In thematic exhibitions Thomas Zipp (born in Heppenheim, 1966) conceptualizes a constellation of correlative symbols and representative histories. This topology of fact and fiction is a narrative indexing of the mind, cognition, and the unquantifiable recesses of the brain. Within comprehensive mixed-media installations, Zipp brings to the fore a forensic analysis of canonized knowledge with a thought provoking acuity of consciousness.

Through the lens of myth he symbolically views, maps, questions, and transgresses standardized historical fact.  Paintings, drawings, graphics, collage, and three-dimensional works relate to social political structures promulgated by the military industrial complex, art history, science, religion, and ultimately philosophy. Zipp discursively assembles a revisionism of accepted doctrine and dares conjure their dark forces.

Seminal figures of history in his portraits have for better or worse contributed to the structure of society and our reading of it. Some have shaped policy and set far-flung agendas that constructed the paradigmatic viewpoint of the world.

Simultaneously Zipp polarizes this factual sociological dissection in pursuit  of the age-old mystery of the self, and individualism. In botanical paintings pharmacology and street drugs are alluded to as vessels used to explore an interior state in the pursuit of esoteric knowledge. Theatrical settings where heavy metal music is performed emphasize a cathartic eruption of repressed feelings. At the same time the platforms allude to 19th century lecture halls as a orderly place for disseminating universal knowledge.

An installation of a “psychiatric clinic/research center” for hysteria and schizophrenia was shown last summer at the Palazzo Rossini in Venice. Inspired by David Bowie lyrics that reference Nietzsche’s writing on hysteria and the 19th century French hospital for the insane, Zipp links the culture of drugs, sex, and rock-and-roll music with the realm of psychiatry.

Zipp explores the grey zone where definitions of normalcy versus the insane are questioned with potent images of paintings, sculptural busts, hand written text scrawls, and the antagonistic gaze of collaged eyes upon the faded countenance of people.

Thomas Zipp

1966 Born in Heppenheim, Germany
Lives and works in Berlin

1992-1998 Städelschule Frankfurt/M. and Slade School of Fine Art London
2006-2007Guest professorship at Hochschule der Bildenden Künste Karlsruhe
since 2008 Professorship at Universität der Künste Berlin

Selected Solo Exhibitions

2016
Attempts to Quantify Sensation, Albert Baronian, Brussels, Belgium

2015
RRR (Method of Average Error), Galerie Kai Erdmann, Hamburg, Germany
The Observer as a System with Feedback, Alison Jacques Gallery, London, UK

2014
A Psychophysical Basis for Utilitarian Comparisons, Galerie Krinzinger, Vienna, Austria
Effects of Stimulus-Range and Anchor Value on Psychophysical Judgement, Galerie Guido W. Bausch, Berlin, Germany
Experiments on the Perceptual and Conceptual Classification of Varying Stimulus Patterns, Galería Heinrich Ehrhardt, Madrid, Spain
Sources of Variability in Magnitude Estimates, Sommer Contemporary Art, Tel Aviv, Israel

2013
Figure-Ground Specification in Terms of Structural Information. The Rivalry between Different Pattern Codings, Patricia Low Contemporary St. Moritz, Switzerland
Task Dependence of the Effect of Standards on the Perception of a Series of Objects, SVIT, Prague
Comparative investigations about the disposition of the width of a circle, Palazzo Rossini, 55th Venice Biennale, Italy
The pink noise diaries, Kaufmann Repetto, Milan
The chips are down, Harris Lieberman Gallery, New York

2012
Blackout Chambers, L´Arc de Cercle & Dissociative Amnesia, Galerie Guido Baudach, Berlin
England Attacked by the Americans, Kunstverein Oldenburg
3 contributions to the theory of mass-aberrations in modern religions, Alison Jaques Gallery, London

