OFFICER MATERIAL

Installation view, Istituto Svizzero di Roma, 2017. Photography by Simon d'Exéa.

Framed inkjet prints, 42cm x 32cm.

Installation view, Studioli, Rome, 2017

"Program" (detail), ink on paper, 52cm x 42cm, 2017
"Program" (detail), ink on paper, 52cm x 42cm, 2017
Program (detail), ink on paper, 52cm x 42cm, 2017
Program (detail), ink on paper, 52cm x 42cm, 2017

L'UOMO VAGUE

Exhibition views, L'UOMO VAGUE at kim?, Riga, 2016. Photography by Ansis Starks.

Edgars Gluhovs, L'UOMO VAGUE at kim?, Riga 2016
Edgars Gluhovs, L'UOMO VAGUE at kim?, Riga 2016
Edgars Gluhovs, L'UOMO VAGUE at kim?, Riga 2016
"L'UOMO VAGUE", embossed pony-blinkers, 2016
Edgars Gluhovs, L'UOMO VAGUE at kim?, Riga 2016
Edgars Gluhovs, L'UOMO VAGUE at kim?, Riga 2016
"Rappel à l'Ordre", silkscreen and marker pen on acrylic, 100cmx50cm each, 2015
Edgars Gluhovs, L'UOMO VAGUE at kim?, Riga 2016
Edgars Gluhovs, L'UOMO VAGUE at kim?, Riga 2016
Edgars Gluhovs, L'UOMO VAGUE at kim?, Riga 2016
Edgars Gluhovs, L'UOMO VAGUE at kim?, Riga 2016
Edgars Gluhovs, L'UOMO VAGUE at kim?, Riga 2016
Edgars Gluhovs, L'UOMO VAGUE at kim?, Riga 2016
Edgars Gluhovs, L'UOMO VAGUE at kim?, Riga 2016
Edgars Gluhovs, L'UOMO VAGUE at kim?, Riga 2016
Edgars Gluhovs, L'UOMO VAGUE at kim?, Riga 2016
"Comme il faut", a limited edition of 120 flip-books, 68 pages, 13cm x 6.8 cm each, 2016
Edgars Gluhovs, L'UOMO VAGUE at kim?, Riga 2016
"Birch Water" a limited edition of bottled birch-water, produced for kim? by Tobias Kaspar
Edgars Gluhovs, L'UOMO VAGUE at kim?, Riga 2016
Edgars Gluhovs, L'UOMO VAGUE at kim?, Riga 2016
"The Inside of Ernst Jünger's Bathroom Door", postcard, 2016

Comme il faut, 2016

A series of photographs of a hand holding a wine-glass with digital finger-marks.

Digital silver gelatin prints, 50cm x 34.66cm

 

"Possible scenarios:

Drinking a Burgunder and eating chips on the roof-top of the Hôtel Raphael in Paris at sunset, looking at passing airplanes and thinking about where to wipe your fingers whilst trying to look serious.

Or maybe this is in the “Bord-Bistro” on a train, towards the end of the night, on the way from one castle to another, somewhere deep in the Swabian hinterlands.

Unless it is Saturday afternoon and you are on the terrace of the Kleinmarkthalle in Frankfurt, squeezing through groups of annoyingly cheerful wine-enthusiasts in Vichy-patterned shirts and cable-knit sweaters.

It could also be that you are standing on the set of some “camp-noir” musical, stroking your champagne chin and attempting not to fall flat on your face on some faux-marble, or maybe into a trap of hyperurbanism, whilst trying much too hard to do everything correctly and impress with your knowledge of the rules."

 

“Anybody with their nose pressed against a glass is liable to look stupid”.

(Truman Capote, “Breakfast at Tiffany’s”) 

Installation view, Swiss Art Awards, Basel, 2016
Installation view, Swiss Art Awards, Basel, 2016

Haute Collaboration - Edition Concorde, 2015

Indigo ink and printed text on vintage Smythson stationary for Concorde

Seven cards and envelopes, mounted and framed, 23cm x 29cm, original box, assorted objects

"Haute Collaboration - Edition Concorde", Rome 2015
"Haute Collaboration - Edition Concorde", Rome 2015
"Haute Collaboration - Edition Concorde", Rome 2015
"Haute Collaboration - Edition Concorde", Rome 2015

