Art Basel Miami Beach

T: Peter Kilchmann Galerie Peter Kilchmann +41 44 278 10 10 [email protected] Zahnradstrasse 21 F: www.peterkilchmann.com 8005 Zurich, Switzerland +41 44 278 10 11

ART BASEL MIAMI BEACH

Francis Alÿs Hernan Bas Armin Boehm Monica Bonvicini Fernanda Gomes Rafﬁ Kalenderian Zilla Leutenegger Teresa Margolles Fabian Marti João Modé David Renggli Dagoberto Rodríguez Shirana Shahbazi Melanie Smith

Kabinett Sector (solo presentation): Uwe Wittwer - "Shelter"

Convention Center Miami Beach Galleries Sector, booth D28

December 4-8, 2019

! pk Peter Kilchmann Galerie Peter Kilchmann T: +41 44 278 10 10 [email protected] Zahnradstrasse 21 F: +41 44 278 10 11 www.peterkilchmann.com 8005 Zurich, Switzerland

FRANCIS ALYS Ciudad Juarez 2013 Encaustic and oil paint on canvas on wood 22.2 x 17.4 cm (8 3/4 x 6 7/8 in.), framed ALŸS23544

The idea for this painting as well as for other works from this series is to create a kind of map of disorder, caused by political or environmental circumstances. The concept was inspired by his video work „Tornado“ (2000 - 2010) and first took shape while Alÿs was reflecting on how to arrange the video footage. In the absence of a linear narrative, he pinned up a series of words on the studio wall - words that had come to his mind while filming. Commenting this process he said: „If the coincidence of the black words on the white surface would sometimes create unlikely axioms, their expansion in all possible directions would also build diagrams. The words were joined, they became lines and the lines drew shapes. The spaces in between the lines were colored and forms began to appear. Flat or solid, geometrical or lyrical, abstract or figurative, organized or chaotic, autonomous figures; images. Color frames were also placed amongst the video footage. As they were still, they marked pauses. A space to catch your breath. The pauses disrupted the continuum of the camera’s performance and introduced a rhythm. Combined with a random distribution of the action’s four movements —waiting for tornados, chasing, hitting or missing them—a timeline of sorts emerged: the editing process was engaged.“ (Colapso = Collapse; Estabilidad = Stability; (C)ontrol = (Control); Simulacro del Orden = Simulacrum of Order; Resistencia = Resistence; Resiliencia = Resilience; Caos = Chaos; Incertez(a) = Uncertainty; Puro Desorden = Pure Disorder; Catástrofe = Catastrophe)

pk Peter Kilchmann Galerie Peter Kilchmann T: +41 44 278 10 10 [email protected] Zahnradstrasse 21 F: +41 44 278 10 11 www.peterkilchmann.com 8005 Zurich, Switzerland

FRANCIS ALYS Untitled, Bashiqa 2016 Encaustic, oil on linen on wood 15.8 x 20.3 cm (6 1/4 x 8 in.), framed ALŸS23545

"Untitled, Bashiqa" belongs to an ongoing project whose ﬁrst works were exhibited in the Iraqi Pavilion at the Venice Biennale in 2017. In the fall of 2016 Alÿs spent nine days embedded with Kurdish Peshmerga forces outside Mosul, Iraq. He accompanied the soldiers along a 23-kilometer frontline, which the artist describes as “a hill moving slowly into the outskirts” of the city. The paintings capture the reality of life on a battleground, protected from ISIS ﬁghters by a simple mound of dirt. The beige, brown shades used in this painting echo the colours of the dusty earth, and the soldier’s uniforms.

pk Peter Kilchmann Galerie Peter Kilchmann T: +41 44 278 10 10 [email protected] Zahnradstrasse 21 F: +41 44 278 10 11 www.peterkilchmann.com 8005 Zurich, Switzerland

HERNAN BAS Untitled 2018 Acrylic colored pencil and charcoal on paper 90 x 71 cm (35 3/8 x 28 in.), framed BAS22865

