Luke Willis Thompson
„Cipher“, 2019
Two hand printed colour photographs on Fuji Film DP2 Matt, four catalogue images, thirteen
color and B&W photocopies; all spray mounted
170 x 120cm
Edition of 1 + 1 AP
Photo: Simon Vogel
„Black Leadership“, 2019
Latex B&W print on backlit material, aluminum lightbox, LED
149 x 122 cm
Edition of 3 + 1 AP
“Adjacency (United States v. Slager)”, 2019
Hand printed colour photograph on Kodak Endura Premier
Diasec, Aludibond
222 cm x 174 cm
Photo: Simon Vogel
“adjacency”
Exhibition view, 2019
Nagel Draxler Kabinett, Berlin
Photo: Simom Vogel
“Two Bullets strike Castile Heart”, 2019
Hand printed colour photograph on Kodak Endura Premier
Diasec, Aludibond
147 x 119 cm
Photo: Simon Vogel
“Adjacency (United States v. Slager)”, 2019
Hand printed colour photograph on Kodak Endura Premier
Diasec, Aludibond
222 cm x 174 cm
Photo: Simon Vogel
“Adjacency (State v. Jeronimo Yanez)”, 2019
Hand printed colour photograph on Kodak Endura Premier
Diasec, Aludibond
222 cm x 174 cm
Photo: Simon Vogel
“adjacency”
Exhibition view, 2019
Nagel Draxler Kabinett, Berlin
Photo: Simom Vogel
“Black Leadership”, 2019
Latex B&W print on backlit material, aluminum lightbox, LED
149 x 122 cm
Photo: Simon Vogel
„Black Leadership“, 2019
16mm lm, b&w, silent 2’40’’@24fps Kodak Black and White Print Film ESTAR Base 2min 40sec
Exhibition view, 2019
„hysterical strength“
GAMeC- Galleria d’Arte Moderna e Contemporanea di Bergamo
Photo: Antonio Maniscalco
„Cemetery of Uniforms and Liveries“, 2016
from: „Untitled Trilogy“, 2016-2018
Installation view, 2019
„hysterical strength“
GAMeC- Galleria d’Arte Moderna e Contemporanea di Bergamo
Photo: Antonio Maniscalco
„Cemetery of Uniforms and Liveries“, 2016
from: „Untitled Trilogy“, 2016-2018
Installation view, 2019
„hysterical strength“
GAMeC- Galleria d’Arte Moderna e Contemporanea di Bergamo
Photo: Antonio Maniscalco
„Black Leadership“, 2019
16mm lm, b&w, silent 2’40’’@24fps Kodak Black and White Print Film ESTAR Base 2min 40sec
Exhibition view, 2019
„hysterical strength“
GAMeC- Galleria d’Arte Moderna e Contemporanea di Bergamo
Photo: Antonio Maniscalco
Exhibition view, 2019
„hysterical strength“
GAMeC- Galleria d’Arte Moderna e Contemporanea di Bergamo
Photo: Antonio Maniscalco
Exhibition view, 2019
„hysterical strength“
GAMeC- Galleria d’Arte Moderna e Contemporanea di Bergamo
Photo: Antonio Maniscalco
Exhibition view, 2019
„hysterical strength“
GAMeC- Galleria d’Arte Moderna e Contemporanea di Bergamo
Photo: Antonio Maniscalco
„_Human“, 2018
from: „Untitled Trilogy“, 2016-2018
Installation view, 2019
„hysterical strength“
GAMeC- Galleria d’Arte Moderna e Contemporanea di Bergamo
Photo: Antonio Maniscalco
„_Human“, 2018
from: „Untitled Trilogy“, 2016-2018
Installation view, 2019
„hysterical strength“
GAMeC- Galleria d’Arte Moderna e Contemporanea di Bergamo
Photo: Antonio Maniscalco
„_Human“, 2018
from: „Untitled Trilogy“, 2016-2018
Installation view, 2019
„hysterical strength“
GAMeC- Galleria d’Arte Moderna e Contemporanea di Bergamo
Photo: Antonio Maniscalco
„autoportrait“, 2017
from: „Untitled Trilogy“, 2016-2018
Installation view, 2019
„hysterical strength“
GAMeC- Galleria d’Arte Moderna e Contemporanea di Bergamo
Photo: Antonio Maniscalco
„autoportrait“, 2017
from: „Untitled Trilogy“, 2016-2018
Installation view, 2019
„hysterical strength“
GAMeC- Galleria d’Arte Moderna e Contemporanea di Bergamo
Photo: Antonio Maniscalco
„autoportrait“, 2017
from: „Untitled Trilogy“, 2016-2018
Installation view, 2018
„Turner Prize“
TATE Britain, London
