Du 18 avril au 16 mai 2009
The Industrial Revolution, new production technologies and distribution channels, as well as general economic growth multiplied the landscape of the object in the 20th century to infinity. It was only a matter of time (and less a matter of high vs. low) for the arrival of what is called Pop-Art. The pressures of affliction and pleasure became unavoidable and art took its position in the name of thought and decoration. Ever since, the love for the object has been multiplied to infinity. More precisely, it expanded to the love for software and the people using it. But still, we ask the same old question: Who did it and how did he do it? Of course the who and the how don't exist anymore, it was the software, developed and used by many, misunderstood (or perhaps not?) in glorious ways. So while the post-war period belonged to the object, our time belongs to software and data modification. Did art already notice it? Probably not, but a few artists certainly did. And now you want a name? Tobias Radisson.
Tobias Madison produces vitrines, wallpaper, pictures, sculptures, texts, scans, photographs, films etc. They are full of references (Huysmans, Oakley, aestheticism, music, pose, French naturalism, Radisson, display) and there is no respect : not for drafts nor for idols, nor for nature, nor for the great minds, nor even for the own work. Everything is raw-material that can and will be accelerated, while its authority is constantly drawn out. An "I" is appearing, incarnated in the form of a young artist from Basel, pondering about today's world. But even then, sometimes it is just data that has shifted.
Tobias Madison is a co-founder of the New Jerseyy artist's-run space, as well as Used Future publications, both in Basel. Past group and solo exhibitions include the galerie du jour Agnès B., Paris ; Raster, Warsaw ; Karma International, Zurich ; Kunsthalle Basel ; and Layr Wuestenhagen, Vienna. Tobias Madison was born in Basel, Switzerland in 1985, where he lives and works.
Special Thanks to Agnès B.