He studied at the Staatliche Akademie der Bildenden Künste (1979-1985) and at the University of Stuttgart (1981-1985) and currently teaches in Copenhagen at the Royal Danish Academy of Fine Arts. His work is composed of sober installations designed with a consistent style, and small and large format works in which fragments of texts are reproduced. His work is based on a neo-conceptualism which extends to a concern about syntax, the image, systems of signification and their usage, in texts of various classifications, ranging from psychoanalysis to communication, politics, jurisprudence and economics. To stress their corresponding ideological construct he underlines by hand, makes notes in the margin and comments which open the path to new spaces of thought supplementing the dogmatic text, setting up a counter-illustrated linguistic criticism which reveals the essential incompleteness of language’s universality. In her catalogue contribution for the Secession show this summer, critic and art historian Sabeth Buchmann describes how Locher “has developed various forms for his work along the lines where conceptual art, semiotics, deconstruction and post-structuralism meet” thus making a key contribution to the further development of the information paradigm of conceptual art. “In contrast to conceptual art forms, Locher's montages do not seem to be at all purged of referential meaning, nor do they solve the problem of meaning through sheer referentiality. Rather, they form the “literal” intersection between aesthetic and semantic information, and consequently of reciprocal transfers between iconic and grammatical rules from which themes such as exchange and the credit system, legislation, human rights, jurisdiction, etc. structurally take shape, so to speak”. Thomas Locher has exhibited his work around the world: Wiener Secession (2013), MoMA (2006), Deichtorhallen (2004), Museum of Modern Art of Saitama/Japan (1994), Museum of Contemporary Art of Sydney (1992) and Tate Gallery (1989), among others. Locher’s works are today included in important public collections like Museu d’Art Contemporani de Barcelona, Museum of Modern Art, New York, Vancouver Art Gallery, Grafische Sammlung Albertina, and Staatsgalerie Stuttgart.
Universal Declaration of Human Rights # 2, 2002. Impresión digital. 182 x 260 cm. WHAT IS THE USE OF A BOOK’, THOUGHT…, 2004. Impresión digital, acetato, madera y metacrilato. 53 x 61 x 6,5 cm c/u. ©Thomas Locher