"The tension between the speciﬁc and nonspeciﬁc in Bas’ works contributes to a conceptual dynamism. His choice of titles, for example, brings attention to objects and elements that might otherwise be secondary in his compositions and propels a narrative infused with his signature inclination towards irony. By manipulating the viewer’s attention to these, mostly non-descript objects, Bas’ human subjects are relegated to another place. Are they observers? Are they passively subjected to the viewer's gaze, or do they have agency?" Storm Janse van Rensburg

pk Peter Kilchmann Galerie Peter Kilchmann T: +41 44 278 10 10 [email protected] Zahnradstrasse 21 F: +41 44 278 10 11 www.peterkilchmann.com 8005 Zurich, Switzerland

ARMIN BOEHM Identity Dance 2017-2019 Oil and fabric on canvas 190 x 170 cm (74 3/4 x 66 7/8 in.) BOEHM23572

The painting "Identity dance" addresses issues of gender roles and sexuality. According to the artist the paintings is a metaphor for love. It depicts a couple playing or dancing around each other. They seem to be exchanging severed heads in a sort of ritualistic dance. In the sky above an eclipse - or two planets colliding? - can be seen, adding another layer to the concept of attraction.

pk Peter Kilchmann Galerie Peter Kilchmann T: +41 44 278 10 10 [email protected] Zahnradstrasse 21 F: +41 44 278 10 11 www.peterkilchmann.com 8005 Zurich, Switzerland

MONICA BONVICINI Anger is Like 2019 Tempera on Fabriano paper 218 x 167.5 cm (85 7/8 x 66 in.), framed BONV23215

Through this series of drawings in black and white, Monica Bonvicini gives voice to those female ﬁgures like feminist activist Maya Angelou and interior designer and architect Eileen Gray who found in the concept of anger, at that time -and still nowadays- considered a masculine emotion, a way to achieve peace, redemption, self-expression... and feminist revolution?

pk Peter Kilchmann Galerie Peter Kilchmann T: +41 44 278 10 10 [email protected] Zahnradstrasse 21 F: +41 44 278 10 11 www.peterkilchmann.com 8005 Zurich, Switzerland

MONICA BONVICINI Fleurs du Mal (droop) 2019 Hand-blown glass, bronze Unique 55.5 x 48 x 48 cm, sculpture 90 x 60 x 60 cm, plinth 145.5 x 60 x 60 cm, all-over BONV23123

The bronze sculpture with phallic shaped-glasses hanging on spikes represent Monica Bonvicini’s ironic lecture of Marcel Duchamp’s "Bottle Rack“ from 1914. Bonvicini emphasises the Freudian and erotic interpretation of what has been considered Duchamp’s purest readymade – he bought a common, mass-produced bottle rack at a Bazar in Paris and exposed it without altering its form-, by adding anthropomorphic forms to the rack’s empty spikes. Disallowed to complete its primary function -dry wet bottles-, Duchamp's spikes could refer for some art critics to the artist’s Bachelor status and frustrated male genitalia.

pk Peter Kilchmann Galerie Peter Kilchmann T: +41 44 278 10 10 [email protected] Zahnradstrasse 21 F: +41 44 278 10 11 www.peterkilchmann.com 8005 Zurich, Switzerland

MONICA BONVICINI Pierre II 2017 Neons, wire, cable Unique 70 x 40 x 40 cm (27 1/2 x 15 3/4 x 15 3/4 in.) BONV21929

The title of the work refers to the last scene of Jean-Luc Godard’s “Pierrot le Fou” (1965), in which the protagonist blows himself up with a bomb made of dynamite tubes tied together. For Bonvicini the blinding bright light emitted from the neon tubes represent the explosion.

pk Peter Kilchmann Galerie Peter Kilchmann T: +41 44 278 10 10 [email protected] Zahnradstrasse 21 F: +41 44 278 10 11 www.peterkilchmann.com 8005 Zurich, Switzerland

FERNANDA GOMES Untitled 2019 Paint, wood 120 x 126 x 3 cm (47 1/4 x 49 5/8 x 1 1/8 in.) GOMES23140

