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140129 Vbreportno3 RZ.Indd REPORT is closed private Nº 3 / 2014 ” ? that look even better if it were a bit different Wouldn’t “ Bernar Venet Bob and Roberta Smith » Spielobjekte / Play objects « : Tinguely Museum 2 3 Camille Graeser 16 12 14 Q and A 8 4 Art Fairs lungen & Messen / Upcoming Shows Ausstel get personal and political » «The cool rationalism of this art » / Sähe das ein wenig anders nicht besser aus? « A Short History of Baseness Andersson 3 Questions to Christian Christian Andersson X Y Z public is open public is open private is closed from a painting by Bob and Roberta Smith, 2 012 Camille Graeser Permutation, 19 6 8 Acryl auf Leinwand / Acrylic on canvas 10 8 × 10 8 cm Editorial — Wie kommt man auf die Idee, sich Editorial — How does one get the idea of ein Pseudonym zuzulegen ? Patrick Brill hat adopting a pseudonym ? Patrick Brill decided sich bereits zu Beginn seiner Karriere dafür to do so already at the beginning of his entschieden. Man kennt ihn deshalb eher als career. Thus he is better known as BOB AND BOB AND ROBERTA SMITH. Bob ist ein ROBERTA SMITH. Bob is a very generous sehr grosszügiger, sozial engagierter und witzi- and witty person who is socially aware and ger Mensch. Mit grossem Einsatz greift er ready to get involved. He goes to considerable Unrecht in der Gesellschaft und selbstverliebte lengths to attack social injustices and self- Politiker an. Bereits vor rund 15 Jahren kauf- regarding politicians. Already around 15 years te ich Werke von ihm und ich freue mich nun ago I bought some of his works and now besonders auf seine erste Ausstellung bei look forward immensely to his first exhibition uns in der Galerie. in our gallery. Eine völlig andere Wahrnehmung bietet die The second big exhibition featuring Camille zweite grosse Ausstellung mit Camille Graeser. Graeser will offer yet a completely different per- Als wichtiges ( Gründungs-)Mitglied der ception. As one of the founders and an impor- « Zürcher Konkreten » hat er ein Lebenswerk tant member of the “Zürcher Konkreten” he von äusserster Stringenz und Schönheit has created a lifetime oeuvre of eminent strin- geschaffen. Eine vergleichbare Auswahl von gency and beauty. It is unlikely that another wichtigen Werken Graesers wird es wohl so comparable selection of Graeser’s important bald nicht mehr geben. Als besondere Sensati- works will be shown again. As a particular on kann das drei Meter lange Aluminium- sensation the three meter long aluminium re- Relief von 1956 / 1957 gelten, das zum ersten lief of 1956/57 will be exhibited for the first Mal überhaupt ausgestellt wird. Zu diesem time ever. In honour of this occasion we will be Anlass publizieren wir ausserdem einen publishing a detailed catalogue. In addition, ausführlichen Katalog. Ergänzend wirft die the young art historian Gioia dal Molin will junge Kunsthistorikerin Gioia dal Molin look from today’s perspective at Graeser’s work einen Blick auf Grae sers Werk und seine Bio- and his influence on Zurich’s art scene then graphie in Zusammenhang mit der Schwei- and now. zer Kulturförderung von damals. Before we fling ourselves into the adventure Bevor wir uns in das Abenteuer namens called ART Basel, we will set up a sculpture ex- ART Basel stürzen, bauen wir eine sehr instal- hibition with Bernar Venet that consists large- lative Skulpturenausstellung mit Bernar ly of installations. A new series in the Report Venet auf. Für den Report soll eine neue Reihe intends to give personal insights into the crea- persönliche Einblicke in das Schaffen der tive work of the artists in our programme. Künstler und Künstlerinnen in unserem Pro- Christian Andersson will start the series off by gramm geben. Christian Andersson macht answering three questions about his work den Anfang und beantwortet drei Fragen zu and his ideas. seiner Arbeit und seinen Ideen. Furthermore, we have been asked to loan works Weiter wurden wir für die Ausstellung by Arden Quin and Gerhard von Graevenitz « Spielobjekte – die Kunst der Möglichkeiten » to the Museum Jean Tinguely for the exhibi- im Frühjahrsprogramm des Museum Jean tion “Play Objects – The Art of Possibilities” in Tinguely nach Leihgaben von Arden Quin und the coming spring. I thought it would be of Gerhard von Graevenitz gefragt. Ich fand interest to hear what the curator Dr. Frederik es reizvoll von Dr. Frederik Schikowski, dem Schikowski can tell us about the exhibition. Kurator der Ausstellung selbst, über die • Margareta von Bartha Ausstellung etwas zu hören. • Margareta von Bartha R E P O R T N º 3 / 2 014 Bob & Camille Roberta Graeser AUSSTEL LUNGEN & MESSEN & MESSEN LUNGEN AUSSTEL Smith Mar 29 Jan 18 — May 17 — Mar 15 von Bartha von Bartha Basel Basel Bernar Christian Venet Andersson May 22 Feb 14 — Jul 19 — Apr 13 von Bartha von Bartha Basel UPCOMING