Thomas Scheibitz - WÜSTE — DSCHUNGEL / Omega UND Tunnel - Berlin

Thomas Scheibitz’s paintings and sculptures represent a continuous exploration of the visual translation of complex thoughts and social models, which are transformed into multilayered, often fragmented pictorial structures – structures that are simultaneously open and in a perpetual state of flux.

From his earliest to his most recent works, Scheibitz simultaneously solves and dissolves everything. These works symbolize the act of encoding and decoding and allude to one of the artist’s main themes: mapping, measuring, penetrating, and exploring a pictorial inventory. This is a difficult territory to explore, a journey between contradictions and extremely varied regions.

Thomas Scheibitz – WÜSTE — DSCHUNGEL / Omega UND Tunnel – Berlin

Thomas Scheibitz
Kompass, 2024
Wood, oil paint, colored
⌀ 70 cm, depth: 10 cm | ⌀ 27 5/8 inches, depth: 4 inches

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In WÜSTE — DSCHUNGEL / Omega UND Tunnel, the process of thinking and visual exploration take center stage. As we follow these artistic thought processes, the exhibition leads us to models and stations that refer to words, letters, sketches, drawings, paintings, and sculptures by the Dresden-born artist A.R. Penck (1939–2017). The title of the exhibition itself is a quote from a letter written by Penck. What is especially fascinating here is the peculiar balance or polarity between capturing and letting go, learning and forgetting.

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Thomas Scheibitz
Kompass, 2024
Wood, oil paint, colored
⌀ 70 cm, depth: 10 cm | ⌀ 27 5/8 inches, depth: 4 inches

Thomas Scheibitz
Kompass, 2024

Thomas Scheibitz
Kompass, 2024 (detail)

Thomas Scheibitz
Kompass, 2024

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Thomas Scheibitz, A.R. Penck: works, letters, and found objects from the archive of Thomas Scheibitz

For Scheibitz, it is Penck’s artistic attitude in particular that he seeks to approximate. This approximation becomes a way of acting out various potential attitudes, not as a mere accumulation of knowledge or skills, but as an ongoing, open exploration. Penck’s artistic attitude becomes signs and figures that are influenced by a superstructure and substructure of thoughts and forms.

Thomas Scheibitz
Drei Soldaten, 1989
Oil on hardboard
86 × 54 cm | 33 7/8 × 21 1/4 inches

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Thomas Scheibitz
Drei Soldaten, 1989
Oil on hardboard
86 × 54 cm | 33 7/8 × 21 1/4 inches

Thomas Scheibitz
Drei Soldaten, 1989 (detail)

Thomas Scheibitz
Drei Soldaten, 1989

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Thomas Scheibitz
Ohne Titel (No1352), 2024
Vinyl and pigment marker on canvas
50 × 40 cm | 19 3/4 × 15 3/4 inches

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Thomas Scheibitz
Ohne Titel (No1352), 2024
Vinyl and pigment marker on canvas
50 × 40 cm | 19 3/4 × 15 3/4 inches

Thomas Scheibitz
Ohne Titel (No1352), 2024 (detail)

Thomas Scheibitz
Ohne Titel (No1352), 2024

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Scheibitz’s works are like models—not definitive solutions, but rather expressions of a way of thinking that is never fully complete. This attitude refers directly to Penck’s own methodical practice, in which the process of painting and thinking was just as important as the result.

A.R. Penck
Vereinigung, 2010
Acrylic on canvas
200 × 140 cm | 78 3/4 × 55 1/8 inches

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A.R. Penck
Vereinigung, 2010
Acrylic on canvas
200 × 140 cm | 78 3/4 × 55 1/8 inches

A.R. Penck
Vereinigung, 2010 (detail)

A.R. Penck
Vereinigung, 2010

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The return to the dark zones of the old and new Federal Republic of Germany, the distance, the attitude toward the material, and the attentiveness to linguistic, semantic, pictorial, and cultural models—which, historically, have often been implemented incorrectly—all ultimately offer new relationships without homogenizing or devaluing them. The hidden, frictional difference outlined in the exhibition title reflects the paradoxes of world, self, and history.