First shown at Vienna Secession, 2019 At the Secession, Fernanda Gomes applies her usual approach of letting the space reverberate with her: “much of the process is purely mental, and unpredictable. each exhibition is a piece in itself, created from the perspective of a given situation. the core of the action is to produce a state of being, thinking, feeling, moving, also to produce joy. i love arriving with bare hands, bringing nothing for an exhibition, having no transportation, no artworks. it still gives me the thrill, the lightness of the many possibilities, of everything open and fresh. it conﬁrms, once more, the immateriality of the essence of things. when words fade out, the game starts seriously. to play with things is maybe the ﬁrst language we know. before the word there is the world, intact in its mystery and fascination,” she states.

pk Peter Kilchmann Galerie Peter Kilchmann T: +41 44 278 10 10 [email protected] Zahnradstrasse 21 F: +41 44 278 10 11 www.peterkilchmann.com 8005 Zurich, Switzerland

RAFFI KALENDERIAN Shanti 2017 Oil on canvas 122 x 91.5 cm (48 x 36 in.) KALEN21804

Kalenderian’s portraits act like windows into his personal microcosm. They create intimate moments between model and artist which include the observer. Friends, family members and people with whom the artist is personally connected but also acquaintances from the creative scene such as musicians, writers and poets are the central protagonists of his interiors.

pk Peter Kilchmann Galerie Peter Kilchmann T: +41 44 278 10 10 [email protected] Zahnradstrasse 21 F: +41 44 278 10 11 www.peterkilchmann.com 8005 Zurich, Switzerland

RAFFI KALENDERIAN Mark 2019 Oil on canvas 213.5 x 152 cm (84 x 59 7/8 in.) KALEN23554

pk Peter Kilchmann Galerie Peter Kilchmann T: +41 44 278 10 10 [email protected] Zahnradstrasse 21 F: +41 44 278 10 11 www.peterkilchmann.com 8005 Zurich, Switzerland

ZILLA LEUTENEGGER Pﬁngstrosen (Peonies) 2019 Two panel folding screen, oil on polished chrome steel (monotype) Unique 200 x 200 cm (78 3/4 x 78 3/4 in.) LEUTE23616

Zilla Leutenegger's new work consists of chromed steel screens with drawings printed on them. The final object echoes Leutenegger's previous projects. Indeed, her interest in space, form and perspective is evident in this work. The mirror serves as a support for the image, whereby the drawings are detached from the wall to find a new spatial articulation on the two-dimensional surface of the windscreen. The mirror allows the artist to complete the drawing with space and movement, thus breaking the perspective that determines the surrounding architecture. The folding screen also serves to multiply the figure and its place in space, opening the world to seemingly illogical but compelling perspectives.

pk Peter Kilchmann Galerie Peter Kilchmann T: +41 44 278 10 10 [email protected] Zahnradstrasse 21 F: +41 44 278 10 11 www.peterkilchmann.com 8005 Zurich, Switzerland

ZILLA LEUTENEGGER Un morceau de melon 2019 Two panel folding screen, oil on polished chrome steel (monotype) Unique 200 x 200 cm (78 3/4 x 78 3/4 in.) LEUTE23051

pk Peter Kilchmann Galerie Peter Kilchmann T: +41 44 278 10 10 [email protected] Zahnradstrasse 21 F: +41 44 278 10 11 www.peterkilchmann.com 8005 Zurich, Switzerland

ZILLA LEUTENEGGER Stick to the plan 2019 Oil on cotton paper (monotype) 96 x 96 cm (37 3/4 x 37 3/4 in.) LEUTE23155

pk Peter Kilchmann Galerie Peter Kilchmann T: +41 44 278 10 10 [email protected] Zahnradstrasse 21 F: +41 44 278 10 11 www.peterkilchmann.com 8005 Zurich, Switzerland

