FLOOR 3

MANON

THE DOUBLE ROOM, 1982 PHOTOGRAPH ON CANVAS 100 × 150.5 CM COURTESY THE ARTIST

Manon has pioneered body and performance art since the 1970s. In her ambivalent depiction of female identity; she deliberately affirms gender roles and their subversion, internationally recognized for radical performances and conceptual photographs addressing the construction of identities. Her work is concurrent with artists such as Cindy Sherman, Adrian Piper, or Hannah Wilke. Working in performance and staged photography around the subjects of eroticism and the finite nature of life, her work states opposed contents such as loneliness, desire, intertwining mutual dependence, and masquerade.

MARLO PASCUAL

UNTITLED, 2008/09 DIGITAL C-PRINT, BRASS CANDLE SCONCES, WHITE CANDLES 76.2 × 94.7 CM COURTESY GIANNI JETZER

The late artist Marlo Pascual reproduced vintage photographs to fold, cut, and even pierce them with unexpected sculptural elements. Candle sconces realize photographic still lifes; a mental double-take ensues. The discreet encounters between fragmentary images and unassuming props play out, rendering the effects of desire palpable. The sculptures become a site of convergence for the past and the presence, the mechanical and the digital, fiction and reality, and drama and banality – a place where the subjects play out ambiguous narratives with psychological and melancholic resonances.

FRANZ WEST

UNTITLED (COUPLE), APPROX. 1977 COLLAGE, GOUACHE ON MAGAZINE PAPER 30 × 20 CM COURTESY BURGER COLLECTION

Franz West is well known for his sculptural work that merges monumentality with irony. In the 1970s he created beautiful collages that depict different mindsets from being part of a community to sheer loneliness. Here, an aroused couple is shown in front of a green screen, their sexual characteristics painted red, creating a strong contrast to the background.

SOPHIE CALLE

THE BATHROBE (FROM THE SERIES “LES AUTOBIOGRAPHIES” ), 1988 DIPTYCH, B/W PHOTOGRAPH MOUNTED ON ALUMINIUM AND TEXT PHOTOGRAPH: 170 × 100 CM; TEXT: 50 × 50 CM COURTESY BURGER COLLECTION

The French philosopher Jean Baudrillard once said that Sophie Calle has the gift of making visible “the mysterious form of the existence of the other.” Here she uses a personal belonging, a Terrycloth bathrobe such as the ones you find in a hotel bathroom, and loads it through a short text with a narrative of intimacy: “I was eighteen years old. I rang the bell. He opened the door. He was wearing the same bathrobe as my father. A long white Terrycloth robe. He became my first love. For an entire year, he obeyed my request and never let me see him naked from the front. Only from the back. And so, on the morning light…, he would get up carefully turning himself away, and gently hiding inside the white bathrobe. When it was all over he left the bathrobe behind with me.”

EBECHO MUSLIMOVA

DRAWING, 2, 7, 10, 11, 12, 14, 15, 16, 20, 25, 2018 SUMI INK AND GOUACHE ON PAPER 49.8 × 42.2 CM EACH COURTESY BURGER COLLECTION

The drawing and painting practice of Ebecho Muslimova manifests a graphic trajectory of the personal and exposed, the comedic and the disquieting. Centred around the artist’s alter ego, Fat-Ebe, a bold and sexually liberated character. The works depict a persona shameless and free, exploring the world in ridiculous and impossible situations that revel in the celebration of carnal processes and bodily curiosity.

MITCHELL ANDERSON

JOIN (US FOR A BETTER WORLD (WILLIAM HILL, 1977) ), 2021 NEON, GLASS 44 × 130 CM COURTESY THE ARTIST & GALERIE MARIA BERNHEIM

Mitchell Anderson uses existing objects and imagery in a body of work that explores contemporary and historical contradictions, humor, and tragedies of existence. In a broad multi-media practice, Anderson presents contemplative objects of collective hope and failure and questions the narrative capabilities and codes of the visual and physical. In an ongoing series, Anderson created red neon signs all presenting the word “join”. Each is presented in a different font, continuing Anderson’s ongoing interest in the sagas and content civilization embeds in even the seemingly smallest visual cues. Grabbed from posters ranging from a 1754 call for state unity designed by Benjamin Franklin to a 1990 stack piece by Felix Gonzalez-Torres, the neon works become beacons for open recruitment and teamwork temporarily freed from politics and history. In the context of an empty hotel room, the invitation becomes somehow ambivalent.

