Get Mousse at home:
February 27~2015
Silvia Bächli was born in 1956 in Baden (Switzerland). She lives and works in Basel, Paris and Karlsruhe, where she also teaches as a professor at the Academy of Fine Arts. In 2009 Bächli had a solo show at the pavilion of Switzerland at the 53rd Biennale di Venezia. Her installation “das” (Eng. “that”) consisting of 33 drawings and photographs was also an homage to the Danish writer Inger Christensen.
February 26~2015
“Constructed culture sounds like conculture” explores the practice of five international artists, their individual approaches to storytelling, formally and conceptually and how the artworks they produce suggest a narratative world with its own set of rules, a constructed environment. When using the term “constructed”, one is prompted to think of a conculture or fictional culture. Constructed Culture is not synonymous with what social anthropologists define as a cultural construction; a shared understanding of some aspect of the world that exists because the people of a specific culture acknowledge and understand that thing to exist. Constructed culture sounds like conculture examines the work of five practices using various techniques to illustrate their individual, constructed worlds, which emerge out of their subjective and uncondensed experience. These experiences range from political investigations into a cultural dream, formal breakdowns of architectural elements, romantic journeys into the tropical and wild, to interests in social codes and re-writing the codes of a rollercoaster landscape.
February 25~2015
Hauser & Wirth Zürich is pleased to announce an exhibition of new chalkboard paintings by Rita Ackermann. This body of work was presented for the first time at Sammlung Friedrichshof, Austria in 2014, and a second series was shown later the same year at Art Unlimited, Art Basel. The works in this exhibition are a step further in Ackermann’s investigation into the deconstruction and disappearance of a pictorial language. Ackermann’s new compositions occupy a space between the figurative and the abstract, where human forms simultaneously disappear and re-emerge in traces of chalk dust.
February 24~2015
After six years at Kurfürstenstraße 156, Tanya Leighton is pleased to announce the gallery’s expansion into a newly renovated, 130 m space opposite the existing gallery. Inaugurating Kurfürstenstraße 24/25 is a solo exhibition by Dan Rees titled “Stimulate Surprise”, which spans both the new and existing galleries.
February 23~2015
Focal Point Gallery is pleased to present Paul Johnson’s exhibition “The Sunless Sea”, a series of new work by the British artist, presented in FPG’s main gallery, window space and display cabinets. Inspired by south Essex’s history of attracting utopian thinkers and the artist’s continued interest in the failed historic attempts to fulfill such visionary ideas, Johnson presents an ostensibly ritualistic series of sculptures and wall works, seemingly shaped by their processes and history.
February 22~2015
Artie Vierkant, Vanessa Safavi, Bunny Rogers, Alessandro Piangiamore, Abinadi Meza, Cynthia Madansky, Adam Kuby, Corin Hewitt, Keith Hennessy, Elias Hansen, Francesca Grilli, Carin Goldberg, Martino Gamper, Anna Franceschini, Luca Francesconi, Andrea De Stefani, Gabriele De Santis, Tomaso De Luca.
February 21~2015
In his Philosophical Investigations, Wittgenstein describes the structure of our thoughts as they are prior to an illuminating discovery, when they remain on hold, with contradictions left to resolve. The task of any creative pursuit isn’t, according to him, to resolve or clarify these contradictions, but to give a “precise” idea of this disconcerting, confused situation that precedes the contradiction’s resolution. Similarly, the “clear and confused” atmosphere of Jean-Baptiste Bernadet’s paintings outlines a preliminary state, that floating zone where the contradiction hasn’t been treated and sent off, but subsists as reservation. Their haziness doesn’t illustrate a subjective state (expressionism), or objective (impressionism) but simply exists as such. As a “subject” it causes its own effect.
February 20~2015
The gallery is glad to present “Pull Over Time”, a personal exhibition by Michel Blazy. Coinciding with the publication of a monographic reference catalogue produced by the frac Île-de- France and published by Manuella Editions retracing more than 20 years of creation, the exhibition proposes to re-enact the most emblematic pieces of Michel Blazy’s artistic career while putting emphasis on his new work.
February 19~2015
Per B Sundberg has been noted for his innovative and experimental attitude towards the ceramic material and this new exhibition will present a large number of new works. The exhibition at Andréhn-Schiptjenko shows new objects modeled on already existing porcelain figures, where the physical quality of the clay has been underlined by colors and surfaces recalling substances such as chocolate, plastic, earth, sperm and snow.
February 18~2015
Sam Korman: Why start with Picabia? Or did you arrive at Picabia?
Douglas Fogle: The idea for “Beautiful Monsters” definitely started with Picabia, but really from his writing. The title of the show was taken from a stanza of “Baccarat”, from 1940:
“I am a beautiful monster
who shares his secrets with the wind.
What I love most in others
is myself.”
February 17~2015
February 14~2015
Rod Barton is delighted to present “Dubious Desire for Cleanliness”, the first solo exhibition in the UK by Berlin based artist Camilla Steinum. Featuring a selection of Steinum’s latest floor-based sculptural works, “Dubious Desire for Cleanliness” challenges the viewer to address ideas around what it is to call something an art object and what exactly can be considered the material content of art.
February 13~2015
“Patterns for (Re)cognition” is the largest exhibition to date, and the first exhibition in Switzerland, by the Belgian artist Vincent Meessen, who will represent Belgium at the upcoming Venice Biennale. Meessen’s often collaborative and rigorously research-based practice includes investigations into gaps in the writing of history, particularly colonial histories. At Kunsthalle Basel, the artist presents several new modular sculptures; a series of 16-millimeter films based on found film fragments; a new sound piece; borrowed early-19th-century ritual objects originating from the Kuba Kingdom; and a series of folded paper works. All of these serve as a visual and conceptual backdrop for a selection of 1930s paintings by the little-known Congolese painter Thela Tendu.
February 12~2015
With Omar Farré, Mathis Gasser, Matthias Huber, Emil Michael Klein, Jan Kiefer, Martin Kippenberger, Gabriel Lima, Kaspar Müller, Max Ruf, Francesco Joao Scavarda, Yves Scherer, Victor Timofeev, Pedro Wirz.
February 11~2015
Bortolami is pleased to announce the second solo exhibition with Ben Schumacher. Schumacher transforms the gallery into a staging ground for a submission to the New York City Farm Tower architectural competition, the outcome of which could potentially be realized on 19th street and 10th Avenue, one block away from Bortolami and adjacent to the High Line. Sponsored by the Architecture Workshop in Rome, the competition solicits proposals for a vertical farm incorporating residential dwellings. As the official brief explains: “urban vertical farming means the cultivation of agriculture products and livestock in vertical, in multi-story structures energy self-sufficient inserted within the metropolitan areas.”
February 10~2015
Thomas Duncan Gallery is pleased to announce “Jean, Jean et l’enfant sauvage”, the gallery’s first exhibition with Auckland-based artist Oscar Enberg. For his Los Angeles debut, Enberg continues his exploration of sculptural potentiality by fusing seemingly disparate yet intriguingly related narratives, employing a combination of handcrafted and professionally fabricated modes of production. The exhibition illustrates an imagined and deflated family unit by splicing and weaving together characters from literature, art history and Los Angeles civic history.
February 9~2015
Galleria Lia Rumma is pleased to announce the representation of Ugo Mulas, one of the most important twentieth century photographers.
Curated by the New York-based curator Tina Kukielski, in collaboration with the Archivio Mulas, a distinct bodies of works demonstrating the wide breadth of Mulas’s life and career will be on view simultaneously at both the Naples and Milan galleries.
