JACQUES BONNARD, TINA BRAEGGER, NATACHA DONZÉ, SYLVIE FLEURY, FRÉDÉRIC GABIOUD, STÉPHANE KROPF, MIRIAM LAURA LEONARDI, THOMAS LIU LE LANN, CHARLY MIRAMBEAU, DENIS SAVARY, CLAIRE VAN LUBEEK, ROMANE DE WATTEVILLE–A PROPOSAL BY ALFREDO ACETO DUNA BIANCA EXHIBITION: 08 FEB 2020–11 APR 2020 OPENING: FRIDAY, 07 FEB, 6–8 PM

DITTRICH & SCHLECHTRIEM is pleased to present a pro- FLEURY (b. 1961) presents Labrisrynthe, an iconic 2008 work re- posal by gallery artist ALFREDO ACETO titled DUNA BIANCA sembling a monumental shark tooth in shiny silver, an object that and including works by selected Swiss-based artists JACQUES is revered as a talisman in Polynesian culture. Through her films, BONNARD, TINA BRAEGGER, NATACHA DONZÉ, sculptures, paintings, and performances, Fleury explores the re- SYLVIE FLEURY, FRÉDÉRIC GABIOUD, STÉPHANE KROPF, lationships between art making and the mechanics of consume- MIRIAM LAURA LEONARDI, THOMAS LIU LE LANN, CHARLY rism, fetishism, commodification, and identity. MIRAMBEAU, DENIS SAVARY, CLAIRE VAN LUBEEK, and ROMANE DE WATTEVILLE. The exhibition focuses on a cross- GABIOUD’s (b. 1990) paintings develop a clear, fresh and acidic section of artists of different generations working in and around monochrome pictorial vocabulary. Revisiting the heritage of major , , and specifically, with a variety of media Swiss and American movements, Gabioud reveals clear affinities and artistic practices, from painting to large scale sculp-ture, and with Minimalism and Neo-Geo. at different stages of national and international exposure. KROPF (b. 1979) participates with a “spiral” painting from a series The title, DUNA BIANCA, quotes the song of the same title by the whose making involves the use of stencils cut with a laser plotter. Italian metal/rock band Trombe di Fallopio on their 1994 album Pushing this technology to its limits to create impossibly thin spi- Santi Numi. The titular Duna is the iconic Italian car, produced rals, he then uses a spray gun to lay down swirls of acrylic paint. by FIAT between 1985 and 2000, a particularly gangly vehicle that became the target of satire and mockery over the years. LEONARDI’s (b. 1985) painting is a throwback to a period when Considered to be one of the major failures of the automotive in- women used to measure their breasts, waists, and hips. The dustry, the Duna still found a large success outside the European 90–60–90 used to represent a certain idea of ideally standardi- market, perhaps due to its practicality and low cost. In contrast zed body. Today, those numbers have lost their meaning which to the clumsy design rejected by critics, the song “Duna Bianca” goes hand in hand with the falling stocks of the lingerie brand portrays an emotional version of that car, almost personified and Victoria’s Secret. full of tenderness. LIU LE LANN (b. 1994) creates soft sculptures installed on the Aceto’s classification and the reference to the song as a pseu- ground, characters without faces or expressions, whose only vi- do-organizational device in selecting the artists are purely an sible atti-tude seems to have given up on the world around them, expedient; nothing here represents an exclusive choice. Rather, overwhelmed and weary modern superheroes. the show is an excuse for bringing together multiple positions. Instead of present-ing artistic practices in an exhaustive or chro- MIRAMBEAU (b. 1995) proposes a wardrobe sculpture, nological way, it charts a fragmentary journey in which the twelve Branlante, made of different types of wood stitched together and artists come together through friendship and / or common influ- dividing the external space from the intimate perimeter of a war- ences, while distinctly avoiding the risk to be too discursive. drobe; here only suggested.

The above concepts were addressed by Alfredo Aceto in a con- SAVARY (b. 1981) exhibits three sculptures elegantly hung from versation with Samuel Gross. A complete catalog with an exhi- the ceiling, titled Hanoï. Savary’s practice interweaves narrati- bition essay by Samuel Gross will be published and available at ves steeped in childhood fantasies and adult phantasmagoria the gallery in mid-February 2020. For further information on the with fictionalized fragments from art and literature and historical artists and the works or to request images, please contact Owen figures. Clements, owen(at)dittrich-schlechtriem.com. VAN LUBEEK’s (b. 1990) sculpture What’s Cooking invites the BONNARD’s (b. 1954) three Untitled wall sculptures draw on a viewer to set foot into a dystopian, post-apocalyptic world and limited repertoire of materials coming from daily routines. These cheekily criticizes the capitalist system. objects, slightly modified or combined, remain isolated, suspen- ded in an entropic relation to each other. DE WATTEVILLE’s (b. 1994) large-scale painting You and me in the motel, pursues her interest in the history of portraiture by ex- BRAEGGER (b. 1985) presents a new painting depicting the amining the different layers that it brings to the determination of iconic Grateful Dead bear logo. Braegger works with this exact self. With a fine sense of humor, she plays with the stereotypes symbol since 2011. and the canons of portraits in our iconography.

DONZÉ’s (b. 1991) image composition in The Committee ques- tions social codes, stereotypes, commonplaces and fables of popular culture, disrupting collective memory.

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