Roman Signer, A Swiss Dialectic, Installation Detail, 1991.
Roman Signer, A Swiss Dialectic, Installation Detail, 1991.
Roman Signer, A Swiss Dialectic, Installation Detail, 1991.
Roman Signer, A Swiss Dialectic, Installation View, The Renaissance Society, 1991.
Roman Signer, A Swiss Dialectic, Installation View, The Renaissance Society, 1991.
Roman Signer, A Swiss Dialectic, Installation View, The Renaissance Society, 1991.
A Swiss Dialectic, Installation View, The Renaissance Society, 1991.
Vaclav Pozarek, A Swiss Dialectic, Installation View, The Renaissance Society, 1991.
A Swiss Dialectic, Installation View, The Renaissance Society, 1991.
Hannes Brunner, Detail of La Touch, 1991.
Franz Wanner (Left) and Josef Felix Muller (Right), A Swiss Dialectic, Installation View, The Renaissance Society, 1991.
A Swiss Dialectic, Installation View, The Renaissance Society, 1991.
Francois Visconti, A Swiss Dialectic, Installation at Hyde Park Art Center, 1991.
Adrian Schiess, A Swiss Dialectic, Installation at Frank Lloyd Wright Robbie House, 1991.
Miriam Cahn, A Swiss Dialectic, Installation at 333 Wacker Drive, 1991.
Remy Zaugg, A Swiss Dialectic, Installation at Museum of Contemporary Art, Chicago, 1991.
A Swiss Dialectic, Installation View, The Renaissance Society, 1991.
A Swiss Dialectic, Installation View, The Renaissance Society, 1991.
A Swiss Dialectic, Installation View, The Renaissance Society, 1991.
A Swiss Dialectic, Installation View, The Renaissance Society, 1991.
Remy Zaugg, A Swiss Dialectic, Installation at Museum of Contemporary Art, Chicago, 1991.
Remy Zaugg, A Swiss Dialectic, Installation at Museum of Contemporary Art, Chicago, 1991.
Remy Zaugg, A Swiss Dialectic, Installation at Museum of Contemporary Art, Chicago, 1991.
Miriam Cahn, A Swiss Dialectic, Installation at 333 Wacker Drive, 1991.
Remy Zaugg, A Swiss Dialectic, Installation at Museum of Contemporary Art, Chicago, 1991.
Miriam Cahn, A Swiss Dialectic, Installation at 333 Wacker Drive, 1991.
A Swiss Dialectic, Installation View, The Renaissance Society, 1991.
This group exhibition of Swiss artists commemorates the 700th anniversary of this politically unique and nationally enigmatic country.
The cultural renaissance that appears to have taken place in Europe has been largely a process of recognition, one in which the aesthetic twists and turns of the contemporary art scene were continually filled by a different quintessential nationalistic European model: British sculptors, Spanish painters, German expressionists, and Italian conceptualists have simultaneously co-existed, with each taking their turn as the focus of historical and cultural concern.
This exhibition is not an attempt to give the Swiss their due in the consumer cycle of things, as it were, since Switzerland as a country and a people steadfastly resist cultural and ehtnic stereotypes, save for a vaguely national tidiness and an often exceedingly dry sense of humor. Rather, it is intended to exemplify and examine what philosophical, cultural, and intellectual characteristics might be culled from a grouping of contemporary Swiss artists.
The exhibition includes 4 satellite locations: Adrian Schiess’s work is exhibited at the Frank Lloyd Wright Robie House; Francois Viscontini’s at the Hyde Park Art Center; Miriam Cahn’s at 333 W. Wacker Drive; and Remy Zaug’s at the Museum of Contemporary Art.
