[{"data":1,"prerenderedAt":8404},["ShallowReactive",2],{"item:settings:en\u002Findex":3,"item:pages:en\u002Fstories\u002Fat-the-studio-with-francisco-sierra":60,"item:settings:en\u002Fcalendar":129,"$f3h43f3dnsiftf":217,"$f1rb23salkrx21":302,"$f1llrwg4qxmx9d":377,"$f22z784biqabfu":475,"$fksj26elsnodt":790,"items:pages:stories:l4ocie9611a0":943,"items:pages:events:5qyl3v1tfjvt2":3195,"items:pages:exhibitions:5qyl3v1tfjvt2":4385},{"item":4,"alternates":59},{"title":5,"path":6,"template":7,"i18n":8,"content":11,"sorting":58},"General","\u002Fen\u002Findex","general",{"language":9,"id":10},"en","01JQSMYJ77FTHZ1NDYMR6E3SWV",{"socials":12,"websiteName":43,"footerText1":45,"footerText2":47,"marqueeImage":49,"isMarqueeActive":54,"marqueeText":56},{"content":13},[14],{"id":15,"content":16},"01JQSP7TKFDS0Y2M5VWQJMJ7HB",{"blocks":17},{"content":18},[19,31],{"id":20,"content":21},"01JQSP8P3AVXB8469PW8GGN5XB",{"icon":22,"url":27,"name":29},{"content":23,"id":26},{"name":24},{"content":25},"iconsinstagram-83a620cf.svg","01JQSP9F0X81JEM3D5Z29HG3P1",{"content":28},"https:\u002F\u002Fwww.instagram.com\u002Fvonbartha\u002F",{"content":30},"Instagram",{"id":32,"content":33},"01JQSP7TKFCJR9X33NY8M7N15K",{"icon":34,"url":39,"name":41},{"content":35,"id":38},{"name":36},{"content":37},"iconsfacebook-762f349a.svg","01JQSP9MN9GJ7AT6PHBPVVAE8D",{"content":40},"https:\u002F\u002Fwww.facebook.com\u002Fgalleryvonbartha",{"content":42},"Facebook",{"content":44},"von Bartha",{"content":46},"Kannenfeldplatz 6\\\nCH-4056 Basel\\\n[+41 61 322 10 00\\\ninfo@vonbartha.com](mailto:00%EF%BF%BCinfo@vonbartha.com)\n\nRegular Gallery Opening Hours:\\\nTuesday–Friday: 2–6 pm\\\nSaturday: 11 am–4 pm\\\nSunday and Monday: closed or by appointment\n\nFree Admission to all Exhibitions\n",{"content":48},"DK-Copenhagen\\\n+45 31 668 [696\\\nmamie@vonbartha.com](mailto:696%EF%BF%BCinfo@vonbartha.com)\n",{"content":50,"id":53},{"name":51},{"content":52},"smileyweiss1-b-dd5022f6.svg","01KT6HX4X2WKKVNMJ9BEPJHYA6",{"content":55},false,{"content":57},"Art is Awesome",0,[],{"item":61,"alternates":128},{"title":62,"path":63,"template":64,"i18n":65,"content":67,"sorting":58},"At the Studio with Francisco Sierra","\u002Fen\u002Fstories\u002Fat-the-studio-with-francisco-sierra","story",{"language":9,"id":66},"01M2T15HJCKCABH5VKDV640SQZ",{"repeater":68,"additionalFiles":92,"meta":93,"image":100,"imageQuote":107,"textColor":115,"relatedPages":116,"tags":123,"date":124,"imageCaption":126},{"content":69},[70],{"id":71,"content":72},"01M2T19SC2JK6Y2KH2A6KWAD72",{"blocks":73},{"content":74},[75,82],{"id":76,"content":77,"type":81},"01M2T19SC203RH9MNRR4ZGWS3R",{"textblock":78,"isFontSizeSmall":80},{"content":79},"We are taking you on a journey to the Swiss village of Cotterd, where painter Francisco Sierra has made his studio inside a former school classroom. Surrounded by peaceful landscapes and rolling hills overlooking Lake Murten, Sierra creates photorealistic paintings that exist somewhere between the familiar and the fantastical. At a time when Artificial Intelligence is redefining the possibilities of image-making, Sierra’s meticulously crafted photorealistic paintings raise new questions about perception, reality and the nature of the image.\n\nIn this studio visit, Sierra invites us into his process: from the first drawing to the transformation of an image from two dimensions into three, and back again. He reflects on how a subject comes to life through painting, and why leaving its meaning open can be just as important as the act of creating it.\n\nDiscover the details of our visit and hear Francisco Sierra speak about his practice, his surroundings and the questions that lie behind his paintings in the video below.