TERESA MARGOLLES Estorbo (Obstruction) 2019 Installation consisting of 2 color prints and 190 concrete blocks with the initials and cast-in t-shirts soaked with soil and sweat by Venezuelan men who have migrated to Cucutá, Colombia, crossing the frontier, Simón Bolívar Bridge Each block: 15 x 15 x 15 cm MARGO23337

The installation „Trayecto“ is related to Margolles’ research in the border region between San Antonio de Táchira, Venezuela and San José de Cúcuta, Colombia, where the artist engaged with the sites and subjects of forced migration. Not too long ago, Colombians fled to Venezuela and elsewhere to avoid the escalating violence and insecurity associated to their country’s drug wars and guerilla groups. Today, it is Venezuelans that have been fleeing to Colombia. On a daily basis, hundreds of Venezuelans cross the border in search of work opportunities or simply to find safety. In Colombia their work typically consists of carrying out odd-jobs or manual labor to purchase basic goods such as food and medicine. Margolles met and interviewed Venezuelan men in Cucutá acquiring their t-shirts soaked with soil and sweat. She then casted those t-shirts in concrete blocks, each of them wearing the initials of the men. The casting of the cement blocks was processed during a one-month performance at Witte de With in Rotterdam. During the performance period, the six large windows of the gallery space were smudged with the stained t-shirts which then were each progressively encased in a series of cement blocks, made on site. Finally the initials of the names were engraved into each sculptural element. The installation "Trayecto" alludes to spatial dynamics set forth by the border-crossers.

pk Peter Kilchmann Galerie Peter Kilchmann T: +41 44 278 10 10 [email protected] Zahnradstrasse 21 F: +41 44 278 10 11 www.peterkilchmann.com 8005 Zurich, Switzerland

FABIAN MARTI I LÄBE NO (Lutz & The Sunset Tower) 2019 Acrylic, ink print on canvas 153 x 117.5 cm (60 1/4 x 46 1/4 in.) MARTI23393

As the title suggest I LÄBE NO (I'm still alive) the marking of time is nestled ﬁrmly at the heart of the work and the painting move towards a decidedly personal approach in the artist's practice. The painting radiates with Marti’s distinct signature green and the foundation (or support, if you will) of that green composition is various close-up photograph of the artist’s dog, Lutz. Painted on top of this image of the artist’s faithful companion is a fragment and impression taken from a place he tends to frequent, from Marti’s everyday life.

pk Peter Kilchmann Galerie Peter Kilchmann T: +41 44 278 10 10 [email protected] Zahnradstrasse 21 F: +41 44 278 10 11 www.peterkilchmann.com 8005 Zurich, Switzerland

FABIAN MARTI I LÄBE NO (Lutz & Spidey) 2019 Acrylic, ink print on canvas 153 x 117.5 cm (60 1/4 x 46 1/4 in.) MARTI23328

pk Peter Kilchmann Galerie Peter Kilchmann T: +41 44 278 10 10 [email protected] Zahnradstrasse 21 F: +41 44 278 10 11 www.peterkilchmann.com 8005 Zurich, Switzerland

JOAO MODE Constructive [Paninho], white and brown stripes 2018 Cotton 29 x 20 x 2.8 cm (11 3/8 x 7 7/8 x 1 1/8 in.) MODE22994

pk Peter Kilchmann Galerie Peter Kilchmann T: +41 44 278 10 10 [email protected] Zahnradstrasse 21 F: +41 44 278 10 11 www.peterkilchmann.com 8005 Zurich, Switzerland

JOAO MODE Constructive [Paninho], green with curves 2015 Cotton 29.5 x 35 cm (11 5/8 x 13 3/4 in.) MODE23031

João Modé's "Construtivo [Paninho]" series ties in with the heritage of Brazilian Constructivism and Neo Concretismo of the 1950s and 1960s.

pk Peter Kilchmann Galerie Peter Kilchmann T: +41 44 278 10 10 [email protected] Zahnradstrasse 21 F: +41 44 278 10 11 www.peterkilchmann.com 8005 Zurich, Switzerland

DAVID RENGGLI Desire Painting (Venezian Aquatoria) 2018 Jute ﬁbre netting, acrylic on wood 192.5 x 152.5 cm (75 3/4 x 60 in.), framed RENGG22707

