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View of “Thomas Locher,” 2015. From left: A–H, 2002/2015; A–G, 2002/2015.

Thomas Locher

SILBERKUPPE

View of “Thomas Locher,” 2015. From left: A–H, 2002/2015; A–G, 2002/2015.

As if to recall the consistency of his project over the decades, some of the works in Thomas Locher’s exhibition “Post-Information” were as much as twenty-five years old. Gestell (Frame), an aluminum shelf engraved with letters, numbers, and black rectangles, dates from 1990. A.1–Z.2, a wooden board on which horizontal black bars as well as letters and digits are inscribed, is even older, from 1989. On the facing wall were two reliefs, composed of rectangular panels of varying thickness painted in different colors. Each is marked with a letter. Insisting on their objecthood and defying any attempt to reduce them to an unambiguous interpretation, even embracing paradox, these vintage pieces feel astonishingly youthful.

Locher launched his career in the mid-1980s, when faith in the potential of communication had begun to crumble. The question of communication has preoccupied him ever

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