Changing Perspectives

A group show with works by artists from the gallery and by some
guests. The title Changing Perspectives alludes to new views and changes of perspectives initiated and provided by the works on display.

Starting point of the show is a large photographic work containing 12 pairs of images by the artist couple wiedemann/mettler. The overall title of the 24 photographs is Wild East II. The images have been taken on a journey in the Far East, to specify in the metropolises Tokyo, Shanghai, Hong Kong and Bangkok. The title refers to the engagement of the artist couple with the unfamiliar places. Initially the Far East is considered as wild and unacquainted. In this group of photographs the artists are approaching these strange moods. The individual authorship, usually not detectable in the work of the artist couple, is revealed in the pair of images: The photographs in the square format are by Pascale
Wiedemann, the rectangular ones by Daniel Mettler. The pictures were always taken at the same place but with a different perception and interest. The disclosure of the authorship allows considerations about the specific views of Pascale Wiedemann and Daniel Mettler accordingly. The smooth surface
of the Diasec procedure is very suitable to render the analytical perception of both photographers.
Together they decided on 12 couples of images, which in a comparative viewing open up new contexts. For wiedemann/mettler the journey to the Far East in the year 2015 was the exact repetition of a travel they had made 10 years before and was therefore a journey to their joint artistic beginnings, which are registered in the series Wild East I, and to the outer and inner places, which have changed
considerably in the last 10 years.

To the right of the wall-covering series hangs the work Shades I by Franziska Furter. With nearly sculptural, haptic enamel colour Furter has drafted a cosmos in which one can get lost.
In the entrance room hangs the large painting Crosslines by Pierre Haubensak from 1969-70. Haubensak painted the work soon after his arrival in New York. This emigration was an important step in his artistic development. He lived on Canal Street in Lower Manhattan, a traffic loaded transversal axis connecting Brooklyn and New Jersey through Manhattan. Several subways were leading under his apartment and let tremble the house. In Crosslines Haubensak arranged his first New Yorker impressions and changing perspectives with run through, intersecting lines on an unprimed canvas.
The screenprint Reliefkarte (1970) by Dieter Roth depicts a view from far away, from a satellite or a plane on his beloved Iceland, translated into 33 colours and 35 print runs. The appeal of this screenprint on Masonite is its field of vision: the view on and the translation in an emblematic relief.
Two oil paintings by Jean-Frédéric Schnyder from 1989 and 1990 hang on the opposite side of the Reliefkarte. These are views from Switzerland, a broader view from the horizon of the Lake Constance and a closer vision of an inconsiderable forest floor with a stone and two crocuses. J.-F. Schnyder
took his racing bicycle, fastened his easel and a canvas, stopped occasionally and started to paint, where he liked the view. This is how these vedutas of modern Switzerland originated.
In the main room, on the wall opposite of the photographic work by wiedemann/mettler, two painted armouring grids by Edit Oderbolz titled Two, Linger limit and frame works on paper by Anne-Lise Coste and Silvia Bächli. The series of 16 drawings with felt pen by Anne-Lise Coste has been
produced in 2015. This work picks up on an artistic praxis effectuated by Coste from 1998-2008 and neglected since then. They register personal notes like in a diary, mental states, political observations and squibs, which Coste retains on paper in a very direct way. Next to it are two perfectly balanced drawings by Silvia Bächli emanating a singular calm and concentration. On the short wall hangs a large dense and intense pencil drawing by Franziska Furter from her Draft-series. Opposite of the drawing by Furter is a poetic work by Hamish Fulton made of seven pieces of a measuring stick, evocating seven one-day-walks on the island of Yaku, Kagoshima in Japan from 19 to 25 November in 2006.

In the back room an etching and two stencil prints made with a ruler in a small edition clarify Fred Sandback expertise in the print medium. In a niche a psychedelic video by Alex Heim is projected, translating his immediate view into a filmic language. A painting by Michael Bauch captures the movement of the artist in the painting process. The last point of the exhibition sets the mother-of-pearl painting Das Eine im Andren (The One in the Other) by Hugo Suter, its perception changing through the movement of the beholder and therefore being changeable.