View of “Timothée Calame: Spring 2016,” Weiss Falk, Basel, 2016. Top left: Kino Süd (Cinema South), 2016. Window: Faut-il vraiment sauver l’Allemagne (Shall We Really Save Germany), 2016. Photo: Gina Folly.

GENEVA PROFITS HANDSOMELY from being perceived as a polished, impermeable entrepôt where global bureaucracy and anonymized assets serenely connect and collude, Gothic alleyways giving way to bland mirrored facades. If these juxtapositions have had any bearing on the art of Timothée Calame, who grew up in this city, they register in the manipulated dualisms around which his recent architectural interventions, sculptures, drawings, paintings, and videos are constructed. Given the backdrop of his youthful education in the local squatter scene, for him, transparency and opacity, exteriority and interiority, organization and corruption are conditions to negotiate as much as features to employ. This background “training” also perhaps explains Calame’s rough and resourceful material economy, as well as the frequently low-profile and disguised vantage points from which he probes the global

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