Photo © Tate (Matt Greenwood)
„Cemetery of Uniforms and Liveries“, 2016
from: „Untitled Trilogy“, 2016-2018
Installation view, 2018
„Turner Prize“
TATE Britain, London
Photo © Tate (Matt Greenwood)
„_Human“, 2018
from: „Untitled Trilogy“, 2016-2018
Installation view, 2018
„Turner Prize“
TATE Britain, London
Photo © Tate (Matt Greenwood)
Exhibition view, 2018
„Turner Prize“
TATE Britain, London
Photo © Tate (Matt Greenwood)
„audioportrait“, 2017
35mm, b&w, silent 8 minutes, 50 seconds @ 24 fps 35mm Kodak Eastman Double-X BW
Installation view
Adam Art Gallery Te Pātaka Toi at Victoria University of Wellington, 2018
„How Long?“, 2018
16mm, colour, silent
11 minutes, 26 seconds @ 24 fps
Kodak Vision 3 250d colour negative film transferred to digital video
Installation view
Adam Art Gallery Te Pātaka Toi at Victoria University of Wellington, 2018
„Cemetery of Uniforms and Liveries“, 2016
16mm, b&w, silent; 9.1@16fps
Kodak Tri-X 16mm b&w reversal stock
HD video telecine transfer
Installation view
Adam Art Gallery Te Pātaka Toi at Victoria University of Wellington, 2018
„How Long?“, 2018 & „audioportrait“, 2017
Installation view
Adam Art Gallery Te Pātaka Toi at Victoria University of Wellington, 2018
„How Long?“, 2018 & „audioportrait“, 2017
Installation view
Adam Art Gallery Te Pātaka Toi at Victoria University of Wellington, 2018
„autoportrait“, 2017
35mm, b&w, silent 8 minutes, 50 seconds @ 24 fps 35mm Kodak Eastman Double-X BW
Installation view
10th Berlin Biennale, Berlin
Photo: Simon Vogel
„autoportrait“, 2017
35mm, b&w, silent 8 minutes, 50 seconds @ 24 fps 35mm Kodak Eastman Double-X BW
Installation view
10th Berlin Biennale, Berlin
Photo: Simon Vogel
Untitled, 2015
Bronze of water fountain with found original parts
Installation view
10th Berlin Biennale, Berlin
Photo: Simon Vogel
Untitled, 2015
Bronze of water fountain with found original parts
Installation view
10th Berlin Biennale, Berlin
Photo: Simon Vogel
Untitled, 2015
Bronze of water fountain with found original parts
Installation view
10th Berlin Biennale, Berlin
Photo: Simon Vogel
„_Human“, 2018
35 mm film, color, no sound 9 min 33 sec
„_Human“, 2018
35 mm film, color, no sound 9 min 33 sec
„_Human“, 2018
35 mm film, color, no sound 9 min 33 sec
Installation view
Kunsthalle Basel, 2018
Photo: Philipp Hänger
„_Human“, 2018
35 mm film, color, no sound 9 min 33 sec
Installation view
Kunsthalle Basel, 2018
Photo: Philipp Hänger
„_Human“, 2018
35 mm film, color, no sound 9 min 33 sec
Installation view
Kunsthalle Basel, 2018
Photo: Philipp Hänger
Untitled, 2015
Inkjet photograph on paper, framed
135,37 x 107 cm
Installation view
Asia Pacific Triennial of Contemporary Art (APT8), 2015-2016
„autoportrait“, 2017
35mm, b&w, silent 8 minutes, 50 seconds @ 24 fps 35mm Kodak Eastman Double-X BW
Installation view
Chisenhale Gallery, London, 2017
Photo: Andy Keate
„autoportrait“, 2017
35mm, b&w, silent 8 minutes, 50 seconds @ 24 fps 35mm Kodak Eastman Double-X BW
Installation view
Chisenhale Gallery, London, 2017
Photo: Andy Keate
„autoportrait“, 2017
35mm, b&w, silent 8 minutes, 50 seconds @ 24 fps 35mm Kodak Eastman Double-X BW
Installation view
Chisenhale Gallery, London, 2017
Photo: Andy Keate
Untitled, 2015
2 unique versions + 1 AP
Bronze of water fountain with found original parts/fitting
52 x 52 x 41 cm
Untitled, 2015
2 unique versions + 1 AP
Bronze of water fountain with found original parts/fitting
52 x 52 x 41 cm
„Cemetery of Uniforms and Liveries“, 2016
16mm, b&w, silent; 9.1@16fps
Kodak Tri-X 16mm b&w reversal stock
HD video telecine transfer
Exhibition View
