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N º 9 / 2 0 1 6 Report emptiness emptiness, REPORT is form also is form Nº 24 20 16 15 14 11 22 8 4 3 2 Karim Noureldin live in the rainbow of chaos We leben in einem Wir Save the date January Save Ausdehnung verdichten / Sarah Oppenheimer Art Fairs Upcoming Shows & Ausstel Kommende Ricardo Alcaide Straddling two Realities 32 Showroom S Walk Kill Your Darlings by David Iselin Darlings by David Iselin Your Kill Terry Haggerty Terry Condensing Expansiveness Howell James Andrew Bick Felipe Mujica Felipe Museum Haus Konstruktiv - 2 81913 nd Bienal de São Paulo 9 : / 2016 Everyday Alchemy Regenbogen des Chaos / lungen & Messen / lungen & Messen / 12 Heart Sutra Ricardo Alcaide Unless We Talk, 2 016 Hochglanz-Industrielack auf MDF / High gloss industrial paint on MDF panel 76 × 60 cm Editorial — Die Galerie plant seit geraumer Zeit Editorial — The gallery has been planning einen komplexen Umbau der Räumlichkeiten a complex remodeling of the space at Kannen­ am Kannenfeldplatz. Dem zuvor ging eine feldplatz for a considerable time. The process in tensive Beschäftigung mit der Galeriearchi­ began with a thorough examination of the gal­ tektur, den veränderten Bedürfnissen der lery architecture, the artists’ changed needs, Künstler, Ideen von Sammlern und Wünschen the collectors’ ideas and the team’s wishes. To des Teams. Lesen Sie zu unseren Visionen find out more about our visions, read David David Iselins Beitrag Kill Your Darlings. Iselin’s piece, Kill Your Darlings. Vor dem Umbau sind aktuell zwei Aus­ Before the renovations begin, the gallery stellungen zu sehen: Decoded zeigt einen Über­ is showcasing two exhibitions: Decoded offers a blick des komplexen Werkes James Howells. survey of James Howell’s sophisticated works. Es ist die erste Ausstellung, in enger Zusam­ In close collaboration with Joy Howell and the menarbeit mit Joy Howell und dem Estate Estate Howell, this exhibition is the first to Howell entstanden, die nicht ausschliesslich feature more than just one particular group of eine einzelne Werkgruppe präsentiert. Karen works. Karen Schiff has analyzed Schiff hat mit Joy Howell das Werk analysiert. the work with Joy Howell. Everyday Alchemy, kuratiert von Andrea Curated by Andrea Hinteregger de Mayo, Hinteregger de Mayo, vereint Künstlerpo­ Everyday Alchemy unites artistic positions sitionen mit Schwerpunkt auf Lateinamerika with a focus on Latin America, demonstrating und zeigt damit die Ambitionen der Galerie, the gallery’s ambition to develop in this area. in diesem Bereich zu wachsen. Karine Tissot discusses the summer Karine Tissot bespricht die Sommer­ show of Karim Noureldin in S­chanf. The artist Ausstellung in S­chanf von Karim Noureldin. succeeded in breathing life into the cool, Er hat dem kühlen und monumentalen monumental space, showing a magnificent rug Raum Leben eingehaucht und zeigt unter an­ which, alongside other works, demonstrates derem mit einem wundervollen Teppich das his versatile artistic practice. Starting in Decem­ breite Spektrum seines Schaffens. ber, Terry Haggerty is presenting an all­new Ab Dezember zeigt Terry Haggerty in group of works in S­chanf. This exhibition S­chanf eine komplett neue Werkgruppe. Man is definitely something to look forward to – our darf gespannt sein, was uns erwartet – das team’s feedback after the last studio visit was Feedback unseres Teams war nach dem letzten euphoric ! Atelierbesuch euphorisch! On 12th January 2017, we are opening Am 12. Januar 2017 eröffnen wir die umge­ the refurbished gallery space with the exhibi­ bauten Räumlichkeiten mit der Ausstellung tion of Ricardo Alcaide – the ideal artist to von Ricardo Alcaide. Der perfekte Künstler um tackle the gallery’s new layout. In addition, die neue räumliche Situation anzugehen. site­specific, permanently installed works by Zudem erweitern einige ortsspezifische, perma­ Bob & Roberta Smith, Sarah Oppenheimer, nent installierte Arbeiten von Bob & Roberta Karim Noureldin and Boris Rebetez augment Smith, Sarah Oppenheimer, Karim Noureldin the spatial experience. und Boris Rebetez das Raum­Erlebnis. Next up are Zona Maco in Mexico, Weiter geht es mit Zona Maco in Mexiko, Andrew Bick at Museum Haus Konstruktiv in Andrew Bick im Museum Haus Konstruktiv Zurich and Superflex in S­chanf – and that in Zürich und Superflex in S­chanf – und da only takes us to the end of February. 