biel-switzerland

Erik Steinbrecher

Centre Pasqu'art

The monstrously distorted shadow cast by Avantgarde, 2003, an oversize, white-lacquered slatted fence lit by two spotlights in one corner of the darkened gallery, signaled, from the start, that the vanguard has become a ghost. That, or it only cares about theatrical effect these days, like the short video loops of stunt sequences repeating endlessly on three monitors at the entrance, playing with the big architectonic gesture, interrupting it. The five segments of the fence compartmentalized the room without ultimately dividing it. One could still walk along its edges, unhindered in the realm of shadows. Despite all the drama of the lighting, there were no mysteries. The grid of the fence and its crooked shadows served to plumb the strict white cube of the museum annex by Diener and Diener, as well as to offset it with a touch of irony. In early modernism, ornament was a crime. The sweeping

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