald's works.
Published on the occasion of Markus Schinwald's exhibition at the CAPC Museum of Contemporary Art of Bordeaux from May 16 to September 15, 2013.
Markus Schinwald (born in 1973) has been dividing his life between Vienna and Los Angeles. Between Freud and Lynch, Prater and Mulholland Drive, Biedermeier and the Black Sun. He moves from one world to the other the way people switch channels. In a trice. With the same fluidity, he tacks between performance, visual arts and films, without sticking to any particular medium. Schinwald came to art via fashion and theory, and displays a pronounced liking for detail and curiosity, a fascination which sets his œuvre—a highly charged aesthetic collection of curios in which the human being, transformed into marionette-like dolls by physical extensions, prostheses, and mechanical apparatuses, stands in the focal point of observation—in the depths of contemporary desire, alienation and fetishism.