Hans Rudolf Reust

  • Tatjana Doll

    A withdrawal voucher from Deutsche Bank dated 6/14/05 (Ueberweisungsschein I [Transfer Fund 1]) and one from 7/15/05 (Ueberweisungsschein 2 [Transfer Fund 2]) painted in oil or lacquer on cotton fabric: THIS FORM WILL BE PROCESSED BY A MACHINE. ADDITIONAL STATEMENTS OR CHANGES TO THE PRE-PRINTED DATA ARE NOT ALLOWED.The contradiction between the content of this statement and the freedom of its painterly transposition is apparent, and there is something surprising about the revelation to the public of a most intimate realm: personal finances. Tatjana Doll paints unremarkable elements of her

  • Nedko Solakov

    At first blush, Nedko Solakov seemed to be letting down his guard. What was he thinking, exhibiting “Leftovers: A Selection of My Unsold Pieces from the Private Galleries I Work With”—the very things no one wants from him? Numerous drawings, objects, folders, paintings, videos, and DVDs were displayed on the kind of cheap wooden shelves one might find in a gallery storeroom, more set aside than exhibited. Further, the small room devoted to the “Leftovers” was right in the middle of the permanent display of the museum’s comprehensive collection of works by Alberto Giacometti—a highlight of the

  • Simon Starling

    The Museum für Gegenwartskunst in Basel is sited directly on the Rhine. Upriver, Simon Starling took apart a wooden shed used by boatmen and reassembled all its pieces again as a Weidling, a kind of skiff traditional to the locality. After its maiden voyage downriver, it was again reduced to boards, taken into the museum, and rebuilt as the original wooden shed, carefully edged and placed diagonal to the museum’s architecture. Whether Shedboatshed (Mobile Architecture No. 2), 2005, would once more take to the river as a barge after the exhibition, continuing the ecological cycle, was a question

  • Shirana Shahbazi

    An exhibition by Shirana Shahbazi unfolds like a picture book on all sides, even continuing around a corner like two pages of an unexpected layout. The photographs themselves may not seem particularly notable at first glance—the kind of thing one’s seen in countless private photo albums or Internet postings. References to classical genres of painting are obvious too. These images don’t hesitate to show beauty in landscapes, portraits, or still lifes with flowers, fruit, and meat. Through the particular order of the images, though, each individual motif is treated from different, sometimes

  • Anne-Mie Van Kerckhoven

    The first exhibition at the Kunsthalle Bern under its new director, the young Belgian curator Philippe Pirotte, was Anne-Mie van Kerckhoven’s “Europäisches Zentrum für Futuristische Kunst” (European Center for Futuristic Art), which employed a multitude of media, ranging from quill drawing to photographic print, wall painting, video projection, and interactive computer. This only gives a hint of the complexity of its content of textual and visual quotes, however, and the clearly symmetrical layout of the installation’s spaces on the upper floor of the kunsthalle also reveals a more rigorous

  • Pierre Bismuth

    Pierre Bismuth’s first comprehensive solo exhibition traces the Paris-born artist’s wide-ranging thoughts through works on paper, installations, videos, and wall drawings. He is particularly interested in globalization and its ability to throw into question linguistic and iconic codes, especially their ability to divide or unite. Among the thirty works on view are his 2002 multilingual version of Disney’s Jungle Book, with a Hebrew-speaking Baloo the Bear and an Arab Bagheera the Panther, and his new project IBHAYIBHILE. Taken from the Xhosa word for “bible,” this

  • Mat Collishaw

    This fourfold presentation of works by Mat Collishaw—not only in two galleries, Analix Forever and Art & Public–Cabinet PH, but also in the lobby of an upscale hotel and a room in a private apartment, dubbed for the nonce “Mat Collishaw Museum”—well suited an oeuvre formulated on changing narrative levels and refracted in various media. An example of this may be found in Lady Killer, 2004, the many-layered video installation at Analix Forever: Entering the simple gallery room from the street, visitors found themselves in front of a historical stage in a recreated interior that apparently served

  • Ingrid Wildi

    An elderly woman sits on the edge of a bed, smoothing down a knitted sweater. “I predicted the Berlin Wall, too—five years ahead of time.” With these words, spoken almost as an aside, a journey begins, leading from Santiago to the desert in the north of Chile. In her sixty-eight-minute-long DVD ¿Aqui vive la señora Eliana M…?, 2003, Ingrid Wildi interviews her way through relatives and acquaintances in search of her mother, with whom she had lost all contact since childhood. The camera follows the search closely but never relinquishes some last crucial bit of documentary distance. Tension

  • Candida Höfer

    Eingelagerte Welten” (Worlds in Storage) was the title of this exhibition, consisting mainly of Candida Höfer’s photographs of ethnological collections across Europe and in New York. Sited in an enchanting park, just steps from the financial center of Zurich, the exhibition was like a storehouse in a globalized world characterized by increasing economic and diminishing cultural differences. If ethnological museums were once splendid displays of the trophies of colonial expeditions, today they are increasingly sites for reflection on one’s own culture.

    As an artist working in the medium of

  • Vaclav Pozarek

    A cloak of silence has fallen on sculpture. While the discourse on painting periodically delves into the disappearance or new guises of a given genre, autonomous sculpture seems to have long since disappeared. Three-dimensional developments have been installations, usually mixtures of disparate media.

