Keren Cytter
Size Matters

Cytter / Roebas
Detour

 

This exhibition was organized and curated in collaboration with Natalie Keppler and Andreas Wagner.

Dates:
Opening: June 5th 2019, 6-8pm
Exhibition: June 6th - July 14th 2019

Special Opening Hours:
Friday, June 7th 2019, 2-6pm
Saturday, June 8th 2019, 2-6pm
Sunday, June 9th 2019, Book Launch: Keren Cytter & Antonio Grulli - Tel Aviv-Jerusalem Diaries, 2-4pm, Opening Hours: 12-5pm

Opening Hours & Location

Download Press Release

This exhibition is generously supported by:

 
 

All images courtesy of HAMLET and the artists.
Photography by Flavio Karrer.

 
 

Keren Cytter (*1977 in Tel Aviv, Israel) choreographs an exhibition from drawings, two newly produced animated films and videos in which Size Matters. The personal examination of childhood and adolescence is negotiated with expectations and experiences of growing up and coming of age. The artist Keren Cytter interweaves this examination and these negotiations with a fictitious layer by means of different media.
Size Matters physically compels viewers to take a different perspective and to ironically question the relevance of size on different levels of meaning and development.

Although the felt pen drawings, the site specific work on the windows and the two animated videos in the first room are on the eye level of children, they force a confrontation with the tragedy of maturing.

For Cytter, adolescence is black and white, so represented in the work Experimental Film. In her early genre video from 2002 dubbed in Hebrew, Cytter still acts as protagonist. In the next room of the exhibition, the images of the film change between black and white and colored - visually and metaphorically. However, Des Trous (Holes) brings the artist, now based in New York, back to Israel in 2018. She sets off on a journey that sparks mixed feelings between detachment and melancholia.

“I return as a ghost.“

Transience and a placement in time is recorded stylistically in the imagination of the ages of the cast of the film. The Israeli singer Corrine Allal, born in Tunisia in 1955, is a figure equal to the members of the family of the narrator, who impropriates images and memories of others until “we turns into I“. The texts of the French voice over sound like quoted lyrics and interweave with the soundtrack of Allal, Yoko Ono and Edith Piaf.

“Look at the Skies. They are falling.“

In the collaborative project Detour, Keren Cytter and the US artist John Roebas (*1985 in Tegucigalpa, Honduras) create an archeology of contemporary mythologies. They associatively mix origins of a supposed high culture in the land of two rivers mesopotamia with western and christian connotated relics of urban life in Manhattan oscillating between anointment and medication.

The hereby developed recartographing is transformed in a process of sculptural cooperation, fragmenting and new creation of connected bodies and so forms alternative worlds and body landscapes within a common referencial system.

- Natalie Keppler


Keren Cytter (*1977 in Tel Aviv, Israel)
lives and works in New York City, USA

Cytter / Roebas is a collaborative project by Keren Cytter and John Roebas

John Roebas (*1985 in Tegucigalpa, Honduras)
lives and works in New York City, USA


http://kerencytter.com/
http://www.j-o-h-n-r-o-e-b-a-s.com/

 

Book Launch:
Keren Cytter & Antonio Grulli - Tel Aviv-Jerusalem Diaries

 

Book Launch: Sunday, June 9th 2019, 2-4pm
This event took place in the context of the exhibitions Size Matters by Keren Cytter and Detour by Cytter / Roebas

 

Tel Aviv – Jerusalem Diaries is a book made up of two books. The first is the diary of a journey in Israel embarked upon in the spring of 2018 by the artist Keren Cytter and the art critic Antonio Grulli. For Antonio Grulli it's the discovery of places imagined for a long time and which provide the input for a range of considerations on Israel, Europe and art. The second book within the book is the screenplay of the film Des Trous (Holes), the work that Cytter created during the journey in Israel.

Antonio Grulli (born 1979 in La Spezia) is an Italian art critic and independent curator living in Bologna, where he is in charge of the contemporary art activities of Palazzo Bentivoglio. Over the years he has written for Flash Art, Mousse Magazine, Cura Magazine, ATP Diary, Artribune, Boite, Exibart and Arte e Critica.