\n",{"content":55},"pages\u002Ftext",{"id":83,"content":84,"type":91},"01M2T1AE4VN57Q75WNV397719R",{"selfHostedUrl":85,"externUrl":87,"caption":89},{"content":86},null,{"content":88},"https:\u002F\u002Fyoutu.be\u002F1WF49chVoGs",{"content":90},"","pages\u002Fvideo",{"content":86},{"content":94,"id":99},{"image":95,"title":96,"keywords":97,"description":98},{"content":86},{"content":90},{"content":90},{"content":90},"01M2T15QK6STJ8C0ZQZS807MXP",{"content":101,"id":106},{"name":102,"alt":104},{"content":103},"screenshot-2026-09-17-at-14-39-26-c6ae45f7.jpg",{"content":105},"Francisco 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canvas\n",[],{"item":130,"alternates":216},{"title":131,"path":132,"template":133,"i18n":134,"content":136,"sorting":215},"Calendar","\u002Fen\u002Fcalendar","calendar",{"language":9,"id":135},"01KT6HTQF8PBWVDT1T1EBFP1MJ",{"entries":137},{"content":138},[139],{"id":140,"content":141},"01KT6HV0ESVZ96P703YS37MZAV",{"blocks":142},{"content":143},[144,169,193],{"id":145,"content":146},"01M255F2EQT4B9BPX97P1K553Z",{"addToCalendar":147,"colors":156,"title":163,"description":165,"id":167},{"content":148,"id":155},{"showAddToCalendar":149,"startingDate":150,"endingDate":152,"location":154},{"content":55},{"content":151},1789027387871,{"content":153},1789027387872,{"content":90},"01M255F2EWGTPD8N5X5P2EXGYZ",{"content":157,"id":162},{"backgroundColor":158,"textColor":160},{"content":159},"rgb(0, 56, 241)",{"content":161},"rgb(255, 220, 220)","01M255F2EX0J4CFNSY5WSWS7A0",{"content":164},"Andi Fischer Presentation at the Show Storage",{"content":166},"From 22 Sept– 24 Oct, 2026\n\nwith “Ship of 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een vlinder",{"content":292},"hide",{"content":294},1787868000000,{"content":296},1792792800000,{"content":90},{"content":90},{"content":300},"Francisco Sierra’s creative process can be compared to the life cycle of a butterfly: From the initial inspiration to the finished work, his ideas go through various stages and take on different forms along the way. In his studio on Lake Murten, sketches and modeled clay miniatures populate the atelier like cocoons of hatched butterflies. At times, Sierra also uses photography to experiment with lighting conditions. With each step, his motifs emerge more clearly until the oil paintings or pencil drawings finally take shape.\n\nWith his exhibition *Bijna een vlinder* (Almost a Butterfly), the artist, who lives and works in Cotterd, Switzerland, presents all new paintings and drawings. In these works, he partly breaks new ground and takes risks by allowing an unexpected seriousness, engaging more deeply with the question of what painting or analog art in general can still achieve today.\n\nTake, for example, *Common Teasel*, a work whose colorful background is typical of Sierra, albeit painted somewhat more wildly than usual. The motif, however, a dry thistle against the light, does without his familiar humor or surreal twist. The result is neither the depiction of an idea, nor a riddle or a punchline, but a genuine, unique moment that exists only in the act of viewing the work.\n\n*De Doorkijk* (The View Through), with its glass vessels and liquids, creates the impression of an ostensible reality. Crafted with striking precision, the motif seems as if it must exist in reality: How else could this play of reflections be created? Here, Sierra revisits his long-standing series of Tea-set universes and explores the relationship between fantasy and reality even more poignantly than in his earlier works.\n\nWith his seven *Untitled (Posthum Avalonian Studies)*, Sierra presents a series of pencil drawings of this kind for the first time. They are intimate explorations of forms and formless shapes that could be read as flutes, snakes, papyrus scrolls, or branches. Their elements are drawn from the large-format oil painting Bijna een vlinder next to them, adding another layer to this enormous diptych. The drawings are a further step following the grand gesture of the painting: a return to detail, a reduction to light and dark, an antithesis to the cycle’s apparent climax.\n\nFinally, *The Wait No. 3* marks a limbo, a waiting room, before a new cycle begins, a new idea manifests itself, and, step by step, takes shape. (cv)\n\n## *Public Opening: Friday, August 28, 2026, from 5 to 8 pm*\n\nExtended Opening Hours for Kunsttage Basel: Fri, August 28, 2026, 11 am to 8 pm; Sat, August 29, 2026, 11 am to 6 pm; Sun, August 30, 2026, 11 am to 4 pm\n",{"content":90},{"items":303},[304],{"title":305,"path":306,"template":64,"i18n":307,"content":308,"sorting":376},"At the studio with Ursula Reuter Christiansen","\u002Fen\u002Fstories\u002Fat-the-studio-with-ursula-reuter-christiansen",{"language":9,"id":119},{"title":309,"date":310,"slug":312,"uri":314,"dateRange":316,"meta":318,"image":324,"imageCaption":329,"imageQuote":331,"repeater":339,"relatedPages":367,"tags":374},{"content":305},{"content":311},1692316800000,{"content":313},"at-the-studio-with-ursula-reuter-christiansen",{"content":315},"\u002Fstories\u002Fat-the-studio-with-ursula-reuter-christiansen\u002F",{"content":317},"[object