Potentielle Normaliensammlung. Reto Müller
Arresting Fragments of the World. Brigham Baker, Judith Kakon, Clare Kenny, Maya Rochat
Starting with the fascination for the clear attitude of modernism, expressed in architecture as a "constructed idea", the artist Reto Müller (*1984, lives and works in Schaffhausen) develops a new group of works. His approach to modernism, however, is fragile. Backdrop, model, façade as well as copy and variation are keywords for his work. Also the title of the exhibition – «potentielle Normaliensammlung» (potential collection of standardized items) reflects possibilities rather than realisation. For his first institutional solo-show, Müller reacts to the heritage of early modernist architecture in Switzerland, particularly in Langenthal: Willy Boesiger, a close confidant of Le Corbusier and editor of his catalogue raisonné, built a radical modernist edifice in 1928 for his father's carpenter workshop in Langenthal. Present and future of such buildings are Müller's starting point for his new videos. In the exhibition, the videos are combined with cast concrete, basalt or tin reliefs. With these examples of solidification and standardization, he examines questions of model-making, modularity and human scale. A publication is published on the occasion of the exhibition.
Arresting Fragments of the World.
Brigham Baker, Judith Kakon, Clare Kenny, Maya Rochat
While the photographic image is subject to growing fugacity and fluctuation in the digital context, some photographic practices tend to expand into the physical space, using in-situ and analogue processes. Leaving traces, adding layers, multiplying and distributing images or using processes which rely on the apparatus and chance instead of the artist's involvement, are are common to the practices of Brigham Baker (*1989), Judith Kakon (*1988), Clare Kenny (*1976) and Maya Rochat (*1985). These four circumnavigate, estrange and subvert photographic processes, without letting photography resurface as a medium. Their new videos, installations and sculptures, specifically developed for the exhibition at Kunsthaus Langenthal, are immersive, with haptic surfaces while remaining fleeting, process oriented and interrogative.