Link to Keren Cytter & Antonio Grulli Tel Aviv-Jerusalem Diaries on Humboldt Books

Kevin Aeschbacher & Ruven Stettler
Module für Ordnung

Dates:
Opening: April 7th 2019, 2-6pm
Exhibition: April 8th - May 19th 2019

Opening Hours & Location

Download Press Release

 

All images courtesy of the artists.
Photography by Flavio Karrer.

 
 

Module für Ordnung brings together two artists which at first glance don’t seem to have much in common besides painting in rectangles. When observed closely however, one can find similarities in their motifs, formal treatments and - intentional and unintentional - references, the proximity of which cannot be denied.
Straightforward works, made with meticulous precision incorporating aesthetical and motif-related indicators deriving from comics, graphic novels and computer games receive a counterpart. The counterpart is informed by quick and almost obsessive applications on inexpensive and accessible materials. Remindful of popular culture and drawings in public space and despite similarities with the other position, they seem to have nothing in common.
Still, the works of Kevin Aeschbacher and Ruven Stettler both point towards a desire to create regularity: regularity in perception and the processing of perception, regularity in tales, anecdotes and stories. Questions surrounding the validity of supposedly own realities, the own and others‘ environments, as well as the appropriation and transfer of these, pervade this exhibition in which creating a tiny bit of orderliness is attempted.

- Clifford E. Bruckmann


The phenomenon describing the human brain’s predisposition to be prompted to see human faces also where they are absent is called pareidolia. Our brains’ auto completion mechanism is responsible for attempting to recognize all impressions in our surroundings and thus classify them. But what if something lies in between conceived recollection and fictitious abstraction - beyond an allocatable classification? In the conflicting field of supposed disorientation between the known and the unknown as well as recognition and losing one’s self, Kevin Aeschbacher’s work becomes discernible to the observer. His works show an area devoid of time and space, which consciously withdraws from definitive identification.
A distinction between foreground and background or gaining understanding of the depth of field ist only made available through perspective arrangements or dark shadings. And when true-to-life landscapes are visible in the background or familiar materials suffuse the canvas, they only do so in order to become instantaneously alienated or carried off. This transformative potential is facilitated by the visual vocabulary changing between analogue and digital. Two dimensional and three dimensional visualizations find their ways no less than the physical application of oil and acrylic paint.
By translating digital forms of expression into non-digital ones and vice versa, Kevin Aeschbacher blurs the familiar border in between natural and artificial forms as well as real and virtual ones. He hereby does not understand his working media as stable bodies, but rather as liquid, ambivalent building blocks which consciously challenge what is and has been seen.
Precisely because one might recognize a familiar landscape in the sculptures placed in the space or see a familiar face in the purple, gravitating mass - however, in awareness of the contingency of the impressions - Aeschbacher proves the conditionality of the observer’s perception. It is because in this conditionality every question regarding reality becomes obsolete - ultimately all impressions are a consequence of electrical and chemical signals in our brains -, that the observer is being admitted into an unstable reality which is simultaneously real and virtual.

Originally coming from painting, Ruven Stettler expands his artistic practice in Module für Ordnung with new, sculptural works which are shown for the first time next to a selection of works on paper. The sculptures seem to take an opposite position to the works on paper on a formal level. Especially because the hand’s trace which appears through the expressive application of the colors in the painting series is deliberately inverted by the indirect pouring procedure used to produce the sculptures. In addition, the artistic latitude was limited - the weight of the sculptures was initially fixed to an ascending order from 1 to 10 kilograms - by setting a framework. Although Stettler attempts to create a supposedly numerical order, he is not interested in the order itself, but rather in its disintegration. He still acts within his self-set framework in order to expose the coincidental within the order. Thus it is not the beautiful and organized which formulates the essence of his work, but rather the chaotically dissonant and diverse.
This diversity is also reflected in the variety of materials used by the artist: oil and acrylic paint, chalk, charcoal and permanent ink are found next to traces of glue, pigments and shiny varnish. Similar to the sculptures, the supposed order - all works were painted on sheets of the same size - is constituted by a shared attribute. However, this order is then shattered and the paintings are shown in a new arrangement.
For this exhibition the pictures are presented on different materials - like felt, bubble wrap and styrofoam - used for the construction, appropriation or maintenance of a home. The display as a stylistic expansion and linking, installative and modular element opposes traditional exhibition formats. It acts an experimental handling of arbitrarity and regularity which constantly expands the works anew and softens the limits in between the paintings and the displays.
Here it becomes evident how Stettler picks up the foundation of his work involving formative structures - which he approaches from regularity to form and from form to regularity - in the display. However, it is not the quest for a superordinate structure which shapes his work, but rather the uncovering of the structures by shattering them. This quest for ‚dissonance‘ [Unstimmigkeit] how Stettler calls it, does not become visible in the singular works, but especially when they are crossed in a spatial sequence: hereby the viewer is presented with a multifaceted oeuvre, continuously assembled anew and ever evolving.

