Max Glauner

  • Sandra Boeschenstein, unmittelbar vor der Berührung der Haare des Abdrucks bei Neumond (Immediately Before Touching the Hair of the Impression at New Moon), 2019. Oil pastel, oil, and ink on paper, 13 x 19".
    picks September 25, 2019

    Sandra Boeschenstein

    The Swiss commonwealth, whose art scene is still marked by the influence of the antipictorial Protestant reformer Huldrych Zwingli—he who banished painting, forcing artists to make graphic works on paper—has since produced a series of artists who evoke surprising moments in the supposedly “minor form” of drawing. Sandra Boeschenstein, whose new black-and-white works on paper currently hang in Galerie & Edition Marlene Frei, partakes in this tradition, pushing drawing to new limits.

    In 5 Reinknien verdampfen Wasser (5 Clean Knees Evaporated Water, all works 2019), five figures reminiscent of

  • Jean-Marie Appriou, The cave of time (mystique), 2018, cast aluminum, 43 x 57.5 x 22.5".
    picks December 05, 2018

    Jean-Marie Appriou

    Jean-Marie Appriou was born in the far northwest of France in 1986, far removed from Paris, where he lives and works today. But he still seems deeply rooted in his native Brittany, where he manufactured his first cast-aluminum sculptures in his father’s garden. First discovered in the nineteenth century, this base metal is mostly used today in industrial mass production, but here, the artist sounds out the possibilities for cast aluminum in figurative art. In what evokes a prop-storage room for a fairy-tale play or a metal workshop, a shiny, metallic bundle of life-size cornstalks greets the

  • Sanya Kantarovsky, Deprivation, 2018, oil and watercolor on canvas, 85 x 65".
    picks October 19, 2018

    Sanya Kantarovsky

    A year and a half ago, this institution’s director, Elena Filipovic, gave Sanya Kantarovsky carte blanche for a solo exhibition. Twenty paintings and twenty-five monotypes are now being shown in “Disease of the Eyes,” a dramaturgically astute show sweeping through five galleries.

    Despite the title, on first glance one senses nothing of withdrawal or lack in Deprivation (all works 2018), an expressive, large-format painting of a couple locked in a violent embrace, which hangs just to the right of the gallery’s entrance. One might think Egon Schiele or Mike Kelley had inspired Kantarovsky’s twosome,

  • Olaf Nicolai,  That's a God-forsaken place, 2018, mixed media, dimensions variable. Installation view.
    picks September 14, 2018

    Olaf Nicolai

    Artworks that reflect the conditions of their own formation often leave a lasting mark, like an astronaut’s boot print on the surface of the moon. The ploys of the conceptual artist Olaf Nicolai do, though their impressions tend to reshape themselves in one’s mind; his work stokes doubt and mines the rich and relevant tensions between history and fiction, fact and conspiracy.

    At this exhibition’s entrance, visitors are invited to pick up a hand-sized meteorite-like rock titled Visitor, be my guest, 2015. But whether it is an emissary from space, as the exhibition title suggests––“That’s a

  • Dieter Roth, 246 little clouds, 1968–1976, mixed media, dimensions variable.
    picks February 09, 2018

    Dieter Roth

    Works on paper require small and intimate rooms. The halls of the former boiler rooms of the Löwenbräu Brewery are, in contrast, bright with high ceilings. Yet the powerful industrial walls of the gallery that occupies this space lend themselves well to showing a posthumous selection of Dieter Roth’s paper works.

    This is not only because the last exhibition conceived by the artist—whose output encompassed objects, performances, poetry, music, as well as conceptual, graphic, and installation art—took place in this very location, but also because Roth thought in series, sequences, and cycles, which

  • Susanne Keller, Musicisti, 2015–2016, mixed media, dimensions variable.
    picks January 15, 2018

    “Keine Zeit – Kunst aus Zürich”

    “Oh dear! Oh dear! I shall be late!” cried Lewis Carroll’s white rabbit, the absolute archetype of both our present moment and an alternate one—wherein he exemplifies a different, fantastical order. Helmhaus’s exhibition, “Keine Zeit – Kunst aus Zürich” (No Time – Art from Zurich) also moves within such an adventurous dialectic, honoring regional artistic practices, as is traditional in Switzerland.