"Desire Paintings" is the title of an ongoing series of paintings by Renggli. Painted in various colors, on wood in the background as well as on a coir mesh, the paintings make allusions to concrete art and challenge the tradition of abstract art by intermingling with the aesthetics of decorative interior design. When viewing the work one is confronted with an unusual and irritating moment which recalls op art, without ever being absurd but with an ironic note.

pk Peter Kilchmann Galerie Peter Kilchmann T: +41 44 278 10 10 [email protected] Zahnradstrasse 21 F: +41 44 278 10 11 www.peterkilchmann.com 8005 Zurich, Switzerland

DAGOBERTO RODRIGUEZ Cocaina y Comunismo (Cocaine and Communism) 2019 Chrome bronze and rubber Unique 73 x 73 x 12 cm (28 3/4 x 28 3/4 x 4 3/4 in.) Each RODRI23338

"Cocaina y Communismo" consists of two car tires, with the word "cocaina" and "communismo" carved in the center of both rims. The viewer is presented with these two words, which by virtue of their proximity and physical similarities become synonymous with each other. Indeed, both are embossed in the polished metal of the rims, as if they belonged to the same car - depending on each other to function. Dagoberto Rodriguez conceived this work as an ideological critique of the current Cuban government. He denounces a form of hipocrisy maintained by the ruling power which greatly benefits from drug trafficking in Cuba, while officially condemning it. "Cocaina y Communismo" was also inspired by German philosopher and economist Karl Marx‘s quote: "Religion [...] is the opium of the people". Toying with words, Rodriguez draws on this citation to emphasize the importance of cocaine trafficking as a weapon on which the government relies.

pk Peter Kilchmann Galerie Peter Kilchmann T: +41 44 278 10 10 [email protected] Zahnradstrasse 21 F: +41 44 278 10 11 www.peterkilchmann.com 8005 Zurich, Switzerland

SHIRANA SHAHBAZI (Titel kommt, 11.7.19/ nh) 2019 Two color lithograph on gelatin silver baryta print, in hand made ceramic frame Unique + variation 32 x 24 cm (12 5/8 x 9 1/2 in.) 56 x 48.5 cm (22 x 19 1/8 in.), framed SHAHB23295

The point of departure for this series of unique two-color lithographs were images taken during a three-month stay in India in 2018. The motifs collected on the journey are fragmentarily dissolved from their actual narrative and are subjected to a very intimate creative process on the basis of Shahbazi's artistic repertoire. Shahbazi is interested in how the images taken during her travels in India can be perceived photographically without them being determined by the visual power of the culturally charged locations. It is an experimentation with the original subject of the picture and its photographic quality mixed with classical lithographic printing techniques.

pk Peter Kilchmann Galerie Peter Kilchmann T: +41 44 278 10 10 [email protected] Zahnradstrasse 21 F: +41 44 278 10 11 www.peterkilchmann.com 8005 Zurich, Switzerland

SHIRANA SHAHBAZI (Titel kommt, 11.7.19/ nh) 2019 Two color lithograph on gelatin silver baryta print, in hand made ceramic frame Unique + variation 32 x 24 cm (12 5/8 x 9 1/2 in.) 56.5 x 48 cm (22 1/4 x 18 7/8 in.), framed SHAHB23293

pk Peter Kilchmann Galerie Peter Kilchmann T: +41 44 278 10 10 [email protected] Zahnradstrasse 21 F: +41 44 278 10 11 www.peterkilchmann.com 8005 Zurich, Switzerland

MELANIE SMITH Blake – Absent Leading Role Exercise 2019 Pigment on veneered MDF 38 x 34 cm (15 x 13 3/8 in.) SMITH23454

At the heart of this new series of paintings is Smith's investigation into the deconstruction of the pictorial plane by means of performance, sculpture and the moving image. In 2019 Smith directed and recorded an ambitious tableau vivant in the Museo Universitario de Arte Contemporáneo in Mexico City based on The Circle of the Lustful (1824-1827), a watercolour from the series of illustrations produced by William Blake for Dante's The Divine Comedy. This series of paintings complement the work adding a new layer of interpretation to the scene, an exercise initiated by Blake himself.