Object]",{"content":319},{"keywords":320,"description":321,"image":322},{"content":86},{"content":86},{"content":86,"id":323},"01JQXJC8TP6KY4S6FJMV1V0MKY",{"content":325,"id":328},{"name":326},{"content":327},"2023+08+Screenshot-2023-08-17-at-15.27.20.jpg","01JQXJC8TP5M5EJG5VNAK4NWWV",{"content":330},"On an inspiring trip to the island of Møn in Denmark, we got the opportunity to witness the artist in her creational process and hear more about her captivating story.",{"content":332},{"name":333,"link":335,"date":336,"description":338},{"content":334},"Hester Koper - von Bartha Team",{"content":86},{"content":337},1692403200000,{"content":86},{"content":340},[341],{"id":342,"content":343},"01JQXJC8TPDYB0ZQYT2NVZ3000",{"blocks":344},{"content":345},[346,353],{"id":347,"content":348,"type":81},"01JQXJC8TPMSZ93V3TGFR5EJCG",{"type":349,"textblock":351},{"content":350},"text",{"content":352},"After a beautiful drive along the sea, about 1,5 hours outside of Copenhagen, we arrived at the home and studio of Ursula Reuter Christiansen on Møn. Inside her picturesque home, a traditional Danish farmhouse, we sat down to talk about Ursula’s practice, how she paints and works, and what brought her to Denmark after growing up in Trier, Germany, and studying in Düsseldorf under Joseph Beuys.\n\nWatch the video to witness the creation of her painting *Courage *(on view during the exhibition [*Auf Messers Schneide *](https:\u002F\u002Fwww.vonbartha.com\u002Fexhibitions\u002Fursula-reuter-christiansen\u002F)in Basel) and see the artist at work, from mixing the colors with pigments to working with brush and hands on the canvas, and listening to her soothing voice.",{"id":354,"content":355,"type":91},"01JQXJC8TPRRCXWKBFQJ906XJB",{"type":356,"typeIntern":358,"typeName":360,"selfHostedUrl":362,"externUrl":364,"caption":366},{"content":357},"video",{"content":359},"Extern (Vimeo, Youtube etc.)",{"content":361},"WpStory_Acfrepeater_Content_Video",{"content":86,"id":363},"01JQXJC8TPN2VQFYBJKWJYD2ZR",{"content":365},"https:\u002F\u002Fvimeo.com\u002F855625386?share=copy",{"content":86},{"content":368},[369,370,371,372,373],"01JQXJC8D9795Q4P5QSKXANB1G","01JQXJC8CS6TJKK9MAY4FAQGDZ","01JQXJC8EDVQP15DQCKRR62X39","01JQXJC8DTTM9M8H507ZANS7EA","01JQXJC8BY6AHDDPRP36KXT3RT",{"content":375},[],37,{"items":378},[379],{"title":380,"path":381,"template":64,"i18n":382,"content":383,"sorting":474},"At the Studio With Anna Dickinson x Nowness","\u002Fen\u002Fstories\u002Fat-the-studio-with-anna-dickinson-x-nowness",{"language":9,"id":120},{"title":384,"date":385,"slug":387,"uri":389,"dateRange":391,"meta":392,"image":403,"imageCaption":407,"imageQuote":409,"repeater":419,"relatedPages":465,"tags":471},{"content":380},{"content":386},1728518400000,{"content":388},"at-the-studio-with-anna-dickinson-x-nowness",{"content":390},"\u002Fstories\u002Fat-the-studio-with-anna-dickinson-x-nowness\u002F",{"content":317},{"content":393},{"keywords":394,"description":396,"image":398},{"content":395},"Anna Dickinson, art, glass, von Bartha, Kunst, Copenhagen, Basel",{"content":397},"British artist Anna Dickinson has been creating vessel-like objects for more than 45 years, expanding upon the distinct language between light and glass by enabling an unpredictable dialogue to occur through the materiality of her sculptures. As the foundations of Sentient \u002F Forms, her first solo exhibition in Denmark at Copenhagen’s von Bartha gallery, 13 new pieces are dispersed as if alien, conscious beings on a foreign planet, developing sentience and inviting close examination of the interactions between them.",{"content":399,"id":402},{"name":400},{"content":401},"2024+10+Screenshot-2024-10-02-at-11.30.05.jpg","01JQXJC8TQSHA4DXTMFYQSQG1N",{"content":404,"id":406},{"name":405},{"content":401},"01JQXJC8TQHCM8FVC4SVBMXA6B",{"content":408},"On being a first class daydreamer and the impact of dressage riding on her work",{"content":410},{"name":411,"link":413,"date":415,"description":417},{"content":412},"Nowness",{"content":414},"https:\u002F\u002Fwww.nowness.com\u002F",{"content":416},1728000000000,{"content":418},"A global video channel screening the best in culture.