Previously exhibited at Deichtorhallen Hamburg, we are very happy and proud to welcome Florian Slotawa's Obi-Picasso in our showroom @vonbartha Basel - Das Thema der Badenden ist ein klassisches Motiv der europäischen Kunstgeschichte und wurde von Malerfürsten wie Ingres oder Renoir und mit großer Vorliebe auch von Cézanne in Szene gesetzt. Nachdem Picasso's Badenden 2016 erstmalig – und wegen ihrer Fragilität vermutlich auch das letzte Mal überhaupt – zur großen Ausstellung The Sculpture of Picasso im Museum of Modern Art nach New York reisen durften, rückten sie für den Künstler Florian Slotawa und seine Ausstellung FLORIAN SLOTAWA: STUTTGART SICHTEN nun in unerreichbare Ferne. Der Künstler aber hatte eine Idee: Er baute die Gruppe kurzerhand aus verschiedensten ihm spannend erscheinender Materialien wie zum Beispiel einem Bügelbrett, einer Farbwalze, einer weißen Falttür, ebenso weißen Bilderrahmen, einem Schwerlastregal und anderen Alltagsgegenständen zusammen. Sämtliche Materialien besorgte Slotawa in einer großen Baumarktkette. Anstatt wie Picasso lediglich aus Alt Neu zu machen, setzt Slotawa Neues und Zweckentfremdetes zu einer Variation einer älteren Arbeit zusammen, woraus als OBI-Picasso gleichsam wieder etwas Neues wurde. Text: Iris Haist Images: 1, 2. Florian Slotawa, Obi-Picasso, installation view 2019, von Bartha Basel 3. Pablo Picasso, Die Badenden, 1956 © Succession Picasso/ VG Bild-Kunst, Bonn 2018 - @vonbartha @deichtorhallenhamburg @staatsgaleriestuttgart @contemporaryartswitzerland @baselartblog #FlorianSlotawa #vonBartha #PabloPicasso #DieBadenden #Badenden #Deichtorhallen #DeichtorhallenHamburg #ContemporaryArt #ArtGallery #Basel #Switzerland #Hamburg #Stuttgart #StaatsgalerieStuttgart #ObiPicasso

von Bartha @artbasel 2019 Visit us at Booth H12 Hall 2.0 ! - From 13 – 16 June, von Bartha participates at Art Basel 2019 with a group booth of contemporary works by Imi Knoebel, Landon Metz, Boris Rebetez, Andrew Bick, Beat Zoderer, Terry Haggerty, Marianne Eigenheer and Karim Noureldin in dialogue with modern artists including Jean Tinguely, Sándor Bortnyik, Camille Graeser, Verena Loewensberg, Fritz Glarner and Joaquín Torres-García. The works present an insight into the parameters of geometric shapes, painterly gestures and balanced compositions. - Also on show is a Jean Tinguely’s work Méta-Kandinsky from 1956. One of only four ever created in this series, the other three editions of this kinetic piece are in major public collections; this work, from a private collection, has never previously been for sale. - Images: 1. Jean Tinguely, Meta-Kandinsky N° 3, 1955, Relief , Black wood panel with 9 differently shaped metal elements, all coloured, metal rods, rubber belts. Backside: wood pulleys, electric motor, 37 x 130 x 50 cm 2. Landon Metz, Untitled, 2018, Dye on canvas, 2 parts, 127 x 101.6 cm (each) 3. Terry Haggerty, Sunkist, 2001, Acrylic on canvas, 110 x 80 cm 4. Andrew Bick, OGVDS-Variant T-S [compendium] #5, 2018-19, Acrylic, pencil, oil paint, wax medium and linen on wood, 135 x 100 x 4 cm 5. Camille Graeser, Mit offenen Bezirken, 1955, Ink and tempera on paper, 36.4 x 51 cm (unframed), 51.5 x 66.5 cm (framed) 6. Joaquín Torres - García, Relief, 1927, Painted wood, 20 x 29 cm (unframed) , 38 x 46.5 cm (framed) @andrewmbick @landonmetz @beatzoderer @terry.haggerty @karim_noureldin @jean_tinguely #ArtBasel #ArtBasel2019 #ArtFairs #Basel #Switzerland #MesseBasel #AugusteHerbin #ModernArt #ContemporaryArt #AbstractArt #GeometricArt #ImiKnoebel #AndrewBick #TerryHaggerty #LandonMetz #BorisRebetez #BeatZoderer #Marianne Eigenheer #KarimNoureldin #JeanTinguely #SandorBortnyik #CamilleGraeser #VerenaLoewensberg #Fritz Glarner #JoaquínTorres-García

