[{"data":1,"prerenderedAt":8181},["ShallowReactive",2],{"item:settings:en\u002Findex":3,"item:pages:en\u002Fstories\u002Fchristian-andersson-and-the-paragone-delle-arti":60,"item:settings:en\u002Fcalendar":271,"$f2ckr91hnhrzum":408,"$fyk3af14x7l3g":494,"items:pages:stories:l4ocie9611a0":625,"items:pages:events:5qyl3v1tfjvt2":2914,"items:pages:exhibitions:5qyl3v1tfjvt2":4112},{"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},"Sturlasgade 12G\\\n2300 Copenhagen S\\\nDenmark\\\n[+45 31 44 48 25](mamie@vonbartha.com)\\\n[mamie@vonbartha.com](mamie@vonbartha.com)\n\nOnly by appointment\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":270},{"title":62,"path":63,"template":64,"i18n":65,"content":67,"sorting":58},"Christian Andersson and the Paragone Delle Arti","\u002Fen\u002Fstories\u002Fchristian-andersson-and-the-paragone-delle-arti","story",{"language":9,"id":66},"01M5FB58TW2B2E5RKYF2KFRFTE",{"repeater":68,"additionalFiles":238,"meta":240,"image":248,"imageQuote":252,"date":261,"textColor":262,"relatedPages":263,"tags":267,"imageCaption":268},{"content":69},[70],{"id":71,"content":72},"01M5FBHQ612WCPN9RH94N6V93N",{"blocks":73},{"content":74},[75,82,97,103,130,136,148,154,181,187,200,206,232],{"id":76,"content":77,"type":81,"isHidden":55},"01M5FBHQ614FHNJC96J679KCZF",{"textblock":78,"isFontSizeSmall":80},{"content":79},"During the Renaissance, a debate known as the *paragone delle arti* became one of the most heated artistic disputes between painters and sculptors, shaping artistic discourse for centuries to come. The dispute concerned, among other things, the respective capacities of painting and sculpture: Which medium could imitate nature more convincingly? Which demanded greater intellectual ability? Which offered a more complete experience of the world?\\\n\\\nPainting was often defended for its intellectual and imaginative qualities, while sculpture could be dismissed as an art of physical labor, requiring the artist to work directly with resistant materials. Yet the *paragone* was never simply a question of which medium was superior. It was also a way of asking what constitutes an image, how we perceive it, and where the work of art actually takes place. Is it in the object, in the artist’s imagination, or in the mind of the beholder?\n",{"content":55},"pages\u002Ftext",{"id":83,"content":84,"type":96},"01M5FC6W8R32FQ4KRYMSWNRK2M",{"image":85,"links":90,"isLarge":92,"caption":94},{"content":86,"id":89},{"name":87},{"content":88},"christian-andersson-050-55f8e34c.jpg","01M5HSPWNGFFCKW33Z97ZV5SY1",{"content":91},[],{"content":93},true,{"content":95},"Christian Andersson, detail view, \"Polaroid,\" 2026. Photo: Philipp Hänger\n","pages\u002Fimage",{"id":98,"content":99,"type":81},"01M5FCD4QTV4EPVHTVCKWSGG1F",{"isFontSizeSmall":100,"textblock":101},{"content":55},{"content":102},"It is precisely these questions that come to mind when looking at the sculptures by Christian Andersson currently on view at von Bartha in Basel. Andersson’s practice often begins with seemingly familiar objects, images, and cultural references, subjecting them to conceptual displacement. Here, sculpture is not presented as something entirely resolved by its material form. Instead, his works depend on something beyond themselves. Their physical presence is only the beginning of what the viewer is invited to complete.