Felicity Lunn

  • Reto Boller

    At a time when painting is being increasingly challenged by and filtered through other media, Reto Boller’s work brings color and form off the support and into the viewer’s space. Through both small-format works produced in the studio and wall paintings made on-site, Boller creates monochromatic organic forms whose tones, in reflecting the light, seep into the space they occupy. Hints of the world around are frequently intuited—landscapes, architectural elements, fluids, ’70s design, or the structure of the human body—but paramount to the artist is that the painterly situation he intuitively

  • Mark Handforth

    The Hong Kong–born, Miami-based sculptor Mark Handforth has on occasion referred to his exhibitions as “landscapes.” The description is apt, given that he often grafts a specifically urban vernacular onto a unique brand of formalism, not only to summon such art-historical precedents as Mark di Suvero’s and Anthony Caro’s metallic structures but also to make clear turns on the project of Minimalism—on Donald Judd and Dan Flavin in particular. Whereas Judd’s forms often invite circumambulation, allowing viewers to discover what had been hidden bays, for example, Handforth will twist the frame of

  • Heidi Bucher

    This retrospective was not only one of the most compelling exhibitions at the Migros under the directorship of Heike Munder but also a welcome surprise among the more predictable names showing at one museum after another. Unlike other episodes in Munder’s ongoing reexamination of the art of the ’70s, it introduced a body of work that was largely ignored at the time. Although the short period that Bucher lived in California in the early ’70s led to exhibitions at, for example, the Los Angeles County Museum of Art, her soft sculptures and process-based practice that recall the work of other

  • Pascal Danz

    “Flat,” the title of Pascal Danz’s recent exhibition, refers to the subject matter of most of the works on show—interior views of modernist apartments—while highlighting the idea of how painting can translate a three-dimensional structure or environment into a two-dimensional surface. From the gallery’s glass frontage one was immediately presented with two large-format works demonstrating the artist’s appropriation of the language of architecture and his transformation of both its formal qualities and cultural values into rich emotional metaphors. Both interior Bailey house (Pierre König), 2003,

  • Martin Boyce

    It seems fitting that an exhibition of Martin Boyce’s work—the forms and materials of functional apparatus transferred to an artistic context—should be presented in the complex of galleries and museums at the heart of Zurich’s regenerated industrial quarter. Acclaimed for his appropriation and deconstruction of designer icons from the ’60s and ’70s, Boyce now seems to be shifting his interest to the psychological and emotional spaces of more generic external environments. From the utopian vision of modernism propagated by the Eameses or Arne Jacobsen, he has turned to communal urban spaces—in

  • Piotr Uklański

    In the artist’s book published to coincide with his exhibition at Kunsthalle Basel, Piotr Uklański interviews his fellow Pole Roman Polanski, who recalls his attempts to prevent the 1968 Cannes Film Festival from being canceled despite the student uprisings in Paris. One inevitably connects the filmmaker’s determination to indulge in glamour while expressing support for the revolutionaries with Uklański’s own desire to seek out and communicate beauty while subjecting it to critical analysis. But where does a fascination with the romantic end and irony begin?

    This was Uklański’s first major

  • Jason Rhoades

    Jason Rhoades’s installation My Madinah. In pursuit of my ermitage . . . , 2004, was the final exhibition to take place in the spaces of the Hauser & Wirth Collection at the Roundhouse. Specially conceived by Rhoades for the idiosyncratic architecture and vast dimensions of the former locomotive shed, the installation is also one element in an evolving project by the artist that will culminate in a center for his work in Mecca, California. Put simply, the Roundhouse has been incorporated into the plan as a model of the structure to be built in the desert landscape.

    Here in St. Gallen, My Madinah

  • Claudia and Julia Müller

    Since the sisters Claudia and Julia Müller started working together twelve years ago, their drawings—on paper, applied directly to the wall, and on video—have become acknowledged as major contributions to the current Swiss art scene. This exhibition provided the first comprehensive overview of their output, combining series of framed drawings on paper (some juxtaposed for the first time with collage), large-format drawings made directly on the wall, and four examples of the installations that the artists have been making since the mid-’90s.

    The Müllers always draw from photographs—of friends,

  • Balthasar Burkhard

    Balthasar Burkhard is one of Switzerland’s best-kept secrets, the creator of black-and-white landscape photographs ranging from mountain panoramas to forests reflected in rivers.

    Balthasar Burkhard is one of Switzerland’s best-kept secrets, the creator of black-and-white landscape photographs ranging from mountain panoramas to forests reflected in rivers. Although characterized by an attention to detail and technical perfection, Burkhard’s work moves beyond the depiction of reality to both analyze the possibilities of photography and bring the grandeur of the visible world into the private sphere of the viewer. Various aspects of the artist’s oeuvre have recently been the subject of surveys, but this is his first retrospective.