Also on view at our booth @artbasel, Joaquín Torres-García, Relief, 1927. - Pioneering modernist Joaquín Torres-García brought avant-garde boldness to his native Uruguay and a new awareness of Latin American art to the U.S. and Europe. Starting in the 1920s, when he was in New York, and continuing through the rest of his career, he made painted, wooden wall reliefs and sculptures, often done on rough, seemingly found pieces of wood. They are precariously assembled from humble materials: found wood haphazardly put together with nails, they are sometimes painted over the unfinished rough texture, or are carved or incised. They share something with what the artist calls his “Cathedral-style” and the structural paintings, but often in only the most tenuous ways. The lack of finish infuses them with a tactile presence while asserting that sophistication can be achieved while hewing to the handmade and, more importantly, homemade. Long before making something that looks slipshod became fashionable, Torres-Garcia recognized that making something that looks sophisticated was also a convention. Torres-García mentored artists like Juan Melé and Carmelo Arden Quin, who later rejected the embrace of antiquity in favor of a purer geometric abstraction, catalyzed by the effect that Swiss architect and designer Max Bill had on the 1959 São Paulo Bienal. - Image: Joaquín Torres - García, Relief, 1927, Painted wood, 20 x 29 cm (unframed) @artbasel @vonbartha #ArtBasel #ArtBasel2019 #vonBartha #ModernArt #ArtFairs #Basel #Switzerland #JoaquínTorresGarcía #Relief #Modernism #WoodPainting #AvantGarde

Verena Loewensberg was born on this day, 28 May 1912 in Zürich. - Loewensberg had a lifelong friendship with the painter Max Bill and his wife Binia, who shot this portrait. In 1936 she painted the first concrete pictures and helped in 1937 with the founding of an association of modern artists in Zurich. In the center were the Zürcher Konkreten. Loewensberg associated with Max Bill, Camille Graeser and Richard Paul Lohse. She participated in their successful group exhibitions. In addition, she was inspired by the work of Georges Vantongerloo and Piet Mondrian. Throughout her life, Verena Loewensberg refused to engage in any sort of restricting theoretical discourse. Her artistic oeuvre therefore covered an enormous scope, ranging from color field painting to monochromatic works. She occupied herself with the square, rectangle, circle and line, as well as with color and its interaction. Between mathematical principles of order and intuitive compositions, between emptiness and abundance, between non-color and colorfulness, between rest and motion, she created a stimulating interplay. Her stylistically diversified oeuvre started out from an open concept of concreteness, which bears witness to the artist’s intellectual and artistic independence as well as to the up-to-date character of her artistic contribution to this day. - Images: 1. Verena Loewensberg, 1934, Photography Binia Bill, Zürich, 2. Ohne Titel, 1945, oil on canvas © Verena Loewensberg Estate, Henriette Coray Loewensberg, Zürich, 3. Verena Loewensberg, Untitled, 1972, 4. Verena Loewensberg, Untitled, 1970/71, oil on canvas, 105 x 105 cm © Daimler Art Collection, 5. Verena Loewensberg, Ohne Titel, 1953, oil on canvas © Verena Loewensberg Estate, Henriette Coray Loewensberg, Zürich, 6. Verena Loewensberg, Ohne Titel, 1949, oil on canvas © Verena Loewensberg Estate, Henriette Coray Loewensberg, Zürich, 7.Verena Loewensberg, 1978, Photography Thomas Cugini, Zürich, #VerenaLoewensberg #ArtistsBirthday #vonBartha #ConcreteArt #MaxBill #KonkreteKunst #GeometricArt #Monochromatic #Colorful #Paintings