pk Peter Kilchmann Galerie Peter Kilchmann T: +41 44 278 10 10 [email protected] Zahnradstrasse 21 F: +41 44 278 10 11 www.peterkilchmann.com 8005 Zurich, Switzerland

MELANIE SMITH Blake – Absent Leading Role Exercise 2019 Pigment on veneered MDF 38 x 34 cm (15 x 13 3/8 in.) SMITH23458

pk T: Peter Kilchmann Galerie Peter Kilchmann +41 44 278 10 10 [email protected] Zahnradstrasse 21 F: www.peterkilchmann.com 8005 Zurich, Switzerland +41 44 278 10 11

Uwe Wittwer Born 1954, Zurich, Switzerland Lives and works in Zurich, Switzerland

Art Basel Miami Beach 2019 Booth D28

Kabinett Sector (solo presentation) Shelter

The concept of shelter in Wittwer’s work is an ambiguous state. Through different perspectives — that can be historic or ﬁctional — the selected paintings explore this complex idea that evoke thoughts of protection and safety just as feelings of displacement, forced asylum and imprisonment. A lonesome tent in a winter landscape could be the bivouac of a soldier or of a peaceful mountaineer. Other images show makeshift shacks that arouse the sensation of a refugee situation. These motifs are juxtaposed by more abstract paintings such as the plain view of a vinyl record. These works draw reference to albums or songs such as the Rolling Stones’ Gimme Shelter from 1969 that deals with the search of protection from an apocalyptic storm and that has been linked to the end of the idealism of the 1960’s.

The original source material for the paintings is chosen from digital representations but deconstructed into fragments by the artist. The structure of the paintings shows an unevenness that, despite its beauty effuses a latent threat. These are fragmented insights into ideas of authenticity and truth, multiple refractions of reality, and the role of the artist as archivist and voyeur.

Wittwer’s paintings and watercolours reﬂect on the meaning of images. He is concerned with ideas of authenticity and truth. Wittwer transforms insigniﬁcant subjects from war sites with aesthetically appealing imagery that spark curiosity in the viewer. Wittwer deconstructs the image, working with negatives or repetition, fragmentation or reversal. Through such strategies the original images are transformed, creating alternative realities.

Uwe Wittwer’s works are part of the collection of international institutions such as the Metropolitan Museum of Art, New York; the Caldic Collection, Rotterdam; Kunsthaus Zurich; Kunstmuseum Bern; the Bonnefantenmuseum, Maastricht; the David Roberts Art Foundation, London; Musée d’Art et d’Histoire de la Ville de Neuchâtel, CH; UBS Art Collection; Credit Suisse Art Collection. His works were recently shown at Galerie Judin, Berlin and Paraﬁn, London, (both 2018). Further exhibitions include the Abbot Hall Art Gallery, Kendal, UK (2013), Tate Britain, London (2011) and the Museum of Modern Art/ PS1 MoMa, New York (2006). In the Spring of 2019 the Kunsthaus Grenchen, CH held a major retrospective of Wittwer‘s oeuvre. pk Eingeschlossen (Conﬁned), 2019 Oil on canvas, 32 x 42 cm (12 5/8 x 16 1/2 in.)

Knabe mit Murmel (Boy with a Marble), 2019 Oil on canvas, 57 x 52 cm (22 1/2 x 20 1/2 in.)

