Category Archives: Shows

All That You See – Kunstmuseum CH – Thun

Giacomo Santiago Rogado is a Swiss artist of Italian-Spanish descent who unites in his works a wide variety of painterly traditions while making use of new tools, techniques and materials to probe in-depth the possibilities, limits and conditions of contemporary painting. In his nearly twenty years as a painter, Rogado has produced an extensive body of work that has never before been presented in a survey exhibition. He is furthermore the first artist to be featured simultaneously at both the Thunerhof and Thun-Panorama. Across an area of over 1000 square metres, Rogado will respond directly to the specific challenges of each exhibition venue. At the Thun-Panorama, he will display primarily figurative works, following in the footsteps of the panorama’s painter, Marquard Wocher, by using illusionistic effects and a realistic style based on photography. Accompanying the two-dimensional works will be monumental installations that invite viewers to immerse themselves in the pictorial space, creating a direct link to the historical panorama.

Duration of the exhibition in Thun-Panorama: 11 May to 1 December 2024

WASSERstoff #alles im FLUSS» und «DIE LINIE, als malerisches Phänomen II – Im MEMU, Kunst- und Kulturforum, D-Essing

Group show with Anna Arnskötter, Franz Baumgartner, Ansgar Skiba, Ulrike Hohgrebe, Sonja Weber, Petra Schuppenhauer, Jörg Bach, Josef Zankl, Gerlinde Zantis, Christof Rehm, Patrick Rohner, Jochen Hein, Doris Hahlweg, Jochen Schambeck, Susanne Ackermann, Georg Bernhard, Carolina Camilla Kreusch, Cigdem Aky, Willi Weiner, Peter Lang, Barbara Ehrmann

C’est comme une carte à jouer – Frac Normandie, F – Sotteville-lès-Rouen

Francis Baudevin pratique un art du trompe-l’œil, entre abstraction et représentation. Dans cette exposition qui revient sur ses vingt dernières années de travail, il joue avec les catégories, en organisant ses tableaux comme des suites de couleurs et de formats, ou des familles de médiums. Les cartes à jouer, qui sont l’un des outils de prédilection des illusionnistes, deviennent ici une image possible de la peinture, rebattues de façon à mélanger Pop Art, art abstrait géométrique et sérialité minimaliste.

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).

 

Schau, wie der Gletscher schwindet – Aargauer Kunsthaus CH-Aarau

Watching the Glacier Go

Collection in Focus

Mountains and glaciers form the Swiss landscape and the culture of the country. It is therefore not surprising that this motif plays a significant role in art.

The focus of the collection follows the thematic core—from the mountain paintings by Caspar Wolf to mountain sunsets by Ingeborg Lüscher and the iceberg and glacier photographs by Julian Charrière. Today, the mountain is perceived both as a tourist destination and as a symbol for climate change.

The presentation is part of the exhibition project across Switzerland, Schau, wie der Gletscher schwindet (Watching the Glacier Go).