2011
Beyond the Superego, Galerie Krinziger, Vienna
Achtung!: solarized deterritorialization. insanity against protestantism (England attacked by the Americas), Ausstellungsraum Céline und Heiner Bastian, Berlin
bilobed flaps, Baronian_Francey, Brussels
The World´s most complete Congress of RITATIN Treatments, Kunstraum Innsbruck, Innsbruck
The forbidden Conduct (Deviations in conservative societies), Sommer Contemporary Art, Tel Aviv

2010
Aids to Theater Technique, Galerie Rüdiger Schöttle, Munich
(WHITE REFORMATION CO-OP) MENS SANA IN CORPORE SANO, Kunsthalle Fridericianum, Kassel

2009
FACES, Kunstverein Heppenheim, Heppenheim
The World’s Most Complete Congress Of Strange People, Galerie Guido W. Baudach, Berlin
The World’s Most Complete Congress Of Strange Birds, Patricia Low, Gstaad
MENS AGITAT MOLEM (Luther; The Family of Pills), Sammlung Goetz, Munich
ILSATIN, Galleria Francesca Kaufmann, Milan

2008
WHITE DADA, Alison Jacques Gallery, London
world Health. Mental health, Sommer Contemporary Art, Tel Aviv
Black Pattex 78, Galería Heinrich Ehrhardt, Madrid
PLANET CARAVAN? IS THERE LIFE AFTER DEATH? a FUTURISTIC WORLD FAIR, Museum Dhondt-Daehnens, Deurle / Belgium
Dwarf Nose, HarrisLieberman Gallery, New York
S.S.B.S.M. (sick souls by sick minds), Galerie Guido W. Baudach, Berlin

2007
PLANET CARAVAN? IS THERE LIFE AFTER DEATH? a FUTURISTIC WORLD FAIR, South London Gallery, London
WHITE DADA, De Appel, Amsterdam
PLANET CARAVAN? IS THERE LIFE AFTER DEATH? a FUTURISTIC WORLD FAIR, Kunsthalle Mannheim, Mannheim / Museum in der Alten Post, Mülheim
MOOLeSDe (BIRDS), Patricia Low Contemporary, Gstaad
The Family of Ornament and Verbrechen, Galerie Krinzinger, Vienna

2006
HIER (Futuristic Mess), Galerie Rüdiger Schöttle, Munich
Geist über Materie, Patrick Painter Inc., Santa Monica
Uranlicht, Harris Lieberman Gallery, New York
EEEEEEE (God bless the (Lord Auch)), Galerie Guido W. Baudach, Berlin

2005
Achtung! Vision: N.I.B., Alison Jacques Gallery, London
Dirty Tree Black Pills, Oldenburger Kunstverein, Oldenburg
Nuevo Tychónico, Galería Heinrich Ehrhardt, Madrid
man muss das adjektiv abschaffen, Baronian_Francey, Brussels

2004
Futurism Now! SAMOA leads, Daniel Hug Gallery, Los Angeles
The New Breed, Part 1 (Geist Ohne Körper), Galerie Michael Neff, Frankfurt / M.
The New Breed, Part 2 (Geist Ohne Körper), Galerie Parisa Kind, Frankfurt / M.

2003
Neroin, Galerie Guido W. Baudach, Berlin
The Nero Command, Marc Jancou Fine Art, New York

2001
Exorcise the demons of perhaps, Maschenmode, Galerie Guido W. Baudach, Berlin
Bis dass der Tod uns meidet (with Manfred Peckl and Phillip Zaiser), Galerie Hilger, Vienna
Atrium Vagari (with Phillip Zaiser), Kunsthaus Essen, Essen

2000
OD, Maschenmode, Galerie Guido W. Baudach, Berlin
Nobody loves an Albatros, Montparnasse, Berlin

1999
1. Diciembre 1999 – 29. Enero 2000 (with Thilo Heinzmann), Galería Heinrich Ehrhardt, Madrid

1998
Seilers Schlafzimmer, Helmut Seiler, Munich

1997
n.n. (with Thilo Heinzmann), Galerie ak, Frankfurt / M.

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