For further inquiry please contact Fabio Pink: [email protected], mob: +41 78 831 20 76 pk Peter Kilchmann Galerie Peter Kilchmann T: +41 44 278 10 10 [email protected] Zahnradstrasse 21 F: +41 44 278 10 11 www.peterkilchmann.com 8005 Zurich, Switzerland

UWE WITTWER Vom Walde her (From the forest) 2019 Oil on canvas 58 x 53 cm (22 7/8 x 20 7/8 in.), framed WITTW23205

Uwe Wittwer’s work reﬂects on the nature and meaning of images and his source material is carefully chosen from digital representations— images of images — researched in the depths of the internet. Throughout his work, Wittwer is concerned with ideas of authenticity and truth, multiple refractions of reality, and the role of the artist as archivist and voyeur. These work is based on a larger series on family and family values.

pk Peter Kilchmann Galerie Peter Kilchmann T: +41 44 278 10 10 [email protected] Zahnradstrasse 21 F: +41 44 278 10 11 www.peterkilchmann.com 8005 Zurich, Switzerland

UWE WITTWER Shelter 2018 Oil on canvas 80 x 70 cm (31 1/2 x 27 1/2 in.) WITTW23400

pk Peter Kilchmann Galerie Peter Kilchmann T: +41 44 278 10 10 [email protected] Zahnradstrasse 21 F: +41 44 278 10 11 www.peterkilchmann.com 8005 Zurich, Switzerland

UWE WITTWER Eingeschlossen (Conﬁned) 2019 Oil on canvas 32 x 42 cm (12 5/8 x 16 1/2 in.), framed WITTW23464

pk Peter Kilchmann Galerie Peter Kilchmann T: +41 44 278 10 10 [email protected] Zahnradstrasse 21 F: +41 44 278 10 11 www.peterkilchmann.com 8005 Zurich, Switzerland

UWE WITTWER Let it bleed 2019 Oil on canvas 92 x 62 cm (36 1/4 x 24 3/8 in.), framed WITTW23465

pk Peter Kilchmann Galerie Peter Kilchmann T: +41 44 278 10 10 [email protected] Zahnradstrasse 21 F: +41 44 278 10 11 www.peterkilchmann.com 8005 Zurich, Switzerland

UWE WITTWER Doppelportrait negativ (Double Portrait Negative) 2019 Oil on canvas 52 x 42 cm (20 1/2 x 16 1/2 in.), framed WITTW23466

pk Peter Kilchmann Galerie Peter Kilchmann T: +41 44 278 10 10 [email protected] Zahnradstrasse 21 F: +41 44 278 10 11 www.peterkilchmann.com 8005 Zurich, Switzerland

UWE WITTWER Wintertag (Winter's Day) 2019 Oil on canvas 32 x 42 cm (12 5/8 x 16 1/2 in.), framed WITTW23469

pk Peter Kilchmann Galerie Peter Kilchmann T: +41 44 278 10 10 [email protected] Zahnradstrasse 21 F: +41 44 278 10 11 www.peterkilchmann.com 8005 Zurich, Switzerland

UWE WITTWER Shelter, Camp 2019 Oil on canvas 42 x 52 cm (16 1/2 x 20 1/2 in.), framed WITTW23470

pk Peter Kilchmann Galerie Peter Kilchmann T: +41 44 278 10 10 [email protected] Zahnradstrasse 21 F: +41 44 278 10 11 www.peterkilchmann.com 8005 Zurich, Switzerland

UWE WITTWER Doppelporträt (Double Portrait) 2019 Oil on canvas 52 x 57 cm (20 1/2 x 22 1/2 in.), framed WITTW23463

pk Peter Kilchmann Galerie Peter Kilchmann T: +41 44 278 10 10 [email protected] Zahnradstrasse 21 F: +41 44 278 10 11 www.peterkilchmann.com 8005 Zurich, Switzerland

UWE WITTWER Der Brief (The Letter) 2019 Oil on canvas 72 x 82 cm (28 3/8 x 32 1/4 in.), framed WITTW23467

pk Peter Kilchmann Galerie Peter Kilchmann T: +41 44 278 10 10 [email protected] Zahnradstrasse 21 F: +41 44 278 10 11 www.peterkilchmann.com 8005 Zurich, Switzerland

UWE WITTWER Doppelporträt des Kaisers (The Emperor’s Double Portrait) 2019 Oil on canvas 82 x 72 cm (32 1/4 x 28 3/8 in.), framed WITTW23468