- Céline Matter


Kevin Aeschbacher (*1988), lives and works in Zurich
Ruven Stettler (*1994), lives and works in Berne and Zurich

http://www.kevinaeschbacher.com/

Karolin Brägger & Martina Mächler
guided session 006

Date:
February 24th 2019, 6pm

Opening Hours & Location

 

All images courtesy of the artists.
Photography by Andrea Abegg Serrano, Cathrin Jarema & Clifford E. Bruckmann

 
 

Karolin Brägger and Martina Mächler started collaborating on the guided sessions, a project consisting of different episodes, in 2017.
After stumbling upon meditative youtube-videos where predominantly male voices are guiding listeners into a more successful life, they decided to write alternative sessions in order to question the never-ending self-improvement cycles and investigate the imagery of nature inherent in self-care practices.

guided session 006 by Karolin Brägger and Martina Mächler will take place on February 24th at 6pm in the course of the exhibition do ghosts still believe in us? by Martina Mächler. The exhibition runs through March 3rd 2019.

Martina Mächler, *1991
lives and works in Zurich
https://www.martinamaechler.com/

Karolin Brägger, *1993
lives and works in Vienna and Zurich

Martina Mächler
do ghosts still believe in us?

Dates:
Opening: January 27th 2019, 2-6pm
Exhibition: January 28th - March 10th 2019
Karolin Brägger & Martina Mächler - guided session 006: February 24th 2019, 6pm

Opening Hours & Location

Download Press Release

 

All images courtesy of the artist.
Photography by Flavio Karrer.

 
 

What if faith in humans is lost? We can believe in ghosts as long as we want; if ghosts don’t believe in us, we seize to exist. Martina Mächler postulates a potentiality, but also an oxymoron through a scenario which in its logic seems convincing, but at the same time is based on the reversal of a superstition.
In her first solo exhibition, Martina Mächler interweaves questions of potentiality - personal, abstract, energetic and economical ones - into a para-biographical narrational and conversational environment. The exhibition guides through symbolic, re-imagined and diverse scenes. However, the reutilization of scenographic elements creates a connected narrative structure nonetheless. Existing and conscious insecurities within the narration are highlighted by the fragmentation of the elements: square pieces of carpeting; metal flooring cover joints which separate the rooms; pieced together curtains changing in between transparent and opaque. These elements bring together the experience of the exhibition, but also decidedly point to the breaks in the narration. This narration doesn’t have to be Martina Mächler’s story, but could also - in this or a similar form - be the story of many people. Who could resent the ghosts for not believing in us anymore?

The narration leads from the question posed on a dating website „Do you think one person can significantly change the world?“ to the 97% match of the narrator. The only reason the match did not reach 100% is because he doesn’t believe that we live in a patriarchally organized society. In parallel and in connection with this narrational bracket, an encounter with stories takes place which lead into recurring insecurities. Thus it is shown how questions of economic survival and factory labor are connected to the supposed empowerment provided by liberal educational institutions: which indoor climate must be ensured for a yogurt to become a yogurt? or: which indoor climate must be ensured so a student can reach her diploma? Liberation, empowerment and emancipation are promised - may it be through the portable breast pumps which are produced and assembled in the plastic factory the narrator works in or the absorption of self-empowering strategies through and by the art school -, but how do they actually transfer into self-conception? The ghosts are encountered in the exhibition as figures of the supposed reminiscence of alternatives. Of moments and scenarios in which potentialities were somehow clearly articulated, but the actual outcome of the story appeared not to be clear at all.
An angsty discrepancy in between promises of justice or a better world, and the banality of the every day - which is obviously not banal in any way - pushes into the foreground repeatedly. A video documents the search for the motive of an idealized image on the website of the plastic factory (the one with the breast pump).
An idyllic landscape from a nature preservation area on the Lake of Zurich is the central image on the landing page of the plastic factory. After the motive is found and consequently potentialities of alternatives can be explored, a second video shows the return journey. The boat couldn’t get too close to the nature preservation area because it is also closed off seaward. All that remains is to continuously describe and explore scenarios, moments, potentialities and the resulting alternatives which allow the ghosts to have faith in us.