\r\nNOWNESS is a movement for creative excellence in storytelling celebrating the extraordinary of every day. Launched in 2010, NOWNESS’ unique programming strategy has established it as the go to source of inspiration and influence across art, design, fashion, beauty, music, food, and travel.",{"content":420},[421],{"id":422,"content":423},"01JQXJC8TQ7ZXF6VWAA2QWK15C",{"blocks":424},{"content":425},[426,432,442,448,459],{"id":427,"content":428,"type":81},"01JQXJC8TQ3VMXBTE8QWJ5Z58W",{"type":429,"textblock":430},{"content":350},{"content":431},"British artist Anna Dickinson has been creating vessel-like objects for more than 45 years, expanding upon the distinct language between light and glass by enabling an unpredictable dialogue to occur through the materiality of her sculptures. As the foundations of [*Sentient \u002F Forms*](https:\u002F\u002Fwww.vonbartha.com\u002Fexhibitions\u002Fanna-dickinson-8\u002F), her first solo exhibition at von Bartha, Copenhagen, 13 new pieces are dispersed as if alien, conscious beings on a foreign planet, developing sentience and inviting close examination of the interactions between them.\n\nIn a short film directed by Catherine Hyland and in collaboration with *Nowness*, Dickinson engages with her artistic process and the motivations that power her work. Connected to her dyslexia and medical interventions, fragments from her daily life become quiet inspirations for her creative interventions and the way she views the world, playing with opacity, transparency and distortion to build forms intended to interact with their environment.",{"id":433,"content":434,"type":441},"01JQXJC8TRZES3JRNXPX8GD4WY",{"type":435,"largeText":437,"quoteBy":439},{"content":436},"largeText",{"content":438},"“The more I ride, the more I work with glass, I see these similarities. The hours and hours of grinding the glass to make it look perfect.”",{"content":440},"Anna Dickinson","pages\u002Flarge-text",{"id":443,"content":444,"type":81},"01JQXJC8TR0SDSWGD2M704B6VG",{"type":445,"textblock":446},{"content":350},{"content":447},"Likening the hours spent perfecting her sculptures to the repetitive training she undergoes through her tenacity for riding dressage, from her London studio, Dickinson pours years of expertise and dedicated technical skills into her creations. As the forms evolve from hollow vessels to incorporate complex structures of small tubes, she reflects a fascination with engineering and combining different materials, developing resonant juxtapositions, rooted within her own experience through materiality over sentimentality.",{"id":449,"content":450,"type":91},"01JQXJC8TR398Z5B5XF4S6N3AH",{"type":451,"typeIntern":452,"typeName":453,"selfHostedUrl":454,"externUrl":456,"caption":458},{"content":357},{"content":359},{"content":361},{"content":86,"id":455},"01JQXJC8TRAZC64ACCNSMGSNWY",{"content":457},"https:\u002F\u002Fwww.youtube.com\u002Fwatch?v=s5XX1qw-9V0",{"content":86},{"id":460,"content":461,"type":81},"01JQXJC8TRKSAR37ET6PQZ5SAP",{"type":462,"textblock":463},{"content":350},{"content":464},"Video produced in collaboration with [*Nowness*](https:\u002F\u002Fwww.nowness.com\u002Fseries\u002Fprivate-view\u002Fanna-dickinson-sentient-forms-von-bartha)\n\n\n- Director: Catherina Hylamd\n- DOP: Jorge Luis Dieguez\n- Lighting Assistant: Mark Griffiths\n- Sound: Rufus Ambler\n- Editor: Carly Baker\n- Colourist: Faith Millin\n- Colour Grading Facilities: Wash\n- Music: Stefan Fletcher\n- Sound Design & Mix: Daniel Tarbuck",{"content":466},[467,468,119,469,470],"01JQXJC8C5QNDXV86DJHJ5703S","01JQXJC8E4NWNFBQPHPBAG7AXT","01JQXJC8EA206YW65TTKYWFP75","01JQXJC8DQRZG2PAZ8ABWJ2T9Y",{"content":472},[473],"01JQXJC8Q4MF0PD5H29W2GK5G7",18,{"items":476},[477],{"title":478,"path":479,"template":64,"i18n":480,"content":481,"sorting":789},"Artists Exhibitions Beyond – Sierra in