From 7 – 10 March 2019, von Bartha participates for the third time in The Armory Show, New York. A specially curated section of the booth displays works on paper exploring works by artists including Calderara and Moholy-Nagy - a key member of the Bauhaus movement, which marks its centenary year in 2019. These are shown alongside contemporary pieces from artists such as Noureldin, whose design, geometric compositions and fine textures also reflect Calderara’s geometric vocabulary, refined colour palette and precise measurements. - @thearmoryshow @landonmetz @anna_dickinson_glass @karim_noureldin @terry.haggerty #LandonMetz #AnnaDickinson #KarimNoureldin #TerryHaggerty #imiknoebel #jesusrafaelsoto #antoniocalderara #laszlomoholynagy @vonbartha #newyork #TheArmoryShow2019 #TheArmoryShow #vonbartha #ArmoryNYC #ArtFairs #ArmoryWeek #ArtFair #ArtFairNYC Images: 1. Karim Noureldin, Play, 2019, Coloured pencil on paper, 42 x 30 cm, framed 54.5 x 41.5 cm 2. Antonio Calderara, Progetto per serigrafia, 1977, Watercolour on Paper, 32.1 x 32.1 cm 3. László Moholy-Nagy, Collage mit 2 Kreuzen, 1922, Mixed media, 31 x 22.5 cm, framed 52.5 x 44 cm 4. Camille Graeser, Mit progressiven Radien, 1949, Ink on paper, 36 x 50 cm, Paper 5. Lajos Kassák, Untitled, 1921, Watercolour and ink on paper, 31.5 x 26 cm, framed 47 x 39.5 cm 6. Karl Peter Röhl, Abstrakte Komposition, 1922, Gouache and ink on paper, 65 x 50 cm, framed 84 x 68 cm 7. Julije Knifer, Drawing, 1974, Pencil on paper, 31.5 x 40.8 cm

New York Times just published a feature on SUPERFLEX in connection to their @_desertx installation DIVE IN that has opened February 9th! - Under the dusty memory of the Coachella Valley lie the imprints of its underwater past: numerous rests of fossilised shells remain testimony of a radical transition from seabed to desert. One hundred miles inland from the Pacific shore, early Spanish settlers discovered these troves of ancient shells, leading them to name the valley Conchilla (“little shell”). This name later mutated to its Anglicisation “Coachella”, thereby erasing the fact that six million years ago, this desert was connected to what is known as the Western Interior Seaway. Now holding the temporarily status of desert, the valley is quietly awaiting the return of the ocean in recognition of rising water levels caused by global warming. As a meeting point between its certain past and most probable future, SUPERFLEX proposes Dive-in, an architectural installation functioning as drive-in cinema while awaiting to become infrastructure for fish. Using the preferred palette of the Walter and Leonore Annenberg, Palm Springs, and marine polyps, the pink coral-like walls of Dive-In are structures created to serve the needs of both humans and marine creatures. Dive-In is commissioned by Desert X in collaboration TBA21-Academy. - @_desertx @ nytimes @coachella @tba21academy @superflexstudio @superflexjakob @vonbartha With amazing soundtrack by @iamjonsi @cmvonhausswolff aka #DarkMorph  #deepseaminding #superflex #divein #verticalmigration #sigurros #Coachella #nyTimes #vonBartha

