Sammlung Migros Museum für Gegenwartskunst
Exhibition view Sonia Kacem, Petra, 2013, Plastikfolie, Emulsionsfarbe, Nylonfaden, Marion Baruch, Lasciar cadere, 2018, Polyestervlies, Pamela Rosenkranz, Death of Yves Klein, 2011, 1-Kanal-Animation auf Samsung-Flachbildschirm (Farbe, Ton) und Because They Tried to Bore Holes in my Greatest and Most Beautiful Work, 2012, Inkjetprint, Klebefolie, Acrylglas, Luftblasen. Sammlung Migros Museum für Gegenwartskunst. Photo: Stefan Altenburger Photography, Zürich, Copyright Marion Baruch und Pamela Rosenkranz
Exhibition view Sonia Kacem, Petra, 2013, Plastikfolie, Emulsionsfarbe, Nylonfaden, Marion Baruch, Lasciar cadere, 2018, Polyestervlies, Pamela Rosenkranz, Death of Yves Klein, 2011, 1-Kanal-Animation auf Samsung-Flachbildschirm (Farbe, Ton) und Because They Tried to Bore Holes in my Greatest and Most Beautiful Work, 2012, Inkjetprint, Klebefolie, Acrylglas, Luftblasen. Sammlung Migros Museum für Gegenwartskunst. Photo: Stefan Altenburger Photography, Zürich, Copyright Marion Baruch und Pamela Rosenkranz
Exhibition view Sonia Kacem, Petra, 2013, Plastikfolie, Emulsionsfarbe, Nylonfaden, Xanti Schawinsky, transitions, 1960, Öl auf Leinwand. Sammlung Migros Museum für Gegenwartskunst. Photo: Stefan Altenburger Photography, Zürich, Copyright Sonia Kacem und der Estate von Xanti Schawinsky.
Exhibition view Marion Baruch, Lasciar cadere, 2018, Polyestervlies, Sonia Kacem, Petra, 2013, Plastikfolie, Emulsionsfarbe, Nylonfaden, Xanti Schawinsky, transitions, 1960, Öl auf Leinwand. Sammlung Migros Museum für Gegenwartskunst. Photo: Studio Stucky, Copyright Marion Baruch, Sonia Kacem und der Estate von Xanti Schawinsky.
Exhibition view Marion Baruch, Lasciar cadere, 2018, Polyestervlies, Sonia Kacem, Petra, 2013, Plastikfolie, Emulsionsfarbe, Nylonfaden. Sammlung Migros Museum für Gegenwartskunst. Photo: Studio Stucky, Copyright Marion Baruch und Sonia Kacem
Martín Soto Climént, The Swan Swoons in the Still of the Swirl (Stills 1,2,3,4,5,6), 2010, 1-Kanalvideoprojektion (Farbe), Jalousien. Sammlung Migros Museum für Gegenwartskunst. Photo: Studio Stucky, Copyright Martín Soto Climént
Exhibition view Martín Soto Climént, The Swan Swoons in the Still of the Swirl (Stills 1,2,3,4,5,6), 2010, 1-Kanalvideoprojektion (Farbe), Jalousien, Raphael Hefti, Subtraction as Addition, 2015, Museumsglas mit Luxar-Beschichtung, doppelt verglast, Sammlung Migros Museum für Gegenwartskunst. Photo: Studio Stucky, Copyright Martín Soto Climént, Raphael Hefti
Exhibition view Martín Soto Climént, The Swan Swoons in the Still of the Swirl (Stills 1,2,3,4,5,6), 2010, 1-Kanalvideoprojektion (Farbe), Jalousien, Raphael Hefti, Subtraction as Addition, 2015, Museumsglas mit Luxar-Beschichtung, doppelt verglast, Heidi Bucher, Hautraum (Ricks Kinderzimmer, Lindgut Winterthur), 1987, Gaze, Fischleim, Latex, Bambus und Draht, Sammlung Migros Museum für Gegenwartskunst. Photo: Stefan Altenburger Photography, Zürich, Copyright Martín Soto Climént, Raphael Hefti and the Estate of Heidi Bucher
Exhibition view Martín Soto Climént, The Swan Swoons in the Still of the Swirl (Stills 1,2,3,4,5,6), 2010, 1-Kanalvideoprojektion (Farbe), Jalousien, Thea Djordjadze, Ohne Titel, 2011, Glas, Farbe, Heidi Bucher, Hautraum (Ricks Kinderzimmer, Lindgut Winterthur), 1987, Gaze, Fischleim, Latex, Bambus und Draht, Sammlung Migros Museum für Gegenwartskunst. Photo: Stefan Altenburger Photography, Zürich, Copyright Martín Soto Climént, Thea Djordjadze und the Estate of Heidi Bucher
Exhibition view Martín Soto Climént, The Swan Swoons in the Still of the Swirl (Stills 1,2,3,4,5,6), 2010, 1-Kanalvideoprojektion (Farbe), Jalousien, Heidi Bucher, Hautraum (Ricks Kinderzimmer, Lindgut Winterthur), 1987, Gaze, Fischleim, Latex, Bambus und Draht. Sammlung Migros Museum für Gegenwartskunst. Photo: Studio Stucky, Copyright Martín Soto Climént und The Estate of Heidi Bucher
Exhibition view Berta Fischer, Ohne Titel (rot/transparent), 2004, Heidi Bucher, Hautraum (Ricks Kinderzimmer, Lindgut Winterthur), 1987, Gaze, Fischleim, Latex, Bambus und Draht. Sammlung Migros Museum für Gegenwartskunst. Photo: Stefan Altenburger Photography, Zürich, Copyright Berta Fischer und The Estate of Heidi Bucher
Heidi Bucher, Ohne Titel (Neun Objekte), 1972-1987, Textil, Seife, Tüll, Schaumstoff, Latex, Perlmuttpigment. Sammlung Migros Museum für Gegenwartskunst. Photo: Studio Stucky, Copyright The Estate of Heidi Bucher
Chapter 2 with works by Marion Baruch, Heidi Bucher, Martín Soto Climént, Thea Djordjadze, Berta Fischer, Raphael Hefti, Sonia Kacem, Pamela Rosenkranz and Xanti Schawinsky
Material Manipulations is the second chapter of a collection exhibition based on material as an artistic commodity. After Material Memories showed in the first chapter how material can be charged with meaning, the second chapter deals with the aesthetic quality of the materials, focusing on the artistic treatment processes and material experiments.
Nothing is how it should be: stiff metal blinds hang from the ceiling in dance-like poses. The museum glass, usually non-reflecting, is leant against the wall as an oversized sculpture, mirrored. Rigid acrylic glass floats in the room as a ball-like object. Contrasts form the starting point of this exhibition, at the heart of which lies material as an artistic resource and the aesthetic quality of the artworks. As the title Material Manipulations suggests, the latter arises from unconventional methods of treatment and experimentation with material.
Since the 1960s artists have relied on impermanent or organic materials. For this, they like to work with materials from industry or integrate found objects into their works. Artistic working processes and techniques have long since been subject to constant change and expansion, too. However, in contrast to industrial processing – where the commercial usage of raw materials is governed by the conditions of mass production – no boundaries are set on the treatment of material in art.
The exhibition shows how artists test the properties of material: techniques are re-interpreted; chance prevails in experimental processing or materials and objects are used for purposes other than those intended. This extension of existing conventions in the creation of art can also be seen as the overcoming of what is already familiar – only in this way something new can emerge.
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POSTER MATERIAL MANIPULATIONS CHF 25