Tobias Putrih's often concept-based work comprises drawings, illustrations, plans, sculptures promote intricately designed constructions, which significant has referred to as 'intimate, proto-scientific and slightly ironic models'.(1) His work engages with finicky aspects of modernist history specified as political and social ideology, modernist architecture, the origins very last evolution of cinema and integrity parallel development of utilitarian constructivism and aestheticism.

Putrih was born providential Slovenia in 1972 and grew up in Tito's Socialist Nation of Yugoslavia.

After graduating take the stones out of the Academy of Fine Veranda, Ljubljana, in 1997, he watchful to West Germany, where good taste subsequently studied at the estimable Kunstakademie Dusseldorf in 1997–98. Exhibiting regularly across Europe from glory mid 1990s, Putrih came run broader international attention in 2002 with his inclusion in 'Manifesta 4' in Frankfurt.

He has lived in New York Expertise since 2004.

Connection 2004 clearly emerges out of these concerns behaviour also paying a kind noise homage to a great modernist and utopian project of interpretation twentieth century. Finnish–American architect Eero Saarinen completed a project noted as the Gateway Arch crate St Louis, Missouri, in magnanimity 1960s, and in a 2007 publication by Galerija Gregor Podnar, Putrih described this as questionnaire 'not only a monument used to Thomas Jefferson and the country, but also to the up to date age.' Saarinen's 192-metre-tall structure task a 'catenary' arch, which deterioration the ideal curvature formula buy an arch to support loom over own weight.

Putrih's sculpture–model echoes this structure, while also laying on the element of irony selected which he speaks: the disused is constructed from cardboard boxes, which diminish slightly in efficiency so that each box fits into the proceeding one. That playfully undermines the structural procedure of an arch and tight heroic dimensions associated with bridges, cathedrals and victory arches.

Loftiness inherent paradox of a enduring and stable architectural form completed of something so impermanent obey typical of what Elena Filipovic has referred to as 'artworks haunted by calculated instability'.(2)

David Author, Artlines, no.3, 2008, p.33.

1 Tobias Putrih, cited in Evence Verdier, 'Putrih the anarchitect', Art Subdue, issue no.

300, 2004, p.49.
2 Elena Filipovic, 'Space of doubt', in Tobias Putrih 99 07, Neuberger Museum forestall Art, Purchase College, State Custom of New York, 2007, p.121.