\n",{"id":104,"content":105,"type":129},"01M5FCET3ZQF506QYNH1GRFWNY",{"left":106,"right":118},{"content":107,"id":117},{"image":108,"links":113,"caption":115},{"content":109,"id":112},{"name":110},{"content":111},"christian-andersson-007low-cb9675e1.jpg","01M5HSR7JQWN771JREQD1B047J",{"content":114},[],{"content":116},"Christian Andersson, \"Polaroid,\" 2026. Photo: Philipp Hänger\n","01M5FCET43T28V8EW6Z9W6BGJ9",{"content":119,"id":128},{"image":120,"links":125,"caption":127},{"content":121,"id":124},{"name":122},{"content":123},"christian-andersson-028low-dfbc8f2d.jpg","01M5HSRZYKGV51P9N4GY7P7B0M",{"content":126},[],{"content":95},"01M5FCET45HBBY9F1G7ZH7XGN9","pages\u002Ftwo-images",{"id":131,"content":132,"type":81},"01M5FBN6VAGEG0GWX2YTW11KDY",{"isFontSizeSmall":133,"textblock":134},{"content":55},{"content":135},"At first glance, *Polaroid* appears almost like an archaeological fragment of an image or a three-dimensional computer-generated image that has not yet been fully rendered. Thousands of nails, arranged in a grid of 210 × 210 to create a total of 44,100 points, form a relief resembling a Polaroid photograph lying on a cobblestone surface. What we are given, however, is only the suggestion of a photograph, the rough outline of a story with gaps that invite us to fill them.\n\nThis gap is where the work unfolds. The object immediately triggers familiar visual and cultural associations. A Polaroid evokes a particular idea of photography: the instant, the snapshot, the private moment, or the physical trace of something that has happened. Andersson, however, does not provide the captured moment itself. Instead, we begin to imagine: What does it show? Who has taken it, and why was it dropped? What happened immediately before and after the depicted moment? The sculpture becomes strangely temporal. What initially appears to be a static object generates an entire situation. We construct a past and a future around an image that doesn’t even exist.\n",{"id":137,"content":138,"type":96},"01M5HSXBJXECDS1FX0GFQH3RQP",{"image":139,"links":144,"isLarge":146,"caption":147},{"content":140,"id":143},{"name":141},{"content":142},"christian-andersson-151low-0ad9c853.jpg","01M5HSXQBHF39YSTFEVTN1HHK2",{"content":145},[],{"content":93},{"content":116},{"id":149,"content":150,"type":81},"01M5HSWP9TSVZRPJK4ABFEB72B",{"isFontSizeSmall":151,"textblock":152},{"content":55},{"content":153},"Here, the concept of nostalgia becomes particularly interesting. Nostalgia is not simply a quality contained within an old photograph or object. It emerges through the encounter between the object and our own memories. We project our experiences onto things and, in doing so, give them an emotional history that they don’t possess in themselves. I am reminded of my own childhood fascination with Polaroid cameras, how amazed I was by the possibility of printing a photo in an instant, and how I asked my parents how an entire printer could fit inside such a tiny machine. Even when an object itself reveals very little, it can open up a whole world of associations. In this sense, Polaroid turns sculpture into an act of projection. The physical work may be finished, but the image remains radically unfinished, completed only through our own imagination.\n",{"id":155,"content":156,"type":129},"01M5FBQXTZC2CC9996RRXPMGKV",{"left":157,"right":169},{"content":158,"id":168},{"image":159,"links":164,"caption":166},{"content":160,"id":163},{"name":161},{"content":162},"andersson02-bb80f7e6.jpg","01M5FBTDJT7Q3SS9QG82BFMZW0",{"content":165},[],{"content":167},"Christian Andersson, installation view, “Mother Tongue,“ 2026, von Bartha, 2026. Photo: Philipp Hänger\n","01M5FBQXV250462529Q62GD379",{"content":170,"id":180},{"image":171,"links":176,"caption":178},{"content":172,"id":175},{"name":173},{"content":174},"andersson03-9b6e8f18.jpg","01M5FBTSDX7YRDV5H25YMS2NTB",{"content":177},[],{"content":179},"Christian Andersson, installation view, “Mother Tongue,” 2026, von Bartha, 2026. Photo: Philipp Hänger\n","01M5FBQXV9MRAZ4EM3XYAN5Z3B",{"id":182,"content":183,"type":81},"01M5FBPN99TQV27ZMAQFT86ZC6",{"isFontSizeSmall":184,"textblock":185},{"content":55},{"content":186},"A similar but more dramatic displacement takes place in *Mother Tongue*, which takes Auguste Rodin’s famous sculpture *The Kiss* as its point of departure.