SUPERFLEX, Copy Right (White version), 2006. Upcoming @hauskonstruktiv : CONCRETE CONTEMPORARY - Now is always also a little of yesterday and tomorrow. Opening: 6 February 2019, 6 pm – until 5 May 2019 curated by @sabineschaschl - How does contemporary art handle the constructivist, concrete and conceptual art of the 20th century? What is its stance on that art’s ideas, accomplishments and sometimes utopian projects? Does it merely use its repertoire of forms and colors, or does it also access the concepts behind them? Taking the question of the extent to which contemporary art production latches onto our art-historical heritage as a starting point, Museum Haus Konstruktiv presents a large-scale group exhibition that has the nature of a statement. Under the title Concrete Contemporary – Now is always also a little of yesterday and tomorrow, on all four floors of Museum Haus Konstruktiv, works by over 30 artists from Switzerland and abroad are on display. Set out as a route, on which threads from art history are incorporated, combined and extended, Concrete Contemporary is to be seen as a snapshot of constructivist-concrete and conceptual work with a currency that is asserting itself today in an extremely multifaceted and lively way. With works by: Sâadane Afif, @ottoberchem, Otto Berchem & @amaliapica , @andrewmbick , @vanessabbbilly , @stefan.burger , @valentin_carron , @fleetinghere Chris Cornish, @josedavila , Philippe Decrauzat, Svenja Deininger, @lara_favaretto , Fernanda Gomes, @clare_goodwin_zurich , @diango.hernandez, @herbert.hinteregger , @wyattarden , @jajankiefer , @alicjakwade , @iharoonmirza , @timonasseri , Michael Riedel, Walid Raad, @berndribbeck , Karin Schwarzbek, @animal_que_no_existeix Daniel Steegmann Mangrané, @david.renggli , Martin Soto Climent, @esther_stocker_studio , @katjastrunz2018 , @superflexstudio @superflexjakob, @sofie.thor -sen, Thomas Vinson, Werner von Mutzenbecher #SUPERFLEX #hauskonstruktiv #vonBartha #Switzerland #ArtGalleries #Zurich

Claudio Girola was born in Rosario, Santa Fe, in 1923. As a small child he moved to Buenos Aires with his family. Together with his brother Enio Iommi, he began his artistic studies at his father’s sculpture workshop. In 1939, he joins Manuel Belgrano Fine Arts School, institution that he then abandons in 1943, when he sings with Maldonado, Hlito and Brito, the “Four Youngsters Manifesto”, in witch they expressed their opposition to the teaching guidelines. Subsequently, he moves to Chile, where he develops most of his artistic work, executes several exhibitions, and works as a professor in the Architecture School in the Catholic University of Valparaíso. He dies in 1994, in Viña del Mar, Chile. - A new artist-book titled Un Argentino perdido en Chile [An Argentinean Lost in Chile] (2018), by Felipe Mujica, pays homage to the Argentinean artist Claudio Girola. Divided into three chapters, the book presents the lesser-known aspects of Girola’s sculptural experiments. The book will be available soon @vonbartha in conjunction with Felipe Mujica’s exhibition, All Tomorrow’s Parties opening next Thursday, January 24, 6-8pm at von Bartha, Basel. - @el.musgo.mujica #ClaudioGirola #FelipeMujica #NewBook #NewExhibition #OpeningSoon #vonBartha #Basel #ModernArt #ContemporaryArt #ArteConcreto #LatinAmericanArt Images: 1. Claudio Girola, Block fundido, 1945, Personal archive of Claudio Girola, 2. Claudio Girola, 3. Escultura Concreta n.2, 1945, 36.5 x 58 x 10.5 cm, 4. Untitled, 1945, 57 x 29 x 32 cm, 5. Untitled, 1951, Tempera and China ink on paper, 22 x 25 cm, 6. Claudio Girola, Triangulación, 1952, 100 x 45 x 82 cm, 7. Rombo Plano o Custodia, 1957, 100 x 84 x 20 cm, 8. Untitled, 1958, Tempera on paper, 56 x 42 cm, 9. Untitled, 1975, 90 x 30 x 30 cm, 10. Senales, 1974, 100 x 22 x 44 cm

