Thomas Prochnow

Each motif comes in different sizes and with different circulation figures. All art works are printed on Fine Art Paper (Hahnemühlen Photo Rag) and lined on 3 mm Aludibond (except the A-size).
A = 24 x 30 cm (9 7/16“ x 11 3/4“) edition of 9 (+2); Fine Art Print on Photo Rag
B = 40 x 30 cm (15 3/4" x 11 4/5") edition of 5 (+2); Fine Art Print on Photo Rag on Alu Dibond
C = 45 x 60 cm (17 3/4“ x 23 5/8“) edition of 5 (+1); Fine Art Print on Photo Rag on Alu Dibond
D = 70 x 100 cm (27 1/2“ x 39 1/2“) edition of 3 (+1), Fine Art Print on Photo Rag on Alu Dibond
E = 150 x 220 cm (59“ x 86 5/8“) edition of 2 (+1), Fine Art Print on Photo Rag on Alu Dibond, framed with Opti glass

Once the sales agreement is signed, the artist will produce the artwork and a custom-made frame with museum glass will be produced.
For the production please allow us about 5 weeks.

Thomas Prochnow, an artist from the East German graffiti/street-art scene of the post-reunification era, has over time developed an autonomous, strictly formal language, not presented so far in this context.
His interventions into his so-called Second Public Space are always of sophisticated nature and captivating due to the beauty of the contrast created between the artist’s minimal interventions and picturesque abandoned places with their traces of previous life and their beauty captured in Prochnow’s photographs, depicting a whole variety of motifs, be that industrial ruins, bunkers or inhospitable, technoid elements of street architecture like i.e. bridge piers etc.
The artist’s solitary, almost hermit-like intrusions into these spaces are documented in his cleverly staged photographs, enabling us to participate in his pioneering ways of conquering space.


Germany

Berlin

Semjon Contemporary

Photography

Der Zweite Öffentliche Raum_in_memory_of

The white circle mural painting Thomas Prochnow did realise at the famous Berlin night club "Tresor" in Berlin-Mitte in 2015. The photograph comes in different sizes and with different circulation figures. All art works are printed on Fine Art Paper (Hahnemühlen Photo Rag) and lined on 3 mm Aludibond (except the A-size).
A = 24 x 30 cm (9 7/16“ x 11 3/4“) edition of 9 (+2); Fine Art Print on Photo Rag
C = 45 x 60 cm (17 3/4“ x 23 5/8“) edition of 5 (+1); Fine Art Print on Photo Rag on Alu Dibond
D = 70 x 100 cm (27 1/2“ x 39 1/2“) edition of 3 (+1), Fine Art Print on Photo Rag on Alu Dibond
E = 150 x 220 cm is not available anymore

Once the sales agreement is signed, the artist will produce the artwork and a custom-made frame with museum glass will be produced.
For the production please allow us about 5 weeks.

Thomas Prochnow, an artist from the East German graffiti/street-art scene of the post-reunification era, has over time developed an autonomous, strictly formal language, not presented so far in this context.
His interventions into his so-called Second Public Space are always of sophisticated nature and captivating due to the beauty of the contrast created between the artist’s minimal interventions and picturesque abandoned places with their traces of previous life and their beauty captured in Prochnow’s photographs, depicting a whole variety of motifs, be that industrial ruins, bunkers or inhospitable, technoid elements of street architecture like i.e. bridge piers etc.
The artist’s solitary, almost hermit-like intrusions into these spaces are documented in his cleverly staged photographs, enabling us to participate in his pioneering ways of conquering space.


Der Zweite Öffentliche Raum_Serie_Geometric_C - WHITE C_B1

Each motif comes in different sizes and with different circulation figures. All art works are printed on Fine Art Paper and lined on 3 mm Aludibond (except the A-size).

A = 24 x 30 cm (9 7/16“ x 11 3/4“) edition of 9 (+2); Fine Art Print on Photo Rag
B = 40 x 30 cm (15 3/4" x 11 4/5") edition of 5 (+2); Fine Art Print on Photo Rag on Alu Dibond
C = 45 x 60 cm (17 3/4“ x 23 5/8“) edition of 5 (+1); Fine Art Print on Photo Rag on Alu Dibond
D = 70 x 100 cm (27 1/2“ x 39 1/2“) edition of 3 (+1), Fine Art Print on Photo Rag on Alu Dibond
E = 150 x 220 cm (59“ x 86 5/8“) edition of 2 (+1), Fine Art Print on Photo Rag on Alu Dibond, framed with Opti glass

Once the sales agreement is signed, the artist will produce the artwork and a custom-made frame with museum glass will be produced.
For the production please allow us about 5 weeks.