    The results are a breathtakingly beautiful exhibition that includes an installation of cacti by Magda Drozd; powerful towers and arks rendered in watercolors by the eighty-seven-year-old Willi

  • Monica Studer and Christoph van den Berg, Wesen (Beings) (detail), 2017, HD 3-D video projection, color, sound, run time variable.
    picks September 25, 2017

    Monica Studer and Christoph van den Berg

    This venue, in the center of Wettingen, outside Zürich, radiates with the atmosphere of a picturesque Swiss farmstead—a visitor doesn’t necessarily expect to find contemporary art here, and certainly not the kind that Monica Studer and Christoph van den Berg are known for.

    Within a clever and finely tuned scenographic series spanning two floors are the interactive moving-image installations (Wesen [Beings] and Forscher [Explorer], both 2017) and the digital videos Dark Matter – One Million Years Later, 2017, and Wind-Wasser-Wolken (Wind-Water-Clouds), 2015/17, as well as supplementary smaller

  • View of “Turn The Puppets Loose,” 2017.
    picks June 10, 2017

    “Turn The Puppets Loose”

    The mannequin cannot be surpassed for natural grace. The German writer Heinrich von Kleist established this in his famous essay “On the Marionette Theater” in 1810. Nevertheless, no career was allotted to these sculptures on strings. They remained entertainment in seasonal fairs and a popular pastime into the twentieth century.

    During WWI, a small group of Zurich avant-gardists discovered the dolls’ potential—chiefly, the Swiss artist and textile designer Sophie Taeuber-Arp and the illustrator, painter, and designer Otto Morach, who both taught at Zurich University of the Arts. As early as 1918,

  • View of “Sugaring Off,” 2017.
    picks June 10, 2017

    Flannery Silva

    Aren’t these twinned baby-doll strollers strange? Each holding an ostrich egg, they stand paired in file on a pedestal, while mobiles featuring red crosses on white hearts dangle above. The title of the series? “Adultery Costume A-C,” 2017. Yes, this is romantic conceptualism, and in just the right place.

    Zurich rarely looks uglier than this gallery’s location: In the 1980s, faceless structures of fair-faced concrete (or béton brut) were thrown up in the middle of the city as office and commercial buildings on much-travelled thoroughfares. A few cheap businesses and bars still occupy them, but

  • View of “Marlow Moss,” 2017.
    picks March 21, 2017

    Marlow Moss

    Twentieth-century clichés concerning women artists stubbornly persist to this day: Women artists are primarily motherly protectors (of the figurative), as in the case of Paula Modersohn-Becker or Frida Kahlo, or diligent collectors (diving into the depths of the existential self), as with Hanne Darboven or Tracey Emin. Given these preconceived notions, it is unsurprising that British artist Marlow Moss, along with her subtle interpretations of the Neoplasticism of Piet Mondrian and his cohorts, has to be rendered palatable here with the label “forgotten outsider.” Nor is it astonishing that her

  • Rodney Graham, Media Studies ’77, 2016, two painted aluminum light boxes with transmounted chromogenic transparencies, each 91 5/8 x 71 5/8 x 7''.
    picks February 12, 2017

    Rodney Graham

    The title of Rodney Graham’s latest exhibition, “Media Studies,” is a pleonasm. Which of the artist’s works is not concerned with the investigation of media? Large-format photographic light boxes—there are several new ones in this show, as well as two paintings series with gesso and magazine images—have come to emit something like the “brand” of the Vancouver School. (And while Jeff Wall claims for himself the sociodramatically tragic side of the genre, Graham occupies the comedic.) Having long since advanced to his own role as a major player, Graham mostly stages himself as a brooding introvert

  • Sue Williams, Trump Not Funny, 2016, oil on canvas, 70 x 80".
    picks December 12, 2016

    Sue Williams

    Yes, that’s right: “Trump Not Funny.” And yet, coming across this statement as the title of a large oil painting in Sue Williams’s exhibition is surprising. The President-elect is nowhere to be seen in it, nor are there any references to his characteristics or qualities. Though perhaps there are, as is so often the case with this artist’s paintings, allusions to sex and heteronormative power hidden in the nonfigurative, expressive swirls of yellow, blue, and orange-red color fields rapidly applied to the canvas.

    This show is a delight––even if, for beholders of all genders, the sensuality of the