Appenzell","\u002Fen\u002Fstories\u002Fartists-exhibitions-beyond-sierra-in-appenzell",{"language":9,"id":122},{"title":482,"date":483,"slug":485,"uri":487,"dateRange":489,"meta":490,"image":496,"imageCaption":501,"imageQuote":503,"repeater":509,"relatedPages":779,"tags":786},{"content":478},{"content":484},1683763200000,{"content":486},"artists-exhibitions-beyond-sierra-in-appenzell",{"content":488},"\u002Fstories\u002Fartists-exhibitions-beyond-sierra-in-appenzell\u002F",{"content":317},{"content":491},{"keywords":492,"description":493,"image":494},{"content":86},{"content":86},{"content":86,"id":495},"01JQXJC8TWDKHR5S109HADYGHD",{"content":497,"id":500},{"name":498},{"content":499},"2023+05+Francisco-Sierra_Guppy_Courtesy-the-artist-and-von-Bartha-2.jpg","01JQXJC8TWCVS41QRG2D5HG698",{"content":502},"„From dishes to personified penises“, excerpt from a talk through the exhibition ‘Corniche’ by artist Francisco Sierra at Kunsthalle Appenzell with Director and curator Stefanie Gschwend",{"content":504},{"name":505,"link":506,"date":507,"description":508},{"content":86},{"content":86},{"content":86},{"content":86},{"content":510},[511],{"id":512,"content":513},"01JQXJC8TW4THQDTV0REJJMAPT",{"blocks":514},{"content":515},[516,522,572,597,603,651,697,703],{"id":517,"content":518,"type":81},"01JQXJC8TWQRQ99FJNKF3N8DF9",{"type":519,"textblock":520},{"content":350},{"content":521},"STEFANIE GSCHWEND: The exhibition is called [Corniche](https:\u002F\u002Fwww.h-gebertka.ch\u002Fkunst\u002Fausstellungen\u002Fdetail\u002Fcalendar\u002F2023\u002F03\u002F19\u002Fevent\u002Ftx_cal_phpicalendar\u002Fcorniche\u002F). The term refers to a steep cliff road with a particularly beautiful panorama. Why did you find this title appropriate for your solo exhibition at Kunsthalle Appenzell?\n\nFRANCISCO SIERRA: Corniche as an exhibition title has been in my mind for years. I like the analogy to my work; I often negotiate the seductive potential of realistic painting, of apparent beauty, and I’m interested in the border where it could all come crashing down. Since the landscape in Appenzell is considered very identity-forming and it has one or the other curve, this distant concept of the cliff road now seemed fitting for this exhibition.\n\nSG: The paintings (from room 1 in the exhibition at Kunsthalle Appenzell) have in common that you painted them from objects. In what process do they come into being?\n\nFS: As with most of my paintings, a ballpoint drawing is the starting point. These drawings, which I call bolígrafo (I don’t like to use the term sketch, because for me they are also finished works) serve me as a template for the models. Which object or situation will lead to a drawing, and which drawing will eventually go through a further process to become a painting, is a very intuitive process that is quite difficult to describe, as it contains a physical component as well, a kind of restlessness that manifests itself. I form the models out of unfired clay, paint and varnish them (not always, see Ancestors [2014]) and stage a photograph, which finally becomes the template for the painting. This process, which actually leads from 2-D to 3-D and back again, allows me great freedom within (so-called) photo- or hyperrealism. Only I know the reference then.",{"id":523,"content":524,"type":571},"01JQXJC8TW8V89149V4NJ630GQ",{"type":525,"left":527,"right":549},{"content":526},"twoImages",{"content":528,"id":548},{"image":529,"caption":536,"externLink":538,"links":541},{"content":530,"id":535},{"alt":531,"name":533},{"content":532},"Francisco Sierra Corniche Saal 1-3 Foto_UrsBaumann",{"content":534},"2023+05+Francisco-Sierra-Corniche-Saal-1-3-Foto_UrsBaumann.jpg","01JQXJC8TWRER0ZY8TE2NH90YJ",{"content":537},"Exhibition view, Corniche \n\r\nat Kunsthalle Appenzell\n\r\nPhoto ©Kunsthalle Appenzell, Urs Baumann",{"text":539,"url":540},{"content":86},{"content":86},{"content":542},[543],{"id":544,"content":545},"01JQXJC8TWMMNZBJ7W80QFH34K",{"blocks":546},{"content":547},[],"01JQXJC8TWAAGT0F01RQPYCGBE",{"content":550,"id":570},{"image":551,"caption":558,"externLink":560,"links":563},{"content":552,"id":557},{"alt":553,"name":555},{"content":554},"Francisco Sierra Corniche Saal 1 Foto_UrsBaumann",{"content":556},"2023+05+Francisco-Sierra-Corniche-Saal-1-Foto_UrsBaumann.jpg","01JQXJC8TW1TWFMDEFFEEKMXJJ",{"content":559},"Exhibition view, Corniche at Kunsthalle Appenzell\n\r\nPhoto ©Kunsthalle Appenzell, Urs Baumann",{"text":561,"url":562},{"content":86},{"content":86},{"content":564},[565],{"id":566,"content":567},"01JQXJC8TWN3K313QH1YCS0NRP",{"blocks":568},{"content":569},[],"01JQXJC8TWV6N0J806CXW8BHG8","pages\u002Ftwo-images",{"id":573,"content":574,"type":596},"01JQXJC8TWRQ12NN6EA0HXPPSH",{"type":575,"image":577,"caption":584,"externLink":586,"links":589},{"content":576},"singleImage",{"content":578,"id":583},{"alt":579,"name":581},{"content":580},"Francisco