"My work has grown from visual codes linked to geometric abstraction, where the economic devices of image making are simultaneously an historical set of references and a set of creative tools. Also important in my formation has been the practice of collaboration as I constantly intertwine my own work with the work of others through the organization of exhibitions, group projects, publications, and so on. An example would be installations I have produced with fabric panels; which aim to be drawings that occupy space and also curtains that function as space organizers, as temporary walls that canalize the public’s circulation and perception of space as well as the perception of other possible art works in space. In this sense these installations are both an object of contemplation as well as a functional device, they become exhibition design and flexible temporary architecture: they can be used by other artists or curators. These fabric panels also refer directly to avant-garde movements such as Russian Constructivism or the Bauhaus School, as they intend to recover and restage the modernist ideal of democratization of the art object." - Felipe Mujica Felipe Mujica will present a solo show at von Bartha, Basel from January 25 to March 9, 2019 . @el.musgo.mujica Image: Felipe Mujica, There Are No More Exotic Countries In Latin America, 2018, "SHOUT FIRE!" group show at Röda Sten Konsthall, Gothenburg, Sweden. Photo: Hendrik Zeitler #FelipeMujica #vonBartha #Basel #UpcomingExhibition #ComingSoon #Installation #ContemporaryArtists #Switzerland #ArtGallery #LatinAmericanArt

Happy birthday to Karim Noureldin, who was born on this day, December 8, in Zürich! "Just a line. Starting with this fine-drawn motif, the artist has developed a colossal body of work over the years that has made its way across both paper and concrete. With the passage of time his practice has indeed come into its own in two perfectly distinct ways while striking out along less traveled paths that feed into each other. On the one hand, his drawing on paper has found its own raison d'être, i.e., it has drawn itself upright, as it were, in an imposing, vertical format and is displayed frozen within a frame that signifies its completion, allowing the sheet of paper to float in the depths that lie behind the glass. On the other, the artist has developed a group of works that are strictly wall bound and in which the design suits the architecture while line counteracts the building's edges and angles, echoes them, emphasizes them, vigorously breaks them up." - Karine Tissot, 2015 Karim is currently participating in CONSTRUCTOR, group show at Galerie N-Z, Arendonk, Belgium until December 15, 2018. Learn more about his work by visiting his artist page on our website - link in bio - @karim_noureldin #KarimNoureldin #vonBartha #ArtistBirthday #ContemporaryArtists #ContemporaryAbstraction #Lines #Architecture #Motif #ContemporaryDrawing #ContemporaryPainting Images: 1. Karim Noureldin at von Bartha. 2. Play, 2014, Colour pencil on paper, 204 x 164 cm. 3. Play, 2014, colour pencil on paper, 204 x 164 cm. 4. Karim Noureldin. Arka, 2014 I Kunst(Zeug)Haus I Rapperswil-Jona I Solo Show I Photo: Martin Stollenwerk. 5. Karim Noureldin's studio.

#ThrowbackThursday 2011, Color & Form Group show with Imi Knoebel, John McCracken, Peter Halley, Christian Eckart & Gunther Forg @lacma , Los Angeles – This installation featured a focused selection of works by the German abstract artist Imi Knoebel, in addition to significant pieces by four other artists: John McCracken, Christian Eckart, Gunther Forg and Peter Halley. Knoebel studied under Joseph Beuys in the late 1960s, in Düsseldorf, along with Blinky Palermo. Knoebel and Palermo were close friends; mining territory staked out earlier by Piet Mondrian and Kasimir Malevich, they found sustenance in explorations of color and form. Working in a similar vein, younger artists such as Eckart, Forg and Halley offer new explorations into material, form, color and line, while working with abstraction. Halley in particular provided an interesting coda to this selection from the Broad Collection. His brand of geometric abstraction along with his writings would become the seeds of the 1980s movement termed “neo geo.” The west side of this floor was well known for presentations of Halley’s peer, Jeff Koons. Thus, the installation sought to demonstrate the continuities between abstraction and representation, eras and artistic styles. @peterhalleystudio #ImiKnoebel #LACMA #ColorForm #ArtExhibition #MinimalArt #NeoGeo #LosAngeles #PeterHalley #JohnMcCracken #ChristianEckart #GuntherForg #AbstractArt Image: Installation photograph, Color & Form, Los Angeles County Museum of Art, July 31, 2010 – June 5, 2011. Photo credit: Photo © Museum Associates/ LACMA

