In terms of their form, Joachim Bandau’s bunker drawings are both surprising and fascinating. Conceived as a “survival machine”, as both foxhole and firing range, the bunker in Bandau’s drawings is more than a prototype of instrumental architecture. It appears as a contradictory hybrid, archaic and yet modern. In reality a kind of fortification, Bandau’s bunkers are like sculptures with strange anthropomorphic features.

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.

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.