| | | | | | | | Balthasar Burkhard (CH, 1944-2010)
Los Angeles 4, 1999
Gelatin silver print on baryt paper, iron frame
125 x 250 cm, Edition of 5
© Balthasar Burkhard Estate | | | | | | | | | | 30 November – 23 December 2017 | | | | Opening: Thursday 30 November, 6 am - 8 pm | | | | | | | | | | | | | | | | | Annelies Štrba
Madonna 004, 2017
Pigment print on canvas, 75 x 50 cm
© Annelies Štrba | | | | |
| | | | | | | | | | | | | Balthasar Burkhard (CH, 1944-2010)
Namibia 11, 2000
Gelatin silver print on baryt paper, iron frame
125 x 250 cm, Edition of 5
© Balthasar Burkhard Estate | | | | | | | 30 November – 23 December 2017 | | | The exhibition of Balthasar Burkhard (1944-2010) assembles a selection of important photographs from the work groups of the cities (1999), Namibia, (2000), Rio Negro (2002), Bernina (2002), Torso (2007), Falcon wing (1993), Alps (1993), as well as Heliogravures and Collector's prints.
The legendary city photographs by Balthasar Burkhard were first shown at the 48th Venice Biennale in 1999 and 1999 at the Fabian & Claude Walter Gallery in Basel. The exhibition was curated by Harald Szeemann, with whom Burkhard had been associated since the 1960s through professional cooperation and close personal friendship. From 1961 to 1969, when Szeemann was director of the Kunsthalle Bern, Burkhard was a photographer who assisted him in the realisation of posters and catalogues as well as in the documentation of exhibitions. From 1969 to 1970 Burkhard worked with Markus Raetz. Together, they conceived a series of photo canvases that made Burkhard famous as a pioneer of monumental black-and-white photography. In 1970, the works were first shown in a museum exhibition, the show "Visualized Thinking Processes", curated by Jean Christophe Amman, at the Kunstmuseum Luzern. | | | | | | | | | Balthasar Burkhard (CH, 1944-2010)
Rio Negro 01, 2002
Gelatin silver print on baryt paper, iron frame
125 x 250 cm, Edition of 5
© Balthasar Burkhard Estate | | | | | | | In 1977, Burkhard presented his works for the first time in a solo exhibition at the Zolla Liebermann Gallery in Chicago, where he was a visiting professor at the University of Illinois from 1976 to 1978. After his return to Switzerland, he had his first solo exhibitions in museums at the Centre d' Art Contemporain in Geneva (1980) and at the Kunsthalle Basel (1983). Burkhard showed two sensational female nudes stretching over more than 13 metres. In the 1980s, plants appeared as motifs in Burkhard's work alongside human bodies. In the 1990s, a series of animal photographs followed, whereby the motif of the falcon's wing, a subject predestined for black and white photography with its nuanced structure, repeatedly fascinated Burkhard. | | | | | | | | | Balthasar Burkhard (CH, 1944-2010)
Faucon 05, 1993
Gelatin silver print on baryt paper, iron frame
120 x 120 cm, Edition of 7
© Balthasar Burkhard Estate | | | | | | | A few years later, Burkhard realized the photographs of cities and deserts presented in the exhibition. They show the opposites of nature and culture in their most extreme polarity: the vast dune landscape, gently formed by natural forces, and the man-made, finely divided urban landscape. In black-and-white technique and through aerial perspective, pictures of extraordinary clarity and distance are created whose forms take on abstract traits. Burkhard's work is not about portraits of an individual city or a particular place, but about the natural or civilizing phenomenon itself. In doing so, he approaches his motif without judging, without political or philosophical implications, with an open but objective view. | | | | | | | | | Balthasar Burkhard (CH, 1944-2010)
Aile, 1993
Gelatin silver print on baryt paper, iron frame
125 x 125 cm, Edition of 7
© Balthasar Burkhard Estate | | | | | | | Burkhard's photographs have fascinated their viewers for decades. On the one hand, this is based on the classical beauty of the photographs and their technical perfection, and on the other hand on a certain overstrain experienced by the recipient of the works. The large-format pictures, but especially the desert photographs, offer the viewer little orientation aids, not an eye-catcher that could serve as a starting and ending point for viewing the picture. The eye wanders around, somewhat helplessly, and is overwhelmed by the monumentality of both the artwork itself and its motif. A shivering, a mixture of admiration and reverence emerges, which distinguishes Balthasar Burkhard as a photographer of the sublime. | | | | | | |
| | | | | | | | | | | | | | Annelies Štrba
Madonna 001, 2017
Pigment print on canvas, 150 x 100 cm
© Annelies Štrba | | | | | | | 30 November – 23 December 2017 | | | In the gallery's cabinet room Annelies Štrba shows a series of works from her current work cycle "Madonnas".
Annelies Štrba has been fascinated by the variety of Virgin Mary's representations since her youth and has created an extensive archive of Mary's representations over the years. Using modern technical aids, the artist succeeds in transforming the classic "Madonna picture" into the present day. | | | | | | | | | Annelies Štrba
Madonna 3984, 2017
Pigment print on canvas overworked with oil colour, 30 x 20 cm
© Annelies Štrba | | | | | | | The Madonna pictures of Annelies Štrba show St. Mary not as the Mother of God, but as the ideal representative of her family. In the personification of the divine, the artist draws an image of femininity that lifts the once religious intention into an abstract sphere. The digital alienation, the almost ecstatic colouring stages a projection screen for emotions. Štrba adopts the Madonna as her own, hides the transcendent to a large extent and concentrates on the empathic emphasis of the mother-child relationship, the interpersonal. | | | | | | | | | Annelies Štrba
Madonna 3994, 2017
Pigment print on canvas overworked with oil colour, 30 x 20 cm
© Annelies Štrba | | | | | | With the choice of the role model, the Mother of Jesus Christ, Štrba lays out the role of the woman as a painful and deprived person, but also marked by purity, tenderness and kindness. Originally, these facets were laid out in Mary's composition and facial expressions, but the artist reinforces or alienates them through her colour filters and the removal of contours and contrasts - the dissolving figures lose their own luminosity. Annelies Štrba thus opens up a wide range of interpretation possibilities.
(Text: Matthias Becher, arnoldsche ART PUBLISHERS, Stuttgart) | | | | | | | | | Annelies Štrba
Madonna 3987, 2017
Pigment print on canvas overworked with oil colour, 30 x 20 cm
© Annelies Štrba | | | | | | unsubscribe here
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