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In a thousand guises on as many sets, the personae in Cindy Sherman’s pictures document an unfolding of the self, leaving a half-century’s oddities and fantasies exposed. Visiting the debut of her latest works, she and Kunsthalle Zürich’s Daniel Baumann unpack her interest in the grotesque, ways of abstracting ageing, and a conviction that what’s scary can also be very funny.
1997 eröffnete die Kunsthalle Bern “Blues and the Abstract Truth”, eine Einzelausstellung des US-amerikanischen Künstlers David Hammons. Der damals 54-Jährige richtete mit sparsamen Mitteln eine “unverkäufliche” Ausstellung ein: “Die Leute sollten nicht glauben, dass man irgendetwas nach Hause nehmen könnte.” (Hammons). Im Rückblick erschließen sich weitere Bedeutungen dieser Ausstellung, die im Moment des Besuchs vor allem durch ihre Atmosphäre beeindruckte, wie Daniel Baumann schreibt.
Daniel Baumann on the work of British artist Sarah Lucas, how her pieces were aimed at adverse presentation, how Penetralia moves away from that, and the newest sculptures, NUDS, appear to completely break away.
Like almost no other artist, Albert Oehlen subjects painting to a stress test. For over 30 years he’s been tinkering with the medium’s source code: colour and paint application, lines and layers, titles and triumphs, disappointments and expectations. These elements are all played against one another and caught off guard. Daniel Baumann leads us through the work.
The endless talk about context is eating up art. While preparing for the Austrian Pavilion at the Venice Biennale, Zobernig speaks with Daniel Baumann about his career and the ideal artist.
Our response to the end of year best/worst show ratings. By Timo Feldhaus, Piper Marshall, Daniel Baumann, John Beeson, Krist Gruijthuijsen, Raimar Stange