Galerie Nagel Draxler, Berlin
Photo: Simon Vogel
„Cemetery of Uniforms and Liveries“, 2016
16mm, b&w, silent; 9.1@16fps
Kodak Tri-X 16mm b&w reversal stock
HD video telecine transfer
Exhibition View
Galerie Nagel Draxler, Berlin
Photo: Simon Vogel
„Cemetery of Uniforms and Liveries“, 2016
16mm, b&w, silent; 9.1@16fps
Kodak Tri-X 16mm b&w reversal stock
HD video telecine transfer
Exhibition View
Galerie Nagel Draxler, Berlin
Photo: Simon Vogel
„Cemetery of Uniforms and Liveries“, 2016
16mm, b&w, silent; 9.1@16fps
Kodak Tri-X 16mm b&w reversal stock
HD video telecine transfer
Exhibition View
Galerie Nagel Draxler, Berlin
Photo: Simon Vogel
Exhibition view
„Misadventure“, 2016
Institute of Modern Art, Brisbane
Foto: Carl Warner, IMA Brisbane
Exhibition view
„Misadventure“, 2016
Institute of Modern Art, Brisbane
Foto: Carl Warner, IMA Brisbane
Exhibition view
„Misadventure“, 2016
Institute of Modern Art, Brisbane
Foto: Carl Warner, IMA Brisbane
Exhibition view
„Misadventure“, 2016
Institute of Modern Art, Brisbane
Foto: Carl Warner, IMA Brisbane
Exhibition view
„Misadventure“, 2016
Institute of Modern Art, Brisbane
Foto: Carl Warner, IMA Brisbane
Exhibition view
„Misadventure“, 2016
Institute of Modern Art, Brisbane
Foto: Carl Warner, IMA Brisbane
Exhibition view
„Misadventure“, 2016
Institute of Modern Art, Brisbane
Foto: Carl Warner, IMA Brisbane
Exhibition view
„Misadventure“, 2016
Institute of Modern Art, Brisbane
Foto: Carl Warner, IMA Brisbane
„Cemetery of Uniforms and Liveries“, 2016
16mm, b&w, silent; 9.1@16fps
Kodak Tri-X 16mm b&w reversal stock
HD video telecine transfer
Exhibition View
„Misadventure“, 2016
Institute of Modern Art, Brisbane
Foto: Carl Warner, IMA Brisbane
„Cemetery of Uniforms and Liveries“, 2016
16mm, b&w, silent; 9.1@16fps
Kodak Tri-X 16mm b&w reversal stock
HD video telecine transfer
Exhibition View
„Misadventure“, 2016
Institute of Modern Art, Brisbane
Foto: Carl Warner, IMA Brisbane
„Sucu Mate / Born Dead“, 2016
Concrete Headstones
Dimensions varaible
Untitled, 2015
Inkjet photograph on paper, mounted on dibond
135,37 x 107 cm
„Sucu Mate“, 2012
Two 16mm microfilm reels
(with microfilm reader, circa 1500 photographs)
Photo: Simon Vogel
„Sucu Mate“, 2012
Two 16mm microfilm reels
(with microfilm reader, circa 1500 photographs)
Photo: Simon Vogel
„Sucu Mate“, 2012
Two 16mm microfilm reels
(with microfilm reader, circa 1500 photographs)
Photo: Simon Vogel
„Sucu Mate“, 2012
Two 16mm microfilm reels
(with microfilm reader, circa 1500 photographs)
Photo: Simon Vogel
„Sucu Mate“, 2012
Two 16mm microfilm reels
(with microfilm reader, circa 1500 photographs)
Photo: Simon Vogel
„Sucu Mate“, 2012
Two 16mm microfilm reels
(with microfilm reader, circa 1500 photographs)
Installation view
“Nicht mehr, nicht minder als der Sugar”, 2015
Reisebürogalerie, Cologne
Photo: Simon Vogel
„Sucu Mate“, 2012
Two 16mm microfilm reels
(with microfilm reader, circa 1500 photographs)
Installation view
“Nicht mehr, nicht minder als der Sugar”, 2015
Reisebürogalerie, Cologne
Photo: Simon Vogel
„Sucu Mate“, 2012
Two 16mm microfilm reels
(with microfilm reader, circa 1500 photographs)
Installation view
“Nicht mehr, nicht minder als der Sugar”, 2015
Reisebürogalerie, Cologne
Photo: Simon Vogel
„Sucu Mate“, 2012
Two 16mm microfilm reels
(with microfilm reader, circa 1500 photographs)
Installation view
“Nicht mehr, nicht minder als der Sugar”, 2015
Reisebürogalerie, Cologne
Photo: Simon Vogel
Untitled, 2015
Bronze of water fountain with found original parts/fitting
52 x 52 x 41 cm
Photo: Simon Vogel