New publication available on our website (link in bio) / Exhibition catalog: Imi Knoebel, Guten Morgen, weisses Kätzchen - Besides important key works such as Raum 19 III (1968/2006), Batterie (2005), and the 21-part complex of works from the so-called Core Pieces, this catalog presents new works of art created by the artist Imi Knoebel (*1940) especially for the exhibition Guten Morgen, weisses Kätzchen (Good morning, white kitten) at the Museum Haus Konstruktiv. They position Knoebel’s work in a dialogue with the historical legacy of constructive, concrete, and conceptual art. Along with many photographs of the works and the exhibition itself, the catalog also features texts by Sabine Schaschl, Max Wechsler, and Beat Wismer. - @hatjecantzverlag @sabineschaschl @hauskonstruktiv @artbookreview @artbook @artbookstagram @artbooksonline @neverstopreading_zh @daskunstbuch @artbook @whitecubeofficial #HausKonstruktiv #Zurich #ArtBook #ImiKnoebel #ContemporaryArtist #vonBartha #BookLovers #InstaBooks #HatjeCantz #Switzerland - 1. & 2. "Imi Knoebel" Ed. Sabine Schaschl, text(s) by Max Wechsler, Beat Wismer, Sabine Schaschl, graphic design by Harald Pridgar German, English / 2018. 164 pp., 91 ills. / Softcover / 22.00 x 29.00 cm / ISBN 978-3-7757-4486-7 3. Imi Knoebel, Guten Morgen, weisses Kätzchen, Installation view, 2018, Museum Haus Konstruktiv, by Stefan Altenburger 4. Imi Knoebel, Guten Morgen, weisses Kätzchen, Installation view, 2018, Museum Haus Konstruktiv, by @pbaracchi

SUPERFLEX as Expedition leaders of TBA21- Academy’s The Current II Commissioned by TBA21- Academy, Deep Sea Minding merges artistic and scientific research in an attempt to reach an alternative understanding of the marine species, which could ultimately affect the way we imagine and design our environments and objects. While generating relevant data and increasing awareness of rising sea levels, Deep Sea Minding proposes the creation of structures that could serve the needs and desires of both humans and marine creatures. In August, SUPERFLEX initiates the first of three expeditions to the South Pacific to test marine life responses to the nature of these designed structures. From 2018 to 2020 SUPERFLEX will be  Expedition Leaders of TBA21–Academy’s three-year fellowship programme The Current. The first expedition aboard the M/Y Dardanella research vessel, brings a series of exploratory experiments to the uninhabited island of Hunga Tonga-Hunga Ha’apai, in the South Pacific. The island of Hunga Tonga-Hunga Ha’apai emerged recently in the South Pacific, challenging the prevailing tendency of a world which is slowly sinking. The perfect location to explore the thin and ever-changing frontier between land and sea. A frontier which will be soon diluted by a vertical migration: bringing fish to occupy our homes and humans to mind the deep sea. - @superflexstudio #Superflex #TheCurrentII #Expedition #Pacific #Environment #vonBartha #Artistcollective #Underthesea

