Now is always also a little of yesterday and tomorrow
curated by Sabine Schaschl
What we loved in 2019...
"Concrete Contemporary" at Museum Konstruktiv Zurich: This is how opulent concrete can be! Young shoots of Zurich tradition. (Translated into English)
(SonntagsZeitung, 22.12.2019, Ewa Hess)
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With the exhibition Marlow Moss - A Forgotten Maverick in 2017, Museum Haus Konstruktiv helped a female artist, marginalized in art history to gain new visibility.
British artist Marlow Moss (1889 - 1958) was one of the few female representatives of constructivist art during its beginnings. As a rebel against traditional notions of art and gender, she gave up her female given name Marjorie Jewel in 1919 and called herself Marlow from then on. Her art was initially oriented toward Piet Mondrian’s neoplasticism, which she then however extended autonomously and transferred to reliefs and sculptures. One of her most important inventions was the so-called double line, a dynamizing compositional element consisting of two thin parallel lines, which she started to use in her paintings in 1930. Mondrian incorporated this element into his own compositions, but did not point out that Moss was its initiator.
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The Polish installation artist Alicja Kwade showed her first solo exhibition in Switzerland in 2018 at the Museum Haus Konstruktiv. With her bold installations Kwade already attracted attention at Art Basel and the Venice Biennale. At Haus Konstruktiv, the Berlin-based artist had created a kind of philosophical universe of stone, steel and neon tubes. - Quite sophisticated and incredibly exciting.
(Radio SRF 2 Kultur, March 1, 2018, Alice Henkes)
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Etel Adnan - La joie de vivre
curated by Sabine Schaschl
Museum Haus Konstruktiv established Lebanon-born and internationally esteemed artist Etel Adnan (b. 1925) the first Swiss museum exhibition in 2015. Etel Adnan shows that life and love can be just as intense at an advanced age as they are in one’s youth. She draws strength, so to speak, from countering the dark side of life with her little oil paintings in red, yellow, blue and pink—strength that enables her to remain an activist: an activist for humanity, equality and liberty, without any national or gender-specific boundaries. Adnan’s joie de vivre is contagious and I am hopeful that her artistic, humane, and political message will continue to spread. (Sabine Schaschl)
Action for the conversation between the artist and Director Sabine Schaschl in Paris in 2015 >>>
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Logical Emotion – Contemporary Art from Japan, 2014
curated by Sabine Schaschl and Kenjiro Hosaka, National Museum of Modern Art Tokyo
The artist YAYOI KUSAMA (b. 1929) became world-famous for her installations and objects covered with polka dots. Museum Haus Konstruktiv presented in the group show the installation LOVE IS CALLING for the first time in Europe. Inflatable sculptures that are polka-dotted, hanging down from the ceiling and sprouting up from the floor. The floor, walls and ceiling are reflected in each other. Thus, they blend into one unit, cause the interior space to grow into the infinite, and enclose the observer in a world that affects them emotionally.
Love Forever and self-obliteration are recurring themes in the Japanese artist’s oeuvre.
Action for the great group show Logical Emotion – Contemporary Art from Japan >>>
With works by: Noe Aoki, Koji Enokura, Kazunari Hattori, Akihisa Hirata, Ryoji Ikeda, Teppei Kaneuji, Yayoi Kusama, Taiji Matsue, Masayasu Mitsuke, Tatsuo Miyajima, Hiroshi Sugito, Go Watanabe, Yuichi Yokoyama
Yayoi Kusama, LOVE IS CALLING, 2013 © Yayoi Kusama, Courtesy of David Zwirner, Victoria Miro Gallery, Ota Fine Arts, Yayoi Kusama Studio Inc.
Die Zukunft in den Wolken …
Die poetische Wahrnehmung Tomás Saracenos, die sich in seinen Ausstellungstiteln manifestiert, zieht sich durch sein gesamtes Werk. Seine Arbeiten leben davon, sich visionären Fantasien hinzugeben: So wird der Ausstellungsraum zum imaginären Universum, der Ballon zum Lebensraum einer fiktiven Zukunft und die feinen Netzfilamente zum kosmischen Spinnennetz.
(Kunstbulletin, Philipp Spillmann, 9/2017)
Tobias Putrih - Solar Limb, 2014
Putrih's interest in the utopias and ideologies of the traditional avant-garde, and his inquiry into how architecture, design, science and art can influence society, are particularly enlightening against the backdrop of constructivist-concrete art history.
In the prologue to the Russian futurist opera Victory Over the Sun, the futurist strongmen fight against the Sun and want to lock it up in a concrete house. “The light of the Sun is transferred to the interior: Our physiognomy is dark. Our light is within,” proclaims the libretto. The exhibition at Museum Haus Konstruktiv took this “inner light” as a point of departure into a non-representational meta-world that atmospherically traced the revolutionary aspirations of the opera – from the images of the Sun’s rim (the “solar limb” in scientific terms), taken at the solar observatory in Arizona, to the animated negative images of a chicken’s egg photogram with a sound composed by William Kingswood.
These images were juxtaposed with transformable modular furniture and nested, transparent cardboard objects. Images hanging on the edge of visible were replaced by tactile objects that existed as membranes, pure material textures.
Come with us on a tour through the exhibition with director Sabine Schaschl! >>>
Tobias Putrih - Solar Limb, Exhibition view Museum Haus Konstruktiv, 2014. Photo: Ilja Tschanen