Rämistrasse 27
Justin Adian, Donato Amstutz, Alan Belcher, Ben, Lilian Bourgeat, Francisco da Mata, Hadrien Dussoix, Henrik Eiben, Christian Herdeg, Jacob Kassay, Didier Marcel, Pietro Mattioli, Mathieu Mercier, Gerold Miller, Olivier Mosset, Till Rabus, Delphine Reist, Christian Robert- Tissot, Sergio Sister, Vincent Szarek, Blair Thurman, Wolfram Ullrich, Thomas Wachholz
After twelve years at Zurich’s Löwenbräu site, Céline Lange and Stefano Pult are delighted to open a new gallery at Rämistrasse 27 in the heart of Zurich, between Lake Zurich and the Kunsthaus. This important step in the history of lange + pult is to be celebrated with a large-scale group exhibition with the gallery’s artists: Justin Adian, Donato Amstutz, Alan Belcher, Ben, Lilian Bourgeat, Francisco da Mata, Hadrien Dussoix, Henrik Eiben, Christian Herdeg, Jacob Kassay, Didier Marcel, Pietro Mattioli, Mathieu Mercier, Gerold Miller, Olivier Mosset, Till Rabus, Delphine Reist, Christian Robert-Tissot, Sergio Sister, Vincent Szarek, Blair Thurman, Wolfram Ullrich and Thomas Wachholz.
The comprehensive exhibition concisely depicts the program of lange + pult, which focuses on positions from conceptual art, Minimal Art, and three-dimensional abstraction. With Ben Vautier, Olivier Mosset, and Christian Herdeg, three artists of a now older generation are represented who pioneered their field. Olivier Mosset
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Rämistrasse 27
Justin Adian, Donato Amstutz, Alan Belcher, Ben, Lilian Bourgeat, Francisco da Mata, Hadrien Dussoix, Henrik Eiben, Christian Herdeg, Jacob Kassay, Didier Marcel, Pietro Mattioli, Mathieu Mercier, Gerold Miller, Olivier Mosset, Till Rabus, Delphine Reist, Christian Robert- Tissot, Sergio Sister, Vincent Szarek, Blair Thurman, Wolfram Ullrich, Thomas Wachholz
After twelve years at Zurich’s Löwenbräu site, Céline Lange and Stefano Pult are delighted to open a new gallery at Rämistrasse 27 in the heart of Zurich, between Lake Zurich and the Kunsthaus. This important step in the history of lange + pult is to be celebrated with a large-scale group exhibition with the gallery’s artists: Justin Adian, Donato Amstutz, Alan Belcher, Ben, Lilian Bourgeat, Francisco da Mata, Hadrien Dussoix, Henrik Eiben, Christian Herdeg, Jacob Kassay, Didier Marcel, Pietro Mattioli, Mathieu Mercier, Gerold Miller, Olivier Mosset, Till Rabus, Delphine Reist, Christian Robert-Tissot, Sergio Sister, Vincent Szarek, Blair Thurman, Wolfram Ullrich and Thomas Wachholz.
The comprehensive exhibition concisely depicts the program of lange + pult, which focuses on positions from conceptual art, Minimal Art, and three-dimensional abstraction. With Ben Vautier, Olivier Mosset, and Christian Herdeg, three artists of a now older generation are represented who pioneered their field. Olivier Mosset (“Caroline”, 2013) has continuously explored painting in his work and not least revolutionized radical painting with Daniel Buren, Michel Parmentier and Niele Toroni as founders of the BMPT group by banishing the motif from the canvas and concentrating on the elementary conditions of painting itself. A strategy that the younger Jacob Kassay also pursues in his linen paintings, positioning objects according to their spatial boundaries through reductive processes and at the same time placing their experience in the foreground.
Christian Herdeg (“Joint Venture”, 2019) is the first Swiss artist to work consistently with neon and argon light. Finally, Ben Vautier, an important representative of Fluxus, is known for his unmistakable lettering. With text images such as “Zu viel Kunst” (Too Much Art, 2009), he calmly expresses elementary facts in a blunt and witty manner. Other artists also deal with texts that intervene in a more abysmal element beyond a formally rigorous design, such as Christian Robert-Tissots Malerei, which leads the “Collector” (2019) into the new gallery, or Donato Amstutz’s hand-made embroideries in the lower exhibition space.
New perceptions of seeing are the subject of Mathieu Mercier, whose color card (“Untitled”, 2018) plays between art and everyday life, imagination and reality, figuration and abstraction with various associations of objects, ideas and references in order to offer a personal and playfully cognitive understanding of the world. In Thomas Wachholz’s matchstick works, the eye bounces from ignition to ignition and documents an action that is commonplace and yet each makes a small caesura in our vision.
In the garden of the new gallery, we encounter Lilian Bourgeat’s “Nœud” (2018): a knot made entirely of polyester resin offers us a different view of the world, of reality, of its disproportionately large objects. Didier Marcel is also concerned with a new perception: he uses landscape remains to make impressions of fields and fields, tree trunks and branches, or he uses iron to recreate his structural fragments inspired by nature (“Chevreuils”, 2018).
For Justin Adian’s “Bell Catcher” (2018), a foam cushion pressed into a wooden frame and then covered with a stretched canvas, and for Blair Thurman’s “Pinky Ring” (2018), Pop, Minimal Art and Op Art are just as important points of reference as American culture. Francisco da Mata leads cords through a framed shaped canvas and allows the boundaries between object and image to merge. This crossing of borders is also expressed in Sergio Sisters’ painted boxes (“Caixa”, 2015), Henrik Eiben’s “Voyager Tex Mex” (2019), Wolfram Ullrich’s steel relief (“SATU”, 2019), which on the wall becomes a trompe l’œil, or Gerold Miller’s “Set” (2018) – in an exhibition that is rich in references and stimulating overall and in which there is much more to discover.
Michèle Meyer