2017 will sind wir erst bei Ende Februar. Bestimmt undoubtedly be the most active year in wird 2017 das aktivste Jahr in unserer inzwi­ our now 47 year history ! You can already look schen 47­jährigen Geschichte ! Freuen Sie forward to the next Report; it will be every­ sich also bereits auf den nächsten Report, wir thing but boring, we promise ! versprechen Ihnen, es wird nicht langweilig ! • Margareta von Bartha REPORT Nº 9 / 2016 REPORT Nº 9 / 2016 Terry Superflex Haggerty Feb 17 KOMMENDE AUSSTELLUNGEN & MESSEN AUSSTELLUNGEN KOMMENDE Dec 28 — Mar 18 — Feb 3 von Bartha von Bartha S-chanf S-chanf Art Fair Ricardo The Alcaide Armory Jan 13 Show Opening reception S-2 81913 , 2 016 at Pérez Art Museum Miami Glass, aluminium and existing architecture Courtesy the artist, von Bartha Basel — Mar 18 Mar 2 on September 29, 2016 Dimensions variable and Annely Juda London von Bartha — Mar 5 For S-281913, Sarah Oppenheimer’s newly commis­ nature, modulating light above all; yet its dynamic the building’s relationship to its picturesque sur­ sioned project for Pérez Art Museum Miami’s Meyer­ potential is fulfilled through physical interaction. roundings while bridging the east­facing view from hoff Greene Focus Gallery, the artist designed two Paralleling Maurice Merleau­Ponty’s (1908–1961) idea Oppenheimer’s gallery and the south­facing view Basel New York identical, large rectangular glass boxes that seem to of the “flesh of the world”, this physical dimension, from the curtain wall that lines the gallery space that hover in space, each suspended between a pair of which represents a recent development in Oppenhei­ the visitor has just passed through. dramatically slanted black metal shafts anchored into mer’s production, resonates with the active, bodily • This text is a section of the exhibition brochure by the gallery’s ceiling and floor. Outfitted with a com­ aspect of sensory perception. PAMM Curator René Morales plex system of hidden joints, the shafts allow the One of Oppenheimer’s many theoretical touch­ UPCOMING SHOWS & ART FAIRS & ART SHOWS UPCOMING SARAH OPPENHEIMER glass elements to pivot gracefully on their axis with a stones on the subject of switches is a 1909 essay by gentle push, enabling a variety of configurations. Georg Simmel (1858–1918) titled Bridge and Door, in The effects produced by these elements differ greatly which the German philosopher describes his titular Art Fair Beat depending on the interplay between their positions subjects as “the forms that dominate the dynamics of relative to one another and to the viewer’s body. our lives.” For Simmel, the bridge represents human From certain angels, they appear perfectly transpar­ effort to connect the natural with the natural (e.g. ent, their substantial mass belied by an apparent riverbank to riverbank), and more generally, the im­ sense of weightlessness and delicacy. From other van­ pulse to unity. The door stands for the human urge to Zona Maco Zoderer tage points, they present an overload of visual in­ “cut a portion out of the continuity and infinity of formation in their reflections. Each element is capa­ space” – that is, to separate ourselves from or to divide ble of producing a dizzying reorientation of the the world by means of architecture – while still pre­ museum’s distinctive lighting grid from the horizon­ serving the ability to step back out of this constructed Feb 8 Apr 8 tal plane of the ceiling to the vertical plane of the zone at any moment. Simmel contrasts this freedom upright spectator. When arranged just so, the elements to cross back and forth across spatial thresholds function in tandem with one another as a visual with the properties he ascribes to the window, which relay system, displacing the stunning vista of Biscayne is akin to the door except that it exists for the sole — Feb 12 — May 27 Bay provided by a floor­to­ceiling window situated purpose of looking out, not looking in. With S-281913, at the gallery’s far right corner so that it meets head­ Oppenheimer embodies Simmel’s formulation, pro­ on the gazes of visitors approaching the space from posing the switch as a means to harness at will the an adjacent gallery. individual associations of the bridge, door, and win­ Mexico City von Bartha S-281913 arose in large part from Oppenheimer’s dow, or to combine them into a single perceptual fascination with the idea of an architectural “switch”, experience. When the glass elements disappear into which she defines as any element that intervenes in transparency, they function as an open door that or modulates the flow of either things (objects, people) redoubles the emptiness of the gallery. When they or non­things (air, light, temperature, sound) across reflect the lighting grid, they function as a set of Basel and through a given space. A switch participates in the closed doors, optically slicing the visitors’ experience composition of the perceptual array, but it does of the entire southeast sector of the museum into so without physically subdividing space into separate three distinct areas – the gallery in which Oppen­ zones with the use of walls or built­in architectural heimer’s work is installed, the adjacent gallery, and barriers. Switches are flexible, not fixed or static. the cityscape outside. When they align to relay the In S-281913, the switch is primarily nonphysical in view, the intervention acts as a window that intensifies REPORT Nº 9 / 2016 REPORT Nº 9 / 2016 JAMES HOWELL JAMES HOWELL Ausdehnung verdichten James Howell in seinem Studio / James Howell in his studio, 19 9 4 Set 98.22 12 /09/95, 19 9 5 Acryl auf CVI Leinwand / Acrylic on CVI canvas 16 8 × 16 8 cm PAGE 4 Form is emptiness; emptiness also is form.
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