(EN) Thomas Ruff - D.o.pe.

1 d.o.pe.03 , 2022 4 d.o.pe.11 II , 2022 7 d.o.pe.
13 I , 2023
Colaris print on velour carpet Colaris print on velour carpet Colaris print on velour carpet
267 x 200 cm 267 x 200 cm 267 x 200 cm
ed. 3/4 ed. 2/4 ed. 1/4
2 d.o.pe.15 , 2023 5 d.o.pe.10 , 2022 8 d.o.pe.08 , 2022

Colaris print on velour carpet Colaris print on velour carpet Colaris print on velour carpet
267 x 200 cm 267 x 200 cm 180 x 290 cm
ed. 3/4 ed. 4/4 ed. 1/4
3 d.o.pe.03 I , 2022 6 d.o.pe.11 , 2022 9 Interview

Colaris print on velour carpet Colaris print on velour carpet Meet the photographer | Thomas Ruff , 2018
267 x 200 cm 267 x 200 cm 3 min 57 sec
ed. 3/4 ed. 2/4 © Victoria and Albert Museum
L’exposition Méta-photographie de Thomas

RUFF au Musée d’art moderne et contemporain
de Saint-Étienne Métropole , 2022
5 min 24 sec
© ADAGP, Paris 2022
40, Samcheong-ro 7-gil, Jongno-gu, Seoul, 03049 Korea

T. +82 2 734 9467 F. +82 2 734 9470
PKM Gallery begins its 2024 program with a solo exhibition tastic images and projecting them deeply onto soft fabrics.
featuring Thomas Ruff, renowned as a master of contem-
porary photography, titled d.o.pe.. This exhibition marks Meanwhile, the title ‘d.o.pe.’ is derived from Aldous Hux-
Ruff’s return to Korea after 20 years, unveiling his latest ley’s autobiographical essay, The Doors of Perception
photography series of the same name, d.o.pe. (2022-), for (1954). In this essay, Huxley explores the idea that hu-
the first time in Asia. The artist will be present in Korea for mans can expand their consciousness and transcend
the opening week of the exhibition and the Artist Talk is themselves through chemical catalysts. In response, Ruff
scheduled for February 22nd at 3pm in the gallery. broadens our perception of the world through images com-
puted in d.o.pe.. The resulting panels depict familiar natural
Thomas Ruff has established his own distinctive visual environments, such as leaves, feathers, and shells, while
language on the international stage, consistently explor- immersing the viewer in a psychedelic virtual space. They
ing and challenging the technology and idea of photogra- evoke images of fine cells under a microscope as well as
phy. He has been examining how emerging technologies the unpredictable phenomena of the vast universe. Bridg-
reshape our perspectives, embracing their potential and ing Mandelbrot’s mathematics with Huxley’s literature,
limitations as the medium evolves from analog to digital, Ruff’s new works pioneer the state of photography once
transforming into a means that not only captures reality again, existing at the ambiguous boundary between the
but also shows the invisible world. His photography series reality we perceive and the reality we create. They invite us
presented since the late 1970s have encompassed over 25 to transcend the confines of visual perception and explore
subjects and genres, ranging from classical portraiture to beyond the doors of perception.
images collected and edited from data circulating on the
Internet, forms transmitted from satellites or mass media, Thomas Ruff studied at Kunstakademie Düsseldorf in
and algorithmically generated digital works. It is evident Germany under Bernd Becher, beginning his photography
that his extensive body of work over the span of 40 years career in the 1980s as a prominent member of the Düs-
aligns closely with the history of contemporary photogra- seldorf School of Photography alongside Andreas Gursky
phy in both the 20th and 21st centuries. and Candida Höfer. His solo exhibitions have been held at
prestigious art museums worldwide, including the Museum
The recent work, d.o.pe., to be presented in this exhibition, of Modern Art (New York, USA), the National Portrait Gal-
is the artist’s first venture into using carpets as a support lery (London, UK), K20 - Kunstsammlung Nordrhein-West-
in photography. The heterogenous fractal pattern unfolds falen (Düsseldorf, Germany), the National Museum of Mod-
like an ecstasy on a large carpet measuring up to 290cm. ern Art (Tokyo, Japan), and the National Taiwan Museum
The term ‘fractal’, proposed by mathematician Benoît Man- of Fine Arts (Taichung, Taiwan). He has also participated
delbrot in 1975, refers to a structure found in both nature in group exhibitions at renowned institutions such as Tate
and artificial environment, where basic formative elements Modern (London, UK), Haus der Kunst (Munich, Germany),
repeatedly proliferate as they increase or decrease. Ruff and Kunstmuseum Basel (Basel, Switzerland). Additionally,
attempted to reflect the multidimensional beauty of the Ruff was selected as the representative artist for the Ger-
fractal structure in his work in the early 2000s, but it was man Pavilion at the Venice Biennale in 1995. His works are
not achievable with the technology of the time. However, in held in collections at numerous institutions including the
2022, twenty years later, the work was finally realized with Solomon R. Guggenheim Museum and the Metropolitan
the advent of new software. Acknowledging the insepa- Museum of Art in New York, Hirshhorn Museum in Wash-
rable relationship between photography and technology, ington, D. C., and the Centre Pompidou in Paris. He current-
Ruff literally ‘dives into’ the new technology, extracting fan- ly lives and works in Düsseldorf.

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1 d.o.pe.03 , 2022 4 d.o.pe.11 II , 2022 7 d.o.pe.

2 d.o.pe.15 , 2023 5 d.o.pe.10 , 2022 8 d.o.pe.08 , 2022

3 d.o.pe.03 I , 2022 6 d.o.pe.11 , 2022 9 Interview

L’exposition Méta-photographie de Thomas

40, Samcheong-ro 7-gil, Jongno-gu, Seoul, 03049 Korea

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