Paul Pfeiffer
An artist working in the field of video, photography, installation art and sculpture since the late nineties, Paul Pfeiffer is well known and celebrated for his highly sophisticated use of digital technologies and new media, probing the way these technologies at once shape and alter our daily visual experience. By digitally manipulating or erasing elements from iconic images, many of them taken from sports events or Hollywood films, Pfeiffer adopts today’s frenetic visual language in order to explore our culture’s obsession with spectacle. By focusing on how the image renders athletes as objects rather than subjects, Pfeiffer stages the `otherness´ of the image through an artistic investigation that examines, resists, and exploits spectacle by honing in on and isolating representational codes that otherwise tend to enthrall the viewer.
Paul Pfeiffer (b.1966, Honolulu) lives and works in New York. He has received numerous awards and fellowships including a Fulbright-Hayes Fellowship and the Bucksbaum Award from the Whitney Museum. In 2011, he was the subject of a retrospective at Sammlung Goetz in Munich, Germany. Selected exhibitions include the Whitney Museum of American Art, New York; MIT List Visual Arts Center, Cambridge US; Museum of Contemporary Art Chicago, Chicago; the National Gallery of Victoria, Melbourne; MUSAC León, León; Hamburger Bahnhof, Berlin; Baibakov Art Projects, Moscow; Albright-Knox Art Gallery, Buffalo; Blanton Museum of Art, Austin; Artangel, London; Museum of Contemporary Art and Design, Manila. His work is held in international collections including LACMA, Los Angeles; Hamburger Bahnhof, Berlin; Pinault Collection, Paris; Castello di Rivoli, Turin; and MoMA, New York.
#PaulPfeiffer
Exhibitions at carlier | gebauer
Paul Pfeiffer, Incarnator, exhibition view at Bellas Artes Projects Outpost, PH, 2018
Paul Pfeiffer, Justin Bieber’s head, detail, 2018
3D print duplicated in Wood, paint, 41.2 x 20.5 x 22.3 cm
part of the installation Incarnator, 2018
video projection (27.15 min) and 21 sculptures, various dimensions, edition of 4 + 2 AP
Paul Pfeiffer, Justin Bieber’s torso, detail, 2018
3D print duplicated in Wood, paint, 62.4 x 48.7 x 23.2 cm
part of the installation Incarnator, 2018
video projection (27.15 min) and 21 sculptures, various dimensions, edition of 4 + 2 AP
Paul Pfeiffer, Justin Bieber’s left arm, detail, 2018
3D print duplicated in Wood, paint, 18 x 63.4 x 12 cm
part of the installation Incarnator, 2018
video projection (27.15 min) and 21 sculptures
various dimensions, edition of 4 + 2 AP
Paul Pfeiffer, Justin Bieber’s left arm, detail, 2018
3D print duplicated in Wood, paint, 18 x 63.4 x 12 cm
and
Paul Pfeiffer, Justin Bieber’s head, 2018
3D print duplicated in Wood, paint, 41.2 x 20.5 x 22.3 cm
part of the installation Incarnator, 2018
video projection (27.15 min) and 21 sculptures
various dimensions, edition of 4 + 2 AP
Paul Pfeiffer, Carl, 2018
3D print duplicated in Kamakong Wood, 47.3 x 36.7 x 19.5 cm
part of the installation Incarnator, 2018
video projection (27.15 min) and 21 sculptures, various dimensions, edition of 4 + 2 AP
Paul Pfeiffer, Jewels, 2018
3D print duplicated in Santol Wood, 28 x 21.5 x 17.5 cm | 28 x 17 x 18 cm
part of the installation Incarnator, 2018
video projection (27.15 min) and 21 sculptures, various dimensions, edition of 4 + 2 AP
Paul Pfeiffer, Incarnator, 2018
video, 27.16 mins
Paul Pfeiffer, Incarnator, installation view at Bellas Artes Projects Outpost, PH, 2018
Caryatid (De La Hoya), 2016, digital video loop, chromed television/DVD combo, 2 minutes
Caryatid (Marquez), 2016, digital video loop, chromed television/DVD combo, 60 x 80 x 50 cm
Three Figures In A Room, exhibition view at carlier | gebauer, 2016
Three Figures In A Room, exhibition view at carlier | gebauer, 2016. Photo: Gunter Lepkowski
Three Figures in A Room, still, 2015, video and sound installation, various dimensions
Three Figures In A Room, exhibition view at carlier | gebauer, 2016. Photo: Gunter Lepkowski
Three Figures in A Room, still, 2015, video and sound installation, various dimensions
Caryatid, 2016, digital video loop, chromed television/DVD combo, 2 minutes, 1/1 + 1AP
Caryatid, 2008, three channel digital video loop, three custom 32" monitors with embedded media players, 45 sec
Four Horsemen of the Apocalypse (04), 2000, cibachrome print, 149,86 x 119,38 cm
Vitruvian Figure, 2009, birch plywood, one way mirrored glass, polished stainelss steel, 586 x 472 x 240 cm, edition of 3
The Saints, 2007, exhibition view at Berlin, Nationalgalerie im Hamburger Bahnhof – Museum für Gegenwart, 2009
The Saints, 2007, detail, seventeen channel audio, two channel video loop with stereo audio, single screen video loop, cast armature with LCD monitor
The Saints, 2007, detail, seventeen channel audio, two channel video loop with stereo audio, single screen video loop, cast armature with LCD monitor
Four Horsemen of the Apocalypse (28), 2007, Fugiflex digital c-print, 101,6 x 152,4 cm
Cross Hall, 2008, live video stream, camera, projection, diorama, wood, 400 x 533 x 200 cm, unique
Live from Neverland, 2006, Two channel digital video loop, single channel audio loop, projector, monitor, speakers, 10:18 min, edition of 3
Flagpole, 2006, digital video loop, LCD monitor 1 1/2 x 2 inches, DVD player, cast plastic armature 30 sec video loop
Live Evil (Bucharest), 2004, two digital video loops, two metal armatures, two projectors, frame synchronizer, two DVD players
Caryatid (2003), 2003, chromed 9 inch color television and dvd player, digital video loop 50 sec, 50 sec
Morning after the Deluge, exhibition view at carlier | gebauer, 2003
Morning after the Deluge, 2003, dig. video on dvd, 366 cm x 487 cm, projection size 20 min
Four Horsemen of the Apocalypse (07), 2002, Fugiflex digital c-print, 122 x 152,5 cm, edition of 6
Four Horsemen of the Apocalypse (06), 2001, Fugiflex digital c-print, 152,5 x 122 cm, edition of 6
Goethe’s Message to the New Negroes, 2001, digital video loop, metal armature, LCD monitor, DVD player, 30 sec.
Goethe’s Message to the New Negroes, 2001, Digital video loop, metal armature, LCD monitor, DVD player, 30 sec
Goethe’s Message to the New Negroes, 2001, Digital video loop, metal armature, LCD monitor, DVD player, 30 sec.
Race Riot, 2001, digital video loop, SONY PC 110 camcorder, vitrine (wood & glass), linen, DVD player, 2:30 sec
Race Riot, 2001, still, digital video loop, SONY PC 110 camcorder, vitrine (wood & glass), linen, DVD player, 2:30 sec
Orpheus Descending, 2001, video installation on the North Bridge at World Trade Center, VHS Tapes
Orpheus Descending, 2001, still, video installation on the North Bridge at World Trade Center, VHS Tapes