"Haute Collaboration - Edition Concorde", Rome 2015

"Haute Collaboration - Edition Concorde", Rome 2015
"Haute Collaboration - Edition Concorde", Rome 2015
"Haute Collaboration - Edition Concorde", Rome 2015
"Haute Collaboration - Edition Concorde", Rome 2015
"Haute Collaboration - Edition Concorde", Rome 2015
"Haute Collaboration - Edition Concorde", Rome 2015
"Haute Collaboration - Edition Concorde", Rome 2015
"Haute Collaboration - Edition Concorde", Rome 2015

Haute Collaboration, 2012

Ink and silkscreen on paper, 30cm x 40cm

"Haute Collaboration", Frankfurt 2012
"Haute Collaboration", Frankfurt 2012


“H a u t e C o l l a b o r a t i o n – when looking up this term in Google, the search results mostly tend to point to the world of fashion – a collaboration between a house and a designer, for example. I have, however, taken it from Ernst Jünger’s “Paris Diaries”, where it rather refers, I think, to the practice of collaborationism. It is precisely this usage that invariably springs to mind everytime I hear the word “collaboration” in an artistic discourse – nothing against joint work, but it is for me one of the two most uninviting words there is. The other word is “project”. The sound of it alone is terrible enough. It is altogether unacceptable.


In a very beautiful video from the late 80’s one can see Helmut Berger interviewing himself, in French. The first Helmut Berger – the interviewer – asks the other Berger: „Tu as des projets?” To which Berger the interviewee replies with some level of indignation: “Des projets, non. Je n’ai jamais de projets. (...) En tout cas, je ne suis pas un industriel. Je suis un artiste.”


Another reference point could maybe be something like Gossip Girl, in a schoolyard-politics kind of way (who sits together with whom etc.)

 

Regarding the hanging: there are nowadays ubiquitous tendencies to introduce small breaks and playful elements into the arrangements. It is considered bon ton, to the point that it often becomes a means onto itself. I have, on the other hand, decided that this presentation should be rather hardline – all such tendencies towards breaks and openings must accordingly be supressed. Everything that steps out of line must cut down. A “rappel à l’ordre”. A small exercise in self-control.


P.S. Situation – a direct free-kick in a football match. The players form a defensive wall. The public applauds rhythmically, with every clap the wall takes a step back."

Frankfurt am Main, 2012

“Three Cheers to the Feet Under the Curtain” (with Timothy Furey), kim?, Riga 2013
“Three Cheers to the Feet Under the Curtain” (with Timothy Furey), kim?, Riga 2013
“Three Cheers to the Feet Under the Curtain” (with Timothy Furey), kim?, Riga 2013
“Three Cheers to the Feet Under the Curtain” (with Timothy Furey), kim?, Riga 2013
“Three Cheers to the Feet Under the Curtain” (with Timothy Furey), kim?, Riga 2013
“Three Cheers to the Feet Under the Curtain” (with Timothy Furey), kim?, Riga 2013
Vitrine by Egija Inzule for the exhibition “Three Cheers to the Feet Behind the Curtain.”, kim?, 2013
Vitrine by Egija Inzule for the exhibition “Three Cheers to the Feet Behind the Curtain.”, kim?, 2013

“It’s A Beautiful Day for Haute Tra(s)hison”

Two ink drawings and a text as a contribution to Provence magazine issue E (2012)

"French Birds Love Pain" (with Anna Zacharoff) Flûte Douce, Frankfurt am Main, 2011
"French Birds Love Pain" (with Anna Zacharoff) Flûte Douce, Frankfurt am Main, 2011

"French Birds Love Pain" (with Anna Zacharoff) Flûte Douce, Frankfurt am Main, 2011

“Lunchtime (Framboises au Sucre). A menu served to Raymond Roussel in autumn of 1926", C-type print, 2010
“Lunchtime (Framboises au Sucre). A menu served to Raymond Roussel in autumn of 1926", C-type print, 2010
“Lunchtime (Fruits de la Propriété)”. A menu served to Raymond Roussel in autumn of 1926", C-type print, 2010
“Lunchtime (Fruits de la Propriété)”. A menu served to Raymond Roussel in autumn of 1926", C-type print, 2010
“Untitled”, two identical framed C-type prints, 2008
“Untitled”, two identical framed C-type prints, 2008