Displaced Fractures – Über die Bruchlinien von Architekturen und ihren Körpern

 

11. December 2010  – 20. February 2011

Featuring artworks by:
Phyllida Barlow   Tacita Dean   Emilie Ding   Klara Lidén   Ulrich Rückriem   Kilian Rüthemann   Oscar Tuazon   Klaus Winichner

 

Art has always been the sensorium of the fragile, brittle and porous of the human. In this group exhibition, however, human fracture lines are not treated directly in terms of the human body, but instead by using architecture as a surrogate. The fractures and interfaces of buildings form metaphors for the breaks in human existence. The term “Displaced Fractures” derives from the medical world, and describes a phenomenon whereby bone fractures reveal themselves in other places than the major stress site. The term “displacement” is also used in psychology. In the new spaces of the migros museum für gegenwartskunst, installations, spatial interventions and sculptures working with the displacement of symptoms are given prominence. What dominates here is the area of tension between the refusal of form and monumental creations, between subjective and formal, rational gestures.

In an analogy to the notion of “Displaced Fractures,” projection surfaces are rendered on the building which, in spite of its stability, is subject to temporality, and an opening up to questions of its existential orientation and existence. Through such actions on this alleged fixedness, the discourse on sculpture demonstrates the precariousness of the present and makes it palpable. In works exhibited by artists such as Klaus Winicher or Phyllida Barlow, the formless, already posited by Rosalind Krauss and Yves Alain Bois as a synonym for that which is repressed, is elaborated upon in material and form. As the work of Oscar Tuazon and Kilian Rüthemann shows, it is not alienation that is thematized here, but instead the impossibility of bringing the modulations of the building’s fracture lines and the unruly ability to live to expression. Lifeless material becomes a metaphor for the body, as Klara Lidén’s work shows, whether in cautious construction or spontaneous collapse. The works exhibit the structures of the architectonic exactly like personal traces. They are precise attitudes in which the formal culmination materializes, as Emilie Ding’s concrete support structures or Ulrich Rückriem’s stone cuboids testify. The dynamic application of colors and the use of free forms make these subjective interventions particularly distinctive. They bear witness to the presence of the human and ultimately, through free and defiant handling, signify the vulnerability of the present and of memory.

Phyllida Barlow

Phyllida Barlow:
SWAMP untitled: barrier (2010)
Phyllida Barlow

SWAMP untitled: barrier
2010
Wallboard, color
120 x 1000 x 800 cm

Phyllida Barlow

Phyllida Barlow:
Untitled: signs (2010)
Phyllida Barlow

Untitled: signs
2010
Plywood, timber, cement, scrim, spraypaint, paint, sealant
5 parts: ca. 125 x 120 x 93 cm each

Tacita Dean

Phyllida Barlow:
Palast (2004)
Tacita Dean

Palast
2004
Film (16mm, color, sound)
10:30 min.

Emilie Ding

Phyllida Barlow:
Angles (2008-2010)
Emilie Ding

Angles
2008-2010
Concrete, steel
13 parts: Dimensions variable

Klara Lidén

Phyllida Barlow:
Position 0310 (2010)
Klara Lidén

Position 0310
2010
4-channel-video on 4 monitors (color, no sound)
Each ca. 3 min.

Klara Lidén

Phyllida Barlow:
Untitled (from the series "Poster Paintings") (2010)
Klara Lidén

Untitled (from the series "Poster Paintings")
2010
Found posters, blank poster paper, wheat paste
Ca. 90 x 62 x 14 cm

Klara Lidén

Phyllida Barlow:
Untitled (from the series "Poster Paintings") (2010)
Klara Lidén

Untitled (from the series "Poster Paintings")
2010
Found posters, blank poster paper, wheat paste
Ca: 90 x 62 x 14 cm

Klara Lidén

Phyllida Barlow:
Untitled (from the series "Poster Paintings") (2010)
Klara Lidén

Untitled (from the series "Poster Paintings")
2010
Found posters, blank poster paper, wheat paste
Ca. 90 x 62 x 14 cm

Klara Lidén

Phyllida Barlow:
Untitled (from the series "Poster Paintings") (2010)
Klara Lidén

Untitled (from the series "Poster Paintings")
2010
Found posters, blank poster paper, wheat paste
Ca. 62 x 86 x 14 cm

Ulrich Rückriem

Phyllida Barlow:
Ohne Titel (Bodenarbeit) (1990)
Ulrich Rückriem

Ohne Titel (Bodenarbeit)
1990
Austrian granite
45 x 200 x 362 cm

Kilian Rüthemann

Phyllida Barlow:
The Truth Will Always Have a Hole in It (2010)
Kilian Rüthemann

The Truth Will Always Have a Hole in It
2010
Plaster, rendering
297 x 256 x 4.5 cm

Kilian Rüthemann

Phyllida Barlow:
Untitled (Sarkophag) (2009)
Kilian Rüthemann

Untitled (Sarkophag)
2009
Foam
109 x 230 x 126 cm

Oscar Tuazon

Phyllida Barlow:
I want to put something inside my body and carry something in it. I want to get inside my body and get carried in it, I'd like to get buried in it, put my head in it and get in it, I'm not scared of it. (2010)
Oscar Tuazon

Oscar Tuazon

Phyllida Barlow:
II use my body for something, I use it to make something, I make something with my body, whatever that is. I make something and I pay for it and I get paid for it. (2010)
Oscar Tuazon

Klaus Winichner

Phyllida Barlow:
Orangenpflückerin (2010)
Klaus Winichner

Orangenpflückerin
2010
Concrete, plaster, varnish, various materials
230 x 90 x 90 cm

Klaus Winichner

Phyllida Barlow:
Science Fiction (2009)
Klaus Winichner

Science Fiction
2009
Concrete, plaster, book
70 x 50 x 30 cm

Klaus Winichner

Phyllida Barlow:
Vom Grund und seiner Ursache (2008)
Klaus Winichner

Vom Grund und seiner Ursache
2008
Concrete, plaster, varnish, fabric, drawing, various materials
Ca. 180 x 190 x 85 cm