Thorben Eggers

Biography

2009 – 2015
Kunstakademie Düsseldorf, Meisterschüler Eberhard Havekost

2014-2015
Akademie der Bildenden Künste Wien, Meisterklasse Erwin Bohatsch

2010-2014
Philosophiestudium an der Universität Duisburg-Essen

COLLECTIONS

JULIA STOSCHEK COLLECTION, Düsseldorf
HOTEL MAGDAS & AKADEMIE DER BILDENDEN KÜNSTE, Wien
HENKEL COLLECTION, Düsseldorf
DR. HANS-WERNER DILDEI FOUNDATION, Oberursel
ARTOTHEK KUNSTHAUS, Mettmann

SOLO SHOWS (SELECTION)

2019
Thorben Eggers – Solo Show “Oberflächenwechsel”, Galerie Filser & Gräf, München

2018
Panel Discussion, Kunstakademie Düsseldorf

Thorben Eggers – ein Abend von Mads Westrup, Wien

2012
„Artifizielle Authentizität”, Kunsthaus Mettmann, Mettmann

2010
„Identitäten”, Produzentengalerie Juliane Hundertmark, Berlin

GROUP SHOWS (SELECTION)

2019
Shaped Figures, Kunstverein Mönchengladbach MMIII

2018
RBC – Artist Exhibition, Gerresheimer Kulturbahnhof, Düsseldorf
ICEP Charity Auction, Bank Austria Forum, Wien
Plié, Pole Land, Düsseldorf
Florale Transformationen II Krefelder Kunstverein

2017
Klein?, No Cube, Münster
Neue Gesichter, Galerie Rundgænger, Frankfurt am Main

2016
Transfer Protocol, IRL Gallery, Cincinnati Ohio USA
Basically, Kunsthaus Freiburg L6, Freiburg
Düsseldorf:trifft:Wien, Kunstraum SUPER Catalogue, Wien

2015
Reproduktives Entwerfen – Lieblingsbilder, Haus No.1, Berlin
Devouring Ghost, Weltkunstzimmer, Düsseldorf
SUPER Edition #3, SUPER Vienna AT & Selecto Planta Baja, Los Angeles USA
Full Resolution, Kunstverein Leverkusen Schloss Morsbroich
Silberrücken, Galerie Felix RIngel, Düsseldorf

2013
„An Tagen wie diesen”, Galerie Filser & Gräf, München
„Fludium”, Art in Business – Greisbach, Düsseldorf
„Auktion der lange Nacht der Museen Düsseldorf – Versteigerung Ernst & Young, Christies“
K20 – Kunstammlung des Landes Nordrhein-Westfalen, Düsseldorf
„Pfälzische Sezession – Kunstpreis 2013“, Kunstverein Pfälzische Sezession, Neustadt (Pfalz)
„Augenfällig – Studenten des Akademie Rundgangs“, BBK Forum Düsseldorf, Düsseldorf
„Blick hinter die Kulissen“, Ausstellung des Max Ernst Stipendiums, Rathaus Brühl, Brühl

2012
„Follow Up 2012 – Aktuelle Positionen aus dem Rundgang der Düsseldorfer
Akademie”, PricewaterhouseCoopers AG, Düsseldorf

2011
„Neurologische Unreife“, Galerie Gebr.Lehmann, Dresden

2010
„Le regle du jeu” – the forgotten bar, Galerie im Regierungsviertel, Berlin

2009
„Dorf Eigen Art“, Junge Kunst in alten Häusern, Oelhausen/Kassel
„Förderpreis-Ausstellung”, Galerie im Malzhaus, Plauen
„Sonderausstellung e.o Plauen Sonderpreis”, Galerie der Sparkasse im Vogtland im Komturhof, Plauen

AWARDS
2013
Stipendium Dr. Hans-Werner Dildei Stiftung

2009
e.o Plauen Sonderpreis für Handzeichnungen, Kunstverein Plauen
Auszeichnung Zivilkunstpreis

Description

Artist’s statement

My artistic interest lies in the investigation of media models. My works are based on photographic models (mostly fashion photographs), which are themselves the subject of digital processing. The propagandistic communication of classical ideals of beauty, glamour and globalized lifestyle determine the appearance of these image carriers. The staged object / the advertised product presented by the model is a placeholder for dreams and determines the image in terms of validity and composition. But what happens to the picture when the most important thing – the model’s advertising object – is taken away?

I understand pictures as a complex of different levels. I am primarily interested in the background and not the foreground. The processing and questioning of different levels in the picture is the main focus of my artistic work. I lay abstract layers over a surface or extract abstract structures from the surface. In some areas, I play with supposed errors or disruptive factors in order to make my intervention in the picture clear. In some pictures I avoid additional intervention, whereby the picture charges itself with content and poses the question itself: What is real? What is staged?

My pictures are intended to combine visual inadequacies with dreamy fantasies. I am always concerned with a movement “in the picture”. On the one hand, abstract pictures invite the viewer to literally wander into the picture and link their own associations – in other words, you move into the picture. On the other hand, the viewer is thrown out again because of the sources of interference in the picture, which emphasize the superficiality of the picture carrier, or because of the smooth application of paint, which is supposed to look just as perfect as the surface of an advertising brochure.

Enquiry