Sierra Schnee Oylen Foto_UrsBaumann_MiRes_Courtesy the artist and von Bartha",{"content":582},"2023+05+Francisco-Sierra-Schnee-Oylen-Foto_UrsBaumann_MiRes_Courtesy-the-artist-and-von-Bartha.jpg","01JQXJC8TW9A37TZ4DHKVQW6HG",{"content":585},"Francisco Sierra\n\r\nSchnee Oylen, 2023\n\r\nOil on canvas, 240 x 195 cm\n\r\nPhoto ©Kunsthalle Appenzell, Sebastian Verdon",{"text":587,"url":588},{"content":86},{"content":86},{"content":590},[591],{"id":592,"content":593},"01JQXJC8TWEXCQJBNP9GTTJMZS",{"blocks":594},{"content":595},[],"pages\u002Fimage",{"id":598,"content":599,"type":81},"01JQXJC8TWJQ3PKAR7017NZ3FF",{"type":600,"textblock":601},{"content":350},{"content":602},"SG: The glossy surfaces are visually captivating and give the images a three-dimensional effect. On the one hand, they are universal or decorative objects from everyday life, on the other hand, they are things that are present in our visual vocabulary. The familiar is immediately contrasted with the artificiality of the representation. What interests you about interweaving the real and the artificial in a painterly way?\n\nFS: I don’t think about it that much, I must confess. These images arise in my head and then find their way. I have developed recurring procedures over the years, but each pictorial idea comes with its own realization. It would probably be too easy for me otherwise. But the visually captivating, as you call it, is also something I do for myself. Painting the shine and feigning three-dimensionality always gives me a lot of pleasure.\n\nSG: There are many allusions to music; next to visual arts another important part of you, since you are a trained violinist.\n\nFS: Although both disciplines (this term captures it quite aptly) have many parallels, they are very far from each other in real life. I resisted integrating musical elements into my work for a long time because it was unnecessary and forced. At some point it happened all by itself. Today I play the violin more often again. I understand many things better than I did just after my studies.\\\nStill, I am very happy to have completed this training. I benefit from it even today, but this is certainly also due to the far-sightedness of my teacher at the time, Karen Turpie, who had a holistic approach.",{"id":604,"content":605,"type":571},"01JQXJC8TWP790ZR3Y325FP18T",{"type":606,"left":607,"right":629},{"content":526},{"content":608,"id":628},{"image":609,"caption":616,"externLink":618,"links":621},{"content":610,"id":615},{"alt":611,"name":613},{"content":612},"Francisco Sierra_2021_019_MidRes",{"content":614},"2020+06+Francisco-Sierra_2021_019_MidRes.jpg","01JQXJC8TWDCX9V8121BKGFJ7F",{"content":617},"Francisco Sierra\n\r\nUntitled, 2020\n\r\nOil on canvas\n\r\n55 x 46 cm",{"text":619,"url":620},{"content":86},{"content":86},{"content":622},[623],{"id":624,"content":625},"01JQXJC8TW3HCVZE1CZQS6YZEX",{"blocks":626},{"content":627},[],"01JQXJC8TWNBD0E3MVXPGHA4K6",{"content":630,"id":650},{"image":631,"caption":638,"externLink":640,"links":643},{"content":632,"id":637},{"alt":633,"name":635},{"content":634},"Fr-S-7686-image",{"content":636},"2023+05+Fr-S-7686-image-scaled.jpg","01JQXJC8TW86T2Y19V5JN17NCF",{"content":639},"Francisco Sierra\n\r\nToad, 2009\n\r\nGouache on paper\n\r\n26 x 36 cm",{"text":641,"url":642},{"content":86},{"content":86},{"content":644},[645],{"id":646,"content":647},"01JQXJC8TWF9K9VT6DPZEZVZSC",{"blocks":648},{"content":649},[],"01JQXJC8TWW644T82PYCQKYTG5",{"id":652,"content":653,"type":571},"01JQXJC8TWGQXC4PY0H4YRDRF3",{"type":654,"left":655,"right":676},{"content":526},{"content":656,"id":675},{"image":657,"caption":664,"externLink":665,"links":668},{"content":658,"id":663},{"alt":659,"name":661},{"content":660},"Francisco Sierra Corniche Saal 2 Gouaches Foto_UrsBaumann",{"content":662},"2023+05+Francisco-Sierra-Corniche-Saal-2-Gouaches-Foto_UrsBaumann.jpg","01JQXJC8TWPFE650CY14HFBN2R",{"content":537},{"text":666,"url":667},{"content":86},{"content":86},{"content":669},[670],{"id":671,"content":672},"01JQXJC8TWE1SA0QDHZZP57XHR",{"blocks":673},{"content":674},[],"01JQXJC8TWSDZKSSA0X6ABK12B",{"content":677,"id":696},{"image":678,"caption":685,"externLink":686,"links":689},{"content":679,"id":684},{"alt":680,"name":682},{"content":681},"Francisco