Untitled, 2015
Bronze of water fountain with found original parts/fitting
52 x 52 x 41 cm
Photo: Simon Vogel
Untitled, 2015
Bronze of water fountain with found original parts/fitting
52 x 52 x 41 cm
Installation view
„New Positions“, 2016
Art Cologne, Cologne
Photo: Simon Vogel
Luke Willis Thompson
Untitled, 2015
Bronze of water fountain with found original parts/fitting
52 x 52 x 41 cm
Installation view
„New Positions“, 2016
Art Cologne, Cologne
Photo: Simon Vogel
Biography
LUKE WILLIS THOMPSON
geboren/born 1988 in Auckland, New Zealand
lebt und arbeitet/lives and works in Auckland und/and London
AUSBILDUNG / EDUCATION
2013-2014 Städelschule, Staatliche Hochschule für Bildende Künste, Frankfurt am Main, Germany (Guest Student, Prof. Willem de Rooij)
2010 MFA Elam School of Fine Arts, University of Auckland
2009 BFA Elam School of Fine Arts, University of Auckland
RESIDENCIES
2016/17 Chisenhale Gallery Create Residency, London
2014 Sa Sa Bassac Cambodia Exchange Project, Cambodia
2013 Weltkulturen Museum, Frankfurt am Main
PREISE UND NOMINIERUNGEN / AWARDS AND NOMINEES
2018
Turner Prize 2018 (nominiert/nominated)
Schering Kunstpreis 2018 (nominiert/nominated)
21. Deutsche Börse Photography Foundation Prize
2014
Walters Prize
AUSSTELLUNGEN/PROJEKTE (AUSWAHL) / EXHIBITIONS/PROJECTS (SELECTION)
2025
"to carry", Sharjah Biennale 16, Sharjah, UAE
2024
"Mouvement des Malades", Nagel Draxler @ Wilhelm Hallen, Berlin
"Mouvement des Malades", Coastal Signs x Michael Lett Gallery, Tāmaki Makaurau, Auckland (solo)
2022
"The Mouth is for Speaking", WE ARE AIA | Awareness in Art, Zurich (group)
2020
PHOTO 2020 International Festival of Photography, Bunjil Place Studio, Narre Warren. (group)
2019
"adjacency", Nagel Draxler Kabinett, Berlin (solo)
"hysterical strength", GAMeC – Galleria d'Arte Moderna e Contemporanea di Bergamo, Bergamo (solo)
2018
“Turner Prize 2018”, Tate Britain, London (group)
“Deutsche Börse Photography Foundation Prize 2018", MMK 3 – Museum für Moderne Kunst, Frankfurt am Main (group)
“Deutsche Börse Photography Foundation Prize 2018", The Photographers’ Gallery, London (group)
10th Berlin Biennale, Berlin (group)
“_Human”, Kunsthalle Basel, Basel (solo)
“Luke Willis Thompson”, Adam Art Gallery Te Pātaka Toi, Victoria University of Wellington, Wellington (solo)
2017
"Luke Willis Thompson: Mourning, Militancy, & Media", Swiss Institute Contemporary Art, New York (artist talk and screening)
"Durchkreuzte Repräsentationen", mumok Kino, mumok, Wien (screening)
“autoportrait”, Hopkinson Mossman, Auckland (solo)
“Luke Willis Thompson”, Chisenhale Gallery, London (solo)
“Shout, Whisper, Wail: The Chartwell Show”, Auckland Art Gallery Toi o Tamaki, Auckland (group)
2016
"Cemetery of Uniforms and Liveries", Galerie Nagel Draxler, Berlin (solo)
La Bienniale de Montreal, Montreal (group)
"Live uncertainty",32nd Sao Paulo Bienial, Sao Paulo (group)
"Misadventure", Institute of Modern Art (IMA), Brisbane (solo)
"Light switch and conduit: the Jim Barr and Mary Barr collection", Dunedin Public Art Gallery (group)
"Sucu Mate/Born Dead", Hopkinson Mossman, Auckland (solo)
New Positions @ Art Cologne, Galerie Nagel Draxler, Cologne/Berlin (solo)
2015
"Surround Audience", New Museum Triennial, New York (group)
8th Asia Pacific Triennial, Queensland Art Museum, Brisbane / Gallery of Modern Art, Auckland (group)
"Parked like Serious Oysters", MMK, Museum für Moderne Kunst, Frankfurt am Main (group)
"nicht mehr, nicht minder als der Sugar", Reisebürogalerie, Cologne (solo)
2014