CHRISTINA FORRER

HIS ARM BECAME HER LEG, 2020 COTTON, WOOL AND INK ON PAPER 106.7 × 147.3 CM COURTESY THE ARTIST & CORBETT Vs. DEMPSEY

Christina Forrer creates tapestries, paintings, and works on paper that depict wild, dense scenes of conflict. Coarse figures argue, rebel, and attack each other; the compositions depict scenes of violence, torture, and aggressive embrace. The characters in Forrer’s works have big eyes, gaping mouths, and terrified expressions; they seem linked by generations as if they are all part of the same wild and comically terrifying family. Forrer’s practice is rooted in the tradition of tapestry and art (e.g. the german expressionists such as Ernst Ludwig Kirchner) and invested in the materials from which these works are made. She carefully weaves colors together to create eclectic palettes and cunning, villainous characters.

SIN WAI KIN FKA VICTORIA SIN

ACT 1 PART 3 OF A VIEW FROM ELSEWHERE / ILLOCUTIONARY UTTERANCE, 2018, 2021 SINGLE-CHANNEL VIDEO, HD, COLOUR, SOUND, 5’54” COURTESY CHI-WEN GALLERY

Renowned drag queen Victoria Sin combines drag with multimedia art forms since 2013. Alternative narration is the aesthetic prominence of her video works. in “Act 1 Part 3 of a View from Elsewhere” she performs a multimedia fantasy on the experience of desire, shame, and identification of the material queer body, featuring sound design by shy one. In “ Illocutionary Utterances” a high definition close up of Victoria Sin’s lipsync in drag makeup is played over a sound piece exploring the role that speech acts play in the ascription of gender. Speech acts that ascribe gender outside of a subject’s control are compared to speech acts of self-identification, while overpainted lips mime exaggerated attempts to sync with an altogether different soundtrack.

INGE MAHN

SCHAUKELN (SWINGS), 1984 PLASTER, ROPES 40 × 38 × 80 CM (× 2) COURTESY BURGER COLLECTION

The sculptures of Inge Mahn are socially minded. The German artist creates places that are personal but also reflect her relationship with the outside world. While studying at the Kunstakademie in Düsseldorf in 1969, she built a small house to temporarily shield herself from the daily political discussions in Joseph Beuys’ classroom. Mahn pursued her interest in small-scale structures all through the 1970s, creating works ranging from a confessional on wheels to a bird’s nest. The work “Swings” consists of a pair of anthropomorphically shaped deck chairs hanging from the ceiling. Their intimate togetherness high held above solid ground evokes a relationship in suspense.

SER SERPAS

UNTITLED, 2021 OIL ON CANVAS 73 × 62 CM Courtesy the artist & Karma international

Through painting, sculpture, drawing, and poetry Ser Serpas mashes bits of her life, both real and imagined, into anti-portraits, some of which she deems fit to share within the contexts of exhibitions and performances. In the past two years, she has taken photos shot on her iPhone during college as source material for intimate views on unstretched canvas, wood panel, and paper. The unique way she reframes the body in tension, in both her sculptural and text-based installations which distort components of our shared architecture, carries into her atypically cropped portions of stolen archetypal intimacy.

FLOOR 2

JAN KIEFER

SKIING SNOWMAN (YELLOW SKIS), 2019 OIL ON CANVAS 50 × 40 CM SKIING SNOWMAN
INSTALLATION, 2020 COURTESY THE ARTIST

Jan Kiefer has created a body of works dedicated to a snowman, a friendly mascot that he imagined as an inflatable sculpture that he alternately activates in neat, small-scale oil paintings. While the snowman enjoys winter sports to the fullest on the slopes, thus gaining almost humanlike traits, he endures a very lonely existence as a blow-up figure. Deprived of the fun and the enchanting landscape, he experiences lockdown, condemned to confinement. Through his visionary mindset, Kiefer has created this group of works before the pandemic.

KAREN KILIMNIK

VODKA COCKTAILS AT THE RUSSIAN TEA ROOM IVAN + RUDY, 2004 WATER SOLUBLE OIL COLOUR, GLITTER, ARCHIVAL GLUE ON CANVAS, FRAMED 76 × 66 × 9 CM COURTESY GALERIE EVA PRESENHUBER

AMERICAN ARTIST KAREN KILIMNIK HAS DEVELOPED AN OBSESSION WITH BALLET, IN PARTICULAR THE CLASSICAL AND ROMANTIC STORY BALLETS OF THE 18TH AND 19TH CENTURIES. SHE SEES IT THROUGH THE PRISM OF CONTEMPORARY CULTURE. SEVERAL OF HER WORKS RELATE TO THE RUSSIAN STAR DANCER RUDOLF NUREYEV, WHO REGULARLY STAYED AT HOTEL EUROPE WHEN DANCING AT THE ZURICH OPERA HOUSE-HE EVEN HAS A SUITE NAMED AFTER HIM. “VODKA COCKTAILS AT THE RUSSIAN TEAROOM IVAN+RUDY” IS BASED ON A COCKTAIL MENU AT THE RUSSIAN TEAROOM IN NEW YORK, A PLACE THAT NUREYEV LIKED TO VISIT WHEN HE WAS IN TOWN.

