Galerie Peter Kilchmann is presenting Group Show/New Works. The exhibition unites ten Swiss as well as international artistic positions, presenting the public a challenging visual experience with diverse works in various media such as painting, drawing, sculpture, photography and video. Through an interesting array of parallel and controversial topics, the exhibition attempts to depict the strong individual approaches of each artist, while balancing their ways and perceptions. Inherent to all artists presented is the vigor in which they communicate their standpoints and draw the observer to engage with subject matter. Jan. 20 – March 17, 2018, Galerie Peter Kilchmann, Zurich.
Marc-Antoine Fehr (*1953, Zurich, Switzerland) presents two new paintings in oil on canvas. The smaller work, 103 x 132 cm, features the recurrent motif of an infant with a sheep, which can be read as the metaphor for innocence. In his second painting, 132 x 162 cm, one encounters a coated female torso holding two porcelain cups in her hands, painted in strong black and blue contrast. Due to their reduced and muted color palette, Fehr‘s works often appear as under a nostalgic dream-like patina.
In search of alternative production options Tobias Kaspar (*1984, Basel, Switzerland) approaches the traditional craft of embroidery. His new works are made of delicately mounted fabrics from a Swiss manufacturer for pret-aporter and haute couture collections with whom Kaspar already collaborated for his reflector-series. The twocolored fabrics fascinate through their smooth, soft and distinct surfaces on which meticulously crafted embroideries have been sewed. The motives are doll-like female figures elegantly dressed in vintage style, surrounded by their sophisticated urban environment.
In her new works Prima Cucina und Celine´s Room Zilla Leutenegger (*1968, Chur, Switzerland) shows how a mere interior can become the fascinating protagonist of a painting, as in her series of monotypes from 2017. A fivepart folding screen standing upright within the exhibition space invites the observer through its bold contour lines and laminar pastel shades to explore the architecture of a harmoniously furnished, fictional bedroom. In Leutenegger‘s large-scale composition Prima Cucina the reduced, yet characteristic details of a kitchen‘s cabinets surrounded by red tiles that in realistic dimensions appear to be a window to an adjoining room.
Uwe Wittwer (*1954, Zurich, Switzerland) presents two new large-scale compositions entitled At the Table after Caravaggio (Am Tisch nach Caravaggio), 148 x 163 cm. In both paintings, based on the same original, Wittwer challenges the reference and carves out its pictorial potential by engaging in a complex alteration process. Single elements are repeatedly painted over with pastel shades, brought to the fore as floral details or artifacts or even doubled, as in the case of the central figure of the Christ. Other areas are obscured by black patches, shadows or the erasure of a detail and cannot be easily explained, inspiring the observer to question what has been seen.
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