    Vaclav Pozarek is furthering the discourse on sculpture, however, by combining a series of spatial elements, each of which could easily stand on its own, with photographs, collages, and drawings as an installation for the duration of an exhibition. In the process, the preconditions of exhibition

  • Mario Sala

    In Mario Sala’s images, the window, painting’s old paradigm, opens onto doors, which close off passages to illusionary space at the same time as they evoke it. The viewer stands, repeatedly, at a threshold. We find ourselves, for example, on the outside in a painting like Draussen (Outside; all works 2003); facing a western façade by night in Westfassade bei Nacht; or at the back entrance in Hintereingang.

    Sala’s imaginary architecture composes a frame for branching narratives not unlike Mark Manders’s long-term project “Self-portrait as a Building,” 1986–. But Sala, unlike Manders, is not

  • Pia Fries

    Pia Fries typically crosses broad, white grounds with thick brushstrokes, furrowing and altering the picture plane with blots, traces of drops, superimpositions, and washes, as if the canvas were once again the arena it was for classic gestural painting. The impression of spontaneity, however, is repeatedly undone under closer examination: At first barely noticeable, silk-screened photographs of applied paint emerge from the loose texture of the oil painting. Spot and brushstroke directly encounter their own reproductions. The authentic gesture of painting is replaced, almost indistinguishably,

  • Verne Dawson

    It’s always fascinating to see how freely today’s painting deals with stories, including its own. Take, for example, Verne Dawson’s exhibition, in which various modes of painting combine to evoke a complex, inward-looking worldview, replete with layers of reference: In Venus (all works 2003), the goddess, born of foam, is painted as a figurine on a coastline. Venus appears next to Mars, a painting of the red planet on a black quadrant of interstellar night. Nearby are John Giorno, a portrait in profile; Vase, a still life of a richly ornamented little vessel against a bright sky; Three Rats, a

  • Peter Regli

    “On June 1, 2003, a glass shelf (10 x 15 feet) filled with crystal glass objects was crashed down a set of stairs. In collaboration with the Ensemble für Neue Musik Zürich, the recorded soundscape was transcribed into a composition. On July 11, 2003, the ensemble premiered Reality Hacking Nr. 202 at the Centre d’Art Contemporain in Geneva, Switzerland.” This terse description appears on the website where Peter Regli documents his often anonymous interventions in public space. With the most filigreed clattering—loud, and then, in echo, finely engraved—the multitiered tower of hand-blown crystal

  • Christian Jankowski

    Right in the hall behind the museum’s entrance, where openings are usually held, stood a cardboard puppet theater painted in gestural blue strokes and placed behind two spotlights on a rickety tripod of bamboo poles. The curator’s opening remarks and an improvised dialogue with the artist, in the broad accents of the Baden region, were staged here as a kind of Punch and Judy routine. A videotape of the event ran on a monitor on a nearby tabletop on sawhorses, which also contained a book opened for visitor comments: “Of course, the world itself is a tautology. Still, most acts of self-referential

  • Wilhelm Sasnal

    Broad, densely tangled brushstrokes pile up on the surface of the canvas. They compose an impenetrable green wall that hangs threateningly over a small, scattered group of people. In Wilhelm Sasnal’s Forest, 2002, painting alla prima reveals itself through its rapid gesture and simultaneously blocks out every image that could be hidden in the background. The young Polish painter has produced an enormous quantity of work since 1999, and a large selection of it was here presented for the first time in a public institution.

    Behind the narrow, labyrinthine entrance to the exhibition waited a forest

  • Erik Steinbrecher

    The monstrously distorted shadow cast by Avantgarde, 2003, an oversize, white-lacquered slatted fence lit by two spotlights in one corner of the darkened gallery, signaled, from the start, that the vanguard has become a ghost. That, or it only cares about theatrical effect these days, like the short video loops of stunt sequences repeating endlessly on three monitors at the entrance, playing with the big architectonic gesture, interrupting it. The five segments of the fence compartmentalized the room without ultimately dividing it. One could still walk along its edges, unhindered in the realm

  • Teresa Margollese

    Entering the gallery, one found the climate of the building on Limmatstrasse drastically different from what one would expect: Through a pair of humidifiers, water used to wash the bodies of corpses in Mexico’s metropolis was being atomized into superfine particles. The rinse water of the anonymous dead settled on the skin of the living and penetrated them when breathed in. More than just the humidity level was being altered. Unsettling social realities, normally excluded from the world of art, were permeating the atmosphere, hardly noticeable but nonetheless powerfully present. A work similar

  • Hervé Graumann

    That Raoul Pictor is a painter is obvious. Wearing a black beret and the white smock of his profession, he paces back and forth in his studio in search of inspiration, from the stool to the bookshelf to the table where a wineglass stands and then over to the easel. Wildly, he dunks a thick brush and begins to paint, accompanied by the sounds of splattering pigment. By the time he takes his masterpiece down from the easel and carries it off, we’ve still seen only the back of the canvas—and, indeed, we can only view the completed artwork by printing it out. With Raoul Pictor, Hervé Graumann has

  • Rita McBride

    A sexy artist named Gina Ashcraft is the protagonist of thirteen scenarios set in airports and train stations. Her goal is to seduce and be seduced in the midst of her art. This dime-store novel, serving as the catalogue for Rita McBride’s exhibition, is the work of thirteen colleagues, among them artists John Baldessari and Julião Sarmento and curator Dirk Snauwaert. Its combination of soft-core pornography, nomadic mobility, and art easily grasped by the public touches on the chief stereotypes of the art market of the ’90s: “Back on the plane again and ready to depart. I had been in Lisbon