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Daniel Baumann

Emanuel Rossetti, Vomitory, 2014, carpet, wood, staples, screws. Installation view. Photo: Gunnar Meier.

IT SHOULDN'T HAVE WORKED: just some red carpeting on the floors and walls, speakers, five small bells, an image pasted on an otherwise empty wall, and sound. These were the sparse ingredients of Swiss artist Emanuel Rossetti’s first institutional solo show, “Delay Dust.” What might have been yet another display of smartly handled, minimal punctuations with limited meaning instead introduced a set of experiences ranging from the stunningly immersive to the unsentimentally disillusioning to—in the case of the unexpected gesture of independence just outside the carefully curated space—the utterly surprising.

“Delay Dust” was both a synaesthetic tour de force and an exercise in thwarting illusion. Entering the Kunsthalle Bern, you were instantly confronted with a deep and vibrating musical drone, a sound that, as you discovered later, tightly linked together the institution’s

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