Dirk Braeckman’s third exhibition at Thomas Fischer includes a selection of works that stretches across several phases of the artist’s work into the present, showing the artist’s work as a coherent, large-scale oeuvre that cannot necessarily be located in any one, specific point in time, but, on the contrary, seems remote from time. Bringing together photographs taken at various points in time is essential to Dirk Braeckman’s exhibition practice. Unlike the framework of the Venice Biennale in 2017, where he dominated the Belgian Pavilion through a strictly balanced system of hanging, for Dirk Braeckman the exhibition context of the gallery is something like an open area of experimentation.
Text: Maren Lübbke-Tidow