Thomas Scheibitz
Groteskkopf, 2024
Oil, vinyl and pigment marker on canvas
230 × 150 cm | 90 1/2 × 59 inches

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Scheibitz’s Groteskkopf (2024) brings together all these modified approximations and deviations as well as the consequences of the past. The threefold eye of thinking, seeing, and understanding continues to gaze intently, even when others have long since turned away—whether due to a hastily cemented abstraction or a withdrawal into repression. Scheibitz works to counter a misery that disguises itself as myth; in his paintings, he contemplates the world, its connections and structures in a deeper and more precise way.

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Thomas Scheibitz
Groteskkopf, 2024
Oil, vinyl and pigment marker on canvas
230 × 150 cm | 90 1/2 × 59 inches

Thomas Scheibitz
Groteskkopf, 2024 (detail)

Thomas Scheibitz
Groteskkopf, 2024

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Thomas Scheibitz
Material 1 / Material 2, 2024
Wood, MDF, lacquer, colored, pallet
103 × 120 × 100 cm | 40 1/2 × 47 1/4 × 39 3/8 inches

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Thomas Scheibitz
Material 1 / Material 2, 2024
Wood, MDF, lacquer, colored, pallet
103 × 120 × 100 cm | 40 1/2 × 47 1/4 × 39 3/8 inches

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Thomas Scheibitz
Verdacht, 2024
Oil, vinyl and pigment marker on canvas
250 × 380 cm | 98 3/8 × 149 5/8 inches

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Thomas Scheibitz
Täuschung, 2024
Oil, vinyl and pigment marker on canvas
270 × 400 cm | 106 1/4 × 157 1/2 inches

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Thomas Scheibitz
Verdacht, 2024
Oil, vinyl and pigment marker on canvas
250 × 380 cm | 98 3/8 × 149 5/8 inches

Thomas Scheibitz
Verdacht, 2024 (detail)

Thomas Scheibitz
Verdacht, 2024

Thomas Scheibitz
Täuschung, 2024
Oil, vinyl and pigment marker on canvas
270 × 400 cm | 106 1/4 × 157 1/2 inches

Thomas Scheibitz
Täuschung, 2024 (detail)

Thomas Scheibitz
Täuschung, 2024

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Thomas Scheibitz
Dur, 2024
Oil, vinyl and pigment marker on canvas
190 × 80 cm | 74 7/8 × 31 1/2 inches

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Thomas Scheibitz
Moll, 2024
Oil, vinyl and pigment marker on canvas
240 × 80 cm | 94 1/2 × 31 1/2 inches

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Thomas Scheibitz
Dur, 2024
Oil, vinyl and pigment marker on canvas
190 × 80 cm | 74 7/8 × 31 1/2 inches

Thomas Scheibitz
Dur, 2024 (detail)

Thomas Scheibitz
Dur, 2024

Thomas Scheibitz
Moll, 2024
Oil, vinyl and pigment marker on canvas
240 × 80 cm | 94 1/2 × 31 1/2 inches

Thomas Scheibitz
Moll, 2024 (detail)

Thomas Scheibitz
Moll, 2024

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Thomas Scheibitz
gp 325, 2022
Vinyl and pigment markers on textile paper
145 × 95 cm | 57 × 37 3/8 inches

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Thomas Scheibitz
gp 325, 2022
Vinyl and pigment markers on textile paper
145 × 95 cm | 57 × 37 3/8 inches

Thomas Scheibitz
gp 325, 2022 (detail)

Thomas Scheibitz
gp 325, 2022

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It is not Penck’s style but his artistic attitude that Scheibitz approximates here. Scheibitz’s precise gaze is focused on the consequences of the past, which are seemingly no longer visible, in order to confront them in the image itself in the present.