"Walters Prize Exhibition", Auckland Art Gallery Toi o Tamaki, Auckland (solo)
"Foreign Exchange – or the stories you wouldn’t tell a stranger" (curated by Clémentine Deliss), Weltkulturen Museum, Frankfurt am Main (group)
"Just as Money is the Paper, the Gallery is the Room", Osage Gallery Shanghai (group)
2013
"On this day alone" (curated by Glenn Barkley), Gertrude Contemporary, Melbourne (group)
"If you were to live here...", 5th Auckland Triennial, Auckland Art Gallery Toi o Tamaki, Auckland (group)
2012
“Between memory and trace” (curated by Bruce E. Phillips), Te Tuhi Centre for the Arts in Pakuranga, Auckland (group)
“Made Active: The Chartwell Show (curated by Natasha Conland)”, Auckland Art Gallery Toi o Tamaki (group, performance)
“In Spite of Ourselves: Approaching Documentary“ (curated by Fiona Amundsen, Dieneke Jansen
and Vera Mey), St Paul St Gallery, AUT, Auckland (group)
“inthisholeonthisislandwhereiam”, Hopkinson Cundy, Auckland (solo)
2011
S/F newspaper project, Auckland (publication)
"Yaw", RM, Auckland (solo)
2010
"Elam Graduate Show: MFA Program", Elam School of Fine Arts, Auckland (solo)
"MakeShift: Tautai’s third tertiary show" (curated by Nina Tonga), St Paul St Gallery,Auckland
"Memory to the marrow" (with Sue-li Tasker-Yeo), Projectspace B4321, Auckland
2009
"When we read, we really read", George Fraser Gallery, Auckland (group)
2008
"Deadline Authentico!", George Fraser Gallery, Auckland (group)
Bibliography
2018
RNZ, "Arts commentator Courtney Johnston", Radio Report, 28 February 2018.
RNZ, "Luke Willis Thompson - audioportrait" Radio Interview, 17 February 2018.
2017
Alex Quicho, "Luke Willis Thompson Autoportrait", ArtReview, August 2017.
Frances Loeffler, "Luke Willis Thomson: A Sister Image", Contemporary HUM, July 15, 2017.
Charlie Brinkhurst-Cuff, "Woman who livestreamed boyfriend's death in new art exhibit", DAZED, July 2017.
Anthony Byrt, "Philando Castile: a name artist Luke Willis Thompson won't let you forget", NOTED, June 30, 2017.
Ben Luke, "Luke Willis Thompson - Autoportrait, exhibition review: Classical beauty with a quiet activism", Evening Standard, June 2017.
Hettie Judah, "Diamond Reynolds: the woman who streamed a police shooting becomes a Renaissance Madonna", The Guardian, June 26, 2017.
Luke Willis Thompson and Tobi Haslett in Conversation, "About Face: Luke Willis Thompson", Mousse Magazine – CONVERSATIONS Mousse 57, February-March 2017.
2016
Karen Archey, "Luke Willis Thompson", Frieze, October 2016.
Kat Herriman, "9 Must-See Artists at La Biennale de Montréal", artnetnews, October 25th, 2016.
Julius Schmitt, "Junge Kunst auf der Art Cologne", Deutsche Welle, April 15th, 2016
John Hurrel, "Luke Willis Thompson in Auckland" , Eye Contact, February 2nd, 2016
2015
Jasmin Schülke, "Dadaistisches Manifest", Frankfurter Rundschau, 14. Oktober 2015
Tavia Nyong'o, "In Conversation with Luke Willis Thompson", Social Text, September 3rd, 2015
2014
Linda Herrick, "Work of art includes mystery cab ride", nzherald, September 28th, 2014.
ARTAND, Auckland, "LUKE WILLIS THOMPSON WINS 2014 WALTERS PRIZE", Art & Australia, 2014.
2013
Sophie Von Olfers & Luke Willis Thompson, "Out of the Gallery", Mousse 41, December 2013
Danny Butt, Luke Willis Thompson catalogue essay in "If you were to live here… The 5th Auckland Triennial", ed. Hou Hanru. Auckland Art Gallery, 2013
2012
Hamish Win, "Immaterial Transformations", Un Magazine, Issue 6.2, December 2012
Brownwyn Lloyd, "Readinghouse", Scope: (Art & Design), 7, 2012
2011
Danny Butt, "Luke Willis Thompson: Yaw at RM", Eye Contact, July 21st, 2011