Tag: Reading Rämistrasse


Reading Rämistrasse #32: Giulia Bernardi zu This thin edge von la_cápsula

Wir lieben die Natur! Wir wollen sie erkunden, sie erfahren, ihre Brise auf unserer Haut spüren, ihren Wind in unserem Haar; sie fotografieren, auf Instagram posten. Sonnenuntergang auf den Bahamas, es war wunderbar! Am liebsten würden wir sie gar nicht mehr loslassen, diese kleinen Momente Glückseligkeit, die sie uns beschert. Die Sonne, das Meer, wunderbar! Wir waren so entspannt da draussen, es tat so gut, Wahnsinn, das sollten wir öfters tun.

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Reading Rämistrasse #30: Rebecka Domig on Jorge Macchi at Peter Kilchmann

There’s a print of Jorge Macchi’s that I google every half year or so, just to see if some jaded collector has tired of it. I’ll cast my net in the depths of the internet and see if it comes up with a hit. Has the sold-out lithograph (Edition of 50), originally from 2007 printed by Polígrafa Obra Gràfica in Barcelona, resurfaced on some online marketplace? Mare Tranquillitatis depicts an old-fashioned map in hues of faded turquoise. There’s a grid showing degrees of latitudes and longitudes, and the names of the oceans in Spanish – but nothing else. All land, every continent and island, has been erased, seemingly swallowed by water, and now a sea of tranquility reigns. The print, to me, is a perfect example of the juxtapositions that make up Macchi’s best works. The image hits that sweet spot between poetic and alarmist, one moment seemingly innocuous, lyrical, the next moment a seething commentary on global warming, as if the tide had turned and revealed muddy grounds.

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Reading Rämistrasse #29: Mitchell Anderson on Mitchell Anderson at Maria Bernheim

Two of the easiest recent tricks artists have harnessed hanging exhibitions are a monochrome palette and colored lighting. In Mitchell Anderson’s current exhibition at Galerie Maria Bernheim he combines both for a purely visual double punch masking a void. The exhibition consists of three bodies of work: large paintings depicting, in line, a hand holding a rose, neon signs of different font forms reading ‘join’, and sculptural arrangements of free items removed from local streets. Nearly everything is rendered in shades of red and pink.

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Reading Rämistrasse #25: Mateo Chacon-Pino on Cristian Fogarolli at Object A

Even for regulars at the Löwenbräukunst art hub it is a challenge to find the Object A space. The wide vitrined space with a few pillars is in the hallway joining the two wings of the building, next to the Edition Patrick Frey office. The space has not yet gained the profile of the other galleries and institutions in the hub, though there is great promise in the understated premise of hosting temporary projects. In November it hosted a project by the Italian artist Cristian Fogarolli in collaboration with curator Giulia Busetti that stems from the artist’s investigation of mental health institutions in Europe. The show was selected through an open call from the Italian Council and the first iteration of the project took place in Berlin at STATE Studio. The show, titled «Pneuma», will travel to MAMBO in Bologna next year.

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Reading Rämistrasse #24: Michel Kessler zu Johannes Pál Hirsbrunner @Displays

Um sich mit seinen verkümmerten Augen in den schlammigen Süssgewässern im Bergland von Guayana zurechtzufinden, hat der Zitteraal aus Muskelzellen Organe entwickelt, die Spannungen erzeugen und ein elektrisches Feld um seinen Körper bilden. Algen, Steine oder andere Fische werfen die Impulse zurück, die vom Aal ausgesandt werden und das Feld verzerren. Umgehend wird an verschiedenen Stellen des Körpers die Zeitcodierung verglichen. Es ist die Störung der Signale im Informationsfluss des verschobenen elektrischen Feldes, der glitch, durch die der Zitteraal jeweils das Aufscheinen einer neuen Möglichkeit wahrnimmt, wenn er durch das trübe Wasser gleitet. Durch die in Serie geschalteten Spannungen, die sein Körper fortlaufend freisetzt, erhält der Zitteraal ein räumliche Vorstellung von seiner Umgebung, wobei im Hirn das so entstehende elektrische Bild das visuelle ergänzt.

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Reading Rämistrasse #23: Aoife Rosenmeyer on Der erschöpfte Mann at the Landesmuseum Zürich

Just a year ago the Landesmuseum was home to «Indiennes: Stoff für tausende Geschichten». That exhibition illuminated countless aspects of Switzerland’s entanglement in colonial trading and the social and political repercussions of the textile industry, materially (apologies) furthering mainstream understanding of the subject. What now can be learnt from or about the exhausted man? Or the exhausted image of man?

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