The work of Thomas Moor engages with the aesthetics of sustainability and conservation, asking what is preserved, what is conserved, and how these processes transform their subject. These questions lead to ongoing negotiations around (image) language, representation, institutional thresholds, art historical narratives, public relations, and class as well as urban–rural discrepancies. Since around 2019, Moor has primarily focused on painting, though his practice also spans sculpture, installation, sound, performance, and occasional curatorial work.
He earned a BA in Fine Arts from Zürcher Hochschule der Künste, Zurich, and graduated with an MFA (Work.Master) from Haute école d’art et de design—HEAD, Geneva in 2018. His work has been presented at Kunsthalle Nairs, Scuol; Aargauer Kunsthaus, Aarau; Kunsthaus Zürich; and Wilhelm Hack Museum, Ludwigshafen, among others.
","externallinks":[]}],"isupcoming":false,"iscurrent":false,"duration":"durational","displayartistsname":false,"startdate":1780005600,"enddate":1783720800,"category":"Vitrines","smalltext":"","description":"In this work, Thomas Moor presents a reduced replica of a chair originally designed by Donald Judd, based on a version reproduced by Kim Kardashian. This chair gained renewed visibility after a similar piece appeared in a 2022 video by Kardashian. Though the exact model remains unidentified, its proportions and construction closely resemble those of model 84-6 (1978).
In the video, produced for her brand SKKN by Kim, Kardashian presents furniture she describes as “Donald Judd tables,” noting how they “match perfectly with the chairs.” The pieces were subsequently identified by the Judd Foundation, which oversees the artist’s estate, as unauthorized reproductions, prompting legal action. The case was eventually settled: Kardashian agreed to acquire authentic Judd furniture and to repurpose the replicas.
This work is part of a larger series by Thomas Moor, entitled Klagewerk (“complaint work”), a German term that evokes both lament and legal claim, and proposes reinvesting disputes over artworks' authenticity.
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