For a new body of unique silkscreen works, Jeremy Shaw uses documentary images culled from newspaper archives. The subjects depicted in the prints appear to be experiencing an excessive spiritual, somatic or technological altered state of consci-ousness. It’s unclear if the subjects are still alive, but they certainly haunt the present.
The source photographs have been refracted in-camera through various effect lenses in the process of reshooting, skewing the subjects poses and proportions to illust-rate a subjective experience upon which one can only speculate. Rolled-back eyes reverberate in a feedback loop, mouths open ever wider to either ingest the world or eternally scream, arms extend freakishly upwards in a selfless act of praise or surren-der to vicissitude. The mediation of historical images by analog means (no digital manipulation or output) in the tactile medium of silkscreen further obscures their date of production in a manner akin to Shaw’s filmic works.
The parenthetical parts of the artworks’ titles are taken from fragments of text found on the back side of the archival source photos – a corresponding newspaper clip or notes made by the original photographer themselves – and offer little evidence as to the primary date and location; the images remain suspended in time. Could it be that these restless souls, whose only obstacle is never getting high enough, finally find a home in such an image and properly transcend to their desired utopias?
Jeremy Shaw (*1976) lives and works in Berlin.
Jeremy Shaw works in a variety of media to explore altered states and the cultural and scientific practices that aspire to map transcendental experience.
Jeremy Shaw has had solo exhibitions at Centre Pompidou, Paris/France (2020), Julia Stoschek Collection, Berlin/Germany (2020), Musée de beaux-arts Montréal, Canada (2018), Schinkel Pavillon, Berlin/Deutschland (2013), MoMA PS1, New York/US (2011), and Museum of Contemporary Canadian Art, Toronto/Canada (2006), and been featured in group exhibitions at Stedelijk Museum, Amsterdam/Netherlands (2012), KW Institute for Contemporary Art, Berlin/Germany (2011 uns 2012), and Palais de Tokyo, Paris/Frankreich (2012). Works by Shaw are held in public collections worldwide including the Museum of Modern Art, US, and the National Gallery of Canada. Shaw participated. in Manifesta 11, Zurich and the 57th Venice Biennale.
KÖNIG GALERIE was founded in Berlin by Johann König in 2002, and currently represents 40 international emerging and established artists, mostly belonging to a younger generation. The program’s focus is on interdisciplinary, concept-oriented and space-based approaches in a variety of media including sculpture, video, sound, painting, printmaking, photography and performance. In May 2015, KÖNIG GALERIE took up St. Agnes, a monumental former church built in the 1960s in the Brutalist style, where museum-like exhibitions take place in two different spaces, the former chapel and nave. In 2017, KÖNIG GALERIE opened KÖNIG LONDON in a former car park in Marylebone, London. In November 2019 KÖNIG TOKIO opened in Japan presenting artists that are based in Germany, Austria and Switzerland.
In April 2020, KÖNIG DIGITAL, the virtual gallery space, was launched with the aim to create experiences online. The digital visitor enters the exhibitions via the app KÖNIG GALERIE. KÖNIG DIGITAL presents digital solo and group shows by new media artists and by artists experimenting in the virtual space. In June 2020, MESSE IN ST. AGNES (MISA) was held for the first time, offering more than 200 artworks, from the primary and secondary market. In April 2021, KÖNIG joined forces with MCM and opened a new exhibition space for contemporary art in Seoul, Korea.