Max Invoice, Ugo Rondinone, Meret Oppenheim, John Armleder, and others
Identical to its territory, with such numerous landscapes, Swiss artwork has something indefinable, a je ne sais quoi of hassle and, at the similar time, very specific. So, the expression chosen by the brand new Gagosian gallery to unite the good Swiss artists, Swiss Made, appears to us to be very nicely chosen.
Removed from the postcard imagery of a clean and picturesque Switzerland, the exhibition, following within the footsteps of Harald Szeeman’s Visionary Switzerland in 1992 at the Kunsthaus Zürich, celebrates this peculiar “little madness” and the considerably iconoclastic and offbeat penchant of Swiss art. From the unbelievable floating landscapes of Ferdinand Hodler (1858-1918) to the Horror vacui (horror of the void) within the saturated and obsessive areas of two of probably the most well-known representatives of Artwork brut: Adolf Wölfli and Aloïse Corbaz. Faces-masks and different Heads within the making, mixing the spot and the line of Paul Klee (round 1920) to the cut up face of Urs Fischer (2022): a big panel silk-screened on aluminum displaying a face with closed eyes framed in close-up, partially masked by the fragment of a second face, the whole immersed in a bath of shade/mild orange Pop hypnotic: of the artwork to make use of the strangeness and to throw suspicion on the pictures with impunity …
Swiss Made –
From Hodler to Urs Fischer
Gagosian Galerie, Gstaad – Promenade 79, 3780, Switzerland
Until September 17th