  • Eva Rothschild

    There has been a renewed emphasis on object making among younger artists, and Eva Rothschild’s exhibition was a virtuoso demonstration of their broad, no-holds-barred reinterpretation of sculpture. Employing walls, floor, and ceiling without recourse to frames or supports, the work immediately conjures myriad references, from the severity of Minimalism to the kitsch playfulness of designer accessories, incorporating both industrial production techniques and a crafts aesthetic.

    Each of the three rooms here included both types of work that Rothschild has been developing—abstract geometric sculptures

  • Eran Scaerf

    Eran Schaerf’s work seems slick at first, but its formal basis in the design aesthetic of lifestyle magazines belies a dense network of themes and combinations of media that render it less rapidly consumed than much current art. “Index of Distances,” the title of his recent exhibition, suggests both the plural nature of the world we live in and an artistic attempt to measure and comprehend the gaps between different spheres. Fashion shoots jostle with sepia photographs of city streets, media reports lapse into fictive accounts, and rules concerning a competition for urban planning in Berlin are

  • “Fiction or Reality”

    “Fiction or Reality” brought together three young artists whose distinct perspectives on identity, language, and memory complemented one another. Senam Okudzeto emphasized the unreliability of memory in the reconstruction of stories. Born in Chicago to an African American mother and Ghanaian father, the artist grew up in Nigeria and studied in London. The video The Dialectic of Jubilation, 2002–2003, juxtaposed scenes of village dances in Ghana with Okudzeto’s poignant attempts to teach people in Basel the same steps, the gaps in her faulty recollection filled in by invention. Projected on the

  • Caro Niederer

    Caro Niederer made good use of the limitations inherent in exhibiting in a single room by creating a microcosm of her work since the mid-’90s, from the series “Brown Paintings,” 1997–2003, “Interiors,” 1984–2003, “Wall Carpets,” 1993, and “Shelves,” 2001–2003. Though tightly hung and confronting the viewer with an initially surprising mix of media and styles, the various works gradually revealed themselves as parts of a fluid, self-referential artistic practice. The “Brown Paintings”—like Kinder auf Schwanschaukel (Children on a Rocking Swan), 1999, a small work depicting the artist’s son—are

  • “Bewitched, Bothered and Bewildered”

    Zurich’s Migros Museum made an ideal setting for an exhibition examining the emotions engendered by different kinds of spaces, as each of its galleries has its own, very particular atmosphere. In the first, airy, daylit room, for example, we were able to see in one glance environments as varied as Anish Kapoor’s hypnotic oversize white ear trumpet; Urs Fischer’s series of glass-andwood boxes, suspended in a state of semi-completion; and James Casebere’s photograph of hospital beds stacked chaotically in a cell-like space, the mundanity of the subject intensified by the diffuse gray light that

  • Chantal Michel

    Having abandoned her early plaster objects as being too “cool and technical,” Chantal Michel has for the last few years made her own body the sculptural subject of her photographs, videos, and performances. Perched astride an eighteenth-century chest in a sumptuous room or limbs flailing inside a piece of industrial machinery, Michel both transforms her bizarre surroundings with her presence and, like a casually placed vase or forgotten handbag, becomes one with them. Always wearing gorgeous party clothes (the artist allegedly owns two thousand dresses and three hundred wigs), Michel is both a

  • Olivier Mosset

    Nearly twenty years after his last retrospective, this bipartite exhibition proposes a rereading of Olivier Mosset’s influential abstract painting in the context of current practice, based on a nonchronological presentation of distinct groups of work made between 1966 and 2003.

    Nearly twenty years after his last retrospective, this bipartite exhibition proposes a rereading of Olivier Mosset’s influential abstract painting in the context of current practice, based on a nonchronological presentation of distinct groups of work made between 1966 and 2003. Organized by Lionel Bovier of the Musée Cantonal des Beaux-Arts de Lausanne and Roland Wäspe of the Kunstmuseum St. Gallen, the ninety-work show focuses on the large-format monochromes produced in 1990 for the Venice Biennale and the “shaped canvases” of the ’90s. The accompanying monograph includes texts by Michel

  • Katharina Grosse

    Katharina Grosse’s presentation in St. Gallen was one element of a four-part exhibition in 2002–2003, realized in different forms at the Ikon Gallery, Birmingham; the Lenbachhaus Munich; and the Kunsthalle zu Kiel. At the Ikon she used the dominant nineteenth-century iron beams to dramatize the three-dimensionality of her energetic abstract paintings, applied directly to the gallery walls. In St. Gallen she responded to the museum’s classical Central European architecture by using color to pull the decorative plaster moldings and the perfectly proportioned door frames into the rest of the space,

  • Salla Tykkä

    A young woman boxes with an older, much larger man, the vulnerability of her naked torso in stark contrast to her aggressive punches. An adolescent escapes from a building in which she has been suffocated by a triangular relationship with an older man and woman; she runs deeper into the forest until she reaches a summerhouse and freedom. The same girl, older now, spies on a young man practicing lasso tricks; she's moved to tears by the beauty and purity of his actions.

    At the heart of Salla Tykkä's work is a series of highly condensed visual metaphors expressing physical and emotional vulnerability,