{"id":9031,"date":"2020-04-06T15:24:27","date_gmt":"2020-04-06T13:24:27","guid":{"rendered":"https:\/\/www.artificialis.eu\/?p=9031"},"modified":"2020-06-03T18:00:53","modified_gmt":"2020-06-03T16:00:53","slug":"thyra-schmidt-uber-diebe-und-die-liebe-on-thieves-and-love","status":"publish","type":"post","link":"https:\/\/www.artificialis.eu\/?p=9031","title":{"rendered":"Thyra Schmidt: \u00dcber Diebe und die Liebe. On Thieves and Love."},"content":{"rendered":"

\"\"<\/a>Already in 2013, Thyra Schmidt<\/a><\/span> created a series of 12 text-posters with the title \u201cStaccato\u201d for the Kunstverein Paderborn<\/a><\/span>. They were presented in the public space on four advertising columns. Subsequently, the artist reedited the same script on 22 typographic sheets. Supplemented by the video \u201cOuro Preto\u201d (11:28 min), these posters formed the solo exhibition \u201cOn Thieves and Love\u201d at the Neuer Kunstverein Wuppertal<\/a><\/span> in 2014. Now Thyra made an artist book of the original German text with an English translation by Enrico Nake<\/a><\/span>, published by the edition cantz<\/a><\/span>.<\/p>\n

In \u201cOn Thieves and Love\u201d Thyra recounts a story about two persons \u2013 her and him \u2013 who meet or have contact in several circumstances. During some years, their encounters seem to be more or less occasionally. Nevertheless, an intimate relation develops. The narration itself is fragmented. Instead of a continuous description, the author highlights single moments, close-ups and intimate feelings. Even though based on personal observations and experiences, \u201cOn Thieves and Love\u201d is not autobiographically. It is an artistic investigation about love.<\/p>\n

\"\"<\/a>Since the reader did not know, what happened before and after, the randomness and also the conflict between chaos and order might remind the literary genre of the novella. However, the by Johann Wolfgang von Goethe described characteristic that a novella tells about one outrageous incident is missing. In fact, Thyra depicts several moments, which seem to be more or less insignificant, except for \u201cher and him\u201d. As said before, the narration is fragmented. It leaves open spaces to imagine what might happen in between the single units. These gaps are underlined by unexpected line-breaks and empty pages. By the so created blank spaces, one is forced to make pauses while reading. This gives the reader the possibility to fill them with his\/her own phantasy or to think of experiences and to follow own thoughts.<\/p>\n

\"\"<\/a>Even though, she studied painting and photography, Thyra started early in her career to include texts in her works. In the beginning, she worked with handwritings and quotes by different authors. Soon, she started to compose her own texts, often in combination with photos. Thereby, the written words are not an explanation or comment to the pictures, but a complement, which could also be seen as an image. As in \u201cOn Thieves and Love\u201d, the arrangement of the words is more than a down written sentence. The layout sets the rhythm of reading and at the same time creates an abstract image of characters.<\/p>\n

Appropriately, one could pick up the book repeatedly; browse it, read it from beginning to the end or only some sentences. Each time other perceptions will arise, as well as memories and images. The volume is narration, poetry collection and image generator at the same time.<\/p>\n

 <\/p>\n

Thyra Schmidt: \u00dcber Diebe und die Liebe. On Thieves and Love<\/strong>
\nISBN 978-3-947563-67-8
\n2019
\n84 pages
\n15,5 cm x 20,5 cm
\nHardcover
\nedition cantz<\/a><\/span>
\n15,00 \u20ac<\/p>\nngg_shortcode_0_placeholder\n

Thyra Schmidt<\/strong><\/p>\n

Born in Pinneberg, Germany (1974) Thyra studied fine arts (painting and photography) at the University of Applied Sciences and Art<\/a><\/span> in Hannover under Peter Tuma. After a guest residence at the Hiroshima City University<\/a><\/span> (Japan) and studies at the University of Art (HBK<\/a><\/span>) in Braunschweig under D\u00f6rte Ei\u00dffeldt, she went to the Kunstakademie<\/a><\/span> (Academy of Fine Arts) D\u00fcsseldorf, Germany in the class of Thomas Ruff until 2005.<\/p>\n

Together with other students of Thomas Ruff, she founded the artist group FEHLSTELLE in 2003, which realises art-projects in public space. Thyra\u2019s individual works are sometimes also situated in public space like \u201cI can\u2019t just be nowhere<\/a><\/span>\u201d in cooperation with the Goethe-Institute<\/a><\/span> in Oslo, Norway and \u201cStaccato<\/a><\/span>\u201d for the Kunstverein Paderborn, Germany. At the same time, her works are shown in numerous individual and group exhibitions in Germany and abroad such as France, Italy, Brazil and South Korea.<\/p>\n