Thomas Prochnow, an artist from the East German graffiti/street-art scene of the post-reunification era, has over time developed an autonomous, strictly formal language, not presented so far in this context.
His interventions into his so-called Second Public Space are always of sophisticated nature and captivating due to the beauty of the contrast created between the artist’s minimal interventions and picturesque abandoned places with their traces of previous life and their beauty captured in Prochnow’s photographs, depicting a whole variety of motifs, be that industrial ruins, bunkers or inhospitable, technoid elements of street architecture like i.e. bridge piers etc.
The artist’s solitary, almost hermit-like intrusions into these spaces are documented in his cleverly staged photographs, enabling us to participate in his pioneering ways of conquering space.


Der Zweite Öffentliche Raum_Serie_geometric_T_white T_L2

This artwork is part of an ongoing series of Thomas Prochnow and his interventions into the so called Zweite Öffentliche Raum / Second Public Space.

Each motif comes in different sizes and with different edition numbers. All art works are printed on Fine Art Paper (Hahnemühlen Photo Rag) and lined on 3 mm Aludibond (except the A-size).
The sizes may vary 
A = 24 x 30 cm (9 7/16“ x 11 3/4“) edition of 9 (+2)
B = 45 x 60 cm (17 3/4“ x 23 5/8“) edition of 5 (+1)
C = 70 x 100 cm (27 1/2“ x 39 1/2“) edition of 3 (+1)
D = 150 x 220 cm (59“ x 86 5/8“) edition of 2 (+1)

Once the sales agreement is signed, the artist will produce the artwork and a custom-made frame with museum glass will be produced.
For the production please allow us about 5 weeks.

Thomas Prochnow, an artist from the East German graffiti/street-art scene of the post-reunification era, has over time developed an autonomous, strictly formal language, not presented so far in this context.
His interventions into his so-called Second Public Space are always of sophisticated nature and captivating due to the beauty of the contrast created between the artist’s minimal interventions and picturesque abandoned places with their traces of previous life and their beauty captured in Prochnow’s photographs, depicting a whole variety of motifs, be that industrial ruins, bunkers or inhospitable, technoid elements of street architecture like i.e. bridge piers etc.
The artist’s solitary, almost hermit-like intrusions into these spaces are documented in his cleverly staged photographs, enabling us to participate in his pioneering ways of conquering space.


Serie_mixed gp_black gp_R1

Each motif comes in different sizes and with different circulation figures. All art works are printed on Fine Art Paper (Hahnemühlen Photo Rag) and lined on 3 mm Aludibond (except the A-size).

A = 24 x 30 cm (9 7/16“ x 11 3/4“) edition of 9 (+2); Fine Art Print on Photo Rag
B = 40 x 30 cm (15 3/4" x 11 4/5") edition of 5 (+2); Fine Art Print on Photo Rag on Alu Dibond
C = 45 x 60 cm (17 3/4“ x 23 5/8“) edition of 5 (+1); Fine Art Print on Photo Rag on Alu Dibond
D = 70 x 100 cm (27 1/2“ x 39 1/2“) edition of 3 (+1), Fine Art Print on Photo Rag on Alu Dibond
E = 150 x 220 cm (59“ x 86 5/8“) edition of 2 (+1), Fine Art Print on Photo Rag on Alu Dibond, framed with Opti glass

Once the sales agreement is signed, the artist will produce the artwork and a custom-made frame with museum glass will be produced.
For the production please allow us about 5 weeks.

Thomas Prochnow, an artist from the East German graffiti/street-art scene of the post-reunification era, has over time developed an autonomous, strictly formal language, not presented so far in this context.
His interventions into his so-called Second Public Space are always of sophisticated nature and captivating due to the beauty of the contrast created between the artist’s minimal interventions and picturesque abandoned places with their traces of previous life and their beauty captured in Prochnow’s photographs, depicting a whole variety of motifs, be that industrial ruins, bunkers or inhospitable, technoid elements of street architecture like i.e. bridge piers etc.
The artist’s solitary, almost hermit-like intrusions into these spaces are documented in his cleverly staged photographs, enabling us to participate in his pioneering ways of conquering space.







Der Zweite Öffentliche Raum_serie black_Q_B2 Nr. 1/2

Serie_geometric T_white T_R3

Serie_geometric T_white T_L2

Each motif comes in different sizes and with different circulation figures. All art works are printed on Fine Art Paper (Hahnemühlen Photo Rag) and lined on 3 mm Aludibond (except the A-size).

A = 24 x 30 cm (9 7/16“ x 11 3/4“) edition of 9 (+2); Fine Art Print on Photo Rag
B = 40 x 30 cm (15 3/4" x 11 4/5") edition of 5 (+2); Fine Art Print on Photo Rag on Alu Dibond
C = 45 x 60 cm (17 3/4“ x 23 5/8“) edition of 5 (+1); Fine Art Print on Photo Rag on Alu Dibond
D = 70 x 100 cm (27 1/2“ x 39 1/2“) edition of 3 (+1), Fine Art Print on Photo Rag on Alu Dibond
E = 150 x 220 cm (59“ x 86 5/8“) edition of 2 (+1), Fine Art Print on Photo Rag on Alu Dibond, framed with Opti glass

Once the sales agreement is signed, the artist will produce the artwork and a custom-made frame with museum glass will be produced.
For the production please allow us about 5 weeks.

