• Performing Earth, 2020 • colored pencil  and oilpen on paper, 157 x 117 cm
    Performing Earth, 2020 • colored pencil and oilpen on paper, 157 x 117 cm
  • Näher beim Mond, 2020 • colored pencil  and oilpen on paper, 157 x 117 cm
    Näher beim Mond, 2020 • colored pencil and oilpen on paper, 157 x 117 cm
  • Im Universum, 2020 • colored pencil  and oilpen on paper, 86 x 89 cm
    Im Universum, 2020 • colored pencil and oilpen on paper, 86 x 89 cm
  • Seepferdchens Alptraum - oder sexuelle Obsession (in deutsch), 2020 • colored pencil  and oilpen on paper, 180 x 129 cm
    Seepferdchens Alptraum - oder sexuelle Obsession (in deutsch), 2020 • colored pencil and oilpen on paper, 180 x 129 cm
  • Art as Connection, 2021 • installation view at Kunsthaus Aarau (CH)
    Art as Connection, 2021 • installation view at Kunsthaus Aarau (CH)
  • Masken, 2019 • installation view at Kunsthaus Aarau (CH)
    Masken, 2019 • installation view at Kunsthaus Aarau (CH)
  • Horizontales Paradies, 2014 • installation view at Kunstmuseum Luzern (CH)
    Horizontales Paradies, 2014 • installation view at Kunstmuseum Luzern (CH)
  • Horizontales Paradies, 2014 • installation view at Kunstmuseum Luzern (CH)
    Horizontales Paradies, 2014 • installation view at Kunstmuseum Luzern (CH)
  • Horizontales Paradies, 2014 • installation view at Kunstmuseum Luzern (CH)
    Horizontales Paradies, 2014 • installation view at Kunstmuseum Luzern (CH)
  • an unhappy archive, 2014 • installation view at Badischer Kunstverein, Karlsruhe (DE)
    an unhappy archive, 2014 • installation view at Badischer Kunstverein, Karlsruhe (DE)
  • an unhappy archive, 2014 • installation view at Badischer Kunstverein, Karlsruhe (DE)
    an unhappy archive, 2014 • installation view at Badischer Kunstverein, Karlsruhe (DE)
  • an unhappy archive, 2014 • installation view at Badischer Kunstverein, Karlsruhe (DE)
    an unhappy archive, 2014 • installation view at Badischer Kunstverein, Karlsruhe (DE)
  • an unhappy archive, 2014 • installation view at Badischer Kunstverein, Karlsruhe (DE)
    an unhappy archive, 2014 • installation view at Badischer Kunstverein, Karlsruhe (DE)

News

On Love – Istituto Svizzero, I – Roma

ON LOVE
Una mostra collettiva con Giulia Crispiani, Leda Bourgogne, Jeanne Jacob, Marta Margnetti, Sabian Baumann, Soñ Gweha, Tomás Paula Marques, Zheng Bo

La comprensione dell’amore ha subito significative trasformazioni negli ultimi anni. In un’epoca contrassegnata dai progressi digitali e tecnologici, le discussioni sulle identità di genere e le sfide alle strutture familiari tradizionali hanno finalmente preso il centro della scena. Il concetto di amore è ora soggetto a una riconsiderazione critica, con un’attenzione alle sue radici profonde nella struttura sociale capitalistica. Di fronte a certi stati che limitano i diritti delle coppie dello stesso sesso o ricriminalizzano l’aborto, le comunità LGBTQ+, in particolare, si fanno sempre più sentire nella loro resistenza contro ideali eteronormativi rigidi e vincoli legali. Essi sostengono forme alternative di intimità sessuale ed emotiva, così come reti di cura. La politica dell’amore comprende non solo come amiamo, ma anche chi amiamo. Questa mostra collettiva riunisce artisti che utilizzano diversi media per esplorare varie sfaccettature di questa complessa tematica.

Sabian Baumann (1962, Zug) ha studiato arti visive presso l’Università delle Arti di Zurigo. Il corpus artistico di Sabian, incentrato sui concetti di corpo, identità e valori culturali, abbraccia una vasta gamma di mezzi artistici, ma trova il suo focus principale nella scultura e nel disegno. Sabian ha esposto in Svizzera e all’estero, ha avviato progetti collaborativi e transdisciplinari con un approccio queer e intersezionale-femminista, inclusi due film documentari. Sabian Baumann è rappresentato dalla Galerie Mark Müller, Zürich.

 

Apropos Hodler – Aktuelle Blicke auf eine Ikone – Kunsthaus CH-Zürich

The Kunsthaus Zürich examines the contemporary relevance of Switzerland’s ‘national artist’, Ferdinand Hodler. ‘Apropos Hodler’ counters one-sided interpretations with the rich diversity of the painter’s formal, cultural and political impact, and sets out to view the old and familiar with new eyes. Works by more than 30 contemporary artists are juxtaposed with some 60 paintings by the Swiss icon.

Scandalous artist and national icon: forgotten and rediscovered

The reception of Hodler’s work has ebbed and flowed. His ‘scandalous’ participation in the Secession exhibitions in Berlin and Vienna around 1900 marked him out as one of the most progressive artists of his time. Yet Hodler’s success was hard-earned, given his upbringing in a family with little money and time for education. That background, and his early preference for subjects drawn from the lives of craftspeople and workers, initially drew the approval of socialists such as Hans Mühlestein (1887–1969). When he died in 1918, Hodler was honoured as a great Swiss artist, yet his reputation faded after the Second World War. It was not until the 1980s that he came to be appreciated again in Switzerland. Although recognized by art historians as an innovator, Hodler has come to be seen by the public at large as symbolizing traditional values. For the Kunsthaus, that altering reception is an opportunity to present Ferdinand Hodler alongside and in conjunction with international contemporary artists. The exhibition concept was developed by Kunsthaus curators Sandra Gianfreda and Cathérine Hug as part of a collective, which also chose the approximately 30 invited artists. This advisory collective included artists Sabian Baumann (b. 1962), Ishita Chakraborty (b. 1989) and RELAX (chiarenza & hauser & co; since 1983). They reacted to a list of Hodler paintings which was also drawn up collectively. The exhibition was designed in association with the artist Nicolas Party (b. 1980).

 

Gallery Exhibitions

Group Show (Adieu Gessnerallee!)