zurich

Bruno Jakob, Flesh Net, 1995, two canvases, one canvas board, one framed photograph, one framed work on paper. Installation view. Photo: Thomas Strub.

Bruno Jakob

Galerie Peter Kilchmann

Bruno Jakob, Flesh Net, 1995, two canvases, one canvas board, one framed photograph, one framed work on paper. Installation view. Photo: Thomas Strub.

During Bice Curiger’s 2011 Venice Biennale, Tintoretto’s complex spatial structures and supersensory lighting dominated the entrance to the central pavilion in the Giardini. But facing them was a white wall with a small label identifying it as the site of a painting by Bruno Jakob that had already evanesced, existing only in the artist’s recollection or the viewer’s imagination: Jakob paints with water or vapor, or by endowing a raw or primed ground with mental substance. His most recent exhibition, “Hovering and Pulsing,” assembled works created between 1986 and the present to survey a microcosm of spiritual interrelations. As he or she would in a traditional retrospective, the visitor encountered various ensembles of works along the walls and on tables. But rather than displaying visible forms, the installation challenged us to understand the spiritual energy that has coursed

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