As a young Swiss gallery from Zurich that we are, we would like to present a springing charge of Swissness at Art 13 London. The three contemporary artists engage themselves with the display of forces, - of tectonic, kinetic, visual, natural or artificial nature, - and persuade with their timeless aesthetic and international vibrancy.
Alois Lichtsteiner (*1950)
The white snow only partially covers the shale-gray surface oft he mountain massif on Alois Lichtsteiner’s large-sized canvas. The artist’s breathtaking landscapes enfold their effect as powerful, atmospheric panoramas. Over millions of years enormous forces have stack these tectonic plates on top of eachother. The bi-chrome patterned landscapes almost appear abstract and amaze with their ethereal timelessnes. Smaller-sized clippings of similar grey and white mountain views on paper complement the painting. Inspite of the permanent recurrence of a spiecific theme in the artist’s oeuvre each display is an autonomic positiong with a final character. Alined they melt into a new pulsating unity.
Pierre-Alain Münger (*1977)
In front of Lichtsteiner’s mountain panorama three buckled red laquered high gloss metal columns by Pierre-Alain Münger open the dialogue between tectonic forces of nature and dynamic staged kinetic compression. Münger is a real scientist of the „crash“. In contrast to the Alps the abstract metall columns have not been shaped over millions of years by nature but been distorted within seconds by the impact of kinetic energy. The young artist found his personal creative language in the authentic compression of the most diverse objects. Whether cars, pieces of sheet or abstract metal objects they are all meticulously tested on the impact of directed kinetic forces. Immaterial energies influence the matter and change their aesthetic form. Münger attempts to capture this unique and fleeting moment of the collision. In addition to the colums we show one of his „Faces”: on a crash test track Münger catapults cars onto a coloured metal plate. Thereon the craft leaves behind the characteristic and perfect imprint of the car front. The colour of the metal carrier collaborates with the vehicle’s original varnish.
Carlo Borer (*1961)
Just as Münger, Carlo Borer preferably works with the material steel. At the external wall of the booth so-called „Clouds“ of stainless steel are mounted. The sculptor’s pieces are notional objects that he brings into reality with the help of a CAD programme. Employing highly complex mathematical calculations, Borer finds his actual definition of form. Inspite of their impressive weight they seem like they were floating. Their curved and highly polished surfaces mirror their surroundings in optical distortion. The deformation doesn’t manifests itself not on a physicalbasses but by means of of an immaterial reflection on the material.