Book launch and exhibition
"The Preparator", a collaboration between Kasper Andreasen and Louis Lüthi, takes as its starting point the painter Alexander Cozens’ publication "A New Method of Assisting the Invention in Drawing Original Compositions of Landscape" (1785). Set one morning in an empty gallery and told from the point of view of a man who installs exhibitions for a living, "The Preparator" combines text and image in a series of compact, associative tableaus, each revolving around a landscape: a title page, an eighteenth-century ink drawing, the network of cracks in a ceiling, a walk along the Rhine, a satellite photograph, Thomas Bernhard holding forth in a private garden, and others (Roma Publications).
The book launch is accompanied by an exhibition by Kasper Andreasen in the gallery's corridor through 3 December 2016. Further information.
Perforythme sets the material in motion. Structures, surfaces and creases overlap, become intertwined and finally yield sculptural arrangements. Vanishing points appear only to disappear again. Surface and space permeate each other in a constructively playful process from which the image emerges.
In his new works Sebastian Stumpf explores the continental border that marks the end of the mainland and the beginning of the Atlantic. The shoreline cliff, water and horizon make up the coordinate system according to which he orients his body. These natural elements serve as composition lines as well as the stage on which he completes the act of disappearing from the image.
Seiichi Furuya crosses back and forth between the borders of systems, cultures and epochs. One of the last masters of the ephemeral, with his project Gravitation he re-examines the sum of his photographic work. Gravitation is a distillation of his photographic memory, taken from four decades of his surveying and exploration, a body of work that continues to grow and expand. Image for image, the black and white photographs – memories extracted from silver salts – cover the entire horizon of his photographic world from the inside out. This horizon seldom brightens (black is the dominant shade), continually forcing the viewer’s glance towards the ground, the earth – from which everything begins and to which everything returns again. In this way Gravitation proves to be a different kind of retrospective, a poetic meditation on that which remains behind and only becomes recognizable when it’s all over.