무료 아트 컨설팅
브랜드 소개 문의하기
      실제 크기로 보기 AR로 미리보기 수작업 채색 복제본 주문하기 디지털 이미지 판매 채널로 전환 보내기
      상세 보기 가이드 보기 즐겨찾기에 추가 이미지 다운로드 유사 작품 더 보기 X-레이 슬라이드 쇼 보기 통계 정보
      Thomas Peter Friedl

      Installation View

      상세 보기

      Contemporary Realism master Thomas Peter Friedl explores history in The Diaries. Discover his profound conceptual works today.
      상세 보기

      이 페이지에 표시된 작품은 저작권법의 보호를 받으며, 이에 따라 동일한 복제품을 제작하거나 판매하는 것은 법으로 금지되어 있습니다. 이러한 권리 보호는 다음과 같은 국제 협약에 따라 시행됩니다. 베른 협약 또한 다음에서 명시하는 법률을 포함한 국내법에 의해 보호됩니다. 미국 저작권법 제17조.

      이 방식은 저작권 보호를 받는 예술 작품을 복제하거나 그대로 재현하는 것이 아니기에 저작권 규정을 완벽히 준수합니다. 대신, 이는 창의적인 재해석의 과정을 거칩니다. 즉, 원작에서 영감을 받되 원작과 동일하지 않은 새로운 회화 작품을 의미합니다.

      상세 보기

      지클레 / 아트 프린트

      빠른 제작과 다양한 마감 옵션을 선택할 수 있는 박물관 수준의 지클레이 및 캔버스 프린트. ( 수작업 채색 복제본 주문하기 디지털 이미지 판매 채널로 전환)

      상세 보기

      표준 규격
      맞춤 제작
      CM
      INCH

      작품의 원본 비율을 그대로 유지하는 프리셋 사이즈 중에서 선택해 보세요.

      가로 너비
      높이

      액자나 벽면 크기에 맞춰 필요한 가로와 세로 길이를 입력해 주세요. 프린트는 원본 이미지보다 크게 제작할 수 없으며 오직 자르는 것만 가능하므로, 비율이 다른 사이즈를 선택할 경우 이미지의 일부가 잘려 나갈 수 있습니다. 인쇄 작업에 들어가기 전, 최종 확인을 위해 디지털 목업을 보내드립니다. 이 페이지에 표시된 이미지는 실제 잘리는 영역을 나타내지 않으며, 오직 목업을 통해서만 정확한 확인이 가능합니다.

      상세 보기

      상세 보기

      상세 보기

      전 세계 배송()은 일반적인 4~5주의 소요 기간 대신 2주 이내에 완료됩니다. (22 10월)

      상세 보기

      전 세계 무료 특급 배송
      고품질 린넨 캔버스
      배송 전 과정 보험 적용
      관세 환급 보장 서비스
      원본 색상 일치 보장
      제조 결함 발견 시 100일 이내 반품 가능
      100% 환불 보장
      다량 구매 할인 혜택
      상세 보기

      총 결제 금액

      ₩ 108354

      Installation View

      지클레 / 아트 프린트

      복제본 규격

      -

      총 결제 금액

      ₩ 108354

      Peter FriedlBorn in Oberneukirchen, Austria, in 1960.He lives and works in Berlin, Germany.After first working as a theater critic, Peter Friedl later established his artistic reputation as an incisive interlocutor of representational forms. His formally diverse body of work highlights the ideological thinking that informs artists’ decisions to expose historicity and increase viewer’s visual literacy. Often depicting shapes that are historically and ideologically overwrought, Friedl emphasizes the interdependency between text and image to show that “nothing goes without saying,” as the Dutch theorist Mieke Bal so eloquently put it. By playing hollowed-out forms against one another, Friedl’s works not only disarm historical power structures, they also resolve the contradictions of the modernist project by lending common forms to incompatible concepts. In so doing, they reenchant the promises of the past. Friedl’s Rehousing series (2012–2014), for example, plays on the multiple meanings of the architectural scale model. As a conceptual tool the model offers a condensed description of the world, but as a political instrument it also prescribes the future. The title of this series references a project of the US Department of Housing and Urban Development, called the American Homelessness Prevention and Rapid Re-Housing Program. The program’s stated goal is to “provide financial assistance and services to prevent individuals and families from becoming homeless and to help those who are experiencing homelessness to be quickly rehoused and stabilized.” Providing housing to the homeless, however, is merely an ideological remedy to the excesses of rampant capitalism. Because Friedl’s house sculptures are presented without context, they hover between the generic and the specific. They represent the history of modernism as a series of heterogeneous problem cases, including the artist’s parental home, the Black Forest hut of philosopher Martin Heidegger, the private residence of the communist revolutionary Ho Chi Minh, an American nineteenth-century slave cabin, a Berlin shack built by immigrants, and an unrealized colonial residence by the modernist architect Luigi Piccinato. As an architectural response to both private and political needs, each model represents the politics of a particular subject and ideology. By testing the limits of architectural representation, Friedl ultimately aims to question the aesthetics of cultural memory. Liberating the model from its function as an intermediary between concept and implementation, he calls the sculptures “case studies for a kind of mental geography relating to an alternative strain of modernity.”

