ART interview by OLIVIER ZAHM berlin-based artist tobias spichtig envisions a haunted future. he combines paintings, sculptures, and corporate furniture into postcapitalist installations and ghostly scenes of consumerist desolation, abandoned workspaces, and luxury relics. OLIVIER ZAHM — My idea for this issue is that we all have such an apocalyptic vision of the future that we are not really able, on an individual and artistic level, to face it. What interests me is to hear from people who — through their attitude, their work, their art — have already entered a different space, from which they can adapt to a chaotic or unpredictable situation. So, how might this apply to you? You’re a painter, but you also make furniture, right? At the Swiss Institute, I saw what looked like tables and objects by you… TOBIAS SPICHTIG — Yes, I have a series of assemblage sculptures that are mostly made out…
TOBIAS SPICHTIG, INSTALLATION VIEW OF “GOOD OK GREAT FANTASTIC PERFECT GRAND THANK YOU”, 2021, AT SWISS INSTITUTE / CONTEMPORARY ART NEW YORK
TOBIAS SPICHTIG, “DIE MATRATZEN,” 2016, INSTALLATION VIEW AT JAN KAPS, COLOGNE
TOBIAS SPICHTIG, I HAVE SO MANY QUESTIONS I COULD BE AN INTERVIEW, 2019, OIL AND VINYL PRINT ON CANVAS, 80 3/4 X 59 INCHES, COLLECTION OF MATO PERIC
TOBIAS SPICHTIG, IN DER NACHT (AT NIGHT), 2019, OIL AND VINYL PRINT ON CANVAS, 76 3/4 X 53 1/8 INCHES, INSTALLATION VIEW OF “LOVE AND DIE” AT SYNAGOGUE DELME, COURTESY OF THE ARTIST AND GALLERY BERNHARD