KRIS MARTIN

THE END, 2010 MIXED MEDIA ON VINTAGE MIRROR 104 × 59 × 9 CM COURTESY BURGER COLLECTION

Belgian artist Kris Martin is a conceptual gambler who loads everyday objects with new meaning. Here he uses a vintage mirror to provocatively declare “the end” on its front. By facing the mirror, we are invited to inscribe the suggested temporality on our life story and thus create an imaginary end. Through the mirroring of the font, a further dimension opens up, as if the assertion would be a reflection of itself. As writer Marouane Laassafar has put it, our romantic lives are full of ends that eventually become new beginnings: “some people will leave you soon no matter how, but it’s not the ending of your story, it’s just the ending of their role in your story. Cause life goes on…”

PAUL MPAGI SEPUYA

EXPOSURE (_2160212,_2160194, _2160196) , 2018 TRIPTYCH, ARCHIVAL PIGMENT PRINT 82.5 × 187.7 C M , FRAMED COURTESY GALERIE PETER KILCHMANn, Zurich and Vielmetter, los angeles

From early photographs set in his bedroom to long-term bodies of work grounded in the photographer’s studio, American artist Paul Mpagi Sepuya’s practice is oriented around photographic portraiture’s relationship and dynamics, its settings, and materials. The camera and artist are not always visible but always implied, referring back to the self-reflexivity inherent in Sepuya’s practice and the positions and gestures of looking, being seen, and creating scenes that disregard the viewer and emphasize the making, and makers, of a picture.

KEREN CYTTER

TERRORIST OF LOVE, 2016 VIDEO, 3:16 MINS COURTESY GALERIE NAGEL-DRAXLER

Terrorist of love continues Keren Cytter’s experimental filmmaking practice that subverts cinematic tropes, layers multiple fractured narratives, and reflexively refers to the medium. Tapping into a viral strain of humor found on Tumblr and gif-sharing sites, the video is as chuckle worthy as it is contemplative. Using a fixed 4k camera, Cytter shot the video in one take, before devising an unconventional music video format in post-production using key framing, meme-like imagery, and an original soundtrack.

MINA SQUALLI-HOUSSAÏNI

OUR CHIMERAS ARE MEANT TO BE, 2019 COURTESY THE ARTIST

In her installations Mina Squalli-Houssaïni evokes a sense of intimacy. Her figures are in-between animals and Star Wars mascots. Three large-scale insects are dressed in traditional Algerian celebratory gowns caught in an imaginary conversation. Creating references to matrimonial figures such as the mother, the aunty, and the grandmother the sculptures are emitting something overly familiar. What are they debating? Who is the leader? Who remains silent?

FLOOR 1

ALICIA FRAMIS

HOPE GIVER, 2021 POSTER, 42 × 59 CM COURTESY THE ARTIST

Most of the Amsterdam-based artist Alicia Framis’ work touches upon social practice and performance. the new commission consists of the artist taking on the role of a hope giver for one year, sending positive thoughts to people who need it. The project’s webpage reads as follows: “Do you want to connect with another situation? Are you looking for connections that make you feel better? In these moments of uncertainty, we all need a boost of hope. For one year, hope giver will share hope with those who seek it. You just have to enter your postal address and I will send hope to you, wherever you are.”

SWETLANA HEGER

Swetlana Heger appropriates brands and marketing strategies in her work, uncovering the ways in which we construct, obscure and deny the role of women in society and among cultural artifacts. Through recontextualization and reuse of everyday products into the field of art, she shows important aspects when it comes to conveying history, art production and interpretation to the public.

