Philipp Kaiser

  • Hannah Villiger

    Just four years after Hannah Villiger’s death at the age of forty-six, the Kunsthalle Basel dedicated an exhibition of considerable scope to the Swiss artist, accompanied by a detailed monograph, including a catalogue raisonné of her works. Nevertheless, this presentation was not a full retrospective, eliding as it did her early sculptural works of the ’70s, which still followed in the arte povera tradition. Instead, it focused on her photographic oeuvre, which treated her own body as its point of departure. But even before that work, which was the subject of many a solo exhibition and made

  • Olaf Breuning

    As you felt your way around the dark rook, the silhouettes of a jungle very gradually emerged on the wall. Glowing green eyes, a campfire, and flashlights flickered into view, lending the gathering of man-apes an appearance that was threateningly enigmatic yet, thanks to its evident fakeness, ironic. In Apes (all works 2001), the latest installation by the New York—and Zurich-based Swiss artist Olaf Breuning, the program of light and sound, which ranged from guttural humming tones to belching, was self-activated. Somewhere between primeval vision and spooky carnival ride, recalling the 1968

  • Claudio Moser

    In every respect, Claudio Moser's works deal with transition zones. The motifs of his large-format photographs define a poetics of non-sites that couldn't be less spectacular. Where the city peters out, where civilization meets nature, Moser records lattice fences, smashed-in windows, and scaffolding. He isolates individual moments from the experiential continuum of a pedestrian wandering along the city's edge, but without adopting the stance of a social documentarian. Rather, he combines formal concerns—the frontality of the structuring lattices and branches seems to hold the observer's