Thomas Scheibitz
Scheibenfigur, 2024
MDF, wood, lacquer, colored (two parts)
Height: 203 cm, ⌀ 140 cm | Height: 80 inches, ⌀ 55 1/8 inches

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Thomas Scheibitz
Scheibenfigur, 2024
MDF, wood, lacquer, colored (two parts)
Height: 203 cm, ⌀ 140 cm | Height: 80 inches, ⌀ 55 1/8 inches

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Thomas Scheibitz
Hostis, 2024
Wood, metal, aluminum, partially colored
345 × 100 × 16 cm | 135 7/8 × 39 3/8 × 6 1/4 inches

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Thomas Scheibitz
Zahnrad, 2024
Various materials, mounted, graphite coated
63 × 114 × 97 cm | 24 7/8 × 44 7/8 × 38 1/8 inches

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Thomas Scheibitz
Omega – Tunnel, 2024
Wood, MDF, cardboard
48 × 146 × 54 cm | 19 × 57 1/2 × 21 1/4 inches

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Thomas Scheibitz
Hostis, 2024
Wood, metal, aluminum, partially colored
345 × 100 × 16 cm | 135 7/8 × 39 3/8 × 6 1/4 inches

Thomas Scheibitz
Hostis, 2024 (detail)

Thomas Scheibitz
Hostis, 2024

Thomas Scheibitz
Zahnrad, 2024
Various materials, mounted, graphite coated
63 × 114 × 97 cm | 24 7/8 × 44 7/8 × 38 1/8 inches

Thomas Scheibitz
Zahnrad, 2024

Thomas Scheibitz
Zahnrad, 2024 (detail)

Thomas Scheibitz
Omega – Tunnel, 2024
Wood, MDF, cardboard
48 × 146 × 54 cm | 19 × 57 1/2 × 21 1/4 inches

Thomas Scheibitz
Omega – Tunnel, 2024

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Thomas Scheibitz
Rose, 2024
Oil, vinyl, spray paint and pigment marker on canvas
220 × 160 cm | 86 5/8 × 63 inches

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Thomas Scheibitz
Rose, 2024
Oil, vinyl, spray paint and pigment marker on canvas
220 × 160 cm | 86 5/8 × 63 inches

Thomas Scheibitz
Rose, 2024 (detail)

Thomas Scheibitz
Rose, 2024

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Thomas Scheibitz
Portrait H.M., 2024
Oil, vinyl and pigment marker on canvas
220 × 160 cm | 86 5/8 × 63 inches

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Thomas Scheibitz
Portrait H.M., 2024
Oil, vinyl and pigment marker on canvas
220 × 160 cm | 86 5/8 × 63 inches

Thomas Scheibitz
Portrait H.M., 2024 (detail)

Thomas Scheibitz
Portrait H.M., 2024

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Thomas Scheibitz
Muster, 2024
Oil, vinyl and pigment marker on canvas
230 × 180 cm | 90 1/2 × 70 7/8 inches

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Thomas Scheibitz
Muster, 2024
Oil, vinyl and pigment marker on canvas
230 × 180 cm | 90 1/2 × 70 7/8 inches

Thomas Scheibitz
Muster, 2024 (detail)

Thomas Scheibitz
Muster, 2024

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Special thanks go to Galerie Michael Werner for their kind support in realizing this exhibition.

A.R. Penck
Westdeutsche Frau, 1990
Bronze, patinated
66 × 12 × 12 cm | 26 × 4 3/4 × 4 3/4 inches
Edition of 6+0, cast 3/6

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A.R. Penck
Westdeutsche Frau, 1990
Bronze, patinated
66 × 12 × 12 cm | 26 × 4 3/4 × 4 3/4 inches
Edition of 6+0, cast 3/6

A.R. Penck
Westdeutsche Frau, 1990

A.R. Penck
Westdeutsche Frau, 1990 (detail)

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A.R. Penck
Kleines Denkmal für Bismarck, 1990
Bronze, patinated
99 × 18.3 × 9.6 cm | 39 × 7 1/8 × 3 7/8 inches
Edition of 6+0, cast 4/6

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A.R. Penck
Kleines Denkmal für Bismarck, 1990
Bronze, patinated
99 × 18.3 × 9.6 cm | 39 × 7 1/8 × 3 7/8 inches
Edition of 6+0, cast 4/6

A.R. Penck
Kleines Denkmal für Bismarck, 1990

A.R. Penck
Kleines Denkmal für Bismarck, 1990 (detail)

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All installation views: Ingo Kniest

Thomas Scheibitz
WÜSTE — DSCHUNGEL / Omega UND Tunnel
November 22, 2024–January 25, 2025
Berlin

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