reviews

  • View of “Tobias Kaspar,” 2022. From left: Mille Fleurs (Leif Randt); The Dimitri; Paris Fashion Week (The Revealing of Metastructures); The Balenciaga Revenge (Artist Pants); all works 2022. Photo: Sebastian Schaub.

    View of “Tobias Kaspar,” 2022. From left: Mille Fleurs (Leif Randt); The Dimitri; Paris Fashion Week (The Revealing of Metastructures); The Balenciaga Revenge (Artist Pants); all works 2022. Photo: Sebastian Schaub.

    Tobias Kaspar

    Galerie Peter Kilchmann | Zahnradstrasse 21

    There’s hardly a less satisfying fusion between art and fashion than the “artist estate x luxury fashion brand” product trend we’ve witnessed so often in recent years (Andy Warhol x Calvin Klein, David Wojnarowicz x JW Anderson, and so on). In such conspicuous deals, audiences are left to adorn themselves with expensively licensed TIFF files on cheap cotton sold at hefty prices. To call out the superficiality of this trend is precisely to highlight its inherent relation to surface: Textile is treated as canvas and painting as pattern, now washable at 100 degrees Fahrenheit. 

    In his exhibition “

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