Sierra Corniche Saal 2 Details Foto_UrsBaumann",{"content":683},"2023+05+Francisco-Sierra-Corniche-Saal-2-Details-Foto_UrsBaumann.jpg","01JQXJC8TWHP065J4FPQJG7HYR",{"content":537},{"text":687,"url":688},{"content":86},{"content":86},{"content":690},[691],{"id":692,"content":693},"01JQXJC8TW2QSNKH2B4Y9WNJ4V",{"blocks":694},{"content":695},[],"01JQXJC8TW5NGVRF6KMXCH7EEA",{"id":698,"content":699,"type":81},"01JQXJC8TW5M5X9F4PRQSS2MB3",{"type":700,"textblock":701},{"content":350},{"content":702},"SG: You usually portray banal or sometimes offensive things—from dishes to personified penises or excrement—which you elevate through a technically precise realisation and their placement on the canvas, where the subjects are often detached from the background. How do you arrive at your motifs?\n\nFS: I have the great fortune not to be forced to actively search for ideas for paintings and to always be a little behind in the execution. A lot of things come about through almost automatic drawing, wandering around, on the internet, in a secondhand shop—something can come up anywhere. I try not to set myself any restrictions, so it can also come to unattractive motifs, but these are also part of our world. I believe that I see a potential for images in many things, without judgement as to whether they are considered high or low. This leads to an entanglement that in turn challenges our habits of seeing and thinking. And sometimes it happens that our children surprise me and bring me something that they have only made so that I can paint it.\n\nSG: In the top and last room you show forty-four guppies, Guppy (2023): small wooden panels made of wine crate wood, painted with beautiful tropical fish. You have chosen to show them on wall plinths that stick out about ten centimeters from the wall and look like architectural elements attached to the wrong part of the building. What brought you to this pairing of painting and plinth?\n\nFS: I do the opposite of the lower room here, so the miniatures are staged to the maximum and literally put on a pedestal. With the guppies, this repeatedly thematized relationship between decoration and art is decidedly palpable. They have basically become living decorative objects that people can breed in all directions. Nevertheless, they still belong to the same species. I am fascinated by this contradictory idea of diversity forced by man. A diversity that is desired in animals but remains problematic among humans in terms of acceptance or tolerance.\n\n*This excerpt is part of the booklet accompanying the exhibition [‚Corniche‘](https:\u002F\u002Fwww.h-gebertka.ch\u002Fkunst\u002Fausstellungen\u002Fdetail\u002Fcalendar\u002F2023\u002F03\u002F19\u002Fevent\u002Ftx_cal_phpicalendar\u002Fcorniche\u002F?tx_cal_controller%5Blastview%5D=view-list%7Cpage_id-28&cHash=450b07f597a44862decb1ddbbf2c7fba) a solo show with Francisco Sierra at Kunsthalle Appenzell until June 11, 2023.*",{"id":704,"content":705,"type":778},"01JQXJC8TW3W2KXKBE7CJXB193",{"type":706,"items":708},{"content":707},"gallery",{"content":709},[710],{"id":711,"content":712},"01JQXJC8TWHKMCWQNYYMVENN9G",{"blocks":713},{"content":714},[715,728,740,753,766],{"id":716,"content":717,"type":596},"01JQXJC8TXS8VY5NYT706M9K60",{"caption":718,"image":720,"externLink":725},{"content":719},"Exhibition view, Corniche \r\nat Kunsthalle Appenzell\r\nPhoto ©Kunsthalle 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Bartha",{"url":844,"text":845},{"content":86},{"content":86},{"id":847,"content":848,"type":596},"01JQXJC969A6P4P1WHVQXNEE4M",{"image":849,"caption":854,"externLink":855},{"content":850,"id":853},{"name":851},{"content":852},"2024+04+Francisco_Sierra_Guyppy_2024_Unlimited_01-scaled.jpg","01JQXJC969M2EKWCPF6YX6AVNV",{"content":842},{"url":856,"text":857},{"content":86},{"content":86},{"id":859,"content":860,"type":596},"01JQXJC96AF33Q06G9GK7M4AF0",{"image":861,"caption":866,"externLink":868},{"content":862,"id":865},{"name":863},{"content":864},"2024+04+guppy_francisco_sierra_unlimited_02.jpg","01JQXJC96AJW6J7SRXPEMZCFGR",{"content":867},"Francisco Sierra,\\\n*Guppy*, 2024\\\n1 of 48 panels, oil on wood,\\\n6.5 × 6.5 cm.