SHOWS & ART FAIRS & ART SHOWS UPCOMING S-chanf Art Basel TEFAF Jun 19 Maastricht — Jun 22 Mar 14 Basel — Mar 23 Maastricht R E P O R T N º 3 / 2 014 X Y Z CHRISTIAN ANDERSSON CHRISTIAN Self Portrait. Living Fossile, 2013 C-print, walnut frame 96,5 × 69,5 cm PAGE 3 CHRISTIAN ANDERSSON CHRISTIAN Als Künstler setzt man sich verschiedene Ziele: Grossartige Kunst zu schaffen, be- Artists will set goals for themselves : creating grandiose art, becoming famous, be- kannt zu werden, Erfolg zu haben, Geld zu verdienen und viele Ausstellungen zu ing successful, earning money and having a lot of exhibitions. If one is an artist like haben. Ist man ein Künstler wie Christian Andersson, dreht sich die Welt um etwas Christian Andersson the world revolves around something completely different : ganz anderes: um den täglichen und unglaublich subtilen sowie fiktiven « brain namely, around the daily, unbelievably subtle and fictitious “ brain fuck ”. For him a fuck ». Bei ihm ist eine Arbeit nicht nur eine Arbeit, eine Geschichte dazu nicht nur work is not just a work, the story about it not just a story. Whoever believes that eine Geschichte und wer glaubt, die Werke von Christian Andersson zu verstehen, he completely understands the works of Christian Andersson can start all over again. kann gleich wieder von vorne beginnen. Die Bedeutungen, versteckten Sinnzusam- The meanings, the hidden complexes of signification and the references that he menhänge und Referenzen, die er in seiner Kunst behandelt, sind nahezu unend- deals with in his art are virtually infinite. The exhibition in S-chanf in February2014 lich. Seine Ausstellung in S-chanf im Februar 2014 wird diese Welt von Andersson again re-assembles Christian Andersson’s world and its many different paths. auf viele verschiedene Wege wieder zu einem zusammenfügen und so sollte man The visitor will do well to be generous in allotting time for the exhibition — he will sich gleich genügend Zeit einplanen für den Besuch, denn so schnell entflieht man find it difficult to get away from this world quickly. dieser Welt nicht mehr. • Stefan von Bartha • Stefan von Bartha R E P O R T N º 3 / 2 014 CAMILLE GRAESER CAMILLE GRAESER R E P O R T N º 3 / 2 014 Camille Graeser, die konstruktiv-konkrete Kunst und die Schwei- zer Kulturpolitik. Im Frühjahr 1971 nimmt Camille Graeser an der Ausstellung « The Swiss Avant Garde » in New York teil. Von der Schweizer Kulturstiftung Pro Helvetia mitfinan- ziert, ist die Präsentation als « repräsentative Ausstellung neuerer Schweizer Kunst » 1 konzipiert. Unter den 43 gezeigten Positionen ist die konstruktiv-konkrete Richtung gut vertreten. Neben Arbeiten von Graeser können die Besucherinnen CAMILLE GRAESER und Besucher auch Werke von Verena Loewensberg, Max Bill, Richard Paul Lohse oder Fritz Glarner bestaunen. Im Ausstellungskatalog verknüpft der Schweizer Kunstkritiker und Kurator Willy Rotzler die konstruktiv-konkrete künstlerische Praxis mit vermeintlich typisch schweizerischen Eigenschaften : “ The cool rationalism of this art, the exact study of problems of form and color, combined with the requisite perfection of execution, all appeal to the Swiss pro- pensity for precision which expresses itself elsewhere in the highly developed watch industry and the field of precision mechanics. Concrete Art also has its affin- ities with the somewhat Calvinistic mentality of people that regards both passion- ate emotional outbursts and daring flights of the fancy with the same hesitancy.”2 Im Kontext der Ausstellung werden die Bildkompositionen des 79-jährigen Graesers nicht nur der künstlerischen Vorhut der Schweiz zugerechnet sondern fun- gieren auch als Ausdruck eines staatspolitischen Selbstverständnis, das die Schweiz als moderne, technisch versierte und zukunftsorientierte Nation zeichnet, die ebenso wie die konstruktiv-konkreten Formen auf Mass und Ordnung fusst. Dies war jedoch nicht immer so. Die beschriebenen kulturpolitischen Einschreibun- gen sind Ausdruck einer nationalstaatlichen Erfindung, die in der Schweizer Nachkriegszeit verwurzelt ist. Als der 1892 in Carouge geborene und in Stuttgart aufgewachsene Graeser 1933 aus dem nationalsozialistischen Deutschland in die Schweiz flüchtet, findet der ausgebildete Innenarchitekt, Produktegestalter und passionierte Maler kaum Auf- träge. Im Bereich des modernen Möbelentwurfes ist der Markt klein und die «The cool Konkurrenz gross. Zudem macht sich in der Schweiz zu Ende des Jahrzehnts eine reaktionäre kulturpolitische Haltung breit, die sich unter dem Diktum der Geis- tigen Landesverteidigung im nachgebauten ‹ Schweizerdörfli › oder in Hans Brande- bergers Skulptur des wehrhaften Soldaten an der Landesausstellung von 1939 rationalism verdichtet. Den konstruktiv-konkret arbeitenden Künstlerinnen und Künstlern
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