      질의응답

      증강 현실(AR)을 사용하여 제 방에 Thomas Peter Friedl의 "Installation View"를 배치해 볼 수 있나요?

      "Installation View"은(는) 증강 현실 미리보기를 제공합니다. 작품의 AR 미리보기 페이지를 통해 호환 가능한 기기에서 여러분의 공간에 배치된 작품을 확인해 보세요.

      Thomas Peter Friedl의 "Installation View"은 밝은 분위기의 작품인가요, 아니면 어두운 분위기의 작품인가요?

      Thomas Peter Friedl의 "Installation View"의 느껴지는 밝기는 balanced입니다. 이는 의도한 공간의 조명과 조화를 이룰 수 있습니다.

      "Installation View"은 전체적으로 밝은 편인가요, 아니면 어두운 편인가요?

      Thomas Peter Friedl의 "Installation View"의 밝기는 balanced로 기록되었으며, 휘도는 Gentle Luminance입니다.

      작가 소개

      The Architect of Memory

      In the quiet corners of Munich, where his story began in 1967, a mind was forming that would eventually seek to dismantle the very structures we use to understand history. Before he became an interlocutor of representational forms, he moved through the world with a different kind of lens, working as a theater critic. This early immersion in drama and linguistics shaped his later ability to treat the visual field as a stage where power and identity are constantly being reenacted. He did not merely observe; he learned how the placement of a prop or the cadence of a line could alter the perception of truth.

      As he moved toward Berlin, his practice began to expand into a multidisciplinary exploration that refused to be pinned down by a single medium. He turned to photography, painting, video, and even architectural scale models to investigate how we construct our political and aesthetic consciousness. His work often functions through a strategy of radical neutrality, where the artist avoids arguing for a specific reading but instead exposes the conditions underging the creation of meaning itself. By using hollowed-out forms and layering disparate elements, he sought to resolve the contradictions found within modernism.

      The Weight of the Model

      Much of his most profound inquiry resides in the physical presence of the model. In his series known as Rehousing, which spanned from 2012 to 2019, he utilized architectural scale models to reflect on history and ideology. These were not mere miniatures but case studies for a mental geography. He reconstructed the childhood home of his parents in Austria alongside much more politically charged spaces, such as the cabin of Martin Heidegger in the Black Forest, the residence of Ho Chi Minh in Hanoi, and even a slave hut from a plantation in Louisiana. Each structure carried the weight of its own history, acting as a vessel for the ideologies that built them.

      This fascination with the intersection of text and image led to monumental installations like The Diaries in 2015. In this work, a bookshelf crammed with over 400 handwritten notebooks presented a deceptively simple image that actually interrogated the anxieties of representation. He used these objects to explore themes of knowledge, memory, and experience, forcing a confrontation with the textures of light and the accumulation of human thought. Through such meticulous observation, he demonstrated that nothing goes without saying.

      A Stage for Social Critique

      His later explorations often turned toward the theatricality of social struggle. In works like Teatro Popular and his video installations, he utilized techniques from puppet theater and tableaux vivant to highlight the mechanisms of historiography. He was particularly drawn to the permeability of language and the boundaries of identity. His video work Report, created for documenta 14, examined how language can both connect and divide, using the empty stage of a national theater to let actors recite texts in their own mother tongues.

      Even when dealing with heavy themes of racial bias and colonial legacies, his approach remained rooted in a piercing dramaturgy. In Liberty City, he staged a reversal of a violent historical event in Miami, using the blurry, uncut quality of footage to mimic an amateur recording. This method allowed him to walk the line between documentation and fiction, challenging the viewer's compassion and their preconceived notions of justice. His career remains a continuous effort to use the tools of art to question the very aesthetics of cultural memory.

      Thomas Peter Friedl

      Thomas Peter Friedl

      1967 - , Germany

      작가 정보 요약

      • Full Name: Thomas Peter Friedl
      • Notable Artworks:
        • The Diaries
        • German Village
        • Installation View
      • Place Of Birth: Munich, Germany
      • Date Of Birth: 1967