\\\nPhoto: Sebastian Verdon",{"url":869,"text":870},{"content":86},{"content":86},{"id":872,"content":873,"type":596},"01JQXJC96AZ9YE5KFT6TVJ29K0",{"image":874,"caption":879,"externLink":880},{"content":875,"id":878},{"name":876},{"content":877},"2024+04+guppy_francisco_sierra_unlimited_04.jpg","01JQXJC96AW4QVSFFXKP3YMTE6",{"content":867},{"url":881,"text":882},{"content":86},{"content":86},{"id":884,"content":885,"type":596},"01JQXJC96AS670QJYJWX98FMVW",{"image":886,"caption":891,"externLink":892},{"content":887,"id":890},{"name":888},{"content":889},"2024+04+guppy_francisco_sierra_unlimited_05.jpg","01JQXJC96ABGDQE01Y6ZY5MXA2",{"content":867},{"url":893,"text":894},{"content":86},{"content":86},{"id":896,"content":897,"type":596},"01JQXJC96AMCRPF9QC3PF5KSP9",{"image":898,"caption":903,"externLink":905},{"content":899,"id":902},{"name":900},{"content":901},"2024+04+guppy_francisco_sierra_unlimited_03.jpg","01JQXJC96ABCCHZFN46XQ81QSA",{"content":904},"Caroline Baumhauer and Francisco Sierra discuss the Chilean-Swiss artist’s Unlimited project *Guppy*.\\\nPhoto: Philipp Hänger",{"url":906,"text":907},{"content":86},{"content":86},{"content":909},[910],{"id":911,"content":912},"01JQXJC96A4HCKB093DGSVYRX3",{"blocks":913},{"content":914},[915],{"id":916,"content":917},"01JQXJC96A3Q7JHXGF1A8FN76E",{"text":918,"file":920},{"content":919},"Press images",{"content":921},{"name":922},{"content":923},"Francisco-Sierra-Guppy-Press-Images-3.zip",{"name":925,"text":926},{"content":923},{"content":919},{"content":928},"*Guppy* by Francisco Sierra consists of 48 wood panels mounted on concave reliefs, each painted with a life-size guppy – also known as rainbow fish. These representations of tropical, colorful animals mimic an aquarium or a tableau vivant in a room-filling installation at this year’s Art Basel, where swarms of fish and visitors meet. The relationship between humans and their pets is a recurring theme in Sierra’s practice. For Unlimited (June 10–16, 2024), the Chilean-Swiss artist presents the most extensive installment of the guppies to date, drawing thought-provoking parallels between art-making and guppy-breeding.\n\nThe fantastical small fish—named after Robert John Lechmere Guppy, a British naturalist—have become living decorative objects that people can breed in all directions and keep in their aquariums at home, mostly intensively decorated and staged. Especially among Gen X and Millennials, small aquarium designs, often called “Aquatecture,” have recently become very popular. Here, the breeding becomes almost like a form of artmaking, an expression of creativity itself. Although each animal is different, and only the male guppies are considered the “beautiful” ones, they still belong to the same species. It originated in the northeast of South America and is now found worldwide. Sierra is fascinated by this contradictory idea of diversity forced by humans. Diversity is desired in animals but remains problematic among people regarding acceptance and tolerance of the so-called “other.”\n\nIt goes without saying that the project also comments on matters of scale, and so it speaks of the artist’s humor and pointy commentary that he suggests a project with his smallest paintings of tiny fish for the Unlimited sector. The project activates the viewer’s imagination: what is our relation to other species, and to what extent does mankind manipulate nature? Everything seems possible in a world where humans design their own pets for aesthetic purposes, but the social question remains: at what cost?\n\nHeader image:\n\nInstallation view:\\\nFrancisco Sierra,\\\n*Guppy*, 2024\\\n48 panels, oil on wood,\\\nEach: 6.5 × 6.5 cm.\\\nPhoto: Andreas Zimmermann \u002F von Bartha",{"content":930},{"keywords":931,"description":933,"image":935},{"content":932},"Art Basel, Unlimited, fishes, 2024, Francisco Sierra",{"content":934},"Guppy by Francisco Sierra consists of 48 wood panels mounted on concave reliefs, each painted with a life-size guppy – also known as rainbow fish. These representations of tropical, colorful animals mimic an aquarium or a tableau vivant in a room-filling installation at this year's Art Basel, where swarms of fish and visitors meet. The relationship between humans and their pets is a recurring theme in Sierra’s practice. 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