Thomas Prochnow, an artist from the East German graffiti/street-art scene of the post-reunification era, has over time developed an autonomous, strictly formal language, not presented so far in this context.
His interventions into his so-called Second Public Space are always of sophisticated nature and captivating due to the beauty of the contrast created between the artist’s minimal interventions and picturesque abandoned places with their traces of previous life and their beauty captured in Prochnow’s photographs, depicting a whole variety of motifs, be that industrial ruins, bunkers or inhospitable, technoid elements of street architecture like i.e. bridge piers etc.
The artist’s solitary, almost hermit-like intrusions into these spaces are documented in his cleverly staged photographs, enabling us to participate in his pioneering ways of conquering space.


Der Zweite Öffentliche Raum_Serie_geometric T_white T_R4

der Zweite Öffentliche Raum_serie geometric_C_black_C_BZ1

Der Zweite Öffentliche Raum_ Serie_black_fw14 Nr. 1/3 (+1)

Der Zweite Öffentliche Raum_ Serie_Mixed_GP_Colored_GP_B1

This artwork is part of an ongoing series of Thomas Prochnow and his interventions into the so called Zweite Öffentliche Raum / Second Public Space.

For different sizes and circulation figures, please contact the gallery

Der Zweite Öffentliche Raum_serie_geometric_C_white_C_ZZ4 Nr. 1/2 (+1)

The two-part exhibition title reveals that there are two artistic and thematic focuses that Thomas Prochnow is showing.

edit-2.0 summarises the two preceding exhibitions edit_black (2017) and edit_white (2019) or rather presents excerpts from them both. 
In both exhibitions the artist presented his edit works, which are concerned with organisational principles and question the concept of standardisation. On the one hand there is the organisational principle – one could also say the editing feature – of colour, while there is also the order imposed by ISO paper sizes. Following both parameters as basic principles, the artist creates a field of action that is diverse and surprising in its output. In edit_black the colour black is the main feature, so the artist uses all kinds of materials, be they found objects (remnants of wood and building boards, coated or uncoated) or materials from the DIY store such as grilles, rubber mats and the like, which he composes into an assemblage-like picture. It is not difficult to see the influence of the history of constructivist art of classical modernism to post-war modernism, although the work created always contains an aspect of artistic disruption. The sizes of the works are schematically divided into work groups ranging from A6 to A1 and also A0. 
Artistic disruption is the act of individualising the work in its process of creation and its finished state, which could be interpreted first of all as the informal playing-through of one or more standards. When Prochnow concentrates, for example, on a series of works that involves the A4 size and the colour white as the ordering principle, the outcome is a multiplicity of pictorial works that could not be more varied. Sometimes, for example, these are shaped items of white plastic, for example, lined up and glued together, and sometimes they are aligned horizontally, vertically or even diagonally. Found pieces of plastic or wood, which have the colour white as their surface feature, are joined together to form layered, sometimes strict and sometimes less strict constructivist configurations. However, each pictorial work here is cut to A4 size. This way, he creates series that, hung together in rows, yield a vibrant interplay of form, structure and colour. Exploiting the shadows of the relief-like works as well as the density of the existing coat of white paint, they are all nevertheless identical in height and width.

When, in the current exhibition, Prochnow now links the organisational principles of colour (here white and black) with standard sizes, a high-contrast scene evolves before the inner eye, forming a varied composition in size, structure and form and in the colours black and white (and shades thereof).

The works from his Second Public Space series are all colour photographs, executed as pigment prints on fine art paper. The art photography is the last materialised step in his spatial interventions prepared over a long period of time. This medium is permitted and intended to survive, while the basis for it, his artistic intervention in found spaces, is left to its fate.
The artist comes from the East German graffiti/street art scene of the post-reunification period and over the years has evolved a distinctive, strictly formal language, which is certainly a result of his studies at the Dresden Academy of Fine Arts, with Monika Brandmeier among others, and his in-depth exploration of the history of constructivist art.
His interventions in what the artist calls the Second Public Space are always of an intelligent nature and impress us with the contrast between minimalist artistic interventions and the picturesque beauty of derelict places captured for us in photography and showing signs of their former life – be they industrial relics, bunkers or inhospitable, technoid street architecture such as bridge piers and the like.
The artist's reclusive, almost hermit-like intervention in these spaces is preserved for us in astutely orchestrated photography that enables us to share in his pioneering conquests of space. The trophy photography typical of the graffiti scene has become powerful yet quiet art photography. 
His photographic works are realised in different formats and edition sizes.

The titles of the photographs testify to his systematic approach, i.e. their ordering in colours and shapes, and thus refer to the structurally organising spirit of the other work groups of his edit-2.

Semjon H. N. Semjon, October 2020

Edit-2.0/Der Zweite Öffentliche Raum

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