\n\nRodin’s The Kiss originated as a representation of Paolo and Francesca, the adulterous lovers from Dante’s *Inferno*. In Dante’s story, the two are discovered by Francesca’s husband while kissing and are subsequently killed, condemned to wander through Hell as punishment for their forbidden love. Detached from the specific narrative that originally identified the lovers, the work became known simply as *The Kiss* and gradually acquired the status of a universal image of desire.\n\nAndersson takes this already familiar image and performs a decisive conceptual operation. He interrupts the kiss. Where Rodin gives us the completed encounter, the moment in which two bodies come together, Andersson separates the two heads. A bolt holds them apart on a metal incline, preventing them from colliding. We are left suspended between possibilities. Perhaps the kiss has already happened, and the lovers have separated. Perhaps it is about to happen for the first time. Perhaps it will never happen at all. The sculpture refuses to tell us.\n",{"id":188,"content":189,"type":96},"01M5HT1EVBMYDN679EVDQ0BM9J",{"image":190,"links":195,"isLarge":197,"caption":198},{"content":191,"id":194},{"name":192},{"content":193},"26-kunsttage12029low-9323f5b3.jpg","01M5HT1R0JNN78FSEBDNF5GAXV",{"content":196},[],{"content":55},{"content":199},"Christian Andersson, detail view, “Mother Tongue,” 2026. Photo: Philipp Hänger\n",{"id":201,"content":202,"type":81},"01M5HT0TPBRVP8NCFAB9MZHT1D",{"isFontSizeSmall":203,"textblock":204},{"content":55},{"content":205},"This uncertainty is crucial. In Rodin’s sculpture, the viewer sees the kiss. In Andersson’s work, the viewer imagines it. The bolt that prevents the two heads from meeting introduces further tension. It does not merely hold the figures apart but also withholds the event that would bring them together. If the bolt were removed, the heads would collide, setting in motion an outcome that remains uncertain. The physical collision might suggest the destructive consequences of the encounter, echoing the fate of Paolo and Francesca in Dante’s Inferno. Yet Andersson leaves this possibility unresolved. The kiss that, in Dante’s story, becomes the beginning of the lovers’ destruction is here suspended before it can take place.\n\nThis small physical intervention has an enormous conceptual consequence. Andersson does not simply depict an interrupted action. He withholds the action itself. He gives us the conditions for a narrative while leaving its outcome to the viewer. Mother Tongue exists as a possibility rather than an event, brought into being only through our anticipation of what might happen next.\n",{"id":207,"content":208,"type":129},"01M5FHXG2A3CDDEZ02006TS7XH",{"left":209,"right":220},{"content":210,"id":219},{"image":211,"links":216,"caption":218},{"content":212,"id":215},{"name":213},{"content":214},"anderssonfooter-2ec0878e.jpg","01M5FHXY9T25BNKGT55037TCS1",{"content":217},[],{"content":199},"01M5FHXG2DRAV66Q17CZT2W91Y",{"content":221,"id":231},{"image":222,"links":228,"caption":230},{"content":223,"id":227},{"name":224,"createdAt":226},{"content":225},"andersson01header-db3bea4f.jpg",1792590272671.1887,"01M5FHYFF79PVZJSQY8XZSNFMV",{"content":229},[],{"content":199},"01M5FHXG2HDPNQ5WX1JXA45WW8",{"id":233,"content":234,"type":81},"01M5FBPY8K37PVGKCCYA834WT7",{"isFontSizeSmall":235,"textblock":236},{"content":55},{"content":237},"In both sculptures, Christian Andersson makes imagination an essential part of the sculptural experience. In *Polaroid*, the physical object suggests an absent image. In *Mother Tongue*, it suggests an absent action. Neither work is visually incomplete in the conventional sense. Rather, both are conceptually open, deliberately withholding the element that would determine their meaning. The viewer becomes an active participant in the sculptural process, mentally supplying what the artist has chosen to leave out.