Besides photography, Thyra started already in 2007 to experiment with scripture. For her participation at the \u201cCongress of Futurologists\u201d in Eisenh\u00fcttenstadt, Germany, she asked people to write words or small sentences on paper provided by her. Since this time, she reflects on images that are formed by writings. For \u201cI can\u2019t just be nowhere\u201d in Oslo she combined text and photo. The texts were quotes by different authors, partly modified by her.<\/p>\n

Progressively, Thyra evolved from her initially mostly photo-based works to text dominated. In her solo exhibition in 2015 \u201cBlaue T-Shirts, Jeans und Turnschuhe<\/a><\/span>\u201d (Blue T-Shirts, Jeans and Trainers) at Martin Leyer-Pritzkow<\/a><\/span>, D\u00fcsseldorf, there were seven texts and only two photos. As supplement to the exhibition, the artist published in 2017 a small book including new works of the series from 2016. Therein are five photos and thirteen texts, all by herself.<\/p>\n

The arrangement of the words indicates how the sentence should be read, with breaks for dwell time. Moreover, these texts can be received as abstract pictures, especially for non-German speakers and particularly for people who cannot read Latin letters.<\/p>\n

During her artist residence in Hongcheon in 2017, South Korea, Thyra created a work, once again a text. Since it was exposed at the fa\u00e7ade of the Hongcheon Art Museum, it was translated into Korean. For the average western onlooker, who cannot read the letters the abstraction is evident. \ub450 \uce5c\uad6c\uac00 \uadf8 \ubc29\uc744 \ub5a0\ub09c\ub2e4. \uadf8\ub9ac\uace0 \ub2e4\ub978 \uae38\ub85c \uac78\uc5b4\uac04\ub2e4 (Two friends leave the room and walk in different directions) was our artwork of the month of October<\/a><\/span> 2017.<\/p>\n

In 2019, Thyra edited her artist book \u201c\u00dcber Diebe und die Liebe. On Thieves and Love.\u201d with an English translation by Enrico Nake<\/a><\/span>, published by the edition cantz<\/a><\/span>. For this, she transformed the typographic sheets from her exhibition \u201c\u00dcber Diebe und die Liebe\u201d at Neuer Kunstverein Wuppertal<\/a><\/span> into a hardcover. By the insertion of blank pages, she extended the gaps created by the layout of the text.<\/p>\n

Until 15 May 2020, Thyra has the solo exhibition \u201cRendezvous\u201d at Martin Leyer-Pritzkow in D\u00fcsseldorf. Here she presents several flower still-lifes and one typographic sheet. Since the exhibition is only visible by appointment due to the coronavirus-crisis, an online booklet<\/a><\/span> is released. Also the current group exhibition \u201cSehnsucht nach dem Jetzt\u201d at Schloss Biesdorf, which comprises an audio-collage by the artist is accessible online<\/a><\/span>.<\/p>\n

Thyra lives and works in D\u00fcsseldorf.<\/p>\n

http:\/\/thyraschmidt.com<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Already in 2013, Thyra Schmidt created a series of 12 text-posters with the title \u201cStaccato\u201d for the Kunstverein Paderborn. They were presented in the public space on four advertising columns. Subsequently, the artist reedited the same script on 22 typographic sheets. Supplemented by the video \u201cOuro Preto\u201d (11:28 min), these posters formed the solo exhibition… (read more<\/a>)<\/p>\n","protected":false},"author":1,"featured_media":9049,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[18],"tags":[1713,2469,74,2470,837,2464,76,2466,2468,2465,2471,2463,75,67,2467],"class_list":["post-9031","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exhibitions","tag-1713","tag-artist-book","tag-dusseldorf","tag-edition-cantz","tag-germany","tag-kunstverein-paderborn","tag-martin-leyer-pritzkow","tag-neuer-kunstverein-wuppertal","tag-on-thieves-and-love","tag-phtography","tag-rendezvous","tag-staccato","tag-thomas-ruff","tag-thyra-schmidt","tag-uber-diebe-und-die-liebe"],"_links":{"self":[{"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=\/wp\/v2\/posts\/9031","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=9031"}],"version-history":[{"count":0,"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=\/wp\/v2\/posts\/9031\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=\/wp\/v2\/media\/9049"}],"wp:attachment":[{"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=9031"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=9031"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=9031"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}