lausanne,-switzerland

View of “Emil Michael Klein and Kaspar Müller,” 2011. From left: Kaspar Müller, Sans Titre (Boîtes) (Untitled [Boxes]), 2011; Emil Michael Klein, Komposition in Rot, Orange und Gelb (Composition in Red, Orange and Yellow), 2011.

Emil Michael Klein and Kaspar Müller

Circuit

View of “Emil Michael Klein and Kaspar Müller,” 2011. From left: Kaspar Müller, Sans Titre (Boîtes) (Untitled [Boxes]), 2011; Emil Michael Klein, Komposition in Rot, Orange und Gelb (Composition in Red, Orange and Yellow), 2011.

Two artists, two rooms, five works each: Compare and contrast. At first glance, Emil Michael Klein’s series seemed of a piece: a kind of allover (anti-)painting featuring decorous lattices of biomorphic shapes in a retro palette of Day-Glo orange, yellow, and red; color fields connected by an artery-like network of pale lineation. But his canvases—which suggest an odd but joyous marriage of Sue Williams, Brice Marden, and Milton Glaser—were not consistent among themselves. The Basel-based artist painted the two largest (Awenger and Komposition in Rot, Orange und Gelb [Composition in Red, Orange, and Yellow], all works 2011) off the frame, then stretched them, giving these works a tightly wound look—painterly abstraction after a designer face-lift. The three smaller canvases are subtly softer. Moving among them evoked the experience of taking an eye test. Confronted

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