\n\nThis interplay between physical form and mental projection brings Andersson’s works into dialogue with the paragone delle arti. While the historical debate considered the respective capacities of painting and sculpture to represent and imitate the world, Andersson shifts the question towards the role of the beholder. What happens when the decisive part of an image or narrative is not represented by the artist but left for the viewer to imagine? In *Polaroid*, we construct the image and its possible history. In *Mother Tongue*, we anticipate an encounter that may never take place. In both cases, the work extends beyond its material presence, unfolding in the viewer's intellect.\n\nAndersson thus suggests that the completion of a sculpture doesn’t need to be a material act. An object can be physically resolved while remaining conceptually unfinished, its meaning emerging only through the viewer’s engagement with it. Sculpture becomes a space in which the absent can be imagined and the incomplete mentally resolved. The question is no longer simply what a work of art can show, but how much it can leave unseen while still allowing us to experience it as complete.\n",{"content":239},null,{"content":241,"id":247},{"image":242,"title":243,"keywords":245,"description":246},{"content":239},{"content":244},"",{"content":244},{"content":244},"01M5FB5E6D4AXZ8WY8JER8JRAY",{"content":249,"id":251},{"name":250},{"content":225},"01M5FB9PD3GJGFPSQX7BEZZZBE",{"content":253,"id":260},{"link":254,"date":255,"name":257,"description":259},{"content":244},{"content":256},1792590133566,{"content":258},"Silvan Koller\n",{"content":244},"01M5FB5E64AEZ8GJCYSEA1T4FQ",{"content":256},{"content":244},{"content":264},[265,266],"01KTX9HKJ15HC6T9BK5WBR99JY","01JQXJC8G5SBG2TJYQAZ12YG54",{"content":244},{"content":269},"Thoughts and facts about the great art debate in the context of Christian Andersson’s exhibition “Mother 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2026\n",{"content":357},"01M2N1GJ6SEHB08C3028SF3EME",{"id":359,"content":360,"isHidden":93},"01M255F2EQT4B9BPX97P1K553Z",{"addToCalendar":361,"colors":370,"title":377,"description":379,"id":381},{"content":362,"id":369},{"showAddToCalendar":363,"startingDate":364,"endingDate":366,"location":368},{"content":55},{"content":365},1789027387871,{"content":367},1789027387872,{"content":244},"01M255F2EWGTPD8N5X5P2EXGYZ",{"content":371,"id":376},{"backgroundColor":372,"textColor":374},{"content":373},"rgb(0, 56, 241)",{"content":375},"rgb(255, 220, 220)","01M255F2EX0J4CFNSY5WSWS7A0",{"content":378},"Andi Fischer: Ship of Fools – umherirren",{"content":380},"Come by until October 24, 2026!\n",{"content":382},"01M1K7XZNF4MGEVGWEEAS1C0XX",{"id":384,"content":385,"isHidden":93},"01KZTGR10M5345ZR016M9CFHMQ",{"addToCalendar":386,"colors":394,"title":401,"description":403,"id":404},{"content":387,"id":393},{"showAddToCalendar":388,"startingDate":389,"endingDate":391,"location":392},{"content":55},{"content":390},1786522633244,{"content":390},{"content":244},"01KZTGR10RZBHV7SPS37SDQ6T9",{"content":395,"id":400},{"backgroundColor":396,"textColor":398},{"content":397},"rgba(178, 191, 200, 1)",{"content":399},"rgb(255, 104, 245)","01KZTGR10SP97TM0JQ7VA2QHYN",{"content":402},"Francisco Sierra: Bijna een vlinder",{"content":380},{"content":405},"01KTXA0Z510T6YY38CJJ7Z2SA9",1,[],{"items":409},[410],{"title":411,"path":412,"template":413,"i18n":414,"content":415,"sorting":493},"Christian Andersson Mother 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Andersson",{"content":481},"Mother