• Fernand Léger, Contraste de formes, 1913, oil on canvas, 31 7/8 x 25 5/8".

    Fernand Léger

    Fondation Beyeler
    Baselstrasse 101
    June 1–September 7, 2008

    Curated by Philippe Büttner

    Though active until his death, in 1955, Fernand Léger has long been almost exclusively associated with the tubular forms he deployed in response to Cubism and the machine iconography of the interwar era. Needless to say, his work is ripe for rethinking. Gathering approximately ninety paintings from 1912 to 1954, this show, organized by Philippe Büttner, surveys the French artist's full career while placing an unprecedented emphasis on the transformative years he spent in the United States during World War II. In light of his new American milieu, Léger repurposed his style, his work becoming brighter and more figurative, arguably influencing a number of Pop artists—including Roy Lichtenstein, James Rosenquist, and Andy Warhol—whose work will also be on view. This accent on legacy befits an artist who once claimed that everything is “method” and that “the only interesting thing is how it is used.”

  • Andrea Zittel, sfnwvlei (Something for Nothing with Very Little Effort Involved) Note #2, 2002, gouache and pen on birch, 25 1/8 x 37".

    Andrea Zittel, Monika Sosnowska 1:1


    April 26–September 21, 2008

    Curated by Theodora Vischer

    Andrea Zittel's multiplatform practice elaborates a high-design, postmillenarian vision of rugged individualism—which is to say, one that remains very much on the grid, engaging with, rather than retreating from, the encroachments of consumer culture. The grid with which the Warsaw-based Monika Sosnowska concerns herself, on the other hand, is the geometry of modern architecture: Her sculptures and installations skew verticals and horizontals and expose the latent irrationalities of even the most soberly institutional setting. In this exhibition, organized by Theodora Vischer, roughly one hundred of Zittel's quasi-utilitarian objects, plus gouaches, drawings, and paintings on wood, occupy the Schaulager's first floor, while on the lower level, Sosnowska presents nine sculptures—a juxtaposition that should illuminate how two artists, in different ways, revise the stories we tell ourselves through the environments we create.