MARTIN SOTO CLIMENT

DESIRE, 2021 FOLDED LEATHER CASES 9 × 8 × 11 CM, 8 × 8 × 10.5 CM, 7.5 × 8 × 11 CM, 8.5 × 8 × 10.5 CM COURTESY THE ARTIST & KARMA INTERNATIONAL

In his work, Martin Soto Climent recontextualizes found material into surrealist-inspired poetic objects. Lampshades, hats, spoons, or gloves carry the history and meaning of their previous life but at the same time are transformed into magical arrangements of immense beauty. Here, he uses eyeglasses etuis that he rearranges in such a way to create an imaginary tongue. Emphasizing the difference between pornography and sexuality, the artist states: “with pornography, it’s just the object; it’s obvious. Eroticism is not obvious. We can see a stone or the curve of a tree and feel a sexual impulse for something that is not human or even alive. eroticism moves you from inside, from the stomach, from the sex, and that’s why it is so uncomfortable.”

STEFAN ALTENBURGER

MY LIFE IN THE BOX II (DRESSING AND UNDRESSING), 1996 WOOD, 1-CHANNEL-VIDEO ON MONITOR, COLOR, NO SOUND COURTESY MIGROS MUSEUM

Zurich-based artist and photographer Stefan Altenburger is known for a work based on irritations, irony, and hidden humor. He encourages the viewer to think about the representation of things. In his early video work, he often stages slapstick-like scenes full of absurdity. Through a tiny peephole, we watch the artist dress and undress under extreme spatial constraints. the performative act leaves a sentiment of claustrophobia and entrapment behind, but eventually also a sense of irony.

CHEYENNE JULIEN

REFORMED CHROMOPHOBE, 2020 OIL AND ACRYLIC ON CANVAS 152.4 × 121.9 CM COURTESY BURGER COLLECTION

Cheyenne Julien has created a body of paintings that is unique in its fresh, non-academic style. Depicting herself, her family, and friends, or sites that conjure up specific memories in her community, Julien allows autobiography to guide her work. People in the street or their apartment’s intimacy are depicted as familiar figures that evoke a rich and multi-faceted experience of her neighborhood. All of her sitters (including herself) have exaggerated traits that are reminiscent of cartoon. The resulting racial stereotypes are a way for the artist to break taboos about black identity. Without hesitation and in a poignant way, Julien points at the open wounds of racial injustice from a very personal standpoint.

GROUND FLOOR

JESSICA DIAMOND

TRIBUTES TO KUSAMA: LOVE LIKE A MACK TRUCK COURTESY THE ARTIST

Jessica Diamond emerged in the New York downtown art scene in the early 1980s with witty works pushing boundaries in both commercial and artistic terms. Using language as her main medium, she creates statements in her handwriting combined with drawings that she applies in various sizes on gallery walls, but also in public space. Her investigations into trigger points of commercialism and money culture are at once critical and humorous and, at times, sheer poetic. In “Tributes to Kusama: Love Like a Mack Truck”, 1994/2021 she merges letters as if they were lovers, creating a dynamic that is as powerful as the truck that it borrows the title from. As curator Ralph Rugoff once wrote: “Diamond uniquely transforms the wall drawing into an apt medium for paying tribute. Like true love, its dimensions are always variable, as each work is scaled to the feel of the space where it will temporarily reside.”

SOPHIE CALLE

HOTEL, ROOM 29 (19 FEB), 1983 DIPTYCH, EKTACHROME PRINT WITH TEXT AND SILVER GELATIN PRINTS 102 × 142 CM COURTESY BURGER COLLECTION

“On monday, february 16, 1981, I was hired as a temporary chambermaid for three weeks in a Venetian hotel. I was assigned twelve bedrooms on the fourth floor. In the course of my cleaning duties, I examined the personal belongings of the hotel guests. On friday, march 6, the job came to an end.” (quoted in Calle, pp.140-1.) Using her position as a chambermaid, Calle created factual documentation along with her personal response to the people whose lives she glimpsed by examining their belongings. Each text begins with the chambermaid / artist’s first entry into the room and a notation of which bed or beds have been slept in, with a description of the nightwear the guests have left. Calle’s snooping in room 29 reveals that its occupants are a honeymoon couple. She describes finding ‘a small hardcover notebook with the inscription: “ricordo matrimonio” (wedding souvenir).

AUBRY / BROQUARD

LA SAUCISSE À TROIS PIEDS, 2013 GLAZED CERAMIC 38 × 47 × 17 CM Courtesy the artists

Bastien Aubry and Dimitri Broquard, initially working together as a graphic design team, turned toward art-making and ceramic in 2007. Aubry and Broquard access this traditional medium in an unorthodox manner that touches upon notions of kitsch and grotesque. The unwieldy, twisted forms and garish colors of the small-scale works provide an unusual visual vocabulary. Their saucisses reveal anthropomorphic traits up to the point where they become couples who gently scratch each other’s back, getting closer up to sheer intimacy, fueled at once by eroticism and irony.