Tongue",{"content":483},"hide",{"content":485},1787868000000,{"content":487},1792792800000,{"content":244},{"content":244},{"content":491},"At the beginning of the twentieth century, Auguste Rodin engaged the young, penniless Rainer Maria Rilke as his secretary; months of mentorship and admiration followed. From them came Rilke's epiphany about sculpture: \"There is only one single surface which suffers a thousand changes and transformations\". A remark about modelling turns into something closer to cosmology – for a moment, he adds, it was possible to think the whole world under this idea. A century on, surface is still the condition we live in and take at face value, and sculpture one of the few things able to interrupt it. In Mother Tongue, Christian Andersson (b. 1973) stages three scenarios in which our one-surface reading of the world is tested.\n\n*Polaroid* (2026) redesigns a nostalgia-ridden photographic technique for archival longevity: the analog memory of a picture rebuilt as a relief of nails. But the method contradicts the intention. It recalls the pin-impression toy, where a face held for a moment before a single sweep returned the surface to blank. The image is fixed in time and space and undoable at once, and the motif is in any case lost in the transfer – what remains is a picture without an image, swallowed by the ghost in the machine.\n\nSculpture makes time stand still: the viewer moves through time and space while the work stays behind, held in its materiality. For *Mother Tongue* (2026), Andersson takes a fragment of Rodin's *The Kiss* and treats it as a fading memory of the original. In a machine seemingly built to reunite surfaces once torn apart, he assembles a collider for sculpture and for history. We can picture the instant the two separated parts meet again, and the catastrophe that must follow: the sculpture held in a quantum state of three realms at once — separated, unified, obliterated.\n\n*Beams* (2026) follows the aesthetics of classical modernist sculpture: minimal, materialist, masculine. But what trust can we place in an I-beam stripped of its architectural skin and its purpose? A wound of sorts tips the structure into trompe l'œil. Measured against our preconceptions of what they ought to be, these beams remember themselves incorrectly, exposing the fragility of our interpretations routinely deny an object.\n\nA mother tongue is the language you receive before you are able to choose it, and it survives only by being passed on and (mis)remembered. Andersson grants sculpture the same condition. What we took for permanence turns out to be an imprint, one sweep away from being wiped and pressed again.\n",{"content":244},3,{"items":495},[496],{"title":479,"path":497,"template":498,"i18n":499,"content":500,"sorting":493},"\u002Fen\u002Fartists\u002Fchristian-andersson","artist",{"language":9,"id":266},{"title":501,"name":502,"website":503,"representing":505,"cv":506,"image":511,"previewImage":516,"textblock":520,"artistGallery":522,"links":579,"externLink":606,"meta":609,"tags":622,"additionalFiles":624},{"content":479},{"content":479},{"content":504},"https:\u002F\u002Fwww.christianandersson.net\u002F",{"content":93},{"content":507,"id":510},{"name":508},{"content":509},"cv_christian_adersson-12a9d0d1.pdf","01K13D5XK1SE7PAXW15QAGJ7JS",{"content":512,"id":515},{"name":513},{"content":514},"2019+11+VB_20220210_Andersson_Haggerty-4103.jpg","01JQXJC9B9MHNY3SA29ADEPZHP",{"content":517,"id":519},{"name":518},{"content":514},"01JQXJC9B9KAHP5PS6407BPZKX",{"content":521},"b. 1973 in Stockholm, Sweden \u002F Lives and works in Malmö, Sweden\n\nAnder­s­son presents alter­na­tive ways of inter­pret­ing the truth in order to illus­trate that there is no sin­gle objec­tively true story. 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