- Clifford E. Bruckmann

Martina Mächler, *1991
lives and works in Zurich
https://www.martinamaechler.com/

House Warming

Date: November 25th 2018, 2-6pm

with contributions by: Andrea Abegg Serrano, Kevin Aeschbacher, Maria Arnold & Nico Sebastian Meyer, Brigham Baker, Magdalena Baranya, Simon Bachmann, Donatella Bernardi, Michael Bodenmann, Clifford E. Bruckmann, Isabell Bullerschen, Mortimer Chen, William E-Cheeze Drury, Alan Ebnother, Nina Emge, Simon Fahrni, Ramon Feller, Adrien Flament, Dennis Fuchs, Philipp Frisch & Karolin Brägger, Selina Grüter & Michèle Graf, Bernhard Hegglin, Jan Hofer, Yoichi Iwamoto, Cathrin Jarema, Dijan Kahrimanovic, Chantal Kaufmann, Daniel V. Keller, Tim Kils & Martin Kugelmeier, Lily Koper & Hester Koper, Manuela Koska, Karin Kurzmeyer, Jusun Lee, LONGTANG (Anne Gruber, Asia Kaspar, Tobias Kaspar, Emil Michael Klein, Ludovica Parenti), Martina Mächler, Björn Magnusson & Patrick Cipriani, Jiří Makovec, Vinzenz Meyner, Dominic Michel, Valentina Minnig, Thomas Moor, Angela Osterwalder & Sergio Araya, pfeffermint GmbH, Natalie Price Hafslund, Jack Pryce, Christina Renggli, David Renggli, Simon Risi, Sergio Rojas Chavez, Mia Sánchez, Sebastian Schaub, Anne Schmidt, Anita Semadeni, Pascal Sidler, Barbara Signer, Nadja Solari, Muriel Steiner, Valentina Stieger, Aurélie Strumans, Miriam Sturzenegger, Ariane Vonmoos, Tim Wandelt, Eugen Wist, Daniel Wyder, Jiajia Zhang, Julia Znoj.

With special and extraordinary thanks to Yoichi Iwamoto (http://iwamotoyoichi.com @yoichiiiwamoto) and Francesca Ferrari (http://francesca-ferrari.com @22n23) for the photography!

Also, thank you ‚Käpt’n Balu’ for the amazing drone piloteering!

 

All images courtesy of the artists.
Photography by Francesca Ferrari & Yoichi Iwamoto.

 
 

We recently decided to start a new exhibition program bearing the name „Hamlet“. The program is centered around, but not limited to, wonderful rooms located on a rooftop at Dörflistrasse 67 in Zürich-Oerlikon. It is a particularly interesting location due to the ongoing changes in Zürich-Oerlikon. The space is located at the border of the old village center (from before Oerlikon was annexed and incorporated into the city of Zurich) and the newer and ever-developing corporate-expat-theme park, spanning all the way to Glattpark and Opfikon. This location gives our program an overlying complex of topics by allowing us to investigate, on a very broad scale, moments of transformation and change; this might involve generational, architectural, personal or other forms of transformation, change and movement.

It was a rather spontaneous decision to commence this program, but we are comitted to making it a place also for our friends, new ones and old.

The block that Hamlet is a part of used to be farmland until as recently as the early 1970s. City planning and architectural decisions led to the block becoming habitable on the current scale for humans and we would like to inform a minor architectural decision as part of a symbolic gesture. Our space is surrounded by a balcony, which the owner of the building does not allow to be used due to missing handrails and subsequent security concerns. However, we do not want to be wasteful with the wonderful opportunity we were given and would like to invite the space to be used. Given the circumstances, we thought of a species which could occupy and use the space denied to us humans: birds.

Thanks to our most generous friends and families a multiple and layered house warming will take place on the afternoon of November 25th 2018 from 2-6pm.

(The contributions will be accessible by appointment only: hello@hamlet.love)