PRINT Summer 2011



View of “Heimo Zobernig: Ohne Titel (In Red),” 2011, Kunsthalle Zürich. Photo: Stefan Altenburger.

SINCE THE LATE 1970S, Heimo Zobernig has played a multilayered game, using a system of his own devising to pit various historical references, media, and artmaking strategies against one another. Deploying a reduced formal language based on basic geometric shapes, simple materials, furniture, and Helvetica typefaces, Zobernig explores art’s relationships to design, architecture, theater, and the public sphere. At first glance, the objects in his exhibitions can seem like laboratory apparatuses primed for an experiment, but the function of the individual elements is never entirely unambiguous. Something that appears pictorial might turn out to be a sculptural construction, only to fade into the background a moment later as the institutional or gallery space itself is laid bare; or else it might become a video projection surface, or a support for neon pieces.

This diversity of outcomes

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