Felipe Mujica currently participates in "All our secrets" at the Gallery of Contemporary Art in Celje, Slovenia, along with Lawrence Abu Hamdan, Apparatus 22, Simon Asencio, Bureau of Inverse Technology, Lenka Đorojević and Matej Stupica, Mario García Torres, Kallabris, Staš Kleindienst, Martin Kohout, Susanne Kriemann, Adrian Paci and Stefan Panhans - through September 23. 2018 Curated by: Katrin Mundt - Felipe Mujica‘s print series There Is Light in Every Window (#6) draws on the visual language of 20th-century graphic design, re-reading its implied (techno-) utopianism against the background of our present and possible futures. Mujica creates works comprising of installation, drawing, collapsible sculptures and printmaking, influenced by modernism and the international artistic, social and political movements in the late 60’s and 70’s. He began his art education at the Universidad Católica de Chile and later co-founded the artist-run space Galería Chilena (1997 – 2005). In the 2000s, Mujica moved to New York City where he is currently based. His works have been exhibited internationally including solo shows at Museo Experimental El Eco, Mexico D.F. (2014); The Shop – Vitamin Creative Space, Beijing (2009); Message Salon, Zürich (2008); and Centro Cultural Matucana 100, Santiago (2004). - @el.musgo.mujica @lawrenceabuhamdan @simonasencio @lenkadorojevic @mariogarciatorres @avstralopitek @martinkohout @susannekriemann @adrian_paci  #FelipeMujica #AllOurSecrets #GalleryOfContemporaryArt #Celje #Slovenia #vonBartha #Installation #Printmaking

Don't miss @superflexstudio at @copenhagen_contemporary - through 30.12.2018 – An orange line of swings weaves through SUPERFLEX’ large-scale installation One Two Three Swing! Where swings are normally made for individual use, SUPERFLEX’ swings are designed for three people to swing together and experience the potential of collaborative participation. With the large-scale installation One Two Three Swing! SUPERFLEX address what they experience as an apparent social apathy, an inability to act in the face of the political, environmental, and economic challenges in our times. In the large metal structure of orange swings winding through Hall 1, we as an audience can experience movement and the power of collective human actions. One Two Three Swing! is both an aesthetic and a conceptual installation engaging with the power of play and the collaborative entities people can create together. The shared experience is embedded within us and may engender new collaborative activities and movements as we go through life. SUPERFLEX see the collective force as a positive energy, potentially capable of changing the course of our lives and thus our future. The work may also trigger reflections on fundamental questions such as democracy, influence, and common citizenship – in that sense, SUPERFLEX’ swings are more than just play. - Images: One Two Three Swing!, 2018, by Superflex, installation view at Copenhagen Contemporary. Photography: Anders Sune Berg - #Superflex #CopenhagenContemporary #CurrentExhibition #OneTwoThreeSwing #ContemporaryArtists #Copenhagen #Denmark #vonBartha #Installation

Today! Art Parcours Zuoz Art e Poesias in La Plaiv – Today the Plaiv Region is transformed into an art trail, bringing together local galleries to exhibit alongside permanent and temporary installations and a series of poetry recitals. For this event, von Bartha is showcasing Gate/Grid, by Andrew Bick. This work, a grid of powder-coated aluminium, marks the artist’s first venture into sculpture. When asked how the work translates to a public, outdoor space, Bick discusses the element of chance within his paintings, the inevitable variation of paint, wax and marker scribbles and how this is reflected in the variation of the outside world. There exists a contrast between the structural rigidity of Gate/Grid, the shifting forms Bick’s work and the variable aspects of Gate/Grid’s surroundings that reflects the contradictions in his paintings, which are at once celebratory and critical of constructivist values. But the interaction between this sculpture and the outdoor space is too complex to be defined as merely juxtaposition, for the sculpture itself also has the potential to change and move; to open and fold. These “shifting shapes” that characterise Bick’s work relate to his constant questioning of how we look. Image: Andrew Bick, Gate/Grid, 2018, Powder coated aluminium, 310 x 500 x 60 cm, folded: 310 x 310 x 171 cm @andrewmbick @art.parcours.zuoz @contemporaryartswitzerland #AndrewBick #vonBartha #GateGridTree #ArtParcoursZuoz #ArtParcours #Zuoz #engadin #Contemporaryart #switzerland